text:
Talking to God
So I've been reading Graeme Wood on supporters of ISIS, and after that Penelope Wilson on hieroglyphs, rather different kinds of book but I recommend both. What caught my attention in each of them was a linguistic phenomenon I find intriguing, the impulse people can feel to take language, this practical tool we use to navigate around our world, and transmute it into something more exalted: a medium for addressing the divine.
I didn't know until I read Wood's book that Salafi Muslims cultivate an archaic style of spoken Arabic, a form of the language reflecting their desire to emulate the very earliest generations of Islam, al salaf al salih, the pious forefathers. Rejecting contemporary forms of Arabic brings them closer to the Prophet and the Quran, closer to God's revelation. Wood describes having his colloquial Arabic corrected by an Egyptian Salafist (p.33):
Ahmad took me to lunch at a chicken restaurant where we ate well and he, over my objection, paid the bill out of his student stipend. He corrected my Arabic over and over, studiously transposing the street dialect that came most easily to me with the high register favored by Salafis. Chicken was not firakh, but dajaj. Any time I pronounced the letter jim with a hard g, in the Egyptian way, he corrected it to the more classical j as in "Juliet": "Jamal," not "Gamal," was the name of the dead Egyptian strongman Nasser. The letter qaf, instead of vanishing without a trace as in normal Egyptian speech, had to be pronounced deep in the throat, where the soft palate meets the tongue: qalam [pen], not alam. My language was getting purer, word by word and bite by bite.
Qalam is the Greek word kalamos in fact, but never mind.
Still in Egypt, albeit a few centuries earlier, another thing I didn't appreciate was how significant the "hiero-" ("sacred") bit of "hieroglyphs" was. From Wilson (p.18) I learned that the Ancient Egyptian word for this pictorial writing was medu-netjer, meaning "words of god," and that the primary function of hieroglyphic script was to enable communication between Egyptians and their gods. This wasn't a different form of language, of course, so much as an esoteric way of representing that language (though if I understand rightly, hieroglyphs were also associated with an archaic and ossified form of the Egyptian language).
By way of illustration, Wilson memorably describes the different audiences targeted by the three texts on the Rosetta Stone (p.31):
Greek (for the ruling administration of the day), hieroglyphs (for the gods), and Demotic (for everyone else).
She also rather beautifully encourages us to imagine that the hieroglyphs accompanying images of human activity and speech covering tombs might become audible: "the tombs would be full of noise, and the chatter of hundreds of people" (p.46). Again, if I understand correctly, the things depicted are summoned into existence by being named in hieroglyphic form. The hieroglyphs secure from the gods an Afterlife for the dead person as rich as the life they have departed. For the dead, I suppose, the tomb with its images and hieroglyphs in effect is that wonderful new life.
I hope I've got that right, because a) I find it frankly and gloriously mind-blowing, and b) it's the main motivation for this blog. And while the whole idea was to be reading stuff at bedtime that was unrelated to work, I couldn't help thinking about Greco-Roman things, too.
If the Greeks and Romans had anything like hieroglyphics or Quranic Arabic, linguistic ways of communing with God, it might be the dactylic hexameter. This is a verse form, and as Paul Fussell wrote in his classic book on the matter, Poetic Meter and Poetic Form, one of the essential effects of couching language in verse, making prose poetry, is to raise its register (p.12):
meter, by distinguishing rhythmic from ordinary statement, objectifies that statement and impels it toward a significant formality and even ritualism.
But if all metre is a "ritual frame", as Fussell calls it, for the language it encloses, there are more and less elevated kinds of metre, and in antiquity the highest form of communication was that done in dactylic hexameters. That included conveying the utterances of the gods. In fact it was believed that the hexameter was invented by the Pythian priestess at Delphi (Pausanias 10.5.7), to be the vehicle for the oracles that the god Apollo shared with humanity.
A more familiar function of the hexameter, though, is as the medium for another kind of divine narrative, epic poetry. This is poetry describing, typically, a heroic world of superior humans, but represents divine speech in at least two ways. First, part of the greatness of the heroes of epic was the ease with which they communed with gods, who aided them and appeared and spoke to them. The epic world is one governed by the gods, and in Homer and Virgil and other epic poets we often see the gods discussing among themselves how events on earth should unfold. Secondly, though, this made the task of the epic poet a daunting one, since they needed inspiration sufficient to be able to relate the deeds and words of the very highest beings. Conventionally epic poets would claim that their poem was itself divine speech. "Tell me of the man of many wiles, Muse," is how Homer's Odyssey begins, and "Sing of the anger of Achilles son of Peleus, goddess," the Iliad.
"Speeches of the gods" could even be shorthand for epic poetry. In Odes 3.3 Horace closely imitated the epic poet Quintus Ennius, Virgil's great predecessor at Rome, and a speech that Ennius gave to Juno in a Council of the Gods in the first book of his epic poem Annales. At the end of his poem Horace admits that in formal terms he's seriously broken the rules, putting this epic material in one of his own lyric poems:
Non hoc iocosae conveniet lyrae;
quo, Musa, tendis? Desine pervicax
referre sermones deorum et
magna modis tenuare parvis.
This will not suit the light-hearted lyre!
Where are you heading, Muse? Cease in your wilfulness
to report the speeches of gods and
diminish great matters in small measures!
Why? Because the only proper habitat for gods and their awe-inspiring utterances is the heroic measure, the hexameter.
More to my godless taste, I have to admit, is Juvenal's take on this whole issue. In his fourth satire Juvenal lays into the emperor Domitian, describing the measures taken by the tyrant to get a huge turbot cooked. The poem is a parody of an epic (which doesn't survive) by Statius on Domitian's military exploits in Germany; like almost all Roman satire it is written, like epic, in hexameters, an outrageous act of misappropriation by satire which established it once and for all as epic's disreputable twin.
At 34-6 Juvenal parodies the conventional epic evocation of the Muse, the plea for access to divine knowledge.
incipe, Calliope. licet et considere: non est
cantandum, res uera agitur. narrate, puellae
Pierides, prosit mihi uos dixisse puellas.
Begin, Calliope! And do please sit down: there's no call
for singing, these are real events were dealing with. Tell the story, maidens
of Pieria, and may I profit from having called you maidens.
Brutal stuff, but that's satire. He summons the Muse Calliope (the Muse of epic, the grandest of them all), then makes a nasty joke about the Muses' sexual morality. I'm more interested in the first line and a half, because in them Juvenal carries out an expert demolition of this divine medium. Incipe, Calliope is authentically epic, but as he tells Calliope to stop taking it so seriously the verse form collapses, too. Some brilliantly shabby versification follows: non est is a useless, unemphatic cadence to the line, and res uera agitur deliberately obscures by elision another important structural element of the heroic hexameter, its central caesura.
A less technical way of putting it is that Juvenal starts line 34 in epic mode, as he should when a god is being addressed, but then collapses into all-too-human prose. I find the aspiration that we feel to speak the language of the gods fascinating, but I find Juvenal's utter refusal to respect it most refreshing, too.
Fearful symmetry
I'm finally finished with a project I've been working at, off and on, for–well, longer than I care to calculate. It is an annotated bibliography of Roman poetic metre, not an awfully thrilling task. But once in a while it reawakened the interest that made me write this book, and to celebrate its conclusion I offer one such moment.
Here is a poem by Martial (2.7), followed by a translation indebted to Shackleton Bailey in the Loeb.
Declamas belle, causas agis, Attice, belle;
historias bellas, carmina bella facis;
componis belle mimos, epigrammata belle;
bellus grammaticus, bellus es astrologus,
et belle cantas et saltas, Attice, belle; 5
bellus es arte lyrae, bellus es arte pilae.
Nil bene cum facias, facias tamen omnia belle,
uis dicam quid sis? Magnus es ardalio.
You're a nice declaimer, Attalus, a nice pleader,
you write nice histories and nice poems,
you compose mimes nicely, and epigrams nicely,
you're a nice grammarian and a nice astronomer,
and you sing nicely, Atticus, and dance nicely; 5
you're nicely versed in the art of the lyre, nicely versed in the ball.
Seeing that you do nothing well, but do everything nicely,
would you like me to say what you are? A total trifler.
Martial appears to be flattering Atticus for his stunning panoply of talents, in public speaking, writing, scholarship, music and sport, but actually exposes him as a talentless dabbler, an ardalio.
A lot of the work of the poem is done by the word bellus, superficially complimentary ("pretty, handsome, fine"; I go with "nice", which isn't perfect) but "freq. iron.", according to the Oxford Latin Dictionary. We're not too far into the poem before we realise that bellus is indeed ironic: Atticus is only superficially talented, in fact a jack of all trades, master of none.
The metre of the poem is elegiac couplets, which combine a dactylic hexameter, the metre of epic, with a pentameter. The pentameters goes like this (where u is a short syllable, _ a long, and || a word break or caesura): _ u u _ u u _|| _ u u _ u u _. In the first half of the line either of the double shorts, u u, can be replaced by a long _. But the second half of the line is always _ u u _ u u _.
There's a mnemonic for the pentameter that I inflict on my students: "strawberry strawberry jam; strawberry strawberry jam". This is a pentameter, but in the first half either strawberry can be a "strawb'ry", two long syllables, whereas in the second half each strawberry must be a "strawberry", three syllables (a long and two shorts).
It's clear enough that the pentameter, a repetition of _ u u _ u u _, is a form tending toward symmetry. But elegiac poets, Greek and Latin, felt an aesthetic imperative to resist this impulse. In particular they avoided a type of line represented by Ovid's notorious description of the Minotaur at Ars Amatoria 2.24, semibouemque uirum, semiuirumque bouem ("half-bull man and half-man bull"). There is a great story about this line of Ovid recorded by Seneca the Elder, but one problem with it was probably that its two halves are completely interchangeable, identical both in metre and word shape: semiuirumque bouem, semibouemque uirum would scan just as well.
Now this interchangeability (I can never remember which way round the line goes) makes it a brilliant verbal evocation of the hybrid character of the Minotaur (nothing less than we'd expect from Ovid), but also a line shape that was felt to be too neat and tidy. Trying to capture the character of this kind of line, Platnauer calls it "a jingle", and Luque Moreno "llamativo", "showy". That ancient poets felt the same is proved by how how rarely they produce lines like this, and what effects they're clearly after when they do. (Ovid's line was evidence for Seneca that Ovid was a slave to his own poetic licentia, lack of decorum, and "was not unaware of his literary faults, but in love with them.")
Well, there's another example of a perfectly symmetrical pentameter in line 7 of Martial's epigram, the climax of his catalogue of Atticus' accomplishments, bellus es arte lyrae, bellus es arte pilae. I find it fascinating when metre communicates as much as any other element of the poetic composition, and here is a case in point.
For what is the Latin for a symmetrical pentameter, superficially deft but actually rather vulgar?
Bellus [iron.]
A curse is a spooky enough topic for Christmas, I reckon. But this blog about curses (exsecrationes in Latin) is really for me to get some thoughts straight in my head. I am still investigating a Roman priest known as the flamen dialis, a priest of Jupiter (as I touched on here, a strange figure who could be considered a kind of animate statue of the god), and one thing I want to understand better is how this priesthood was regarded during Augustus' reign. (All ultimately with a view to deciding on a possible role for it in Virgil's Aeneid, but that's another matter.)
The most important thing to appreciate about this priesthood and Augustan Rome is that for the first half of Augustus' reign there was actually no flamen dialis in post. This office, a crucial intermediary between Rome and its most powerful patron, the chief god Jupiter, had remained unoccupied since the death by his own hand of the flamen L. Cornelius Merula in 87BC. My assumption is that the absence of the flamen dialis from Rome was a cause of significant anxiety: the Romans were deeply superstitious people, setting great store by the pax deorum, the harmonious relations between them and their gods which could only be maintained by meticulous observation of their religious obligations.
If maintaining this special relationship with the divine realm was a priority, it was because the favour shown their city by the gods was for Romans the best explanation of their rapid rise to power in Italy and the wider Mediterranean. Equally, however, when their fortunes turned sour, and Rome shifted from seemingly unlimited expansion to a traumatic century of internal conflict (only finally brought to an end by Augustus), the Romans could only conclude that they had somehow offended the gods, and this was their punishment. A key element of Augustus' project to restore Rome after this crisis was mending this all-important relationship, renovating temples, restoring neglected religious practices, in general returning Rome to what he could claim to be the lifestyle that drew the gods' approval in the first place.
In the event, a new flamen dialis, Ser. Cornelius Lentulus Maluginensis, was at length appointed in (probably) 11BC, shortly after Augustus had finally secured the role of pontifex maximus for himself. The pontifex maximus or chief priest was responsible for selecting the flamen dialis (though he was also subordinate to the flamen in status, interestingly enough), but Augustus had had to wait to assume the role of pontifex until the death of the previous incumbent, the humiliated and sidelined former triumvir M. Aemilius Lepidus. A natural reading of this sequence of events would be that one of Augustus' very first acts on becoming pontifex maximus in 12BC was to fill the yawning gap in Rome's religious fabric, the office of flamen dialis. But there is some debate about the date of Maluginensis' appointment, and the order of events is not so certain.
My hunch, as I've suggested, is that Rome could not bear the absence of such an essential religious figure with equanimity; and that when Augustus did select a new priest of Jupiter, a lifetime after the last flamen dialis had died, it would have been a very impressive gesture, a powerful contribution to the climate that Augustus sought, a perception that Rome, after all the trauma of the Civil Wars, was back on its feet; a profound crisis on the divine plane had been resolved.
Merula, the last flamen dialis, had been a particularly prominent victim of those wars, and that's really all I need to have to argue for the research I'm doing. But an article by Bernadette Liou-Gille ("César, 'Flamen Dialis destinatus'," Revue des études anciennes 101 [1999], 433-459, to which I was alerted by Professor Roberta Stewart) opened up a new and weirder dimension to this story.
Liou-Gille is interested in the circumstances and immediate aftermath of Merula's death in 87BC. The context is the furious rivalry for control of Rome between L. Cornelius Sulla and L. Cornelius Cinna, the latter supported by the great general C. Marius. In simple terms, Cinna, who was consul, had been driven out of Rome, and Merula, the flamen dialis, had been appointed consul in his place (Professor Stewart suggested to me, because no one would dare to harm a hair on the head of the priest of Jupiter). When Cinna and Marius proceeded to recapture the city, Merula resigned the consulship, and then, faced with efforts by Cinna to bring him to trial (Appian, BC 1.74), took his own life.
The most detailed account of his death is by Velleius (2.22.2):
Merula autem, qui se sub aduentum Cinnae consulatu abdicauerat, incisis uenis superfusoque altaribus sanguine, quos saepe pro salute rei publicae flamen dialis precatus erat deos, eos in exsecrationem Cinnae partiumque eius tum precatus optime de re publica meritum spiritum reddidit.
Meanwhile Merula, who had resigned his consulship in anticipation of the arrival of Cinna, slit his veins and drenched the altars with his blood, praying to the gods, to whom he had often as flamen dialis prayed for the wellbeing of Rome, to curse Cinna and his party. In this way he yielded up the life that had served Rome so well.
After that (and this is the main focus of Liou-Gille's article) a teenage Julius Caesar (who was close to Cinna, married to his daughter, and a nephew of Cinna's ally Marius) was designated flamen dialis in Merula's place, but never actually assumed the priesthood, no doubt mainly because both Cinna and Marius were dead within a short time, and when Sulla recaptured Rome at the end of 82BC he promptly rescinded all the measures they had taken.
Liou-Gille takes Velleius' account of Merula's death literally, not as a historian's rhetorical flourish: as Merula died, he drew down a curse upon his enemies, offering his own life to the gods in return for divine punishment of "Cinna and his party". The way Velleius puts it suggests a polar reversal of the flamen's power, from promoting the good fortune of the Roman res publica to becoming an agent of vengeance. The effort to make Caesar flamen dialis in Merula's place, Liou-Gille argues, was actually an attempt to neutralize the malign influence of this exsecratio, to mend relations with the hostile gods by making a close confederate of Cinna the priest who devoted himself to serving Jupiter.
I think what I like most about Liou-Gille's reading of these events is her assumption that Romans, including the notoriously cerebral Julius Caesar, were motivated by superstition, by a genuine terror of the gods. It's easy to misjudge the Romans, by some of the things put on paper by Cicero or Ovid, as rational types whose religion was lightly worn. But in fact it was their scepticism that was only skin-deep.
Caesar never did become flamen dialis, and perhaps Sulla had particular reason to block his appointment: Sulla was undoubtedly a superstitious man, and he had no interest in diverting the wrath of the gods away from his enemies. But my particular interest, as I say, is how all this might have looked from the standpoint of Augustus' principate, sixty or seventy years after Merula's death. In other words, what are the implications of a hiatus in the office of the priest of Jupiter that lasted for a human lifetime, and might entail a curse still unpropitiated twenty years into the Pax Augusta? Certainly the lack of a flamen dialis cannot have increased Romans' sense of security. But if we do suspect that Merula's curse still exerted an influence, at whom would that divine wrath at "Cinna and his party" be directed in the Augustan age? The least we can say is that, if Julius Caesar had felt himself a target, it was in important respects Caesar's legacy that was embodied by Augustus. Augustan Rome not only lacked that hotline to its greatest benefactor, Jupiter Optimus Maximus, then; it could also not be confident that Merula's ancient curse was not still targeted at them.
Well, I'm very sure that Augustus' appointment of a flamen dialis in 11BC was more than just a piece of political theatre. In the absence of a flamen dialis for over half a century (and what a dreadful half-century it had been), Rome had lacked a fundamental means of maintaining relations with the gods, the bedrock of its success as a nation. Until that rupture was healed, Rome's recovery under Augustus' direction could never be complete.
As for the rest of it, I can't be so sure, but it would seem to me very true to the Roman mindset if something altogether more primitive was in play, the raw dread provoked by a ghastly death and priestly imprecation generations before, a suspicion that the gods' wrath at their appalling crimes, the bloodletting of the Civil Wars encapsulated by the death of Merula, persisted, unappeased. For as long as the role of Jupiter's "animate statue" remained unoccupied, Rome was still cursed.
Merry Christmas!
This bears the same relation to a blog as a grunt to coherent speech, but at this stage of term it's all I'm capable of. Michaelmas term, as I may have mentioned before, is brutal, but this year two things have both increased my workload and kept me the right side of sanity: a weekly graduate seminar on Ovid's Epistulae ex Ponto 4, the very last poems composed by Rome's second-greatest and most influential poet, and a paper I gave a week ago on Aeneas and Roman priesthoods. At some point in mid-term two moments coalesced in my head, the first an image from my research on Roman priests, and the second a passage that particularly struck me from Ex Ponto 4.9. If they are actually related in any way, and not just randomly associated in my depleted cerebellum, the common factor is something like personal space. But the issue is also perhaps what Romans loved about their city, and what they also hated.
The city of Rome was loud, smelly and crowded: Horace talks of the beatae/ fumum et opes strepitumque Romae, "the smoke and riches and hubbub of prosperous Rome" (Odes 3.29.11-12). One's capacity to enjoy a comfortable existence within it essentially depended on your wealth and class. The satirist Juvenal gives a splendidly exaggerated account of what it was like for the little guy (3.243-8):
nobis properantibus obstat
unda prior, magno populus premit agmine lumbos
qui sequitur; ferit hic cubito, ferit assere duro
alter, at hic tignum capiti incutit, ille metretam.
pinguia crura luto, planta mox undique magna
calcor, et in digito clavus mihi militis haeret.
"As I hurry along, the wave ahead impedes me/ and the people that follow me in a massed rank crush my kidneys./ One smacks me with his elbow, another with a hard pole./ This guy bashes my head with a beam, that guy with a wine cask./ My legs are caked with mud, and now I'm trampled by huge feet on every side,/ and a soldier's hobnail boot in planted on my toe."
The rich man, according to Juvenal, avoids all this hassle by riding in a litter the size of a ship, and reads or writes or even sleeps as he's effortlessly conveyed over the crowd.
Another way of keeping your distance from other people was the commoetaculum, a handy piece of equipment I'd never heard of until a couple of weeks ago. You can see a commoetaculum, a kind of wand, in the hand of the figure in the middle of the image at the top: the man holding it is a flamen, a variety of Roman priest, and may be the most important flamen, the flamen Dialis who was the priest of the chief god Jupiter.
All the flamens, but particularly the flamen Dialis, were obliged to live a life that segregated them from the rest of humanity. Their lives were dedicated to the gods they served, to the extent that they came to be regarded as offerings to the god or as their embodiments on earth, "a sacred and animate statue" of their deity, as Plutarch memorably puts it (QR 111). Other taboos laid on the priests, a prohibition on oaths, on knots in their clothes, on seeing humans at work, all served to distance the flamens from the domain of profani, ordinary people, and to make them sacer, sacred, the possession of the gods. The commoetaculum was a practical aide to this end: people were kept at a physical remove from the priest with a judicious prod of his wand. There might not seem an obvious class dimension to all this, except that the character of this priesthood was felt to reflect in important ways the behaviour and lifestyle of the ancient elite of Rome. You could only be flamen Dialis if you were a patrician, a member of the ancient Roman aristocratic class, and if you and your parents and your wife's parents were all married by an arcane ritual called confarreatio, a ceremony again restricted to the patrician class. So there is in fact a very aristocratic quality to this implement designed to maintain a proper distance between a Roman of high status and the general populace.
Ovid was a toff, too. But by the time he was writing Ex Ponto 4, he couldn't afford such scruples. Ovid has been banished, partly for obscure reasons apparently related to conspiracies against Augustus, and partly for his risqué poem The Art of Love, to the edge of the Empire, Tomi on the Black Sea in modern Romania. A consistent theme of the poems he writes back to men who might help him overturn his exile (superbly crafted and moving poems, as I've also suggested before) is how desperately he misses his home city. In general Roman authors could always conjure up a bit of ambivalence about Rome: wealthy, powerful, but in danger of neglecting the rustic virtues of simplicity and thrift that made them great in the first place. Ovid had no such qualms, delighting unapologetically in the vibrant society and culture of Augustan Rome.
To send such a man away from Rome was unusually vindictive, and that's no doubt why Augustus did it. In exile Ovid dwells obsessively on the city from which he is banned, to the extent that, as a colleague put it during the seminar, we get a lot more detailed information about the city of Rome from Ovid far away on the Black Sea than we do from authors actually domiciled there.
In Ex Ponto 4.9 he celebrates the consulship won by Graecinus, another old associate he hopes will be able to make his case with the Emperor (Tiberius by now, as Augustus had recently died; but Tiberius proved no more sympathetic). Ovid imagines being on the spot as Graecinus goes through the elaborate ritual of inauguration, and it could not be more different from that fastidious priest with his pointy stick (4.9.21-8):
nec querulus, turba quamuis eliderer, essem,
sed foret a populo tum mihi dulce premi.
prospicerem gaudens quantus foret agminis ordo
densaque quam longum turba teneret iter,
quoque magis noris quam me uulgaria tangant,
spectarem qualis purpura te tegeret.
signa quoque in sella nossem formata curuli
et totum Numidi sculptile dentis opus.
Nor would I complain, though bruised by the crowd;/ at such a time it would be pleasant to feel the crush of the people./ I would behold with joy how long was the line of the procession/ and how dense the throng all along its route./ And that you may know how trivial things appeal to me,/ I would examine the texture of the purple you wear./ I would even inspect the figures carved on your curule chair,/ all the sculpted work of Numidian ivory."
What "touches" (tangant) Ovid is uulgaria, a wonderfully suggestive word: trivial things, popular things, ordinary things. Ovid rejoices here in exactly what Juvenal would later complain so bitterly about, getting manhandled by crowds, emerging physically battered from a walk in the city. But it is the touch, the sensation of Rome that he yearns for: the things a Roman would take for granted, Graecinus' consular robes with their purple border, and the ivory carvings on his official consular chair, in his imagination Ovid seems almost to be running his fingers over. He cannot get enough of the city of Rome, and cannot get too close to it.
But the poem to Graecinus may be the very last poem that Ovid ever wrote. This Roman is never going to set eyes on Rome again.
Horace on living
A rapid post, this, and topical in a way I wouldn't have chosen.
I love the Latin language. I struggle to explain why. Something to do with its brevity, and the scope an inflected language gives to shift words around for maximum effect.
No Roman poet exploited these inherent characteristics of Latin more effectively than Horace, and a poem like Horace, Odes 3.29 has it all for me, and not just for me: formal beauty allied to profound ethical truths. I like this poem so much that when I fell over an inscription of a line of it at a charity auction once, I parted with rather a lot of money. Latin and stone go so well together.
There is so much that's great about 3.29: the way Horace expresses the unpredictability of life through an image of a river in spate, his description flowing river-like from stanza to stanza; the image he uses to express a proper indifference to misfortune: "I wrap myself in my virtue," he says, mea/ uirtute me inuoluo, as if virtue were a warm and waterproof coat.
But my very favourite thing in 3.29 is a single word, uixi, "I have lived," at line 43. It is perfectly chosen and perfectly placed, and it represents the key principle of the poem's philosophy.
Here are the two stanzas around it, with a translation much indebted to David West. Horace is explaining that what matters is the present moment, living life in the here and now. We cannot influence what the future will bring, but if we have lived life to the full when we can, what happens in time to come is of no significance.
… ille potens sui 41
laetusque deget, cui licet in diem
dixisse "uixi." cras uel atra
nube polum pater occupato
uel sole puro. non tamen irritum 45
quodcumque retro est efficiet neque
diffinget infectumque reddet
quod fugiens semel hora uexit.
A man will be in control of his life
and happy, if he can say at each day's end
"I have lived." Tomorrow Jupiter can
fill the sky with black cloud
or with pure sunlight, but he will not cancel
whatever is behind,
nor reshape or unmake
what once the fleeting hour has brought.
Horace's poem is written in a verse form called alcaics, a metre in four-line stanzas which Horace had inherited from the archaic Greek poet Alcaeus, but given a character all his own. Horatian alcaics have a very clear dynamic: in broad terms, there are two identical lines followed by a third that slows the flow of the poetry, and a much faster fourth. What creates the impression of drag in the third line is mainly its contrast with the previous two. The first two lines normally have a word break, a pause or caesura, after the fifth syllable, but while the third line starts off as if it is going to follow the same pattern, it then pushes on without a break. The second stanza here is typical: uel sole puro//, quodcumque retrost// in the first two lines, but diffinget infectumque in the third, no break until after the seventh syllable.
In slightly more technical terms, here is an alcaic stanza, with _ marking a long syllable, u marking a short, and // marking the normal/expected location of word breaks:
_ _ u _ _ // _ u u _ u _
_ _ u _ _ // _ u u _ u _
_ _ u _ _ _ u _ _
_ u u _ u u _ u _ _
The things to notice are the identical shape of the first two lines, and the way the third line also begins the same way, but has no break after the fifth syllable. Horace has a habit of placing in the middle of the third line a word needing emphasis, or suiting in other ways this expansive position. Here is an example from earlier in Odes 3.29 (ll. 9-12), where Horace urges Maecenas to abandon his obsession with the city of Rome, and join him for drinkies in the country:
fastidiosam// desere copiam et
molem propinquam// nubibus arduis,
omitte mirari beatae
fumum et opes strepitumque Romae.
Leave behind cloying abundance and
that pile that reaches to the high clouds,
stop admiring
the smoke and riches and racket of wealthy Rome.
In the first two lines there are word breaks after the fifth syllable. The word set in that expansive centre of the third line is mirari, "admire," "wonder at," and the placement is very effective: we dwell on Maecenas' obsession with the city as he indulges his obsession. Meanwhile the frantic fourth line well suits the distracting sensory chaos of the big smoke. Given that practically all of Horace's alcaic stanzas follow this dynamic of expansive third line and skittery fourth, of course, any exception becomes eye-catching.
At l. 43, dixisse uixi. cras uel atra, there is just such an exception to the rule, and it's gorgeous. What we have in 43 is a third line that doesn't expand, but stops short just like the first and second line. The word uixi not only introduces a pause after the fifth syllable, where we don't expect it, but brings a very strong pause: Horace ends a sentence where we were anticipating continuation. The effect on the word uixi is to underline and isolate it.
I've suggested that "I have lived" is the essence of this poem. If you can say this to yourself today, Horace tells us, it simply doesn't matter what happens tomorrow. I find that a beautiful sentiment in itself, but Horace has made it more beautiful, in the subtlest of ways, by detaching it from the rest of the poetic line by means of that unexpected pause. Vixi, "I have lived," stands alone. Because there is nothing else that needs to be said.
Charlotte Easton died far too young. I only met her once, though we chatted from time to time on Twitter. She lived life to the full, with her love of cycling, her delight in teaching, her passion for Latin and Greek. If I love Latin, its chiselled clarity, the people I rate highest in the world are those who keep the study of this language I love alive, sharing my enthusiasm for it, but possessed of a precious capacity to communicate the joy of it that I can only wish I had.
Charlotte, uixisti.
I've had a busy summer composing an annotated bibliography. It's a bibliography of Roman poetic metre, and I wrote a book tangential to that topic a few years back (how tangential, I now fully appreciate.) Not the most stimulating activity, it's fair to say, and if there's anything better gauged to play on academic insecurities, I can't think what it is. There is so much I don't know…
What this exercise has reminded me of, though, is what caught my interest all those years ago, the moments when an ancient poem's metre is absolutely critical to its meaning. Catullus 11 falls into this category, I believe (I wrote about it here), and Statius' Silvae 4.3, a poem about a road in which the poet makes it increasingly hard to distinguish road-building and versifying, or so I once argued. Then there was an epigram by Martial, 3.29, composed in a metre called "Sotadean", quite a rare metre, but one of the most fascinating metrical phenomena that ancient poetry had to offer.
Here is Martial 3.29 in its entirety:
Has cum gemina compede dedicat catenas,
Saturne, tibi Zoïlus, anulos priores.
These chains with their twin fetters are dedicated
to you by Zoïlus, Saturn: the rings he used to wear.
Zoilus is a regular butt of Martial's abuse, and here we are told that a man who now wears the insignia of high status, gold rings, used to be a slave. True to my topic, though, the Sotadean metre has its own contribution to make. I'll get to that, eventually…
Greco-Roman metre is governed by quantities, the length of syllables, and Martial's poem follows the structure of a standard version of the Sotadean ( _ is a long syllable, u a short):
_ _ u u _ _ u u _ u _ u _ _
Just a pattern of long and short syllables, then. But what makes the Sotadean so interesting is how the ancients responded to this particular pattern. Here is the ancient critic Demetrius (Eloc. 189) describing what happens when a poem is turned from another metre into Sotadeans:
"A composition <is described as affected when it is> anapaestic and like the emasculated, undignified metres, especially the Sotadean because of its rather effeminate rhythm, as in … 'brandishing the ash spear Pelian right over his shoulder' in place of 'brandishing the Pelian ash spear over his right shoulder.' The line seems to have altered its whole shape, like figures in myth who change from males into females."
A bit of explanation. Demetrius identifies the Sotadean as an especially "effeminate" metre, then quotes by way of illustration two versions of a line from Homer's Iliad, 22.133: Homer's original, in the epic metre of dactylic hexameters, and (before that) a reworking of the same line in Sotadeans. Demetrius then records his feelings about what has happened when a line written in hexameter is converted into Sotadean: it is as if it it has metamorphosed from male to female.
Here are the two versions of the line, Sotadean first, then the Homeric original in hexameter:
σείων μελίην Πηλιάδα δεξιὸν κατ' ὦμον
σείων Πηλιάδα μελίην κατὰ δεξιὸν ὦμον
Both these lines mean "brandishing the Pelian ash spear over his right shoulder", but while the second one scans as a hexameter, _ _ _ u u _ u u _ u u _ u u _ _, the first follows the same scheme as Martial's poem on Zoïlus, _ _ u u _ _ u u _ u _ u _ _. This may not look like much to you and me, but to Demetrius that reordering of long and short syllables is weird and unsettling.
The Sotadean version of this line was written by Sotades himself, the Greek poet who invented and lent his name to this metrical length. Very few certain fragments of his work survives. That one is Fragment 4 Powell; in a poem that included Fragment 1 he was so rude about the Greek king of Egypt, Ptolemy Philadelphus, and the king's marriage to his own sister Arsinoe, that he was sealed in a lead jar and dropped in the sea, allegedly. In our Fragment 4 he seems to be engaged in "translating" Homer's Iliad from hexameters to Sotadeans, and we need to ask why.
The first thing to say is that converting hexameters into Sotadeans was quite a popular activity in the ancient world. Quintilian (9.4.90) gives us a Latin hexameter, astra tenet caelum, mare classes, area messem ("Heaven holds the stars, the sea the fleets, the threshing floor the harvest"), which, if you read it backwards, messem area, classes mare, caelum tenet astra, turns into a Sotadean. Similarly, (Demetrius 1.516.29-30 Keil) esse bonus qui uis, cole diuos, optime Pansa (hexameter); Pansa optime, diuos cole, si uis bonus esse (Sotadean), "If you want to be respectable, worship the gods, excellent Pansa". In the fourth century Optatianus Porfyrius, trick poet par excellence (see Sarah Bond on the remarkable poetic creations of Optatianus here), included "reversible" hexameters/Sotadeans in his Poem 15 in praise of Constantine. William Levitan (reference at the bottom) explains how this poem contains every trick in the box, but this one strongly suggests that Romans of Optatian's day had lost a sense of what the Sotadean had entailed earlier in antiquity.
I say this because, whatever the truth of the story about his death, Sotades' poetry was seriously subversive stuff. Strabo gives us the clue when he tells us (Geog. 14.1.41, the same forwards as backwards) that ἦρξε δὲ Σωτάδης μὲν πρῶτος τοῦ κιναιδολογεῖν, "Sotades was the first to write as a cinaedus", in other words that the main concern of his poetry was to describe what the ancients considered his perverse sex life. A κίναιδος/cinaedus was a man who assumed the passive role in a sex act with another man, behaviour which, according to ancient ethics, was reprehensible and shocking enough to exclude him from the category of true men.
This starts to explain Sotades' interest in dactylic hexameters. If the Sotadean was the metre of the cinaedus, the hexameter represented its polar opposite: it was known as the "heroic" metre (herous in Latin, τὸ ἡρωικόν in Greek), the vehicle for epic and its praise of Great Men, models of normative masculinity. Varro expressed the relationship snappily: ᾿Αχιλλέως ἡρωικός, ἰωνικὸς κιναίδου (Men. Sat. 360 Cèbe), "the heroic hexameter is the metre of Achilles, and the ionic (the class to which the Sotadean belongs) is that of the cinaedus." When Sotades converted hexameters into Sotadeans, and epic moments into cinaedic, what might seem to us a very intellectual exercise, transposition from one metre to another, amounts to an assault on the sexual mores of the ancient world. And as any Classicist can tell you, from their sexual ethics flowed much that was fundamental to Greco-Roman society.
Perhaps I don't need to explain that the line of Homer changes more than its shape when it is converted into Sotadeans. Homer is describing the spear of Achilles, the massive ash-hewn weapon that is his defining accessory: when Patroclus dresses in Achilles' armour in Iliad 16, the spear of Achilles is the one thing he does not (because he cannot) borrow ("Only the spear of the peerless son of Aeacus he did not take,/ the spear heavy and huge and strong; none other of the Achaeans could/ wield it, but Achilles alone was skilled to wield it,/ the Pelian spear of ash, that Cheiron had given to his dear father/ from the peak of Pelion, to be slaughter for heroes," 16.140-144). This spear defines Achilles, in other words. It is the essence of his heroic character.
Well, what can I say? The long thin appendage in Sotades' version of the line is not a spear, that's for certain.
Turning back to Martial, there's something broadly similar going on. The poem is presented as a dedicatory epigram, and that had a proper form closely related to the hexameter, the elegiac couplet consisting of a dactylic hexameter followed by a dactylic pentameter. Martial's poem, converting elegiacs into Sotadeans, subverts the respectable act of dedication just as Sotades had the noble arms of Achilles, implying that Zoïlus and his dedication are morally corrupt, that he is sexually perverted, indeed that Zoïlus' very rise in Roman society proves that society's decadence (dedicating his fetters to Saturn, the Lord of Misrule, is an telling detail, too).
In so many ways, a deeply unpleasant poem, Martial 3.29, but one that gets much of its force from associating its target with _ _ u u _ _ u u _ u _ u _ _ . For the ancients, that was metrical code for utter depravity.
C. Connors, Petronius the poet: verse and literary tradition in the Satyricon (Cambridge, 1998), 30-31;
W. Levitan, "Dancing at the end of the rope: Optatian Porfyry and the field of Roman verse," Transactions of the American Philological Association 115 (1985), 245-69;
Ll. Morgan, Musa Pedestris (2010), 40-48;
R. Pretagostini, Ricerche sulla poesia alessandrina: Teocrito, Callimaco, Sotade (Rome, 1984), 139-47.
A coin & a coup
In a new departure, a topical blog. In another new departure, a short one.
Here is a BBC article discussing the efforts of the Turkish coup plotters to seize control of the media. In a very contemporary twist, as they tried to secure TV networks and newspapers, etc., President Erdogan used his iPhone to make a critical intervention, phoning (and via FaceTime, physically appearing) on CNN. It's still a confusing picture: Twitter and Facebook may have been blocked by the government, presumably to prevent the coup leaders from getting their message across, but other social networks, WhatsApp, Periscope, weren't. All in all, it tells us how very difficult it is in 2016 to secure comprehensive control of information outlets, but also how crucial it remains to try to achieve that control if you have plans to usurp political authority.
In AD 271 there was a military coup somewhere on the Rhine frontier of the Roman Empire, and the evidence we have about it also suggests an attempt to control the media. The effect of the coup was to bring to power an emperor named Domitianus, or rather what our evidence tells us is that Domitianus claimed to be emperor, and as we know from Turkey, claims to be in control do not automatically amount to real control. Our evidence about Domitianus is simply this: there are coins bearing an image of him with the imperial motto around his head "IMP(ERATOR) C DOMITIANUS P(IUS) F(ELIX) AUG(USTUS).
The coins indicating that Domitianus was emperor also intimate that he wasn't emperor for awfully long. In total only two examples of Domitianus coins have ever been found, one found during agricultural work in a vineyard near Nantes in 1900, and another found by a metal detectorist in 2003 at Chalgrove near Oxford. They are so rare that between the discovery of the first and the second coins, effective efforts were made to prove that the French example was a hoax. By this stage of the third century AD coins were being minted in massive quantities: if ever you find a Roman coin, it is very likely to be from this time. There are also lots of coin hoards from what was a very unstable period. Yet Domitianus features in just two of them. At Mildenhall in Wiltshire in 1978 a hoard of 55,000 "radiates" (as Domitianus' style of coin is called) was found; at Normanby in Lincolnshire in 1985, 48,000 more of them: not a single Domitianus in sight. Even in the comparatively modest Chalgrove hoard, the Domitianus is one of nearly 5,000 coins in total.
Some historical context. Rome in the second half of the third century AD was in crisis. The emperor Valerian had been captured by the Persians in 260, a huge shock to the Empire. In the same year the Western Empire, Spain, Gaul, Germany and Britain, seceded under a rebel general named Postumus, and remained independent of Rome until 274, although Postumus' successors ruled over a progressively smaller chunk of territory. Domitianus fits in after Postumus' third successor Victorinus (269-71): plausibly Domitianus was involved in the putsch that removed Victorinus, seized control for a few days, and was then himself dispatched by Tetricus, who ruled the "Gallic Empire" until defeat by Aurelian in 274. Aurelian was the great reunifier of the Empire, bringing Zenobia's Palmyra back into the fold as well. I hope that wasn't too difficult to follow, but imagine living it.
About Domitianus himself we know practically nothing. Aside from the coins, there are scattered references in our sources to a general and a rebel by this name. To repeat, though, only the coins proclaim him emperor. Only the statement read out under pressure by the anchor on State TV TRT claimed the success of the Turkish coup, too. The point of similarity is what it takes in 2016, and what it takes in 271, to control the narrative. In the third century there was no TV, no mass media at all, but there was one medium which in its way did the same job of insinuating a message across the army and wider population. Coinage carrying the emperor's image, and potentially other information too, could be used to communicate a claim to power. The other side of Domitianus' coin carries an image of peace and plenty (a female figure carrying a libation bowl and cornucopia) and the legend CONCORDIA MILITUM, "Agreement among the Soldiers", a more explicit claim of authority over the (crucial) armed forces.
So the equivalent of occupying the CNN offices in the third century was to secure the Royal Mint, and it looks like this was Domitianus' first, and perhaps his only, act in pursuit of power. The evidence of the coins (the French and English examples are identical) seems to be that, while Domitianus managed to secure control of one of the Gallic Empire's mints, in Cologne, he never controlled the principal mint in Trier. Trier, Augusta Treverorum, was Domitianus's nemesis, or maybe his iPhone.
The coin of Domitianus found near Oxford is a rather unimpressive thing in the flesh, small and muddy-green, but it's beautifully presented in the money gallery of the Ashmolean Museum, which is worth a visit for all kinds of other reasons.
Sylviane Estiot & Gildas Salaün, "L'usurpateur Domitianus", Revue numismatique 160 (2004), 201-218.
Richard Abdy, "The Domitian II coin from Chalgrove: a Gallic emperor returns to history", Antiquity 83 (2009), 751-757.


text: Anyone have more tummy tuck pictures from her ? I am waiting for a confirmation on a surgery date for 03/01/2017 and I am starting to get obsessed lol! I'm excited, nervous, scared , eager . Anything would help pictures words of advice. I should be traveling with a friend who had lipo here in the U.S. by Dr. Mel Ortega but was not satisfied . She is going to Cabral .

subset: commoncrawl


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At the local, state, Tribal and federal levels, SAM seeks to align marijuana policy and attitudes about the drug with 21st-century science, which continues to show how marijuana use harms the mind and body.
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We are people from across the political spectrum. We are professionals working in mental health and public health. We are bipartisan. We are medical doctors, lawmakers, treatment providers, preventionists, teachers, law enforcement officers and others who seek a middle road between incarceration and legalization. And we all have come to the same conclusion: marijuana should not be legalized, and thus commercialized.
SAM's experts and supporters are advocating for a fresh approach that neither legalizes, nor demonizes, marijuana.
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text: Dominator carp put-over topset 1-4 (Code: 0.898.160) Rating: Number of sections: 4 EAN13: 5414361161914 Manufacturer: Arca Old price: EUR 0,00 Price: EUR 60,98 Incl. 21 % TAX plus shipping Fishing Species: Bream, Carp, Trout Rods Number of parts: 4 Quantity: Related products Comments (0) Dominator carp put-over 950 (Code: 0.898.150) Price: EUR 196,02 Incl. 21 % TAX plus shipping Species: Bream, Carp, Trout Length: 9,5 m Weight: 600 - 650 g Number of parts: 8 Extention: Yes Buy Detail Comments Please log in to write comments. Search in Shop Advanced search Shopping cart Sum total: > EUR 0,00 Go to cart Wishlist 0 Products - EUR 0,00 Go to wishlist Shop Category Devices Fishing Bait Bedchairs Chairs Fish finders Floats Hooks Line Lures Reels Rods Casting rod Feeder rod Static rod Separated sections Topset Seat Boxes Storage Supports Transport Umbrella Garden Pond Safety equipment Tools Water treatment


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Drake (Kinda) Cares About ILOVEMAKONNEN, Should You?
I don't know how to put this, but Drake's kind of a big deal. Like "more number one singles than Usher" level big deal. So when the man drops a new song the the world listens, when he rocks a new outfit the work looks, and when he throws a verse on a relatively unknown artist's song, the world is forced to ask, "Who the fuck is [insert name here]?"
It's the way Future got introduced to the larger hip-hop community, the way Migos got introduced to the larger hip-hop community and the way ILOVEMAKONNEN just got introduced to the larger hip-hop community, via Drake's remix of "Tuesday".
Basically Aubrey Graham just forced you to know who ILOVEMAKONNEN is or miss out on what a sizable chunk of the internet is talking about today. We know, we know, you've got better things to do with your time, like conduct blind taste tests to determine whether a M&M's color affects its taste. So never fear, we got you. We're professionals, we'll tell you everything you need to know so you can avoid getting sucked into an internet-research black hole and focus on what really matters in life.
Who Is ILOVEMAKONNEN?
Raised in L.A. and currently residing in Atlanta, Makonnen (real name) first started really making music after he was placed on house arrest for his alleged role in a friend's murder; the case was later dropped. Briefly signed to a publishing deal as a songwriter via Mike Will Made It, Makonnen grew frustrated by what he felt was Mike's slow pace and struck out on his own, eventually landing beats from Southern producers like Sonny Digital and Metro Boomin.
His "I Don't Sell Molly No More" was probably what first started getting him some attention on the interwebs, followed by the "Club Going Up On A Tuesday" garnering viral video status, as the kids would say, and boom, here we are.
What's He Sound Like?
The closest comparison is probably Lil B, which is fitting because ILOVEMAKONNEN considers the Based God to be a friend and inspiration. Makonnen does that "sing/rap in a way that's pretty objectively terrible but maybe actually terrible in a way that's endearing and catchy but maybe it's actually just terrible but maybe it's actually great" thing that's become such a staple of life on the internet.
Speaking of which, you also need to ask what he looks like, since that's a large part of the whole thing. A YouTube video's worth a thousand words so I'll just point out that he's known to carry around a mannequin head and let you get to watching.
Should I Care?
Um.....yes/no? Nes? Yo? As I laid out in the "What Does He Sound Like?" section, it's complicated. Since I started this off with Drake, maybe Drake's the best way to make sense of it.
Unlike Future or Migos (or Kendrick or A$AP Rocky or etc.), Drake hopping on "Club Going Up on a Tuesday" seems like less of one of those power moves he's so good at, where he identifies an artist with building buzz and strategically positions himself in "years from now I'll be able to say I helped put you on" territory, and more of a statement that he's just like us. Drake wastes time on the internet too! Just like us, he's got friends that say "you gotta watch this weird YouTube video"! He didn't drop a new hot remix, he dropped a new musical "SNL" skit.
But that's not exactly a dismissal of ILOVEMAKKONEN since a decent chunk of his stye is based on embracing the ridiculous and absurd. And really, the reason he went viral enough for Drizzy to notice in the first place is because, like Lil B or Riff Raff or Young Thug, he sits in that recently created, swirling vortex of the internet where it becomes impossible to figure out where irony starts and ends.
People will hate him, and people will love him to piss off the people who hate him. But who wants to be the guy who's too uptight to get the joke? Except maybe I should actually hold onto certain standards, except maybe people should just fucking relax and embrace the weirdness, except maybe pure weirdness is a bad reason to embrace something, expect maybe I don't like it only ironically, maybe I like it-like it, except maybe that's a sign I'm losing my fucking mind and so on and so forth until your brain starts to leak out of your eyeballs and you have to Swiffer up your grey matter.
[Nathan S. is the managing editor of The DJBooth and a hip-hop writer. He also occasionally talks in podcast form and appears on RevoltTV. His beard is awesome. This is his Twitter.]


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This 37' Pilot House vessel is constructed on a 20 degree V, 37'3" x 11'8" hull with a spacious cabin and foscle. The handcrafted teak cabin exceeds 6'6" in headroom throughout, with 9 ft width and a standard length of 12 feet. This semi custom design is built by Cold Water Boats in Washington for those customers interested in the qualities only an aluminum vessel can offer. From the low maintenance exterior to the quality construction of the interior, this Pilot House is as comfortable for the discerning fisherman as it is for his concerning wife.
With the pride of quality craftsmanship combined with Cold Water Boat's deep history in the commercial fishing industry, these vessels are a unique combination for the recreational market. For many years aluminum has been the material of choice for commercial applications, mostly in part to its strength to weight ratio and its inherent corrosion resistance. Cold Water Boats combines this with experience in outfitting and carpentry to offer a recreational boat that will withstand the elements on the outside and comfort you on the inside.
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I lost weight on the atkins diet and loved it. I ate cheese omlets and all that fatty stuff, but alas I gained it back and then some and I just can't do that one again. It is hard in the beginning, but the weight goes so fast that you begin to love it and it isn't hard to skip the carbs. counting calories and excercising works but it is hard too. Itnis all hard until you are willing to make the change. Waiting for my next wave of willingness.
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7/2/06 at 7:46pm


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The unique Piccadilly Valley, 25 minutes from Adelaide behind Mount Lofty, is a cool, high rainfall viticultural region, climatically ideal for the production of Croser.
The Piccadilly Valley was chosen based on the belief that selected cool sites in the valley would produce Pinot Noir and Chardonnay of moderate sugar, high acid and finesse of flavour. Croser matures on yeast lees in the cool cellars of the Bridgewater Mill for two years before remuage and disgorging. The pristine flavours, defining acidity and elegant fruit structure sets Croser apart as one of Australia's few aperitif style sparkling wines.
Croser is an age-worthy wine so each year a small proportion of each vintage is held back and allowed to mature for ten years prior to release. Croser Proprietors Reserve wines are identified by a red strip entwined in the cigar band, which guarantees the wine has been stored on lees at Petaluma's sparkling cellars and disgorged prior to re-release to ensure freshness.
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Juniors and Seniors: Palmetto Region is dedicated to assist all our region players who desire to play in college assist getting them there. Please register your information below, we will post your info on our site. Review all the other items you should do to promote yourself.
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text: 2013 Mazda Mazda6 i Sport, 2.5L, 4 cylinder, 4 door, automatic, FWD, 4-Wheel AB, cruise control, air conditioning, AM/FM radio, CD player, power door locks, power windows, power mirrors, silver exterior, gray interior, cloth. $9,600.00 plus $300 conveyance fee, $9,900.00 total payment obligation before taxes. Listing Report, Warranty, Contract Cancellation option on Fully Completed Contracts, Financing Available on Approved Credit (some limitations and exceptions may apply). All above specifications and information is considered to be accurate but is not guaranteed. Call 604-522-REPO(7376) to confirm listing availability.


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New York City is a beautiful place to see on a bike. But in a city so vast and with so much to do, ever wonder what are the most enjoyable rides offered? Wonder no more friends, we've got the top five cycling routes right here.
America's Top 10 Bike Commuting Cities>>>
Central Park
The city's famous park offers both hilly and flat terrain making it an interesting ride for both beginners or seasoned riders. The main roads offers a 6-mile loop which is closed during various weekday hours and all weekends and holidays. From horse-drawn carriages to sleek, sexy bodies working out, there is plenty to see. It's just so easy to get there and back home if you live in the city. You can start anywhere in the park which makes this loop convenient no matter where you are coming from. A few great places to stop along the way are the Boathouse for quick bite or the Great Lawn for a stellar view of the city. One loop will take about 30 minutes to complete.
Westside Greenway Path
Start at the Staten Island Ferry and finish at the George Washington Bridge. This route is about 13 miles long, relatively flat and the path is paved. The route offers beautiful views of the Hudson River, new walkways and riverside parks. Stop by The Frying Pan at Pier 66 for lunch, this old ship was converted into a restaurant and is always hoppin' in the spring and summer. The Boat Basin Cafe is just a short detour off 79th Street for a quiet riverside lunch. The route is traffic free but you will encounter pedestrians and roller bladers at busier times of the day. Depending on foot traffic, the route will can be finished in an hour.
Prospect Park
Brooklyn's public park is a smaller version of it's Manhattan sister and is likewise closed to motor vehicles on weekends, holidays, and selected weekday hours. You can enter the park at Grand Army Plaza and start your 3.35-mile loop. If coming From Manhattan you can take the 2, 3, 4 or 5 subway lines then ride straight up Flatbush Ave to the Park. Park drive offers rolling hills, climbs, flats and a serene setting. Just decide how many loops you feel like doing and let the miles add up. Stop for a quiet moment on a stone bench in The Veil of Cashmere or some ice cream at the Songbird Cafe. This loop is the shortest on the list. At the most, it will take 20 minutes to complete.
Manhattan to Nyack (9W)
Start at the George Washington Bridge, north through Bergen County, New Jersey, and up the West side of the Hudson River into Rockland County, NY. This route is approximately 44 miles round trip and offers several climbs and rolling hills, especially near the river in The Palisades. There are gorgeous hills with natural stone walls, river views and a spectacular view of the city from the bridge. Look online for a cue sheet as the path is not always apparent. This is one of the NYC's most popular rides and one of my personal favorites. Make sure your tires are full and you are carrying extra tubes as this is a long route. I would give yourself 3-4 hours.
Okay, maybe it's raining or you just don't feel like riding outdoors. Here's your solution: Flywheel, NYC's newest and most exciting indoor cycling studio. Sit back in the dark stadium-seating and ride to heart-pounding music while charting your progress with their patented torque technology. Feeling competitive? Opt in on the torque board and compete with the class on the big screen. It will take you 45 minutes and you'll walk away ready to conquer the world.


text: How To Tackle That Hangover October 27, 2016 By: StyleRug Editorial 0 There can never be a worst feeling than puking-up last night's dinner after bingeing on a few vodka tonics relentlessly. For most, the deluge of alcohol is one that is taken for granted at the time, but extremely regretful in the morning. Keeping that in mind, here is a list of edible options that can help you slow the head banging… Vegetables Considering you have vomited the much needed vitamins,veggies such as tomatoes, spinach or even sliced cucumber is light and healthy the morning next. Avoid dousing your veggies with oil as it doesn't blend well after a night of debauchery. Simply steam or grill. Fruits Believe it or not, but this too can be acidic, especially, if your stomach is empty. But it can be toned down by slinking back a smoothie or milkshake. Just avoid dairy products as it will only curdle in your stomach and gear you up for round two of vomiting. Fruit juices are to be taken lightly. Oh and a round of Virgin Mary could do the trick! Bread Carbs is the best thing that you can have if you have slightest of feeling of hangover. Plain and filling this is the saviour of the food court. It soaks up the much needed hunger pangs and if you want to add a little taste then opt for jam or butter. However, toasted remains best as it will be much kinder to your stomach. Eggs Fried or boiled, it usually does the trick! It is easy to make and is a great source of proteins. Also be it in omlette form or scrambled, eggs are always ideal because they are not harsh for your meagre appetite. Sideline it with some toast and that should help you slowly get on track. Crisps There is a such a craving for junk food after a hangover, and crisps can be the real deal. Whether salted or flavoured, a packet is the sure-fire way to get you over the first hurdle of your hangover. Forget dips, have your doritos/tortillas plain. Bananas Drinking too much alcohol can eliminate your body's supply of potassium and bananas are an excellent source of this mineral. Pick some up from a deli on the way home from your night-out, so that you them ready to nibble on in the morning to counter that feeling of alcohol inside. StyleRug Editorial Related Post Food To Avoid After Workout views 190 Get Your Calves In Shape views 407 The Best Of Kettlebell Workouts views 182 Tips To Sticking To Your Diet, When Dining Out views 102 5 Easy Fitness Tips To Build Your Arms views 3080 Top five benefits of exercise bands views 269 Kickboxing Fitness Tips And Its Benefits views 265 How To Get A Body Of A Tennis Player views 349 Previous post How To Conquer Facebook Marketing Next post How emotionally drenched is your girlfriend with her past? Leave a Reply Cancel reply Your email address will not be published. Required fields are marked *Name * Email * Website eight − = 2 Current ye@r * Leave this field empty


text:
Number of commits found: 49
Update to 5.1.14.
Update to 5.1.12.
Update to 5.1.10.
Update to 5.1.8. PR: 213683 Differential Revision: https://reviews.freebsd.org/D8292
Update to 5.1.6.
Update to 5.1.4.
Update to 5.0.26.
Update to 4.3.38. MFH: 2016Q2
Update to 4.3.36.
Update to 4.3.34. MFH: 2015Q4
Update to 4.3.32. MFH: 2015Q4
Update to 4.3.30. MFH: 2015Q3
Update to 4.3.28.
Update to 4.3.26.
Update to 4.3.24.
- Update to 4.3.22. - Install a wrapper for executables as Linux and Solaris installers do.
- Update to 4.3.20. - Fix MANUAL option. [1] PR: 195272 [1]
Update to 4.3.18.
- Update to 4.3.16 Submitted by: Mikhail Tsatsenko <firstname.lastname@example.com>, Jung-uk Kim <email@example.com> Obtained from: svn.redports.org/virtualbox
Update to 4.3.12.
- Update to 4.3.10. - Build with base C/C++ compiler, i.e., clang on 10.0+, as much as we can to remove GCC run-time dependency and to reduce possible C++ ABI conflicts.
Update to 4.3.8. Obtained from: svn.redports.org/virtualbox
- Update to 4.3.6 Obtained from: svn.redports.org/virtualbox Thanks to: all testers of the 3 CFTs
- Update to 4.2.22 - Remove 3D crOpenGl patches that are already included in the new release - Convert USE_PYDISTUTILS=easy_install to USE_PYDISTUTILS=yes - Add patch to fix building with new gsoap [1] - Add direct dependency on qt4-opengl [2] PR: ports/185579 [2] Security: CVE-2013-5892 Submitted by: Jung-uk Kim <firstname.lastname@example.com> [1] Jimmy Olgeni <email@example.com> [2]
- Update to 4.2.20 [1] - Add $_GCC_RUNTIME to vbox runpath when building with gcc from ports [2] - Add vboxwatchdog rc.d script - Fix building with gcc 4.6 from ports and remove FreeBSD specific -mno-align-long-strings - Remove checks for EoL FreeBSD versions - Support staging - Convert LIB_DEPENDS to new shlib format - Adopt OPTIONS_SUB and new OPTION_CONFIGURE_ON|OFF PR: ports/182468 [2] Submitted by: Mikhail Tsatsenko [1]
- Update to 4.2.18 Submitted by: Mikhail Tsatsenko <email@example.com>
- Update to 4.2.16 Submitted by: Mikhail Tsatsenko <email@example.com>
- Update to 4.2.14 - Fix VLAN trunking support in vboxnetflt [1] - Fix panic in kmod when VIMAGE is disabled in the kernel and port [2] - Enable IPv6 support for VNC per default to be able to set the VRDE properties VNCPort4 and VNCPort6 [3] - Pet portlint (WWW, Created by lines) This update was mainly done by Mikhail Tsatsenko. Submitted by: Landon J Fuller <landonf at plausible.coop> [1], Gleb Kurtsou <firstname.lastname@example.com> [2], Stefan Bethke <firstname.lastname@example.com> [3]
- Update to 4.2.12 - Add missing patch to additions to fix building after r248084 which renamed VM_OBJECT_LOCK() to VM_OBJECT_WLOCK(). The patch was already included in the kmod port but additions also need it.
- Update to 4.2.6 - Remove custom FreeBSD compiler flags that are only supported by our old base GCC 4.2 [1] - Fix building with ports GCC 4.6 [1] - Fix build on 10-CURRENT after removal of vm_page_lock_queues() in r242941 [2] - Improve waits for periods shorter than a single tick [1] - Fix dependency check when building with custom KMODDIR [3] - Fix recording with OSS Audio backend to record at a proper volume [4] - Initialize host-only interfaces at boot time so that other scripts and daemons can properly use them [2] - Fix build if $ENV not ash-compatible [5] - Fix ich9 bios to correctly configure pci bridge1 and pci bridge2 [6] - Add VLAN trunking support to vboxnetflt [7] PR: ports/171730 [1], ports/167521 [5] Submitted by: Andriy Gapon <email@example.com> [1] Submitted by: Ed Maste <email@example.com> [2] Submitted by: Kurt Jaeger <email@example.com> [5] Submitted by: Gustau Perez i Querol <email@example.com> [6] Submitted by: Landon J Fuller <landonf at plausible.coop> [7] Reported by: Daniel Braniss <firstname.lastname@example.com> [3] Obtained from: https://www.virtualbox.org/ticket/10695 [4] See: http://article.gmane.org/gmane.os.freebsd.devel.emulation/10438 [6]
- Update to 4.1.22 [1] - Cleanup MASTER_SITES and use upstream mirror as primary Submitted by: Mikhail Tsatsenko <firstname.lastname@example.com> [1]
- Update to 4.1.20 - Remove VNC IPv6 patch because it has been fixed upstream - Pet portlint once again (LICENSE section) Submitted by: Mikhail Tsatsenko <email@example.com>
- Update to 4.1.18 [1] - Convert to OptionsNG [2] - Install DEBUG symbols for kernel modules [1] Submitted by: Mikhail Tsatsenko <email@example.com> [1] bapt@ [2]
- Update to 4.1.16 - Update wiki link to troubleshooting page
- Update to 4.1.14 - Remove debugging fprintf in MachineImpl.cpp to fix build with GCC 4.6 [1] - Add support for VLAN interfaces to NetIfList() [2] - Add support for VIMAGE to VBoxNetAdp [3] - Fix a kernel crash on FreeBSD 10-CURRENT hosts with VIMAGE enabled when a VM is powered off [3] Submitted by: Andriy Gapon <avg at FreeBSD.org> [1] Landon J Fuller <landonf at plausible dot coop> [2] Mikolaj Golub <trociny at freebsd.org> [3] Sponsored by: Plausible Labs Cooperative, Inc [2]
- Update to 4.1.12 - Fix PAM authentication for vboxwebsrv [1] PR: ports/166614 [1] Submitted by: Landon Fuller <firstname.lastname@example.com> [1] Feature safe: yes
- Update to 4.1.10 Feature safe: yes
- Update to 4.1.8 - Mark broken on FreeBSD < 8.0 - Fix lib32 checks to use /usr/lib32/libc.so - R0 memobj rewrite [1] - Fix INVARIANTS warning: acquiring duplicate lock of same type: "IPRT Fast Mutex Semaphore" [1] Submitted by: Andriy Gapon <firstname.lastname@example.com> [1] Obtained from: redports.org/~virtualbox/
- Update to 4.0.14 Feature safe: yes
- Update to 4.0.12
- Update to 4.0.10
- Update to 4.0.8 - Remove stale mirror - Add pkg-message - Change CONFLICTS to CONFLICTS_INSTALL [1] PR: ports/156699 (based on) [1] Submitted by: Emil <email@example.com> [1]
- Update to 3.2.12 - Remove check for FreeBSD 6.x - Drop MD5 checksums
- Update to 3.2.10 - Add LICENSE and LICENSE_FILE
- Update to 3.2.8
- Update to 3.2.6 - Fix build on recent CURRENT - Mark MAKE_JOBS_UNSAFE [1] Feature safe: yes Reported by: pointyhat via pav [1]
- Update to 3.2.4 Approved by: beat (co-mentor)
- Update to 3.2.2 - Execute kldxref in do-install target. [1] - Set SYSDIR to SRC_BASE to fix build if the FreeBSD sources are not installed in /usr/src. [2] - Set SRC_BASE to /usr/src if SRC_BASE is not set and not rely on the /sys symlink. [2] Reported by: scf@ [1] Submitted by: imp@ [2] Many thanks to the VirtualBox developers (especially Alexander Eichner for all his work and help), all tester and patch submitter and the whole vbox@ team especially decke@.
These additions are for installation inside a FreeBSD guest. VirtualBox is a family of powerful x86 virtualization products for enterprise as well as home use. Not only is VirtualBox an extremely feature rich, high performance product for enterprise customers, it is also the only professional solution that is freely available as Open Source Software under the terms of the GNU General Public License. WWW: http://www.virtualbox.org/ Please see http://wiki.freebsd.org/VirtualBox for installation instructions. Many thanks to the VirtualBox developers, all tester, patch submitter and the whole vbox@ team. On behalf of: vbox@ (decke, dhn, itetcu, miwi, nox)
Servers and bandwidth provided byNew York Internet, SuperNews, and RootBSD
28 vulnerabilities affecting 69 ports have been reported in the past 14 days
* - modified, not new
All vulnerabilities


text:
I'm deeply, truly sorry everyone. I let you all down. I promised you all a great JVM advent, and not only did I fail to write my own article(s) – like last year – I also failed to give the support needed to others to publish their articles. I f*** up royally.
I beg your forgiveness and help: I've become disconnected from the JVM world as of late and also busy with life. As such I'm asking you: could you please take over the "running" of JVM Advent from me? It's a good resource and it would be a shame to let it die just because of my incompetence. I'm happy to continue to pay for the domain and/or hosting but – as experience shows – I can't dedicate the time it would deserve to coordinating with authors. If you are interested, please contact me at [email protected]
To end on a happier note: most advent calendars had better stewards than me, so there were quite a lot successful initiatives this year:
- Perl 6 Advent
- Twelve Monads of Christmas
- Advent of Code
- SysAdvent
- Perl Advent
- 24 Ways
- 24 Pull Requests
Happy holidays everyone and looking forward to a better new year!


text:
Bibliographic Details
Title: Leabhraichean an T-Seann Tiomnaidh Agus an ...
Publisher: The British and Foreign Bible Society, London
Publication Date: 1861
Binding: Full-Leather
Book Condition: Very Good
Dust Jacket Condition: No Jacket
From the 12mo Edition published in Edinburgh in 1826. Bound in hand tooled brown calf with original leather to boards intact, spine rebacked with gilt lettering and black tooled decoration. Some soiling to the outer page edges with foxing to the pages toward boards and toward outer page edges throughout. Previous ownership inscription and stamp to front pastedown. Size: 8vo - over 7¾" - 9¾" tall. Bookseller Inventory # 7513
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text:
A Paddler's Guide to Ontario's Cottage Country
By: Kevin Callan (author)Paperback1 - 2 weeks availability
Updated, and with additional routes, new maps and a new format, this book features 20 of the best canoe routes in Ontario's Kawarthas, Haliburton, Muskoka, and Georgian Bay regions. Full of photos and original maps showing all access points, important river features, and accurate portage lengths. Some of the routes included are:- Georgian Bay McCrae Lake Moon River Massasauga Wildlands Black River Muskoka River Poker Lake Big East Lake Burnt River System Kawartha Highlands Long Lake Eels Creek Mississauga River
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About Author
With eight titles to his credit, Kevin Callan is the leading author of books on canoeing in Ontario. He is a regular contributor to several outdoors magazines, a popular speaker at North American canoe gatherings, and a frequent guest on radio and television. He lives in Peterborough, Ontario, birthplace of the famous Peterborough canoe and home of the Canadian Canoe Museum.Product Details
- publication date: 01/06/2003
- Format: Paperback
- weight: 322
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text:
Apothekari Bespoke Vitamin C+++ Serum 15% is a made to order Vitamin C serum featuring L-ascorbic acid plus an arsenal of antioxidants, moisturizing and other skin beneficial ingredients. L-ascorbic acid is a highly effective form of Vitamin C that is backed by the most clinical studies of any form of Vitamin C to support its use in skin care. We are very excited to share this product with you!
If you have sensitive skin, please consider our Apothekari Bespoke Vitamin C+++ 10% Serum, which contains the same active ingredients but a lower concentration of L-ascorbic acid - 10% - which may be better suited to your skin care needs.
Why Apothekari Bespoke?
Because each Apothekari Bespoke treatment is manufactured by our compounding pharmacy when you place your order, you can be assured that the treatment you receive is stable, active and safe to use. This is especially important with L-ascorbic acid because while it is the form of Vitamin C backed by the most clinical research, it can be unstable if formulated incorrectly.
Each bottle has a best before use of 6 months, which will be indicated on your bottle. We recommend that you order a new bottle when you have finished your supply. Used as recommended, one 30 ml/1 fl oz bottle should last between 3 to 6 months. It is not necessary, but you can refrigerate your serum if you wish.
Clinical studies have shown that L-ascorbic acid (plus the other actives in Apothekari Bespoke Vitamin C+++ 15%) can do the following for your skin:
*Please note that due to the high concentration of actives in this serum, that you may notice small flecks or settling of ingredients. This is normal and does not affect the safety or efficacy of this product. We have chosen to formulate without the addition of chemicals that may help it to stay in solution, but which may increase skin sensitivity or cause allergic reactions. Gently shake the serum prior to each use to distribute the active ingredients.*