text:
If you wish to become a UI or web developer, then you may already know the importance of HTML5. HTML5 is one of the most simple, easy to learn, and adaptable programming languages within history. Most coders, developers, and programmers begin their coding journey by learning HTML5. Many of us even end up choosing HTML as our professional path. To do so, we end up going through interviews after interviews of proving our skill to the employer. That is why, in this article, we have collated some of the most frequently asked HTML interview questions and answers.
Without any further ado, let us look at many HTML interview questions and answers that freshers and beginners may be asked.
Table of Contents
HTML Interview Questions for Freshers:
1. What is HTML?
HyperText Markup Language, or as it is commonly known, HTML is a programming language in the World Wide Web. It is a standard formatting script that lets the coder create various pages on the web. HTML is known to make elements of the web interactive by modifying various elements and making the web page dynamic.
2. What is an HTML tag?
A tag is essentially the command through which you tell your code to perform certain functions. While writing an HTML code, a tag is what you will be using the most. Every tag is symbolized by using the '< >' arrows. For instance, when you begin typing the main body of your code, you begin and end it with …….
3. Why do we begin our code with <!DOCTYPE>?
Unlike most other tags, the <!DOCTYPE> tag does not have a closing tag, you only have to enter it once. Simply put, this tag instructs the web browser about the HTML version that is being used. This tag must be placed at the beginning of the code, even before the  tag. This tag is not case sensitive and can be typed in lower case as well.
4. What does semantic HTML mean?
Semantic HTML is not another coding language but is a different style in which your code may be written. It makes the use of HTML markup to infuse meaning onto the code, thus, termed 'semantic' in nature. For instance, instead of using   tag to make your statement bold, semantic HTML uses   tag to reinforce the code with semantic representation.
5. What does a marquee mean?
When you want a certain piece of text on your webpage to scroll in any direction, you use the marquee tag '<marquee> </marquee>. To do so, you simply place the desired piece of text you want to scroll between the <marquee> </marquee> tag.
6. What is the relationship between the
 tag and the  tag in HTML5?
Before HTML5, only one
 tag would be used as the heading of a single page. After HTML5 came into the picture,
 tags are now used to represent top-level headings of a particular section, be it a part of the
,
 or . It specifies that every  element must at least one
 element.
7. How do you insert hyperlinks into your code?
The process of adding a hyperlink to your desired text is very easy. It has the following syntax:
 attached text
 Prad Tutorials
This will give the following output:
This link will turn purple in color once the user has visited the website linked, and will turn red in color if it is currently active.
8. What is the minimum number of tags that are required to run an HTML code?
A minimum of 3 tags needs to be used every time we create an HTML code. Without these 3 basic tags, our code will be incomplete and we will not be able to load our web page. These 3 mandatory tags are the , , and  tags and these tags need to be closed at the end of each HTML code, otherwise, your code will not run.
9. How many heading types does HTML have?
In HTML, we make use of the header tag, '<h>' that is solely made for the purpose of creating headings. This tag ranges in value from 1 to 6, 1 being the biggest and 6, the smallest of them all. For instance, if the following code is typed,
<title> title </title>

 This is the size of h1

 This is the size of h2

 This is the size of h3

 This is the size of h4

 This is the size of h5

 This is the size of h6

The following output will be derived:
10. How to create new HTML elements?
Within HTML, we can create our own elements with the following method. We first declare our element using the script tag,


text:
Wellmark Blue Cross and Blue Shield of Iowa
World Health Directory - World health link exchange directory featuring health, medical and medicine, business & services links.
Family Health Insurance - Provides affordable healthcare to families throughout the United States.
Michigan Health Insurance Quotes - Affordable medical and dental insurance. MI residents only.
Renters Insurance Quote - Compare the best renter's insurance
Landlord Insurance - Landlord property insurance
Self Employed Health Insurance - Health insurance plans idea for self employed individuals and families
Illinois Health Insurance - individual and family quotes for IL residents
DirectoryLocal.com - The United State directory provides related useful resource, business information in United States.
Insurance Quotes at Insurance4USA.com
Insurance Quote - Get fast, free insurance quotes and find the lowest rates on discount dental, health, vision, automobile, and life insurance plans at Insurance Quote Directory.
Iowa City - Iowa City Resources
Shop Iowa - "showcasing Iowa Businesses and Communities"
Website Design - Flash Design - Databases - Search Engine Optimization
Bad Credit Car Loan - Used and new auto loans
AreaConnect Des Moines Yellow Pages and More
Insurance Quote - Get fast, free insurance quotes and fin the lowest rates on discount dental, health, vision, automobile, and life insurance plans at Insurance Quote Directory.
The Iowa Source - News, articles and information about southeastern Iowa
USA Business Directory - United States of America directory featuring real estate, travel & tourism, business & services links of all kinds

subset: commoncrawl


text:
Skill domains
GradProSkills workshops are categorized into eight distinct professional skills training areas. Our skill domains identify areas where supplementary learning contributes to a student's success in graduate school and prepares them for the evolving demands of today's job market.
Career development
- Entrepreneurship
- Career planning
- Job search
- Networking
- Personal branding
- Skills identification
- Academic writing
- Professional writing
- Presenting
- Relationship building
- Equity, diversity and inclusion
Language training
- French competency
- English competency
Leadership and management
- Administration
- Creativity and innovation
- Leadership
- Project management
Digital, media and information
- Creative content production
- Data analysis and visualization
- Information searching and archiving
- Productivity and collaboration
- Programming languages
- Social media management
Grad academic success
- Conducting research
- Critical and creative thinking
- Ethics, rights and responsibilities
- Funding and awards
- Knowledge and research dissemination
- Organisation and time management
- Preparing a thesis or research paper
- Teaching assistantship
- Teaching methods
- Teaching technology
Wellness and life balance
- Health
- Personal finances


text:
Their mandate, reinforced by Resolution 1721 of 1st November 2006, defines their mission within the framework of the crisis-resolution in Côte d'Ivoire. UNPOL is thus responsible for establishing a police presence in the country in order to create an atmosphere of security for the population, advise local authorities on the restructuring of the security services, and make its professional skills available to the local police and gendarmerie. Their security role goes hand in hand with the organization of peaceful and transparent elections. Besides these main tasks, UNPOL is involved in the disarmament, demobilization and reintegration process. It also lends support to reconstruction and socioeconomic development activities.
It equally participates in monitoring the arms embargo and ensures the security of the population through the organization of joint patrols following the dismantling of the and its replacement by the . Under the former regime, the joint patrols brought together units of the former Defense and Security Forces (FDS), the defunct Armed Forces of the Forces Nouvelles (FAFN) and UNPOL. UNPOL also participates in humanitarian operations in Cote d'Ivoire.


text:
We have made a selection of out of print back issues of Needlepoint Now available online to enjoy on your computer, tablet, or phone. This digital magazine may not be downloaded or copied.
- Elizabeth's Musings
- Raoul & Rosina: Canvas by Love You More, Stitch Guide by Sherry Lee Bray
- Coco Fashion: Canvas by Zecca; Stitch Guide by Joyce Gresh
- Fall Colors Candy Corn by Pat Mazu
- Winter Fireworks by Susan Heider
- All That Glitters: Part 2 by Kurdy Biggs of Threedles
- White Star Ornament by Timmy Schultz
- The Hanukkah Family, Part Two: Canvas by Kathy Schenkel, Stitch Guide by Donna Brandeis LaGanga
- Nativity Triptych Part 3: Canvas by Strictly Christmas and Et Cetera, with Stitch Guide by Patricia Sone, Frame by Deux Bijoux Bijoux
- Color Bonanza Part 3 by Marnie Ritter
- From the Judge's Corner by Connie Lynn Borserine
- Making It Simple by Anne Stradal
- Details That Make A Difference By Marion Scouler
- Elizabeth's Bookshelf by Elizabeth Bozievich
- Simply Stitches by Mary Legallet
- Using Common Stitches in Uncommon Ways by Ann Strite-Kurz
- Down The Rabbit Hole by Coni Rich


text:
Contact Us
The Academic Angle office is located at 5250 Old Orchard Road, just west of the Edens Expressway in Skokie, Illinois. Our cozy space is conveniently located steps from the Westfield Old Orchard Mall to serve students from the City of Chicago, the North Shore, and most north and west suburbs. Contact us today to set up a new student consultation. We'd love to meet you!
Email: email@example.com
Phone: +1 847-999-4065


text:
Poetry and the Art of Speech
Lecture VI
30 July 1921, Dornach
Today, seeing that from a living grasp of the anthroposophical world-conception there results something for the whole human being, for man in his totality, we would like to put forward something taken from the art of recitation. As I have mentioned already, there is a certain fear in artistic circles, especially among poets, reciters and so on, that everything approaching the conceptual, everything which takes a "scientific" form, is really foreign to art – and actually inimical to the original and vital in it, choking instinctive and intuitive art. And as regards that intellectuality which has arisen in the course of recent centuries of human development this is absolutely the case. Yet this very intellectuality is also connected with an inclination toward what is present in external, physical reality: our very languages have gradually adopted a certain form – what might be called a tendency towards materialism. In our words and their meaning lies something which points directly to the external sense-world. Hence this intellectuality, which possesses only picture-being and is all the more authentic the less it contains of life and reality from man's inner nature – this intellectuality will indeed have little in common with the primordial vitality that must lie at the root of all art. But the reinvigoration of spiritual life to which Anthroposophy aspires means precisely the reimmersing of intellect in the primordial forces of man's soul life. The artistic will not then appear in the so-much-dreaded gloom of intellectual pallor; imagination will not be drawn down through Anthroposophy into logic and materialism, but will on the contrary be made to bear fruit. From living together with the spiritual it will be nourished and bear fruit. An enhancement of art is to be hoped for just through its being pervaded by Anthroposophy and the anthroposophical way of thinking – the whole bearing and demeanour of Anthroposophy.
What applies to the arts as a whole we will show today with reference to recitation and declamation. Over the last decades recitation and declamation have been steered more and more into a predilection for endowing with form the meaning-content of the words. A stress on the word-for-word content has become increasingly conspicuous. Our times have little understanding for such a treatment of the spoken word as was characteristic of Goethe, who used to rehearse the actors in his plays with special regard for the formation of speech, standing in front of them like a musical conductor with his baton. The speech-formation, the element of form that underlies the word-for-word content – it is really this which inspires the true poet as an artist. The point must be emphasized: Schiller, when he felt drawn by inner necessity to compose a poem, to begin with had something in the way of an indeterminate melody, something of a melodic nature as the content of his soul; something musical floated through his soul and only afterwards came the word-for-word content, which had really only to receive what was for the poet, as an artist, the essential thing – the musical element of his soul. So we have on the one hand something musical, which as such would remain pure music; and on the other, the pictorial, painterly element to which in declamatory-recitative art we must return. To say something merely as an expression of the prose-content – it is not for this that true poetry exists. But to mould the prose-content, to re-cast it into measure and rhythm into unfolding melody – into what really lies behind the prose-content – for all this the art of poetry exists. We would surely not be favoured with such a mixed bag of poetry if we did not live in unartistic times when in neither painting nor sculpture, nor poetry nor its recitative-declamatory rendering, is true artistry to be found.
If we look at the means by which poetry is brought to expression, which in our case is recitation and declamation, then we must naturally refer to speech. Now speech bears within it a thought- and a will-element. The thought tends toward the prosaic. It comes to express a conviction; it comes to express what is demanded within the framework of conventions of a social community. And with the progress of civilization language comes to be permeated more and more with expressions of conviction, with conventional social expression and to that extent becomes less and less poetic and artistic. The poet will therefore first have to struggle with the language to give it an artistic form, to make it into sornething which is really speech-formation.
In my anthroposophical writings I have drawn attention to the character of the vowels in language. This character man experiences in the main through his inner being: what we live through inwardly from our experience in the outer world finds expression in the vowel-sounds. Occurrences that we portray objectively, the essential forms of the external world, come to expression in the consonants of a language. Naturally, the vocalic and consonantal nature of language varies from language to language. Indeed from the way in which a language deploys its consonants and vowels can be seen the extent to which it has developed into a more or less artistic language. Some modern languages, in the course of their development, have gradually acquired an inartistic character and are falling into decadence. When a poet sets out to give form to such a language, he is called upon to repeat at a higher level the original speech-creative process. [Note 17] In the construction his verses, in the treatment of rhyme and alliteration (we shall hear and discuss examples of these later) he touches upon something related to the speech-creative process. Where it is a matter of bringing inner being to expression, the poet will be drawn, by virtue of his intuitive and instinctive ability, to the vowels. The result will be an accumulation of vowels. And when the poet needs to give form to outward things or events, he will be drawn to the consonants. One or the other will be accumulated, depending an whether something inward or something external is being expressed. The reciter or declaimer must take this up, for he will then be able to re-establish the rhythm between inner being and the outer world. On this kind of speech-formation, on the bringing out of what lies within the artistic handling of speech, the formation of a new recitative and declamatory art-form will largely depend.
We will now introduce a few shorter poems to show how recitation and declamation must be guided by speech-formation.
A Sonnet by Goethe.
Ein Strom entrauscht umwölktem Felsensaale,
Dem Ozean sich eilig zu verbinden:
Was auch sich spiegeln mag von Grund zu Gründen,
Er wandelt unaufhaltsam fort zu Tale.
Dämonisch aber stürzt mit einem Male –
Ihr folgten Berg und Wald in Wirbelwinden –
Sich Oreas, Behagen dort zu finden,
Und hemmt den Lauf, begrenzt die weite Schale.
Die Welle sprüht und staunt zurück und weichet
Und schwillt bergan, sich immer selbst zu trinken:
Gehemmt ist nun zum Vater hin das Streben.
Sie schwankt und ruht, zum See zurückgedeichet;
Gestirne, spiegelnd sich, beschaun das Blinken
Des Wellenschlags am Fels, ein neues Leben.
[We encounter a similar movement and transition in style in the course of this English sonnet:
Devouring time blunt thou the Lyons pawes,
And make the earth devoure her owne sweet brood,
Plucke the keeneteeth from the fierce Tygers jawes,
And burne the long liv'd Phoenix in her blood,
Make glad and sorry seasons as thou fleet'st,
And do what ere thou wilt swift-footed time
To the wide world and all her fading sweets:
But I forbid thee one most hainous crime,
O carve not with thy howers my loves faire brow,
Nor draw noe lines there with thine antique pen,
Him in thy course untainted doe allow,
For beauties patterne to succeding men.
Yet doe thy worst ould Time dispight thy wrong,
My love shall in my verse ever live young.
William Shakespeare (1564-1616).]
A Ritornello by Christian Morgenstern.
Das Tier, die Pflanze, diese Wesen hatten
noch die un-menschliche Geduld der Erde;
da war ein Jahr, was heut nur noch Sekunde.
Jetzt geht ihr nichts mehr rasch genug von statten.
Der Mensch begann sein ungeduldig Werde.
Sie spürt: 'Jetzt endlich kam die grosse Stunde:
auf die ich mich gezüchtet Jahrmillionen!
Jetzt brauch ich meinen Leib nicht mehr zu schonen,
jetzt häng ich bald als Geist an Gottes Munde.'
[A series of three-line stanzas with recurring rhymes is a comparatively simple representative of a poetic form that is capable of being extended almost indefinitely. Our first poem is a relatively uncomplicated example; a second shows something of what can be achieved by a poet working within very strict limitations.
The covenant of god and animal,
The frieze of fabulous creatures winged and crowned,
And in the midst the woman and the man –
Lost long ago in fields beyond the Fall –
Keep faith in sleep-walled night and there are found
On our long journey back where we began.
Then the heraldic crest or nature lost
Shines out again until the weariless wave
Roofs with its sliding horror all that realm.
What jealousy, what rage could overwhelm
The golden lion and lamb and vault a grave
For innocence, innocence past defence or cost?
Edwin Muir (1887-1959).
The highly-developed, courtly poetry of the late Middle Ages provides many examples of this type of elaborate and difficult structure. This Balade is a moderately ambitious and very beautiful instance:
Madame, ye ben of al beaute shryne
As fer as bercled is the mappemounde;
For as the cristal glorious ye shyne,
And lyke ruby ben your chekes rounde.
Therwith ye ben so mery and so jocounde,
That at a revel whan that I see you daunce,
It is an oynement unto my wounde,
Thogh ye to me ne do no daliaunce.
For thogh I wepe of teres ful a tyne,
Yet may that wo myn herte nat confounde;
Your seemly voys that ye so smal outtwyne
Maketh my thoght in joye and blis habounde.
So curteisly I go, with love bounde,
That to my-self I sey, in my penaunce,
Suffyseth me to love you, Rosemounde,
Thogh ye to me ne do no daliaunce.
Nas never pyk walwed in galauntyne
As I in love am walwed and y-wounde;
For which ful ofte I of my-self divyne
That I am trewe Tristam the secounde.
My love may not refreyd be nor afounde;
I brenne ay in an amorous plesaunce.
Do what you list, I wil your thral be founde,
Thogh ye to me ne do no daliaunce.
Geoffrey Chaucer (c. 1340-1400).]
Poem in form of a Rondeau by Rudolf Steiner.
Im Lichte wir schalten,
Im Schauen wir walten,
Im Sinnen wir weben.
Aus Herzen wir heben
Das Geistesringen
Durch Seelenschwingen.
Dem Menschen wir singen
Das Göttererleben
Im Weltengestalten.
A scene will next be presented from my first Mystery Play, The Portal of Initiation. What we have here is a representation of experiences connected with the spiritual world. One might be tempted to look upon something like this as contrived by the intellect, as though we were going after some sort of "symbolic" art – but that would not really be art at all. What will be spoken here, despite the psychic-spiritual nature of the events, was actually seen, in concrete form. Everything was there, down to the very sound of the words. Nothing had to be manufactured, or put together, or elaborated allegorically: it was simply there. We have attempted to give form to man's manifold experiences in relation to the spiritual worlds; we have tried simply to give form to soul-forces, to what man can experience inwardly as differentiated soul-forces. Something results from this quite spontaneously, that is not shaped by any intellectual activity. As it is here a matter of purely spiritual contents, it is especially important to realize that it is not a matter of giving information or the prosaic word-for-word content, but of giving form to the actual spiritual contents. On the one hand a musical element will be perceptible – at the very point where one might suspect an intellectualising tendency – and on the other we will have a pictorial element, which must be particularly brought out whenever we are giving form to some kind of event. [Note 18]
From The Portal of Initiation, Scene 7.
MARIA: You, my sisters, at this hour
be once again my helpers,
as you have often been before, –
that I may make world-ether
resound within itself.
It shall ring out in harmony
and, ringing, permeate
a soul with knowledge.
I can behold the signs
that lead us to our task.
So shall your work
unite itself with mine.
Johannes, in his striving,
shall through creative deeds of ours
be raised to true existence.
The brothers in the temple
held council
how they could lead him
out of the depths to light-filled heights.
And they expect of us
that we arouse within his soul
the strength for soaring flight.
And so, my Philia, breathe in
clean essence of the light
from wide-flung spaces;
be filled with tones, enticing,
from souls' creative power,
that you can hand to me
the gifts you gather
from spirit grounds.
Then I can weave them
into the stirring dances of the spheres.
And you, too, Astrid,
beloved mirror-image of my spirit,
create the power of darkness
in streaming light,
that colours may shine forth.
Bring harmony to tonal being
so that world-substance, weaving,
can live and sound.
I can entrust then spirit feeling
to seeking human senses.
And you, O sturdy Luna,
you are as firm within
as is the living heart
that grows within the tree;
join with your sisters' gifts
the image of your own uniqueness,
that certainty of knowledge
be granted to the seeker.
PHILIA: I will imbue myself
with clearest essence of the light
from worldwide spaces.
I will breathe in sound-substance,
from far ethereal regions,
that you, beloved sister, with your work
may reach your goal.
ASTRID: And I will weave
into the radiant light
the clouding darkness.
I will condense
the life of sound,
that glistening it may ring
and ringing it may glisten,
that you, beloved sister,
may guide the rays of soul.
LUNA: I will enwarm soul-substance
and will make firm life-ether.
They shall condense themselves,
they shall perceive themselves,
and in themselves residing
guard their creative forces,
that you, beloved sister,
within the seeking soul
may quicken certainty of knowledge.
MARIA: From Philia's horizons
shall stream forth joyfulness.
The undines' power
of ever-changefulness shall rouse
a sensitivity of soul,
that the awakened one
can then experience
the world's delight,
the world's despair.
From Astrid's weaving
shall spring forth love's desire.
The airy life of sylphs
shall stir up in the soul
the urge for sacrifice,
that he, the consecrated one,
revive and quicken
those who are sorrow-laden,
those who are joy-entreating.
From Luna's strength
shall stream forth firmness;
the power of fire-beings
can actively create
so that the knowing one
can find himself
in soul-life-weaving,
in world-life-breathing.
PHILIA: I will entreat the spirits of the worlds
that they, with light of being,
enchant soul feeling,
that they, with tone of words,
charm spirit hearing,
that he whom we must waken
may rise
upon soul paths
to heavenly heights.
ASTRID: I will guide streams of love,
that fill the world with warmth,
into the heart
of him, the consecrated one,
that he can bring
the grace of heaven
to earthly work
and mood of consecration
to sons of men.
LUNA: I will from primal powers
beseech both strength and courage,
and will imbed them deep
within the seeker's heart,
that confidence
in his own self
may be with him
throughout his life.
He shall then feel himself
secure within himself.
And he shall pluck
each moment's ripened fruit,
to draw from them their seeds
for all eternity.
MARIA: With you, my sisters,
united for this earnest work,
I shall succeed
in what I long to do.
There penetrates the cry
of him, who's been so sorely tested,
into our world of light.
Trans. Ruth and Hans Pusch.
When we come to the sonnet it is, of course, to be taken for granted that a sonnet does not arise from the intention to compose a sonnet, but by necessity from the working out of inner experiences. It is evident that the sonnet tends toward something visual or pictorial that lives in the language – we have an experience which is in some way twofold. Such an experience presents itself, and we wish to give it a form, such as appears in the first two strophes. But we are then thrown into a contradiction of inner experience. The second strophe confronts the first wave, so to speak, like a counter-wave. And in the last two strophes we feel the contradictions that govern the universe. The human heart and the human mind strive for a unison, a harmonious association, so that they may resolve in harmony what found expression in discord and overcome the material dissonance through the spirituality of harmony. This is manifested even in the rhyme-scheme of the first two strophes and in the linked rhymes of the concluding strophes. In as far as there is not such a necessity of inner experience, a sonnet cannot arise; for it must manifest itself even down to the rhyme-scheme as a picture-form. And now, the musical element infiltrates this pictorial form: a musicality that depends principally on vowel sounds, and on what enters the vowel from the consonant – for every consonant has its vowel-element. This gives what one might call musical substance to the primarily pictorial form taken by the sonnet. What is present within the sonnet, shaping it, is metrical and, in the art of speaking, metre is brought to expression specifically through recitation: something the Greeks managed to bring to a certain eminence. The Greeks lived in the metre; that is to say, in the plastic element of the language. If, on the other hand, we look at what comes to us from the Nordic or Central European, Germanic tradition, we see how into the plasticity of speech there enters something musical from within. Here we have something which streams out more from the will, more from the personality whereas with the Greeks everything flows from metrical clarity of vision. With the Greeks it was primarily the art of recitation that attained a certain peak, whereas among the Germanic peoples it was declamatory art, drawing on the musical principle and flowing into themes and rhythms and cadences, which stirred into activity. And whereas in recitation we have to do with something in speech that in one sound broadens, in another makes 'pointed', forming it pictorially – in musicality we have what endows language with a melodic quality. It is in fact something like this that we can see in the sonnet and its treatment in the several regions of Europe. We can see how the declamatory united with the recitative, how the Germanic later united with the Greek feeling for measure. [Note 19] It is of some importance for us to realise the musical as well as the plastic quality inherent in speech-formation, for us to learn to introduce into declamation and recitation something which essentially leads us from what has significance for the senses to what is moved by the spirit. For this, it is once again necessary to have a feeling for poetic form as such – the form of a ritornello or a rondeau, for instance. This does not in truth make for a poetry wanting in thought; it simply expresses thought, not through abstractions, but through its productive creativity. If it is to adapt itself to forms created in this way, the art of speaking must be restored to a life in the actual waves of speech – the recitative with its pure formation; and the high or low intonations, the melodic forms of declamation. And if a dramatic touch has to be added, as in the scene you have just heard, which dealt with purely spiritual experiences, the intellectual significance or literal meaning must be completely overcome, completely transformed from a literal communication of prose fact into actual speech-formation. We thus have in immediate presentation the same experience as when in a prose piece we pass from prosaic understanding to a vision of what is represented in the prosaic. The pleasure of the prosaic is indirect: we must first understand, and through understanding we are then led to visualisation. This entails from the first something inartistic, for the aesthetic quality lies in immediacy. The art of speech-formation must have direct expression. What is actually presented (and not an intellectual imitation of it) must show itself and be given form. In our times we often see so-called poets working up intellectual imitations, rather than those immediate responses which make themselvesfelt in speech-formation. Goethe, who expresses so beautifully a living apprehension of tranquillity – a tranquillity preceding that of sleep – gives it utterance in these lines:
Über allen Gipfeln
Ist Ruh;
In allen Wipfeln
Spürest du
Kaum einen Hauch;
Die Vögelein schweigen im Walde.
Warte nur, balde
Ruhest du auch.
[Compare Shelley, "Evening. Ponte a Mare, Pisa."
The sun is set; the swallows are asleep;
The bats are flitting fast in the grey air;
The slow soft toads out of damp corners creep,
And evening's breath, wandering here and there
Over the quivering surface of the stream,
Wakes not one ripple from its summer dream. ]
There is complete accord between the feeling for the summits and the tree-tops and what goes on in our own heart. A harmony lies in the sounds, in the very word-formation, so that what is mediated to us through the outer world sounds again – especially if we really listen to the poem – in the word- and speech-formation. All our experience of the outer world has passed over into the speech-formation itself. That would be the ideal of true poetry: to be able to present an experience received from outside in the very treatment of the language. The mere repetition of external experience, simply trying to express external experience in words – this is not poetry. The art of poetry only arises when something experienced in the outer world is reconstituted out of the life of the human soul in terms of pure speech-formation. [Note 20]
We can observe this in a truly artistic poet like Goethe, when he feels the need to recreate an identical prose-content out of a different mood and feeling. From living with the Gothic and the mood it transmitted to him, from the feeling let us say for the pointed arches striving upwards, which he felt most deeply in his appreciation of Strasbourg Cathedral, Goethe had gained at the beginning of his time in Weimar a sensibility which, when given poetic form, became something like inner declamation. Thought and feeling took such a form in him that we can experience directly in speech-formation something also to be found in contemplating a Gothic cathedral. We can see something striving upwards, something unfinished, in a Gothic cathedral; and this was Goethe's mood in Weimar when he conceived his Iphigeneia. Driven by a deep longing for the fulfilment of his poetic disposition, Goethe set out, but in the course of his journey south he was gradually overcome by another mood – by a longing for measure. Faced with the Italian art that confronted him there, he felt a kind of echo of Greek art. He writes to his Weimar friends: "I suspect that the Greeks created their works of art in accordance with the very laws by which nature proceeds." Looking at the Saint Cecilia, at Raphael's works, the essence of metre became clear to him; and this became an inner recitation. He no longer felt the form of his first Iphigeneia to be a personal truth: he forged his play anew, so that we now have a Nordic and a southern Iphigeneia. Any consideration of the Nordic Iphigeneia must treat of it in terms of declamatory art, where it is preeminently the vowels that hold sway and that give form in the sounding of speech. In the Roman Iphigeneia recitation must predominate: what is relevant here is the plastically formed presentation of experience in a speech-formation comparable to the presentation in Raphael's work. In two short passages we shall now compare the two versions of Iphigeneia and have before us what goes on in a poet when he really lives in aesthetic form and has to recreate his artistic forms out of inner necessity. Recitation and declamation must strive to follow poetry such as this.
In the first instance, therefore, we will present the Gothic-German Iphigeneia as Goethe originally conceived it – the Weimar Iphigeneia. [Note 21]
[Blake's earlier poetry was strongly influenced by Romantic interest in northern "Bardic" verse, and something of its powerful declamatory nature can still be felt in this "Introduction" to Songs of Experience:
Hear the voice of the Bard!
Who Present, Past, & Future, sees;
Whose ears have heard
The Holy Word
That walk'd among the ancient trees,
Calling the lapsed Soul,
And weeping in the evening dew;
That might controll
The starry pole,
And fallen, fallen light renew!
'O Earth, O Earth, return!
Arise from out the dewy grass;
Night is worn,
And the morn
Rises from the slumberous mass.
Turn away no more;
Why wilt thou turn away?
The starry floor,
The wat'ry shore,
Is giv'n thee till the break of day.'
William Blake (1757-1827.]
And now Goethe wished to introduce into these verses something fundamentally alien to the north. These verses express what I have just claimed as emerging straight from the whole mood living in Goethe. It can be said, of course, that anyone who does not enter into the genuinely aesthetic will lack the deep sense of necessity that Goethe felt in Italyof forging his favourite subject, Iphigeneia, anew. Not only was he subject in Italyto impressions of what he regarded as Greek art, but the sun there has a different effect. A differently coloured heaven arches over us, and the plants struggle up from the earth in a different way. All this made its mark on Goethe, and we can trace how in every line he is again compelled to rewrite and adapt the substance of his Iphigeneia to a quite different mood. It was Hermann Grimm who first showed a really sensitive understanding for these matters. In his lectures on Goethe he stressed the radical difference between the German and the Roman Iphigeneia, demonstrating how Goethe transformed what at first lived in the dimension of depth, so to speak – where there is a tendency to make the tone too full, too bright, or too dull, in order to achieve a spiritual expression of the literal prose content; he showed how Goethe transformed this into something that lives in the plane of speech, as it were, in the metre, and how he tried to introduce into his Iphigeneia the symmetry he believed himself to have found in Greek art.
In order to characterise what Goethe experienced in artistic speech, therefore, it becomes necessary to work from the declamatory into the recitative when producing his Roman Iphigeneia – the recitative which, as we have said, the Greeks brought to perfection. [Note 22]
[To a much greater extent than Goethe, Blake consistently reworked his poetry into ever different forms as he matured and changed as a poet. By the time he came to write "Night the Ninth" of The Four Zoas he had extended his range to include a classically derived pastoral verse with a much more recitative quality. The visionary scene from the earlier "Introduction" appears again there – though after a more thorough metamorphosis than was the case with Goethe's play. This is The Four Zoas ix, 386-409:
And thus their ancient golden age renew'd; for Luvah spoke
With voice mild from his golden Cloud upon the breath of morning:
'Come forth, O Vala, from the grass & from the silent dew,
Rise from the dews of death, for the Eternal Man is Risen.'
She rises among flowers & looks toward the Eastern clearness,
She walks yea runs, her feet are wing'd, on the tops of the bending grass,
Her garments rejoice in the vocal wind & her hair glistens with dew.
She answer'd thus: 'Whose voice is this, in the voice of the nourishing air,
In the spirit of the morning, awaking the Soul from its grassy bed?
Where dost thou dwell? for it is thee I seek, & but for thee
I must have slept Eternally, nor have felt the dew of thy morning.
Look how the opening dawn advances with vocal harmony!
Look how the beams foreshew the rising of some glorious power!
The sun is thine, he goeth forth in his majestic brightness.
O thou creating voice that callest! & who shall answer thee?'
'Where dost thou flee, O fair one? where doth thou seek thy happy place?'
'To yonder brightness, there I haste, for sure I came from thence
Or I must have slept eternally, nor have felt the dew of morning.'
'Eternally thou must have slept, not have felt the morning dew,
But for yon nourishing sun; 'tis that by which thou art arisen.
The birds adore the sun: the beasts rise up & play in his beams
And every flower & every leaf rejoices in his light.
Then, O thou fair one, sit thee down, for thou art as the grass,
Thou risest in the dew of morning & at night art folded up.'
William Blake.]
It may be that in the case of an artist like Goethe, we shall find what it is that flows over into form only if we can understand with full intensity how, when he himself spoke his Iphigeneia, tears would roll down his cheeks. Goethe found his way from the Dionysian – to use the Nietzschean expression – into the Apollonian, into metrical form. Because the Greeks in their soul-life stirred the will to this metrical formation, they achieved something in this Apollonian realm, and of this Nietzsche felt that here art is exalted above outer sense-reality. He felt that art could elevate us above the pessimism of a humanity confronting the tragic in the immediate reality of physical perception. What holds sway here as the inner, the essentially human – though conforming to measure and the Apollonian principle – this was what particularly attracted Goethe once he had entered this element, and induced him to attempt the creation of something in Greek metre, in an inwardly recitative-declamatory style rather than his former purely declamatory one.
We will now give an example, from Goethe's "Achilleis", of the aesthetic form that Goethe conceived after he had sunk himself in the metrical, inwardly recitative style of the Greeks. [Note 23]
[In their attempts to recapture the feeling of the original Greek some translators have been driven to adopt a hexameter verse, as in this rendering of Odyssey VI, 85ff:
Now when at last they arrived at the beautiful stream of the river,
Here the perennial basins they found where waters abundant
Welled up brightly enough for the cleansing of dirtiest raiment.
So their mules they unloosened from under the yoke of the waggon,
Letting them wander at will on the bank of the eddying river,
Browsing on clover as sweet as the honey, and then from the carriage
Bearing within their arms to the deep dark water the garments
Cast them in trenches and trod them in rivalry one with another.
So, when the raiment was washed and was thoroughly cleansed of the dirt-stains,
All on the shore of the ocean in order they spread on the shingle
Where it is washed by the tides of the sea as they sweep to the dry land.
There did they bathe and anointing themselves with the oil of the olive
Set them adown to the midday meal on the bank of the river,
Leaving the garments to dry on the beach in the glare of the sunlight,
Now when in food they had fully delighted, both she and her maidensj
Casting aside their scarfs with a ball they betook them to playing,
White-armed Nausicaa with the choral melody leading.
E'en as descending a height moves Artemis, darter of arrows,
Either on Taygetus long-ridged or on huge Erymanthus,
Taking delight in the chase of the boar and of timorous roe-deer,
Whilst all around her the daughters of Zeus, who beareth the aegis,
Nymphs of the woodland, play – and Leto sees it rejoicing;
Even as over the rest uplifting her brows and her forehead
Easily known in her beauty she stands, though fair be the others,
Thus shone forth in her beauty the maiden amidst her attendants.
Now when at last it was come to the moment of homeward returning,
After the mules were yoked and folded the beautiful garments,
Other was then the device of the grey-eyed goddess Athene,
E'en that Odysseus awaking and seeing the fair-faced maiden
Her might follow as guide and reach Phaeacia's city.
Seizing the Ball, at the maiden among her attendants the princess
Flung it, but missing the maiden it fell in a bottomless eddy.
Piercingly all of them shrieked; and godlike Odysseus, awakened,
Sat straight up and pondered thereon in his heart and his spirit:
'Ah me! what is the folk whose country I now am arrived at?
Dwell here savages wanton and wild, despisers of justice?
Have they a love for the stranger and hearts that revere the immortals?
Lo, how piercing a cry as of maidens ringeth around me,
Nymphs peradventure that dwell on precipitous summits of mountains,
Or by the fountain springs of the rivers and leas of the lowlands;
Else, maybe, I am near to a folk of articulate language.
Nay, go to, I will test for myself this matter and view it.'
Trans. H.B. Cotterill.]
With such poetry Goethe tried to find his way back to Hellenism. He believed himself, as he felt at a certain period of his life, nearer to the original source of poetry than he could ever have been had he not gone back to the Greeks. We have to look at Goethe's instinctive artistic life, when he sought Greek metre and what the Greeks had formed plastically in inner recitation. As with the other art-forms, true poetry was to be sought where the fountain-head of art sprang more abundantly – in primitive humanity, in unaccommodated man and his inner experience, not yet shrouded by the thick veil of materialistic civilisation. In Greek, we can observe the measured flow of the hexameter; we observe how the dactyls are formed. What do we really have in this verse-measure? Now we must remember, speaking more theoretically, how something lives in man which strives inwardly toward a certain rhythm or harmony of rhythms.
Let us take, on the one hand, the breathing-rhythm: in a normal person of average age, about 18 breaths per minute; while in the same space of time we have 72 pulse-beats, four beats coinciding with each breath. This is an inner harmonising of rhythms in human nature. Let us picture the four pulse-beats taking place in each breath and consider their ratio, their harmony with the breath. Let us bring the first two pulse-beats together into one long syllable, and the remaining two pulsebeats into two short syllables. We then have the verse-measure underlying the hexameter. We can also produce the hexameter for ourselves by examining the harmony of the four and the one: the first three feet and, as the fourth, the caesura – all being related to the one breath. What is formed in this way we derive from man's own being: we create out of man's being, embodying in speech an expression of human rhythms. Now the fourfold rhythm of the blood can, of course, struggle with the unitary breathing-rhythm, separating and reuniting as they strive toward harmony. They separate in this or that direction, and then flow together again. In this way are revealed the several forms of verse and prosody. But each time it is an overflowing of what lives in man himself into speech. In the formation of Greek metres man unfolds his own being; something of man's most intimate morphology comes to his lips and forms itself into speech. Here then lies the mystery: the Greeks strove for vocal expression of the most intimate, even organic life of man's rhythmic system.
Goethe felt this. The Greeks by their very nature (and let us not misunderstand this) were striving after thought. Not for mere abstract thought, but something that led them away, through thought, into concrete speech-formation – the pictorial that is active in man. For what occurs in man through the confluence of the blood- and breathing-rhythms is transmitted to the brain and transformed into thought-content. The process is even vaguely recognisable in prose. This is really thought that has been stripped of everything that lay hidden in Greek recitative metre. The Greeks spoke of the music of Apollo's lyre, meaning man himself as a work of art: a rhythmic being in the harmony of his breathing- and blood-rhythms. Here are uttered unfathomable cosmic mysteries which tell us more than any prose language can.
Into all this sounds the will. As we turn to the north we meet once more with the declamatory. The general inclination of Nordic language, Nordic speech-formation, is to make the will predominant. It is mainly breathing which lives in Greek rhythm (being closer to thought than the blood-circulation), but the experience of blood-circulation was rightly regarded by ancient spiritual researchers as the immediate expression of human personality, the human ego. And this is what lives in the Nordic treatment of speech. Here we see how the blood-rhythm strikes in and the breathing rhythm recedes. We see in addition how the blood-rhythm is connected with the mobility of the entire man. Looking back, we see how in the Nibelungenlied Nordic man could sense the wave-beat of his blood, instigated by a will-impulse and then subsiding into thought: in this way alliteration comes into being. We begin with a will-impulse, which then strikes up against the form, like a wave building up and then subsiding again into the repose of rhythm. This was felt as something constituting the whole man. Whereas the Greeks wanted to penetrate inwards into the breathing-system, Nordic man was inclined towards depth of personality and the life of the blood-rhythm. Nordic-Germanic poetry is spiritualised human blood. Here the will lives and gives itself form. We must imagine the will-working of Wotan, moving on waves of air or welling up in man as blood and forming the human personality. [Note 24]
The primal element of will, the human being as a whole, finds expression in Nordic-Germanic poetry. We can see this welling-up and surging in the epic Nibelungenlied. And even in more recent times, Wilhelm Jordan has tried to imitate the alliterative style, such as lived in Nordic declamation, and has tried in the speech-formation of his own epic to restore to life the things I have described. What lives in Jordan's Nibelunge, therefore, we must not simply declaim by extracting and stressing the prose content. Rather, there must sound forth that wave-motion drawn from the inner nature of man. In Wilhelm Jordan's alliteration, these Wotan-waves must sound forth as they did when he himself recited them. This he actually did; those who were still able to hear him will know how he tried, through a declamatory verse-technique, to draw out what is latent in alliteration.
We shall conclude by giving an example from the beginning of the Nibelungenlied, where the Nordic element (as opposed to Greek metre) is in evidence. This will strike a contrast to what Goethe, particularly in his later years, received from Greek culture. From there he derived the finest quality that lived in him, while yet wishing to unite it, together with the Nordic, into a single whole.
And finally, a short passage of alliterative verse from Wilhelm Jordan's Nibelunge – his attempt at a re-creation of ancient German poetry.
From The Nibelungenlied.
I. Äventiurde
Uns ist in alten maeren wunders vil geseit
von heleden lobebaeren, von grôzer arebeit;
von freude und hôchgezîten, von weinen unde klagen,
von küener recken strîten möget ir nu wunder hoeren sagen
Ëz wuohs in Buregonden ein vil edel magedîn,
daz in allen Landen niht schoeners mohte sîn,
Kriemhilt geheizen, diu wart ein schoene wîp;
dar umbe muosen dëgene vil verliesen dën lîp
Der minneclîchen meide trüejen wol gezam:
ir moutten küene recken, niemen was ir gram.
âne mâzen schoene sô was ir edel lîp:
der juncfrouwen tugende zierten anderiu wîp.
Ir pflâgen drî künige edel unde rîch,
Gunther unde Gêrnôt die recken lobelîch,
unt Gîselher dër junge, ein waetlîcher dëgen;
diu frouwe was ir swëster, die helden hetens in ir pflëgen.
Ein rîchiu küneginne frou Uote ir muoter hiez;
ir vater dër hiez Dancrât, dër in diu erbe liez
sît nâch sîme lëbene, ein ellens rîcher man,
dër ouch in sîner jugende grôzer êren vil gewan.
Die hërren wâren milte, von arde hôhe erborn,
mit kraft unmâzen küene die recken ûzerkorn.
dâ zën Burgonden sô was ir lant genannt.
si frümten starkiu wunder sît in Etzelen lant.
Ze Wormze bî dëm Rîne si wonten mit ir kraft;
in dienten von ir landen vil stolziu ritterschaft
mit lobelîchen êren unz an ir endes zît.
si sturben jaemerlîche sît von zweier frouwen nît.
Die drî künige wâren, als ich gesaget hân,
von vil hôhem ellen; in wâren undertân
ouch die besten recken, von dën man hât gesaget,
starc unt viel küene, in scharpfen strîten unverzaget.
Daz was von Tronege Hagene, unt ouch dër bruoder sîn
Dancwart dër snëlle, von Metzen Ortwîn,
Die zwêne marcgrâven, Gêre unt Eckewart,
Volkêr von Alzeie, mit ganzem ellen wol bewart,
Rûmolt dër küchenmeister, ein ûzerwelter dëgen,
Sindolt unde Hûnolt; dise hërren muosen pflëgen
dës hoves unt dër êren, dër drîer künige man.
si heten noch manigen recken, dës ich genennen nienen kan.
Dancwart dër was marschalc; dô was dër nëve sîn
truhsetze dës küniniges von Metzen Ortwîn.
Sindolt dër was schenke, ein waetlîcher dëgen;
Hûnolt was kameraere: si kunden, hôher êren pflëgen.
Von dës hoves êre unt von ir wîten kraft,
von ir vil hôhen wërdekeit unt von ir ritterschaft,
dër die hërren pflâgen mit freuden al ir lëben,
dësn künde iu ze wâre niemen gar ein ende gëben.
In disen hôhen êren troumte Kriemhilde,
wie si züge einen valken starc, schoene unt wilde,
dën ir zwên' arn erkrummen; daz sie daz muoste sëhen,
irn kunde in dirre wërlde leider nimmer geschëhen.
Dën troum si dô sagete ir muoter Uoten.
sine kundes niht bescheiden baz dër guoten
'dër valke, den du ziuhest, daz ist ein edel man;
in enwëlle got behüeten, du muost in schiere vloren hân.'
'Waz saget ir mir von manne, vil liebiu muoter mîn?
âne recken minne sô wil ich immer sîn;
sus schoene ich wil belîben unz an mînen tôt,
daz ich von recken minn sol gewinnen nimmer nôt.'
'Nune versprich ëz niht ze sêre,' sprach ir muoter dô.
'soltu immer hërzenlîche zër wërlde wërden vrô,
daz kümt von mannes minne; du wirst ein schoene wîp,
ob dir got gefüeget eins rëhte guoten ritters lîp.'
'Die rede lât belîben, vil liebiu frouwe mîn;
ëz ist an manigen wîben vil dicke worden schîn,
wie liebe mit leide ze jungest lônen kan;
ich sol sie mîden beide, sone kan mir nimmer missegân.'
Kriemhilt in ir muote sich minne gar bewac.
sît lëbete diu vil guote vil manigen lieben tac,
daz sine wësse niemen, dën minnen wolde ir lîp
sît wart si mit êren eins vil wërden recken wîp.
Dër was dër sëlbe valke, dën si in ir troume sach,
dën ir beschiet ir muoter. wie sêre siu daz rach
An ir naehsten mâgen, die in sluogen, sint!
durch sîn eines stërben starp vil maniger muoter kint.
[Langland's Piers Plowman is among the masterpieces of the English "Alliterative Revival" of the fourteenth century. This extract is from the C-text version, Passus IX, 152-191:
A Brytonere com braggynge a-bosted Peers al-so;
'Wolle thow, ne wolle thow we wolleth habbe oure wil,
Bothe thy flour and thy flessh fecchen when ous lyketh,
And make ous myrye ther-myd maugre ho bygruccheth!'
Peers the plouhman tho pleynede to the knyght,
To kepe hym and hus catel as covenent was bytwyne hem:
'Awreke me of these wastours that maken thys worlde dere;
Thei counte nat of cursing ne holy kirke dreden;
Ther worth no plente,' quath Peers 'and the plouh ligge.'
Curtesliche the knyght then as hus kynde wolde,
Warned Wastour and wissed hym betere,
'Other ich shal bete thy by the lawe and brynge the in stockes.'
'Ich was nat woned to wirche,' quath Wastour and ich wolle nat now bygynne,'
And let lyght of the lawe and lasse of the knyght,
And sette Peers at a pese pleyne hym wher he wolde.
'Now, by Crist,' quath Peers 'y shal apeyre yow alle!'
And hopede after Hunger that herde him at the ferste.
'Ich praye the,' quath Peers tho 'pur charite, sire Honger,
Awreke me of these wastours for the knyght wol nat.'
Honger hente in haste Wastour by the mawe,
And wrang hum by the wombe that al waterede hus eyen.
He buffated the Brutener a-boute the chekes,
That he loked lyk a lanterne al hus lyf after.
He bet hem so bothe be barst neih hure guttes,
Ne hadde Peers with a peese-lof prayede hym by-leve.
Honger, have mercy of hem,' quath Peers and let me yeve hem benes;
And that was bake for bayarde may be here bote.'
Tho were faitours a-fered and flowen to Peersses bernes,
And flapten on with flailes fro morwe til evene,
That Honger was nat hardy on hem for to loke,
For a potful of potage that Peersses wyf made.
An hep of eremites henten hem spades,
Spitten and spradde donge in despit of Hunger.
Thei corven here copes and courtepies hem made,
And wenten as workmen to weden and mowen;
Al for drede of here deth such dyntes yaf Hunger.
Blynd and brokeleggede he botnede a thousande,
And lame men he lechede with longen of bestes.
Preestes and other peple to Peers thei drowen,
And freres of alle fyve orders al for fere of Hunger.
William Langland (c.1331- ?).]
From Die Nibelungen.
"Hildebrand's Homecoming", Canto 17:
Schon drängten sich draussen mit dröhnenden Tritten
Zu jedem der Tore der Krieger tausend;
Schon hob sein Hifthorn der Hunnenkönig,
Um Sturm zu blasen. Doch stumm noch blieb es.
Ob sein Herz auch zermalmt war, er musste horchen,
Und gramvoll beseufzte die grosse Seele
Verloren Grund begrabener Hoffnung
In des stolzen Germanen Sterbegesang:
'Erwacht! In den Wolken
Ist Waffengerassel.
Erwacht, es gewittert,
'Als wieherten Rosse.
Walkürien kommen
Zum Kampf geflogen
In glänzenden Brünnen,
Von Brautlust glühend.
Sie lenken herunter
Die luftigen Renner,
Um Tapfer zu kiesen
Mit tötendem Kuss.
Erwachet! Es warten
Die Wodanswölfe,
Es rufen die Raben
Ihr Mahl zu rüsten.
Um der Seele die Pforte
Zum Sonnenpfade
Weit aufzuschliessen,
Ist Eisen geschliffen.
Das Leben ist Schlaf nur,
Erlösung der Schlachttod.
Erwachet zum Sterben,
Und Sterbend erwacht.
Erwachet! Es winken
Von Walhalls Schwelle
Die erkorenen Gäste
Des Götterkönigs.
Da lebt ihr in Leibern
Aus Licht gewoben;
Da ist Kampf nur Kurzweil
Und Wunde Wollust.
Da labt das Gedenken
Erduldeter Leiden,
Da schildert ihr scherzend
Der Niblunge Not.'
Wilhelm Jordan
[In the absence of any modern English attempt to restore alliteration in its full-blooded form, there may be a certain interest here in the following piece. The chiming effect of the alliterations serves in this instance rather to embellish and lend spice to the recitative flow of the verse, not aspiring to become the ordering principle of the poem:
Naked they came, a niggling core of girls
Maggoting gaily in the curling wool
Of morning mist, and careless as the lark
That gargled overhead. They were the root
Of all that writhing air, the frothing rock
Of that grey sea in whose vacuity
Footless they stood, nor knew if it or they
Were moving now. Yet, even as they gazed,
Cave after cave of light calved out of gloom,
As on they glided through the muddling veils
Roof rose on roof, laugh laddered into laugh
Into the motionless meadow, clear as stone,
Interminably domed.
Nothing supernal here; only cow-parsley:
Any place was convenient velvet,
And everwhere was peace, pin-drizzled by
Bird-song; the bay bare lake a gong
Unbruised. Easy at the sea's edge the rocks
Breathed up and down.
The Inland hills stood still
Like hoardings to be stared at. Happy place!
And happy happy day! How giddily then
They sleeked along the sand with smoking heels.
Some frayed off with fountain-fling of arms
To play and plunge, staccatoing the water
And some more slowly followed, picking the deep flowers
Out of the fume and underdrone of bees: green-kneed
They rose and fell in waves delightedly: new sights
Consumed them; new mites and motes of smell
Held and incensed them: crumbs of booty glowed
In every foot-dent, eiderdowntrodden.
And all among them moved the moon-like cows
Grazing light tracks across the long night-grass.
But look! the Bull! indubitably bull,
Elbowing slowly through the obeisant herd,
Blazing and bellowing. His massy head,
Laden like a dahlia, dallied and swung,
And his vast eye slid to and fro as sharp
And glaucous as sea-holly, salting all
Their thoughts with suddenness. They hardly knew
What most to admire; but most his hub of power
And circumambience of gentleness
Delighted them. Arms curved and craved to stroke
His milky sides, insidiously veined
With watery blues and bloody ivyings.
But how describe him? words can only add
To lightning the thunder's redundancy.
He was most godlike and most temperate.
Slow, slow, slow, with bubble-pause and slide
He paced before Europa there, and she
As if with shivering drew her shoulders now
Shyly about her, yet she shivered still.
Never did shadow so shimmer with midges
As she with switherings. Should she go?
Or no? Body and soul see-sawed in her.
As slowly the swan comes forward, in advance
Bearing its bellying tray of effusive plumes,
Yet backward rears its head and huffs its glance
As if it fended off its offering that presumes:
Swollen with slowness and undertowed by longing
It grows on the water, close, thundery, and thronging,
Till suddenly beside us, without fuss,
Immense it blossoms like a cumulus –
So slowly rose Europa, slowly she
Opened her fan-like self and mounted him
And spread her valances.
O how his reticence reined and trounced him then,
Lifting his feet into flounces of flight
And ratchet-edges of agitation,
Chawing each gentle step. To have and to hold –
How he would love to have but feared to hold
Her who as srnooth as metal sat and smiled.
And how his silver slaverings flowed, and now
His chattering hooves danced under him like stones....
W. R. Rodgers]


text:
Accreditations and Memberships
Stride takes pride in the service we offer our clients and has undertaken accreditations through third parties that evidence our commitment to the continual growth and improvement of our service and industry knowledge.
We include below our accreditations and memberships.
Achilles UVDB
Achilles UVDB is a pre-qualification system especially for the Utilities industry. Achilles UVDB issues all suppliers with a standard pre-qualification questionnaire based on the type of services they offer, and the level of risk involved in these services. Having been successfully evaluated and validated STR has achieved fully registered and Achilles UVDB verified supplier status. This evidences to our clients that we have the appropriate processes, policies and procedures in place, removing the necessity for our client's procurement and risk teams to carry out their own assessment processes.
The STR Group is accredited with the Contractors Health and Safety Assessment Scheme (CHAS), having demonstrated compliance with and sound management of current health and safety legislation. CHAS commits to setting health and safety benchmarks that drive industries forward and make the world of work a safer place.
CIRAS is a Confidential Incident Reporting and Analysis Service, offering a reporting channel for health, wellbeing or safety concerns. The STR Group is a member of CIRAS to support the confidential reporting of both instances and areas of concern primarily for the rail industry and the provision of trackside services. This enables us to contribute to delivering safer working environments.
ISO standards ensure quality and safety in both products and services. Achieving and maintaining ISO 9001:2015 certification ensures that we can demonstrate our ability to consistently provide a service that meets customer and regulatory requirements, and that the Group has appropriate processes in place to enhance customer satisfaction through the effective application of the system.
The STR Group is an approved corporate member of the Recruitment & Employment Confederation having satisfied the REC membership criteria and committed to its Code of Professional Practice. The REC drives up standards in the industry and strives to ensure that every candidate is given the best chance of success through good recruitment.
For further information about any of our accreditations, or to talk to a consultant about a position, please contact Stride today.Contact us


text:
mental health / a personal perspective
Hello! In this post I'm sharing some personal stuff. I'd like to preface this by saying yes, thank you, I'm fine, I'm actually doing really well. I hope you are, too! There are some resources here that include actual expert advice and helplines.
For the last 15-20 years I've had pretty terrible mental health. I am doing well, because I have spent a lot of time discovering how to manage my health, and I've been fortunate enough to be able to adjust the rest of my life to accommodate this.
I think we don't talk about mental health enough - at work, with friends, with family, and in general. Talking about it can be really helpful in dispelling stigma. I also think we need to acknowledge that mental health doesn't start and end at "feeling a bit down". It's something we have a collective responsibility to understand, acknowledge, and make space for in society.
Each of us has a part to play in supporting others with their mental wellbeing; and companies specifically have a duty of care. We see a lot of burnout in startups and I think this is often dismissed as "not being able to hack it" rather than an acceptance of a really real health risk of working in these types of environments. As more of us are moving to intentional remote work, this risk increases and we need to mitigate it.
I'm sharing my own personal experiences & perspective with the hope that it either makes you feel less alone, or helps you understand what people with mental health conditions in your life might appreciate from you. I'm absolutely not a doctor or mental health professional - there are some resources here that include actual expert advice and helplines.
My messed-up brain
Content warnings: depression, anxiety, food.
I have clinical depression. When it hits, I cannot get out of bed. I physically cannot lift my limbs. My whole body is utterly drained and physically exhausted. If I'm lucky, on a bad depressive day, I manage to sit in front of TV or play a simple game on my phone or listen to music. Often reading, showering, making food and speaking in complete sentences are out of the question.
I have a panic disorder. This means that I have panic attacks from time to time - more often than I'd like. Once, while still hyperventilating in the office bathroom after the second panic attack that morning, I googled "how many panic attacks a day is normal". Hint: the answer is not "several".
I also have generalised anxiety. On a good day, I worry a lot and am generally uneasy and have a tendency to catastrophise. On a bad day this means that I don't have the capacity to make any decisions. I don't eat because I can't decide what to eat, or where to take the first bite of a sandwich, and it's all too stressful.
So it's fair to say that my mental health is not good.
It was really only a couple of years ago that I first registered that maybe it was an actual health issue rather than just me having a bad personality and being a bit shit at life. In hindsight, there were lots of other opportunities to have done this:
- in my second year of university and my then-girlfriend yelled at me for flaking on a date again because I wouldn't get dressed or make any decisions about where to go (depression + anxiety)
- during my masters' degree, I spent ~2 months on a totally impractical schedule because I was too worried to go to sleep so would stay up till 4am, then be too tired to get out of bed the next day (anxiety + depression)
- I cried a lot and had a couple of panic attacks in the first several months of my son's life, because I was so terrible at being a parent (post-natal depression)
- I quit two jobs because I couldn't cope anymore (panic disorder + depression + burnout + stress)
With hindsight, I definitely could have identified this and started managing my mental health at least ten years before I did.
Managing my health
A handful of times I've spoken to a health professional or other well-meaning grown-up about my mental health and I've been told that I should exercise or cut caffeine out of my day or try meditation.
This is very sweet and well-meaning, but it is absolutely nothing like sufficient for many of us who have quite serious mental health conditions. So for me this feels like telling someone with a broken leg that they should exercise and eat more vegetables to get better. Like, sure it's a great idea for maintaining good health, but it is absolutely not taking the specific problems seriously enough and will not solve them.
For me, managing my mental health is a multi-pronged approach. There are elements that I do, and elements others support me.
Medication: I take anti-anxiety medication every day. I'm really fortunate that this stabilises my brain chemistry. I'm also really lucky that the first one I tried has worked really well for me. I still feel joy and sadness and the ability to worry when it's useful. My doctor had to talk me into trying this because I had treated it as a last-ditch resort, when actually it's been genuinely life-changing for me for the last 3+ years.
Therapy: every Friday lunchtime for a year and a half, I met up with my therapist in a local park. We went for a long walk and talked. This was revelatory for me. It changed the expectations that I put on myself, gave me a lot of perspective, and shifted my mindset so that I no longer thought of my mental illnesses as a personal defect or what I deserved for just being a bit shit. I no longer see him weekly but I have his number in my phone for when I next need him, and I've used one-off therapy sessions from time to time.
People: I have a really great support network that I've hauled together. My family, friends and colleagues pretty much get that I have these mental health conditions and am not always at my best, and they are considerate and supportive and patient.
Exercise & diet & meditation are cool too, but doing all of those didn't come close to moving the needle for me. I don't dispute that they're all bad - like, exercise and eating well are pretty important to staying alive - but proper treatment makes the real difference for my mental health.
A strong support network
My partner, child, family, friends & colleagues all play crucial roles in my support network. Even if they aren't aware of it.
I haven't ever talked to my parents about the actual state of my mental health but actually they have been super helpful even without us ever explicitly talking about it. We haven't talked about it because, for some reason, for most of my teens and 20s I had concluded that my mum believed that if you had bad mental health you should just pull yourself together and get on with it? I don't know why I came to that conclusion. Hi mum & dad 👋 sorry!!
They use health-oriented language. If I take a day off work because I cannot get out of bed, it is a sick day. I am unwell. My partner tells our child that I'm not well. My child knows that my brain's not working properly so I need cuddles and space.
They don't minimise. They take me seriously. They understand that this is not 'just feeling down' or 'being a bit stressed'. My company doesn't have a policy where 'duvet days' are for hangovers and mental health - sick days are explicitly for mental and physical health.
They don't use ableist language. They don't call stuff 'crazy' or 'insane' or 'nuts' around me because they know that using this kind of language is harmful and dehumanising.
They forgive when I can't do something. They don't get annoyed because I flake on plans. They don't take it personally or judge me when I can't reply to a WhatsApp message for a few days. When I reach out to chat after months of silence, we pick back up where we were before. When I don't do any laundry for three months, they pick up the slack and don't complain or criticise.
They listen and ask questions about how they can help. If I'm overwhelmed with anxiety, my boss knows that the useful thing to do is help me descope; my colleague knows that I can't put on my super-cheerful face so she'll be hosting our company all-hands; my team offer really specific help which makes it harder to say no to their help and less stressful to hand things off to them. My family know how to shape our time together to accommodate my health and to make me feel the best I can.
They take feedback from me on what is and is not helpful. My take is that nobody should ever send a slack message that says "do you have 10 mins today?" without any context, especially not to people with anxiety - and so we don't.
We factor it in to our plans. Depressed? Instead of meeting up we'll chat by phone - or we'll hang out in the same space doing something separate. Too anxious to sit still? We'll go for a walk. Struggling to focus? We'll split work between us to accommodate that best. Really low executive function? They'll make all the decisions and I'll just show up.
Work accommodations: my company offers useful resources like Spill so I can just book a one-off therapy appointment when I want one; they're explicit that sick days are for physical and mental health.
Special mention here for the friend who found long-drop earrings that say ANXIETY in crystals and immediately sent me a link 💗
And onwards
All of this stuff - managing my health and having a great support network - have made it so that I've been able to function basically how I want to. I have a career I like, I have some friends, I have a great family, and I have a brain that doesn't work the way I want it to by itself. It takes work, from me and from others, and it's a continual journey.
For my mentally ill readers, I hope this has given you some sense of solidarity, that you're not alone in living life like me. For those of you who have really great mental health right now, I hope this has helped you build some degree of empathy and some ideas for how you can support the people in your life.
Linking again to these resources that include actual expert advice, helplines.
Go forth and take mental health as seriously as you should.
Recommended posts:
play / finding work-life balance
Hustle culture doesn't belong in our free time. Let's play more.
acceptable transgressions / body hair & your greatest weakness
We perform vulnerability & boldness for social acceptability; instead let's introspect to learn and grow.


text:
Ethical infractions are rooted in the intricacies of human psychology rather than integrity. We are wired far more strongly for unethical behavior than for integrity.
Max Bazerman and Ann Tebrusnel's book: Blind Spots covers the ways in which we overestimate our ability to behave ethically.
Briefly, here are some of our takeaways.
- We engage in behavioral forecasting errors. We believe we will behave a certain way in a certain situation. Yet, when actually faced with that situation we behave differently.
- When we behave in unethical ways, we are experts at deflecting blame and rationalizing our behavior. For instance, a used car salesman may view selling a car that leaks oil as perfectly ethical because the buyer failed to ask. (bias from self-interest).
- People often judge the ethicality of actions based on the outcome (outcome bias). We tend to be far more concerned with and show more sympathy when the actions taken affect "identifiable victims".
- We may experience motivated blindness when we have an incentive to overlook the consequences of an action. (when one party has an interest in overlooking the unethical behavior of another party)
- People who are mentally overloaded are more likely to cheat on a task than those who are not. Why? Because it takes cognitive effort to skip the temptation to cheat. Our brains are designed to make quick decisions. This means they can fail to consider outside influences, such as ethical concerns. We're also more willing to cheat to avoid a loss than for gain.
- When making snap decisions, we are especially prone to unconscious bias. The less time we have to think, the more we default to in-group preferences along racial lines.
- Research shows that most people view their own input into a group, their division's input to the overall organization, and their firm's contributions to a strategic alliance to be more important and substantial than reality can sustain. Over-claiming this credit is, at least partly rooted in our bounded ethicality. That is, we exclude important and relevant information from our decisions by placing arbitrary and functional bounds around our definition of a problem (normally in a self-serving manner). This is part of the reason we fail to see eye to eye in disagreements — we pay attention to different data.
- The difference in the way information is processed is often not intentional. Confirmation bias helps our minds absorb information that is in agreement with our beliefs and discount information that may contradict our thoughts. (We can't remember our previous intentions either; How Our Brains Make Memories).
- Egocentrism is dangerous when playing a Tragedy of the Commons game (Social Dilemma) such as the one we're currently playing with debt and the environment as it encourages us to over claim resources.
- In the end the kindergarten rule of fairness applies: one person cuts the cookie and the other has first pick on which half to eat.
- In social dilemmas the easiest strategy is to defect.
- A whole host of societal problems result from our tendency to use an extremely high discount rate regarding the future. One result is that we save far too little for retirement. Over-discounting the future can be immoral too as it robs future generations of opportunities and resources.
- Compliance programs often include sanctioning systems that attempt to discourage unethical behavior, typically though punishment. Yet these programs often have the reverse effect, encouraging the behavior they are supposed to discourage. Why? In short because it removes the ethical consideration and makes it a business decision. (The number of late pick ups at daycares increase when there is a fine.)
- When your informal culture doesn't line up with your formal culture you have blind spots and employees will follow the informal culture.
- Of course, we're overconfident so informing us about our blind spots doesn't seem to help us make better choices. We tend to believe that while others may fall prey to psychological biases, we don't. Left to our own devices we dramatically understate the degree to which our own behavior is affected by incentives and situational factors.
Still curious? Check out Blind Spots. This book will help you see how your biases lead to your own immoral actions. And if you're still curious try: Bounded Ethicality: The Perils of Loss Framing.


text:
The best advice for practices struggling with patient collections is to have a plan, make sure everyone knows the plan, and then follow the plan.
What do you get when you increase your number of lower-income patients with high-copay and high-deductible insurance plans? You guessed it: cash flow problems.
For all of the (justifiable) complaints about the payment practices of certain insurance companies, it's well known that the least reliable payers are usually the patients. Conditioned to see healthcare as a right, many people believe physicians are obligated to provide them with free healthcare. Others truly have a difficult time paying what they owe. Still others tend to "forget" to bring their copays, deductibles, and unpaid balances to their appointments - every single time.
When patients are juggling their bills, the doctor's bill always seems to end up at the bottom of the pile. Why? Because people have already received the service, they don't expect you to deny them future service, and many practices have proven to be woefully inept at patient collections.
Indeed, collecting payments from patients has always been the biggest headache in private practice. And that headache has continued to get bigger as more patients have lost their health insurance during the recent economic downturn or been shunted into high-deductible plans that put more of the collection burden on you. And there's more bad news: That headache is about to become a migraine.
With its various insurance exchanges and mandates, the Affordable Care Act will create millions of newly covered patients beginning in January. Many will be covered by the least-expensive plans allowed by the law, which come with higher deductibles and copays.
So what can you do? The best advice is to have a plan, make sure everyone (employees and patients) knows the plan, and then follow the plan.
In particular:
1. Make the most of your collection opportunities. You have three specific opportunities to get paid or ensure future payment: When a patient calls to make an appointment, when he arrives for the appointment, and just before he leaves. Once a patient leaves your office without paying, your chances of getting paid decline dramatically.
2. Be clear with your patients. A patient who is about to undergo an expensive nonemergency procedure for which insurance won't fully pay needs to have a conversation with a financial counselor first. The same thing goes for the patient who's embarking on a long treatment protocol for a chronic illness. The counselor - who could be someone in your billing office who is specially trained for this role or the billing manager - should provide a rough estimate of the costs, the patient's probable financial responsibility, and her options for payment.
3. Train your staff correctly. Your front-desk staff should have a script so they know exactly what to say to patients about payment. For example, too many staffers ask, "Would you like to make a payment today, Mrs. Johnson?" What they should ask is, "How would you like to pay your balance today, Mrs. Johnson?"
4. Accept all forms of payment. If you resent the processing fees charged by credit card companies, then compare that minimal expense to the cost of spending weeks and months chasing down patients or not getting paid at all. Take plastic.
5. Don't send a patient more than three collections letters. Make sure the second letter advises that his payment is overdue and there's a risk of being sent to collections. The third letter should be stamped FINAL NOTICE and inform the patient that his account is being sent to collections. If he still doesn't pay - send him to collections.
Finally, many practices wonder if it's okay to drop a patient due to nonpayment. Generally, the answer is yes. But be careful: dropping a patient is subject to the laws of patient abandonment, which vary by state, and doing so could increase your chances of being sued - even frivolously - for malpractice. Make sure you know how to discharge a patient correctly.


text:
Tender, juicy, and packed with protein, Jerky CBD dog treats are chock full of real meat flavor and ingredients designed to satisfy your pets natural pallet. They're the perfect reward for your furry friend. CBD dog treats are designed for both large and small pets, and may be able to help aid in providing a sense of calm and support for your animal's overall health and wellness. All of our pet treats contain non-toxic CBD oil for dogs!
Delta Life's CBD dog treats are edibles, meaning they can be fed directly to your pets as a means of ingesting CBD. We recommend giving your pet 1-3 treats a day depending on their weight.
CBD Content: 200mg per Container
Hemp Extract, Beef, Wheat Flour, Soy Flour, Gelatinized Corn Flour, Corn Syrup, Glycerin (Derived From Vegetable Oil), Vital Wheat Gluten, Chicken Fat (Preserved With Mixed Tocopherols), Gelatin, Phosphoric Acid, Salt, Calcium Propionate (A Preservative), Potassium Sorbate (A Preservative), Natural Smoke Flavor, Caramel.
Keep out of reach of children. This item can be a choking hazard. Consult your veterinarian if you have any medical concerns. Do not give this product to your pet if they are allergic to hemp, CBD or related products. Product & statement has not been evaluated by the Food & Drug Administration. Store this item in a cool and dry environment.


text:
New Investments
Since passage of the new tax law, some corporations have given it at least partial credit for U.S. investments they plan to make over the next several years. But there's reason to suspect that many of these investments represent business as usual and are unrelated to the tax cuts. ATF's review of several of the largest "investments," such as by Apple, Comcast and ExxonMobil, which are worth $435 billion combined, reveals that little if any of the investments are new, but instead a continuation of existing trends.
Much of the actual new investment that companies are planning is due to the current economic conditions rather than the new tax law. A recent survey of corporate executives found that only about one-third of companies are planning on increasing their capital expenditures this year. Among those that are planning increases, less than 20% said that the plans were due to the tax cuts (14.4% for manufacturers and 18.6% for non-manufacturers).
The spreadsheet includes corporations that have announced "new" investment plans since the law's final passage on December 20, 2017.
If the spreadsheet does not load, please try and refresh your page.


text:
Bobbi Brown Touch Up Brush
This brush is ideal for touching up foundation and covering hard-to-reach areas around the nose and mouth. It can also be used with eye shadow.
A must-have tool for those looking for a brush with small, firm bristles perfectly designed to fit around the eyes, nose and mouth. This brush provides additional coverage where there's redness and can also be used to apply eye shadow.
When using the brush for foundation touch-ups, apply to areas around nose and mouth (or wherever you need extra coverage). Or use to apply eye shadow all over the lid. Be sure to clean brush between uses.
All orders are shipped by Singapore Post (Tracked Service). Tracking number will be provided. Please allow up to 2 working days for tracking info to come live.
International Shipping: 5-9 working days
Domestic Shipping: 2-3 working days
We accept 30-day returns. Only unused product can be returned.
Buyers need to send the item back using a trackable service.


text:
850-837-9551 | www.backdown2.com
210 US-98, Destin, FL 32541
Fast and fully air conditioned the BD2 features a luxury interior and accommodations. Great features for overnight tuna and marlin charter fishing trips or just fishing with family and friends nearshore. We have a variety of deep sea fishing charters in Destin, Florida available with every type of fishing from Long range multi day overnight charters , big game fishing for marlin and tuna to near-shore day fishing trips.


text:
Purpose: Criminal victimization produces enormous personal and societal costs, yet few investigations have systematically examined substance use and psychiatric disorders of crime victims. Our objectives were to (i) examine the prevalence and patterns of criminal victimization in the United States and (ii) their associations with specific substance use disorders, prevalent psychiatric conditions, and violent and nonviolent antisocial behaviors in controlled multivariate analyses. Methods: Data were derived from the National Epidemiologic Survey on Alcohol and Related Conditions, a nationally representative sample of US residents 18 years of age and older (N = 43,093). Interviews conducted between 2001 and 2002 included measures of past-year criminal victimization and Diagnostic and Statistical Manual of Mental Disorders, IV mood, anxiety, substance use, and personality disorders. Results: More than 1-in-25 adults in the United States (4.1%) reported past-year criminal victimization. Respondents who reported lower levels of income, lived in urban areas, and were separated or divorced were at significantly heightened risk for criminal victimization. Persons reporting various forms of violent and nonviolent antisocial behavior also were more likely to be victims of crime. In controlled multivariate analyses, crime victims evidenced significantly increased rates of alcohol, cocaine, and opioid use disorders. Paranoid personality disorder, major depressive disorder, and a family history of antisocial behavior were also significantly associated with past-year criminal victimization. Conclusions: Criminal victimization is prevalent in the United States and associated with significant psychiatric comorbidities and behavioral dysfunction. Poor, unmarried persons living in urban areas who have family histories of antisocial conduct and personal histories of specific substance use and psychiatric disorders are at substantially elevated risk for criminal victimization.
|Original language
|Pages (from-to)
|Number of pages
|Annals of Epidemiology
|Issue number
|Publication status
|Published - 2010 Apr
All Science Journal Classification (ASJC) codes
- Epidemiology


text: MULE TANK PHOTO GALLERY. About 2 miles from the Mule Mountain Intaglios is Mule Tank Petroglyphs.The tank appears to be a full time water source. Click on the first thumbnail to see larger image. Use controls at bottom of each large image to start slide show or go through manually or with arrow keys.


text:
The Grammy Award-winning singer-songwriter took to his Instagram account early Sunday morning, to reveal some news. Apparently The Dream is already working on his new EP. According to the photos of what appears to be the artwork the title is Royalty: The Prequel. The artwork also included a track listing which included titles like "Pimp C Lives," "OutKast," "Wedding Bells," and "Lake Michigan."Are you fans excited? Check out the pictures of the artwork posted to his IG account in the gallery.
via Miss Info
Julissa Bartholomew |Instagram: @TheTrophylife


text: With your own little golden cupid ready to shoot his arrow, get ready to leave them lovestruck. The studs are made from 925 sterling silver and paired with a gold-plated hoop and opal heart. All pieces arrive safely secured in a Phoebe Lune jewellery box. All packaging is FSC® certified eco-friendly. Handmade by Phoebe Lune.


text:
This Sapphire Sherpa Interlock Zipped hoodie will make you feel a million dollars. The scripted hoodie will give you a feeling of confidence. The vibe will make this style the perfect outfit all year. Once you start wearing it, you'll find it's an invaluable part of your wardrobe.
Color: Heather Grey Black
60% Cotton 40% Polyester
Made in India
Machine wash cold with like colors only non-chlorine bleach when needed tumble dry low remove promptly warm iron if needed do not iron of decoration.


text:
Read or write a review
Champion Professional Neoprene Thumb Splint - 15015-LG
C$29.99 Excl. tax In stock
© Copyright 2023 Dexton Medical @ PricePro
Due to high volume of orders and various COVID-19 restrictions, the standard delivery time is 7-12 business days and some items may temporarily be on backorder. We will expedite orders as soon as items become available.


text:
- Get link
- Other Apps
December garden
- Get link
- Other Apps
Yes, I can see December and the coming of winter in your garden. Beautiful photos! I loved the one with the bird in the fountain. A robin flew to one of our birdbaths the other day and posed for the longest time, waiting for me to take its picture. Arrrg! One of the few times I was outside, without my camera!ReplyDelete
Beautiful, Phillip. When I look outside at my garden I see snow coming down.ReplyDelete
Really nice pictures. Pretty. That's something I always forget this time of year because I'm a warm weather person.ReplyDelete
I had a pot of that bamboo the past couple of years. It was outgrowing it's pot. I stuck it into the ground under a tree where not much will grow. If it grows fine. I think I can keep it in check. If not...maybe I am thinking foolishly. Love seeing your garden in late fall. You still have lots of green.ReplyDelete
It still looks so nice... Love the sense of late-fall melancholy.ReplyDelete
I can feel the crisp air meanwhile we are hot here..the kitten will soon be looking for a warm fireplaceReplyDelete
Really enjoyed the richness of your imagery particularly the arbor framed by the purple walls, Phillip, will certainly be back.ReplyDelete
Your garden looks so wonderful and peaceful at this time of year...love it!ReplyDelete
I'm envious of your Armand clematis. The Arboretum at NCSU had one and it was wonderful in bloom. Loved the fragrance.ReplyDelete
Pictures worthy of a magazine, Phillip@!ReplyDelete
December looks great in your garden!ReplyDelete
Beautiful structure to your winter garden. Love the close-up shot of the bark and climber (what is it?).ReplyDelete
If you ever need someone to babysit your sweet cat? I volunteer.
Phillip you said you wanted to find swamp rose. I got mine from Antique Roses Emporium. I don't think this particular rose is a species rose, but some sort of hybrid of unknown ancestry. Whatever it is it's a really nice tough rose.ReplyDelete
Hi Phillip, your garden looks sooo... lovely even in winter. Job well done! I think it is one of the most difficult things to achieve in a garden to have it looking good year round. You certainly excelled in that! I love the blue painted wall. It has an amazing effect. Of course, I have to ask what is the name of the rose in the first photo. It looks like a Tea Rose to me. Wishing you a nice rest of the weekend!ReplyDelete
Phillip, Your garden is beautiful and I am loving your photos! You have a marvelous eye for detail and composition. gailReplyDelete
Chavliness, that is a creeping euonymus and I don't know the exact variety.ReplyDelete
Christina, the rose is Mrs. B.R. Cant.
Popular Posts
I'm worried about the Cryptomeria
- Get link
- Other Apps
Transplanting a Fatsia
- Get link
- Other Apps


text:
Refine your search
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z All
Chhaya, Rupal
- Securitization of Intellectual Property: Legal Recourse in India
Abstract Views :57 |
Ahmar Afaq 1, Rupal Chhaya 2
1 Symbiosis Law School, Nagpur, Symbiosis International (Deemed University) Pune, Maharashtra,, IN
2 Symbiosis Law School, Hyderabad, Symbiosis International (Deemed University) Pune, Maharashtra,, IN
1 Symbiosis Law School, Nagpur, Symbiosis International (Deemed University) Pune, Maharashtra,, IN
2 Symbiosis Law School, Hyderabad, Symbiosis International (Deemed University) Pune, Maharashtra,, IN
SourceJournal of Intellectual Property Rights, Vol 27, No 2 (2022), Pagination: 91-99
AbstractCapital has been a major cause of concern amongst entrepreneurs across the globe. Not everyone enters the professional setting with a bag full of money, neither did the Ambani's nor did the TATA group. It was not just investments into fruitbearing funds but also loans that have made them superpowers in the market, today. A loan requires one to offer collateral against the principal amount, this collateral is often referred to as security in common parlance. We most often offer tangible assets such as gold, land, car, etc. as security, however, can an intangible asset such as intellectual property also be offered as bank security? This question is dealt with at length by the authors while discussing the legal discourse in India and other developed countries.The authors have collected insights from theearlier cases where intellectual property was offered as security (more specifically as collateral) and analyzed its legal implications in the long run.
Full Text
- Revisiting the Investment Opportunities in Intellectual Property
Abstract Views :81 | PDF Views:30
Asna Ahmed 1, Ahmar Afaq 2, Rupal Chhaya 3
1 Villa College, Ruhkendiya Hingun, Male, North Central Province,, MV
2 Symbiosis Law School, Nagpur, Symbiosis International (Deemed UniversityPune) – 440 008,, IN
3 Symbiosis Law School, Hyderabad, Symbiosis International (Deemed UniversityPune) – 500 026,, IN
1 Villa College, Ruhkendiya Hingun, Male, North Central Province,, MV
2 Symbiosis Law School, Nagpur, Symbiosis International (Deemed UniversityPune) – 440 008,, IN
3 Symbiosis Law School, Hyderabad, Symbiosis International (Deemed UniversityPune) – 500 026,, IN
SourceJournal of Intellectual Property Rights, Vol 27, No 5 (2022), Pagination: 317-324
AbstractThe present study shall assess the various modes and kinds of investments in the recent past and how the investment in intangibles has witnessed growth in the recent decade. This doctrinal study found that Intellectual Property Rights (IPR) as an investment has been in use since the late 1900s in various international agreements, apart from the traditional methods of investment in IPR such as, licensing, assignment, and securitization. Though, some countries do not have legislations to deal with the traditional methods of investment, International Investment Agreements (IIAs) have been a driving force for the investments in IPR. Since the advent of such an agreement, countries have always mentioned IP protection as an essential clause. However, the differing laws of the countries paved the way for varied definitions and kinds of IP protection. It has been found from the existing literature that at the present, most IIAs have emphasized investor protection priority over IP protection which also forms an essential part of the agreement. This requires that there be adequate laws to supplement the agreements at both the domestic and international levels. The IP forming the heart of the agreement should be given priority in terms of protection coupled with adequate redressal mechanisms.
KeywordsInvestment, International Investment Agreements, License, Assignment, Franchise, Intangible Investment, International Centre for Settlement of Investment Disputes.
- Liberti L, Intellectual Property Rights in International Investment Agreements: An Overview, OECD Publishing, 2010, https://www.oecd.org/daf/inv/investment-policy/WP- 2010_1.pdf.
- Correa C, Intellectual property rights as protected investments: How open are the gates?, Journal of International Economic Law, 19 (2016) 91.
- Boie B, Protection of Intellectual Properties Rights through Bilateral Investment Treaties: Is there a TRIPSplus dimension?, Swiss National Centre for Competence in Research, 2010, https://www.wti.org/media/filer_public/.
- Upreti P N, The Role of National and International Intellectual Property Law and Policy in reconceptualising the definition of investment, International Review of Intellectual Property and Competition Law, 52 (2021) 103.
- UNCTAD, Intellectual Property Provisions in International Investment Agreements, UNCTAD/WEB/ITE/IIA/2007/1, https://unctad.org/system/files/officialdocument/ webiteiia20071_en.pdf.
- Cambridge Dictionary, https://dictionary.cambridge.org/ dictionary/english/investment (accessed on 18 October, 2021).
- Capital Market Authority, Saudi Arabia, Investment, https://cma.org.sa/en/Awareness/Publications/booklets/Bookl et_1.pdf (accessed on 18 October 2021).
- Salini Costruttori S.P.A. And Italstrade S.P.A. v Kingdom of Morocco, ICSID Case No. ARB/00/4, https:// www.italaw.com/sites/default/files/casedocuments/ ita0738.pdf.
- Philip Morris Brands Sàrl, Philip Morris Products S.A. And Abal Hermanos S.A. v Oriental Republic of Uruguay, ICSID Case no. ARB/10/7, https://www.italaw.com/sites/ default/ files/case-documents/italaw1531.pdf.
- Denisia & Ventila, Foreign Direct Investment theories: An overview of the main FDI theories, European Journal of Interdisciplinary Studies, 2(2) (2010) 104-110.
- Fisher W, Theories of Intellectual Property, https://cyber.harvard.edu/people/tfisher/iptheory.pdf (accessed on 24 February 2022).
- Pearl J, Intangible investments, tangible results, MIT Sloan Management Review, Fall 2001, https://sloanreview.mit.edu/ article/finance-intangible-investments-tangible-results/ (accessed on 18 October 2021).
- https://www.mckinsey.com/business-functions/marketingand- sales (accessed on 18 October 2021).
- Dobal S & Pande B, India Inc ranked third globally in intangible assets, https://economictimes.indiatimes.com/ news/economy/indicators (accessed on 18 October 2021).
- International Monetary Fund, Maldives: Technical Assistance Report, IMF Country Report No. 21/234 (accessed on 18 October 2021).
- Khandelwal P, India: 5 ways to protect your IP in crowd funding, https://www.mondaq.com/india/trademark/ 1097316/5-ways-to-protect-your-ip-in-crowdfunding (accessed on 18 October 2021).
- Afaq A & Chhaya R, Securitization of intellectual property: The legal recourse in India, Journal of Intellectual Property Rights, 27(2) (2022) 91.
- WIPO, Maximising Intangible Benefits from IPRs Protection to Exploitation of IPRs. Business Strategies based on Franchising and/or Merchandising: IP Issues and Franchising, https://www.wipo.int/edocs/mdocs/ sme/en/wipo_smes_rom_09/wipo_smes_rom_09_p_worksho p10_3-related1.pdf (accessed on 18 October 2021).
- Ranjan P, Bit of Bumpy Ride, https://www.thehindu.com/ opinion/op-ed/Bit-of-a-bumpy-ride/article14378406.ece (accessed on 18 October 2021).
- The Patents Act, 1970, Act No. 39 of 1970, Section11A, cl. 7, proviso (3).