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Tiresias and the Basilisk
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Revista Alicantina de Estudios Ingleses 12 (1999): 165-179
Tiresias and the Basilisk: Vision and Madness in Middleton and Rowley's The Changeling
Andrew Stott University of Westminster
ABSTRACT This essay examines the prevalent and recurring references to visin and sight that appar in Thomas Middleton and Samuel Rowley's play of 1622, The Changeling. The play, set in Alicante, is a revenge tragedy of sexual lust and violent obsession. Middleton and Rowley use the metaphors of sight, culled and adapted from the Petrarchan tradition, as a means of expressing evil, danger, and deceit, particularly when the viewing subject is female. There follows an examination of the reasons for gendering visin and expressing the visual field in this wholly negative way. Following the Protestant reformation of the 1530s, and its violent consolidation under the Somerset protectorate, England experienced a period of iconoclasm and image breaking that had significant repercussions for concepts of visin and visuality up until the Civil War. The language of The Changeling, it is argued, is symptomatic of the iconophobia and visual neuroses experienced in many reas of discourse -including poetry, theology and theology- during the English renaissance. Finally, these ideas are brought together in two figures invoked by the authors, the basilisk, the mythical creature that had the ability to kill with its gaze alone, and Tiresias, a blind prophet of profound insight.
In 1587, the residents of Warsaw recorded what seems to be the last ever sighting of a living basilisk.1 Exactly how a first-hand "sighting" of this monster could be reported after the event is not made entirely clear, as the basilisk was a deadly creature, gifted with the ability to kill with its fatal gaze alone. "Even if it looks at a man, it destroys him", wrote a twelfth-century bestiary, "At the mere sight of a basilisk, any bird which is ying past cannot get across unhurt, but, although it may be far from the creature's mouth, it gets
Revista Alicantina de Estudios Ingleses
frizzled up and is devoured".2 Yet many people from the fourteenth century onwards would have seen been able to see dead basilisks on public display and in prvate collections. Of course, these were not real monsters, but rather examples of what are now known as "Jenny Hannivers", fabricated beasts made from the dried carcass of another animal, often an adult ray.3 The forgery of mythological beasts has been as much a part of travellers tales as one-footed sciapods or reverse-knee'd antipodes; Marco Polo himself witnessed the manufacture of mermaids produced by stitching together half a monkey and half a fish." In the sixteenth century, Dutch vessels trading wifh China and the western islands of the Malay Archipelago brought back similar hybrid cadavers, such as monkfish or bishopfish, replete with piscine episcopal dress. But basilisks were the most popular of the sixteenth- and seventeenth-century Jenny Hannivers, and were produced in great numbers, especially in Northern Italy. The Jesuits college at Rome could boast one, and the Emperor Maximlian held one in his treasure house. Several are still preserved in the museums of Miln, Venice, and Verona.5 The fashion for basilisks (from the Greek for "little king") is not only represented by faux remains, but in the textual record as well. In the English drama of the period, there are many references to the basilisk's deadly ability to kill with its gaze, especially in the first half of the seventeenth century. What the basilisk comes to represent at this time is a tangible fear associated with an intangible materiality. As such, the basilisk possesses the classic attributes of implied menace - it produces a deadly effect, but its source cannot be seen. As with all our cultural embodiments of horror, the idea of the basilisk can be unpacked to display robustly non-mythical fears and concerns, especially in relation to English culture, because its means of attack was the visual field. Vision was a censored sense in the second half of the sixteenth century. Iconoclastic destruction of Catholic church imagery, and Protestantisms privileging of internalized religious meditation, meant that visual sensuality became closely associated with deceit and error. In a deeply Protestant nation, anathematized to popish imagery, the basilisk neatly conveyed many post-reformation anxieties about the status and morality of sight wifnin the sensorium. The terror of the basilisk is evoked in the dangers, traps and lures that constitute the central theme of Thomas Middleton and Samuel Rowley's most successful collaboration, the dual-plotted, revenge tragedy The Changeling (1622). While the location of the play conforms to genre, it is difficult to ignore the irony of setting a play so thematically dark and claustrophobic in Alicante, a place I most readily associate with clarity and sunlight. Similarly, the panopticonal castle of San Bernardo is for Middleton and Rowley a location of myopia and emotional weakness, rather fhan strength and vigilance. But given that the play's development clearly involves overturning commonsensical and non-reflective ideas of the importance of visin, I suppose this should come as no surprise. The Changeling reveis in an excess of lust inspired by the eyes that challenges reason with deadly consequence. Like Shakespeare's King Lear it makes extensive use of the ironies derived from a commingling of the categories of madness and lucidity, outward appearance and inner worth. There is an overt suggestionthat seeing enflames sexual desire, andtherefore, by extensin, is responsible for all crimes committed in the ame of cupidity. For this same reason, medieval scribes associated the basilisk with luxuria or lust; consequently
Tiresias and the Basilisk: The Changeling
syphilis was nicknamed "the venom of the basilisk" due to the rapidity with which it spread across the continent in the late sixteenth-century. t is the aim of this essay to discuss the use and mobilization of the metaphors of visin in Middleton and Rowley's famous play. I hope to demnstrate that the obsessions revealed in the language of The Changeling are symptomatic of the iconophobia and visual neuroses of the English renaissance. As it rather ambitiously takes visin as its topic, the methodology of this essay will necessarily be something of a "Jenny Hanniver" itself. Vision leaves no trace, and in the absence of a visuality of the past, the only way we can discuss the visual field of the English Renaissance is to reconstruct it from the fragments of other creatures. When discussing the ways in which visin and representation were treated in the earlymodern period, we are really discussing the history of the metaphors that are used to construct a concept of visuality.6 In The Changeling, Middleton and Rowley establish the importance of visual metaphor early in the exposition, allowing the metaphor to embark upon a narrative development whose progress and transformation follows the plot with considerable precisin. Alsemero's opening lines in the play establish the direction in which the metaphor will move: 'Twas in the temple where I first beheld her, And now again the same; what ornen yet Follows of that? None but imaginary. Why should my hopes or fate be timorous? The place is holy, so is my intent; I love her beauties to the holy purpose And that, methinks, admits comparison With man's first creation, the place blest, And is his home right back, if he achieve it. (I.i.4-9)7 For Alsemero, the visin of the beautiful Beatrice-Joanna at her devotions realizes his desire for a partner who symbolizes chastity, fidelity, and piety. His description of Beatrice-Joanna invites us to see a virtually prelapsarian tableau, in which a strong myth of ideal woman is invoked. He has witnessed his edenic "home", seeing Beatrice-Joanna prior to the Fall, as it were, before the original sin of Eve (a scene that will be ironically echoed by her own more literal fall at the hands of the Machiavellian henchman De Flores). At the opening of the play, then, Middleton and Rowley offer the visual possibility of an originary point to which Alsemero may return, a primal, Platonic scene in which he can be immersed. Alesmero sees in Beatrice-Joanna exactly what he wants to see - a woman framcd by the parameters of his desire. Middleton and Rowley were obviously aware of the literary traditions they were evoking in this scene. Indeed, they make an intertextual reference to it through the ame of their female protagonist, who shares the moniker with another literary Beatrice who has a great deal of significance for the themes of visin and danger the beloved woman of Dante's Vita Nuova (1292-4).8 The similarity between Alsemero's
first sighting of Beatrice-Joanna and Dante's of Beatrice, and the subsequent effect it has on both men, is worth noting.9 Like Alsemero, Dante admires Beatrice from afar, his infatuation engendered when he sees her passing in the street, and, like Alsemero, he also believes it to be an event peppered with profundity: Nine times already since my birth the heaven of light had circled back to almost the same point when the now glorious lady of my mindfirstappeared to my eyes. She was called Beatrice by many who could not have possibly called her by any other ame... At that point the animal spirit, the one abiding in the high chamber to which all the senses bring their perceptions, was stricken with amazement, and speaking directly to the spirits of sight, said (hese words: "Now your bliss has appeared".10 As with the opening scene of The Changeling, the sight of the beloved convinces the poet that he has witnessed his destiny, and subsequently humble visin takes on the status of a communion with supernatural forces. The major difference between the lovers Dante and Alsemero is, of course, the fact that Dante, like all the love-poets that succeeded him, never takes possession of the woman to whom he so loyally devotes his soul. It is as if an eternal postponement of bliss seis the emotions in their pristine form, while the actual consummation, the bringing together of image and body, will only serve to confirm our fallibility, frailty and ability to disappoint. The fact that Alsemero breaches the invisible line that perpetually kept Dante at arm's length, therefore, should alert us to the fact that all will not be well with this particular love-match. Dante's text was the forerunner of many similar tales of unrequited passion that appeared in Europe, most notably in the work of Petrarch, produced in Italy during the thirteenth century. Petrarch's sonnets in praise of Laura established th sonnet form, investing it with a standardized repertoire of images and sentiments aimed at expressing the pain of the forlorn lover. As it was with Dante, so it is with Petrarch, whose love for Laura is also instigated by the mere sight of her: It was the day when the sun's rays turned pal with grief for his Maker when I was taken, and I did not defend myself against it, for your lovely eyes, Lady, bound me." This passage uses a figure that was to become a standard of Petrarchan love-poetry, the idea of the lover being made a captive of his mistress.12 Middleton's use of Petrarchanism, however, owes rather less to the great man himself than the Petrarchan imitators of the 1590's. Petrarchan sonnet sequences enjoyed a great deal of popularity in Elizabethan England, between 1592 and 1597 especially, with Philip Sidney's Astrophel and Stella, Edmund Spenser's Amoretti, and Samuel Daniei's Delia all appearing at this time. In these five years, more than twenty sonnet sequences were published, while a further number circulated in manuscript form.13 Alsemero's virtual deification of Beatrice-Joanna is a familiar element of the somewhat formulaic narrative of these poems that go on to document the (unsuccessful) pursuit of a woman long adored from afar. What is common to these sequences is the constant emphasis placed upon
viewing the object of the poet's affections to the extent that they become voyeuristic, scrupulously cataloguing the beauty of the beloved's every aspect, and relentlessly detailing every furtive exchange of glances.14 Any innovations that the Elizabethans brought to the form can be characterized in the less than tender, and often dehumanizing, emotions that the poets display, as if expressing rage at their persistent failure. In this war of love, the female eye is the most feared weapon, as Spenser's Amoretti makes plain, Fayre eyes, the myrrour of my mazed hart, what wondrous vertue is contaynd in you, the which both lyfe and death forth from you dart into the object of your mighty view? For when ye mildly looke with lovely hew, then is my soule with life love inspired but when ye lowre, or looke on me askew. then doe I die, as one with lightning fyred.15 Middleton and Rowley are particularly keen on borrowing this viciousness from the embattled, garrulous, guilt-ridden and pleading aspects of the verse.16 For them, the power of seductive visuality is such that even the muderous De Flores can be converted into a Petrarchan victim: "I Uve in pain now", he says, "That shooting eye / Will burn my heart to cinders" (HI.iv.152-153).17 The anxieties present in the language of visin show us the influence that the Protestant reformation on English visual culture. After the Henrician reforms of the 15 30's and their vehement fundamentalist affirmation under Edward VI, the visual field underwent a radical re-defmition of unprecedented proportions. Iconoclasm was just one feature of an attempt by government to assert its sovereignty and antipathy towards the political power of the Pope and the military powers of Catholic Europe, especially Spain. Given the central role allocated to images of devotion by Catholicism, it is understandable that the Protestants would seek to disarm this strikingly immediate way of intimating a proximity to God. Iconoclasm censured certain mages as idolatrous, and alerted the populace to the evils implicit in ignoring a strict sense of visual chastity.18 It is interesting to note that the iconoclastic treatises of the time make an important point of interpolating the visual field with a certain amount of sexual peril by aligning popish idolatry with carnal sin. As Nicholas Ridley, Bishop of London from 1549-1553, wrote in his Treatise on the Worship of Images, As good magistrates, who intend to banish all whoredom, do drive away all naughty persons, especially out of such places as be suspected; even so images, being "Meretricies", id est, "Whores" - for that the worshipping of them is called in the prophets fornicad on and adultery - ought to be banished, and especially out of churches, which is the most suspected place, and where the spiritual fornication hath been most committed.19
Similarly, the Elizabethan Homilie against the Peril ofldolatry, first published in 1563 and reprinted numerous times well into seventeenth century, asked the rhetorical question, "Doeth not the word of GOD cali idolatrie spirituall fomication?", Doeth it not cali a gylte or painted Idole or Image, a strumpet with a painted face: Bee not the spirituall wickedness of an Idols inticing, like theflatteriesof a wanton harlot: Bee not men and women as prone to spirituall fomication (I mean Idolatrie) as to carnal fomication...20 The Homilie also states that Catholic church itself is a "foule, filthie, olde withered harlot", while reminding us that when "the nature of man is...bent on worshipping of Images...then it is bent to whoredome and adulterie in the company of harlots".21 The iconoclasts found fuel for their denunciation of the Catholic worship of images in an Od Testament that continually collates the worship of images with the sexual licentiousness and moral laxity of women. As Linda Gregerson writes, "the conjunction between lust, or uxuriousness, and the carnal misreading of signs, or idolatry, is one to which the Od Testament and Apocrypha gave repeated testimony".22 In order to counter the divine power that Catholicism imputed to its icons, Protestant theology insisted that visin was an ephemeral and beguiling sense, offering only transient signs and meaningless distractions that lead the unwary into sin: "the eye is the devil's doore" chimed John Donne.23 Vision was the sense with which women were most frequently aligned; they were rich surfaces, attracted to display, idolatry waiting to happen.24 That the association of sexually active women with visual excess continued to remain strong beyond the Edwardian years (15471553) is envinced by English Petrarchanism and by texts like Spenser's Faene Queene, in which episodes such as the destruction of the erotic spectacle of the Bower of Bliss by Guyon, the knight of Temperance, associate surplus display with moral turpitude.25 Throughout Spenser's epic, chaste, heroic, and, above all, Protestant, characters are temptedby strength-sapping sirens in sumptuous surroundings. Following Spenser's lead, Middleton himself aligned idolatry unequivocally with the wickedness of women in an early poem, The Wisdom ofSolomon Paraphrased, in which he tries to suppress its evil with his pen, 0 idol-worshipping, thou mother art, She-procreatress of a he-offence? 1 know thee now, thou bear'st a woman's part, Thou nature hast of her, she of thee sense: These are thy daughters, too, too like the mother; Black sins, I dim you all with inky smother.26 Again and again we can see that the sins of lust and idolatry cannot be divorced from the characteristics of femininity: a louche life led in a gaudy interior. But the figuration of woman as iconic lure or occularcentric harpy is only one aspect of Middleton's exploration of the politics of sight. Gendered Protestant condemnation of visin began to be challenged, indirectly and within a secular framework, by new
"scientific" visualities. As the initial shock wave of the Reformation faded, the importance of innovations such as the development of the telescope, and detailed studies of optics meant that no longer was sight to be cast off out ofhand as a sense that merely fooled the unwary smer. Philosophers such as Francis Bacon (1561-1626) were emphasizing the importance of empirical evidence when attempting to uncover the truth.27 Bacon's philosophy, like the visual celebrations of the Jacobean court masque, must have sat uneasily alongside traditional Protestant fears. Certainly, it must have been difficult to discuss visin in any privileged way without the trace of idolatry creeping in to infect the "new" categories of sight that were being established. The metaphors of sight, already overburdened with meaning, were on the move, sending the visual world into a state of further hesitancy and undecideability. This shift is partly alluded to in the title of The Changeling, with ts resonance of transformation, vacillation, and flux. The many changes of identity that occur throughout the play, whether drastic or incremental, invite us to ask exactly who "the changeling" is supposed to be. The dramatis personae ame Antonio, "the counterfeit fool", but to attribute the title to him alone is disngenuous. Antonio certainly adopts a feigned persona, but can he be said to be any more of a changeling than Beatrice-Joanna? Her gradual transformation is far more radical and chillingly demonic than his, but then, virtually every other character in the play undergoes some kind of transformation as well: Diaphanta is a substitute bride, De Flores changes from despised repule to cherished lover, Alibius changes from astigmatic fool to contte husband, madmen to assorted fauna, Tomazo from fay courtier to revenger, and Alonzo "from suitor to corpse".28 Contained within the topoi of change, undecidability, and an emphasis on the process rather than the product, there is an important questioning of the ability of sight to identify the truth amongst the flurry of mis-identifications that constitute the play. To emphasise his own particularly rapid transformation from stoic merchant to charmed lover, Alsemero aligns himself with the famously capricious changes of the wind: Alse. Even now I observ'd The temple's vane to turn ful] in my face; I know 'tis against me. Jasp. Against you? Then you know not where you are. Alse. Not well indeed. (I.i. 19-23) One of the plays main fhemes, then, is movement and metamorphosis, mutating from one subject position to another. In the mad and murderous world of Alicante, an individual is able to occupy more than one subject position at a time. Identity becomes a malleable concept, in a state of suspended uncertainty, not fixed and focused like the Alsemero Jasperino knows of od. Of course, The Changeling is not unusual is seeking to reveal the distance between appearence and reality. One might arge that, alongside sex and deafh, one of the principal fhemes of English drama 1580-1643 consists of warnings against what we might cali
"occular literalism". Various narratives from the sixteenth- and seventeenth-century stage that feature "impenetrable" theatrical disguises, for example, rely upon a certain unstated cultural belief that, in its natural state, the eye is the organ of the ignorant. The literal unmasking of a disguised character, such as the Duke in Shakespeare's Measure for Measure, is usually accompanied by the metaphorical unmasking of another, such as Angelo in the same play. In this case, the one who wears the disguise can "see" with the eyes of wisdom, whereas the one who is fooled can only see the surface and not the inner motivation of characters. Such narrative devices have the effect of producing a meritocracy of seeing, in which morally unimpeachable characters will be granted the ability to unveil or unmask the hidden meanings of their corrupt colleagues. In Measure for Measure, the serial mis-recognitions and inability to pentrate disguises that characterises Angelo's despotic career (like Alsemero, he is also duped by a changeling in his bed), are a reflection of his moral and intellectual myopia.29 Similarly, Isabella's discovery of Tony's disguise is akin to her metaphorically moral stripping of the sexual motivations that lie behind the dutiful exteriors of her aspirant lovers. That the abyss between the concepts of sensory and intellectual perception seems to be bridgeable only by an astute, morally unimpeachable, few is made all the more acute by the fact that for one brief, yet tantalising, moment at the opening of The Changeling, we are given the illusion that seeing and interpretation exist in complete accord: the mirage of Beatrice-Joanna that convinces Alsemero he has found his God-intended "home". Typically, Middleton and Rowley will not allow this idea to remain static. Far from comprising a return and rest, Alsemero's desire for Beatrice-Ioanna instigates a frenzy of activity that offends the passage of matrimonial law by provoking adultery and murder. After his brave, if sudden, proclamation of love, Beatrice-Joanna is quick to query the premise through which Alsemero defines his love. Instead of sharing his versin of events, she interrgales his interpretation of the scene, and questions his propriety: Be better advis'd sir. Our eyes are sentinels unto our judgements And should give certain judgement what they see, But they are rash sometimes and tell us wonders Of common things, which when our judgements find, They can then check the eyes and cali them blind. (I.i.68-73) It seems a very sober and mature assessment that Beatrice offers her admirer, countering the hyperbole of his opening speech with the juxtaposition of "wonders" and "common things". Beatrice is also mindful of the superiority of the intellect over visin, a "sentinel", an underling who serves an incumbent and much less excitable master, judgement. Notice how the language at this point keeps the jurisdiction of the eyes and of judgement firmly apart, as if insisting that they exist in some kind of feudal or highly stratified relationship to each other, one dominant, the other subordnate. Amongst other things, the hierarchy suggests that the balanced subject is able to ruminate and reflect upon the information he or she is given by the senses in a calm and measured way, distancing
themselves from the immediacy of the retina! image long enough to produce a clear and objective appraisal of the situation. Inasmuch as she uses this analogy to offer her thoughts to Alsemero, Beatrice-Joanna identifies herself with the autonomous, self-reflexive Cartesian subject, governed by reason. The feudalism of this relationship, and its commensurate suggestion of a well-balanced individual, is echoed by Alsemero at I.i.6973, but, like the fiction of harmony that he opens the play with, its use already suggests the future possibility of unrest or usurpation. By act II, for example, the established order is already in some disarray, as Beatrice-Joanna begins to realise the extent of her empathy for Alsemero, and her desire to participate in his fantasy, Methinks I lo ve now with the eyes of judgement And see the way to merit, clearly see it. A trae deserver like a diamond sparkles; In darkness you may see him, that's in absence, Which is the greatest darkness falls on love; Yet he is best discern'd then With intellectual eyesight (Il.i. 13-19) Sexual compatibility is here equated with compatible visual interpretatipns, signifying to the audience that their love is based on romantic understanding rather than political convenience. But, just as certain conventional boundaries are transgressed as their love is confirmed, the feudal economy of reason is also upset. Whereas the eyes were initially the servants of reason, now Beatrice-Joanna collapses the distinction as she convinces herself that she sees with "the eyes of judgement". Given the circumstances in which the pronouncement is made, her trumpeting of "intellectual eyesight" is oxymoronic. As visin is promoted and drawn in to the mind, the ability of conscious reason to reflect upon the validity of the Information it receives is called into question. As it begins to creep over the threshold of reason, visual desire infecs everything until reason can no longer govern the actions of its subjects. For Beatrice-Joanna, the reversal of oppositions slowly consolidares its hold on her as the play progresses, its effects being particularly noticeable in her relationship to De Flores. The extent of her confusin can be seen by reference to Robert Burton's Anatomie of Melancholy (first published 1621). In a chapter entitled "Other causes of Love Melancholy, Sight, Beauty from the Face, Eyes, other Parts, and how it Pierceth", Burton defines the way in which beauty engenders love: the most familiar and usual cause of Love, is that which comes by sight, which convayes those admirable rayes of Beauty and pleasing graces to the heart... [T]he eyes are the harbingers of love, and the first step of love is sight...they as two sluces let in the influences of that divine, powerfull, soule-ravishing, and captivating beauty, which, as one saith, is sharper than any dan or needle, wounds deeper into the heart, and opens a gap through our eyes to that lovely wound, which pierceth the soule it self... Through it love is kindled like a fire.30
Burton ends his appraisal of love by concluding that, "we contemne and abhorre generally such things as are foule and ugly to behold, accompt them filthy, but love and covet that which is faire".31 Beatrice-Joanna certainly conforms to Burton's analysis in her initial treatment of De Flores, before she has recognized Alsemero as the object of her desire. At her first sight of De Flores, she equates him with "a deadly poison" (I.i.108), saying "Such to mine eyes is that same fellow there, / The same that report speaks of the basilisk" (I.i.110-111). In this insult, Beatrice-Joanna raises the spectre of deadly visin that haunts the entire play, from Alsemero's first sighting of her, to the final consummation of her death. In Beatrice's invocation of the beast, and her subsequent fall due to the commitment with which she pursues her desires, Middleton presumes to make an equation in which the marriage of sexuality to the visual field usurps reason with deadly consequence. While Beatrice's initial disgust emphasises the distance that exists between Alsemero's beauty and De Flores' ugliness, it also serves as a mark against which we can chart the degeneration of categories in this world of deposed reason. It is an impossibility for one definition not to remain uninfected by the other, and, surely enough, the moral decline of Beatrice-Joanna is concentrated in her contravention of Burton's anatomy of love: ugliness and beauty are no longer opposites. As she says of De Flores, "How heartily he serves me! His face loathes one, / But look upon his care, who would not love him? / The east is not more beauteous than his service" (V.i.70-72). The tragic consequences of this collapse in the order of visin is played out as comedy in the sub-plot set in Alibius' madhouse. Obvious parallels can be drawn between the circumstances of the characters in these scenes and their counterparts at court. BeatriceJoanna, who accepts a petition of love, has her partner in Isabella who rejects hers, the "husbands" Alonzo and Alibius are a matching pair of dupes, Alsemero and Antonio and Fransciscus have transposed fates as suitors, while De Flores and Lollio feature as destructive and ineffectual panders respectively. The important thing about the characters of the sub-plot is the fact that they invert the consequences of the main action, but whereas the court of Alicante experiences tragedy, the population of the madhouse induces only comedy. Alibius' household serves something of a choric function, therefore, anticipating, reiterating, and reacting to the action of the main plot. If the basilisk is the defining metaphor for visin in the main plot of The Changeling, then the figure of Tiresias is its counterpart in the sub-plot. This other mythical oddity of visin is brought to light by the disguised Franciscus in an exchange with Lollio, Alibius' man: Franc. Didst thou ever hear of one Tiresias, A famous poet? Lollio. Yes, that kept tame wild-geese. Franc, That's he; I am the man. Lollio. No. Franc. Yes, but make no words on't; I was a man Seven years ago. Lollio. A Stripling, I think you might. Franc. Now I'm a woman, all feminine.
Tiresias and the Basilisk: The Changeling Lollio. I would I might see that. Franc. Juno struck me blind. Lollio. I'll ne'er believe that; for a woman they say, has an eye more than a man. (III.iii.63-75)
Tiresias is yet another anomaly of visin that populates The Changeling. A blind, male prophet transformed by Juno into a woman when he adjudicated that women found more pleasure in sex than men. In many ways, this strange compound character is just as much a cipher for the play as the basilisk, coming as he does in the middle of a scene in which Franciscus "changes" his identity several times through identification and allusion to various different mythological figures.32 While Tiresias figures as part of an entire chain of associations, he is also the unifying forc for all Franciscus' mltiple identifications as he stands for ambiguous sexual identity, oxymoronic visin, and the punishment of reason by sexual jealousy. The crossover and re-definition of boundaries that all these changes amount to are probably best summed up in the projected masque of the madmen that was to have been danced to celbrate the nuptials of Alsemero and Beatrice-Joanna. Madness has certainly entered court before madmen themselves enter it, but to have madmen dancing in celebration of a royal wedding would have completed the transition entirely, where visin equates to epistemolgica! uncertainty, while madness, the negation of rationality, is a bastin of blind lucidity: the basilisk and Tiresias.33 Middleton and Rowley stop just short of staging this spectacle, preferring instead the convencional Jacobean restoration of harmony and punishment of transgression, performed here through a series of vignettes that feature epiphanic realizations, and the recognition of trae motives that restore visual order to the correct proportions, such as Alibius' "I see all apparent, wife, and will change now" (V.iii.214). Beatrice-Joanna's fate remains sealed, however, and her appropriation of Alsemero's opening visin undergoes its final inversin. "Rehearse again / Your scene of lust", says Alsemero to her, that you may be perfect When you shall come to act it to the black audience Where howls and gnashings shall be music to you. (V.iii.115-118) In this final statement of the effects of her sight, Beatrice concludes the play in almost exact opposition to the prelapsarian visin that opened it. Again, the vista of history is laid out for the deluded spectator, but now, instead of signifying lo ve, it reveis a visin of hell and damnation. Having positioned herself throughout the play as seer rather than traditional Petrarchan seen, Beatrice is responsible for several deaths. It is she who ultimately mutates into the basilisk.
1. See Laurence A Brenier, "The Basilisk", in Mythical and Fabulous Creatures: A Source Book and Research Guide, ed. South-Malcolm (New York: Bedrick, 1981), pp.113-122, p.117. 2. T.H. White (ed. and trans.), The Book ofBeasts, being a translation from a Latn bestiary ofthe twelfth century (London: Jonathan Cape, 1954), no page numbers. 3. See E. W. Gudger, "Jenny Hannivers, Dragons and Basilisks in the Od Natural History Books and In Modera Times", The Scientific Monthly, 38 (1934): 511-523. 4. See Rudolph Wittkower, "Marvels of the East: A Study in the History of Monsters", in Allegory and the Migration ofSymbols (London: Thames and Hudson, 1987), pp.45-74. 5. Aldrovandi, being a scientist, was not taken in. He saw the fabricated beastfor what it was, a con-trick palmed off on an inquisitive public to relieve them of their money. Aldrovandi writes that, "Showmen fashion diverse-shaped figures from dried rays and foist these on the ignorant either for dragons or for basilisks. I am pleased to show here two of these [forgeries]". Quoted in Gudger, "Jenny Hannivers", p.518. 6. For a closely argued philosophical account of this process, see Jacques Derrida, "The White Mythology: Metaphor in the Text of Philosophy", in Margins of Philosophy, trans. Alan Bass (New York et. al.: Harvester Wheatsheaf, 1982), pp.207-271. For an intellectual history of theorizations of the visual field, see Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought (Berkeley: University of California Press, 1994). 7. Thomas Middleton and William Rowley, The Changeling, ed. George Walton Williams, Regents Renaissance Drama Series (Lincoln and London: University of Nebraska Press, 1966). All subsequent citations are from this edition. 8. Middleton and Rowley lifted the ames for their characters direct from the story's source, John Reynold's The Triumphs of God's Revenge (1621), which included a character named Beatrice. Perhaps this helped in some way to influence the metaphorical movements that my discussion of the play highlights, suggesting obvious parallels to the authors as they constructed their themes and leitmotifs. 9. The second half of her double-barrelled ame introduces an irony that is in keeping with the fluidity of identities that is a constant theme throughout this play. By the sixteenth-century, Joanna appears to have been one of the commonest English Christian ames for girls, and henee became associated with drabs and drudges. Jonson's Bartholomew Fair features a common gingerbread woman named "Joan Trash", while Robert Herrck's "Upon Jone and Jane" held that: JONE is a wench that's painted; Jone is a girl that's tainted; Yet Jone she goes Like one of those Whom purity has sainted. Or even, "JONE wo'd tel her haires; and well she might, / Having but seven in all; three black, foure white". Robert Herrick, Hesperides, in The Poems of Robert Herrick, ed. L.C. Martin (London: Oxford University Press, 1965), p. 229 and 195. See also Shakespeare, Love's Labour's Lost, V.ii.909-910: "A merry note, / While greasy Joan doth keel the pot." 10. Dante Aligiheri, Vita Nuova, trans. Mark Musa (Oxford: Oxford University Press, 1992, p.4.
11. Francesco Petrarca, Rime Sparse, no.3, in Petrarch's Lyric Poems: The Rime Sparse and Other Lyrics, ed. and trans. Robert M. Durling (Cambridge, Mass. and London: Harvard University Press, 1976), p.38. 12. An example of the standard English usage of this trope of Petrarchanism would be Philip Sidney's Astrophel and Stella, sonnet 29: Like some weak Lords, neighbord by mighty kings, To keepe themselves and their chiefe cities free, Do easly yeeld that all their coasts may be Ready to store their campes of needfull things; So Stella's heart, fmding what power Love brings, To keepe it selfe in life and liberty Doth willing graunt that in the frontiers he Use all, to helpe his other conquerings: And thus her heart escapes, but thus her eyes Serve him with shot, her lips his heralds arre, Her breasts his tents, legs his triumphal catre, Her flesh his food, her skin his armour brave; And I, but for because my prospect lies Upon that coast, am giv'n up for a slave. Philip Sidney, Astrophel and Stella, in Maurice Evans (ed.), Elizabethan Sonnets (London: Everyman, 1994), pp.4-57, p.14. For an analysis of the use of images of punishment and torture in Elizabethan sonnets, see Scott Wilson, "Racked on the Tyrant's Bed: the Politics of Pleasure and Pain and the Elizabethan Sonnet Sequences", Textual Practice, 3 (1989): 234-249. Other popular metaphors include imagining the mistress as a fortress or castle that cannot be taken and must be lain under siege. Vanderamo's concems about the secrets of his castle is one example. Given the assignation that immediately precedes the appeal, it is hard to ignore the sexual subtext of Beatrice-Joanna's request on Alsemero's behalf: "I find him much more desirous / to see you castle. He hath desrv'd it, sir, / If ye please to grant it" (I.i.154-156). See, for further examples, Sidney's Astrophel and Stella, sonnets 9,12,29,36,61,79, and song 2; Samuel Daniel's Delia, sonnets 42 and 51; Thomas Lodge's Phyllis, sonnets 23 and 24; Michael Drayton's Idea, sonnet 63; Spenser's Amoretti, sonnet 14; and the anonymous Zepheria, sonnet 25. For a study of the use of this and other Petrarchan metaphors in The Changeling, see Thomas L. Berger, "The Petrarchan Fortress of The Changeling", Renaissance Papers (1969): 37-46, and Robert Ormstein, The Moral Vision ofjacobean Tragedy (Madison, Wis.:, 1960), pp.179-190. 13. See Michael R. G. Spiller, The Development ofthe Sonnet: An Introduction (London and New York: Routledge, 1992). 14. For a good account of the way s in which sonneteers dealt with the female body, see Nancy I. Vickers, "Diana Described: Scattered Women and ScatteredRhyme", Criticallnquiry, 8 (1981): 165-179. 15. Edmund Spenser, Amoretti andEpithalamion, sonnet VII, in Spenser, Potical Works, ed. J. C. Smith and E. De Selincourt (Oxford and New York: Oxford University Press, 1989), pp.561584, p.563. 16. In a sonnet of 1592, Henry Constable spells out the religious danger of loving a disdainful mistress: Mine eye with all the deadlie sinnes is fraught,
Revista Alicantina de Estudios Ingleses 1. Firstproud, sith it presum'd to looke so hie: a watchman being made, stood gazing by, 2. and idle, to looke no heede till I was caught: 3. And envious, beares envi that my thought should in his absence be to her so nie: to kill my hart, mine eie let in her eie, 4. and so consent gave to a murtker wrought: 5. And covetous, it never would remoove from her faire haire, gold so doth please his sight: 6. Unchast, a baud betweene my hart and love: 7. a glutton eie, with teares drunk everie night. These sinnes procured have a Goddesse'ire: Wherefore my hart is damnd in Love's sweete fire.
Henry Constable, sonnet no. 11 from Diana. The praises ofhis Mistress in certaine sweete Sonnets by H.C., in Elizabethan Sonnets, pp.154-162. 17. Cf. lV..106-107: "Oh, were she the sol glory of the earth, / Had eyes that could shoot fire into kings' breasts". 18. Recently, historians have questioned the extent to which the iconoclasm of the 16th and early 17th centuries had upon the survival of pre-reformation art works, suggesting that "more images and church furnishings may have survived the iconoclasts of the mid-sixteenth century than didthe campaigns against images during the civil wars andrepublics of the 1640's and 1650's, and both these periods could have been said to have been less destructve than the actions of the Victorian developers of the nineteenth century". See Maurice Howard, The Tudor Image (London: TateGallery, 1995), p. 10. 19. Nicholas Ridley, Bishop of London, A Treatise on the Worship of Images, in Works of Nicholas Ridley, ed. Henry Christmas (Cambridge: Cambridge University Press, 1841), pp.81-96, p.87. 20. Quoted in Ernest B. Gilman, Iconoclasm and Poetry: Down Went Dagon (Chicago and London: University of Chicago Press, 1986), p.132. 21. Quoted in Gilman, Iconoclasm and Poetry, p.133,131. See also, Patrick Collinson, From Iconoclasm to Iconophobia: The Cultural Impact ofthe SecondReformation, The Stenton Lecture, 1985 (Reading: University of Reading Press, 1986), p.25. 22. Linda Gregerson, "Protestant Erotics: Idolatry and Interpretation in Spenser's Faene Queene", ELH 58 (1991): 1-34. On the ways in which the Edwardians andElizabethans pfundered the Od Testament to find images of kingship that paralleled their own policies, see Margaret Aston, The King's Bedpost: Reformation andIconography in a Tudor Group Portrait (Cambridge: Cambridge University Press, 1993). 23. John Donne, The Sermons ofJohn Donne, ed. George R. Potter and Evelyn M. Simpson, 10 vols. (Berkeley: University of California Press, 1953-1962), vol. 8, p.228. While there are innumerable examples of admonitory and didactic verses that seek to warn the reader about the pitfalls of coveting the quotidian, Spenser's Complaints, especially his "Visions of the Word's Vanitie", probably offer the most accessible examples. See Poetical Works, pp.469-526, esp.pp.521-522. 24. Stephen Orgel's important essay on the representation of women by boys and men on the early-modern stage contains some interesting examples of anti-theatrical Puritan condemnation of the dangers of having "women" in pnblic view. In the light of mis work on the transvesticism of the sixteenth- and seventeenth-century drama, Middleton's commensurate rendition of the
problems of viewing women takes on a further meta-theatrical dimensin of some complexity. See Stephen Orgel, "Nobody's Perfect: Or Why Did the English Stage Take Boys for Women?", The South Atlantic Quarterly, 88:1 (1989): 7-28. See also, Laura Levine, "Men in Women's Clothing: Anti-theatricality andEffeminization from 1579-1642", Criticism, XXVIII:2 (Spring 1986): 121143. 25. See Edmund Spenser, The Faerie Queene, ed. A.C. Hamilton (London and New York: Longman, 1992), Bk.II, canto xii, stanzas 69-87. 26. Thomas Middleton, The Wisdom of Solomon Paraphrased, in The Works of Thomas Middleton, ed. A.H. Bullen (London: John C. Nimmon, 1885), 8 vols., vol.8, pp.137-297, p.253. 27.1 think it is fair to say that, while Bacon may not be an empiricist in the common sense, he was certainly a forerunner of Locke. As regards idolatry, he was of his time, careful about images, although still very much persuaded of the importance of sight to the methodology of natural science. 28. See Los E. Bueler, "The Rhetoric of Change in The Changeling"', English Literary Renaissance, 14:1 (1984): 95-113, p.95. 29. Many critics have written on the role of disguise and its staging in the early-modern theatre. In relation to misrecognition and misidentification, see, for example, Barbara Freedman's essay "Reading Errantly: Misrecognition and the Uncanny in The Comedy ofErrors" in Staging the Gaze: Postmodernism, Psychoanalysis, and Shakespearean Comedy (Ithaca and London: Cornell University Press, 1991), pp.78-113. 30. Robert Burton, The Anatomie of Melancholy, ed. Faulkner, Kiessling, and Blair, 3 vols. (Oxford: Clarendon, 1994, vol.3, p.66. 31. Burton, Anatomie, p.66. 32. See Beuler, "The Rhetoric of Change in The Changeling", p.106. Beuler draws attention to the fact that Franciscus' shifting language here conforms to the rhetorical figure known as "antonomasia" as it is defined by George Puttenham in his Arte of English Poesie (1589). This text also defines the Greek figure of disorder, hypallage, a kind of substitution of words that remain grammatlcal but produce nonsense in their given context, with the word "changeling". 33. Perhaps the avoidance of the marriage masque represents a delibrate attempt by Middleton to evoke a corrupt nuptial ceremony that he wrote for the court of James I, The Masque ofCupid, performed on January 4th 1613/14, in celebration of the scandalous marriage of the Earl of Somerset to Francs Howard, a woman accused of adultery and imprisoned for murder. Many critics have seen a drect reference to the contemporary events featuring Francs Howard and the action of The Changeling. Howard was accused of using the services of an occultist physician in order to dose her first husband with anaphrodisiacs in order to nullify his sexual appetite. She then had to persuade a court that her first marriage should be declared void because it had not been consummated. In order to do this, she had to be examined by a team of female jurors. As she had been commiting adultery on a regular basis with the Earl of Somerset, she feared the conclusions they would draw and apparently sent a cousin to the examination with a veil on her head as, it was said, a concession to modesty. The parallels between this virginity test, and the substitution of Diaphanta are clear to see in this case, and Middleton and Rowley may be exploiting the fact that Howard was released from the Tower sometime between 1621 and 1622, which coincides with the most likely dates for this plays composition. See also Middleton's play The Witch, as well as J.L. Simmons, "Diabolical Realism in Middleton and Rowley's The Changeling", Renaissance Drama, n.s. 10 (1980): 135-170, esp. pp.153-162; and David Lindley, The Triis of Francs Howard: Fact and Fiction at the Court ofKing James (London: Routledge, 1993).
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text:
Q: Why does songName[i]!= null evaluates to T when it should be F I need to split the given array and print the string w/o WUB. Below should print "ABC" but instead prints ",,ABC". To be able to print ",,ABC" it needs to satisfy condition songName[i]!= null which should return F for those cases. Still new to Java and programming at all
import java.util.Arrays;

class Main {
  public static void main(String[] args) {

    String SongDecoder = "";
    String song = "WUBWUBABCWUB";
    String[] songName = song.split("WUB");
    int cnt=0;

    for (int i = 0; i < songName.length; i++){
      if (songName[i]!= null){
        if(cnt == 0){
          SongDecoder = songName[i];
          cnt+=1;
        } else {
        SongDecoder = SongDecoder+","+songName[i];
        }
      }
    }

System.out.println(SongDecoder);
System.out.println(Arrays.toString(songName));
  }
}

A: split() returns empty Strings when there are no characters between two separators, not null.
Therefore, you should check for empty Strings in addition to your null check:
if (songName[i]!= null && !songName[i].isEmpty())

Or, actually, in this case, it would be enough to check that the String is not empty (since it can't be null):
if (!songName[i].isEmpty())

redpajama_set_name: RedPajamaStackExchange


text:
Robert Benedic »Ben« Browder, ameriški filmski in televizijski igralec, * 11. december 1962.

Ben Browder je najbolj poznan po glavni vlogi bv znanstveno fantastični seriji Farscape in kasneje v Stargate SG-1.

Filmografija

Glavni igralec

Stranske in gostujoče vloge

Scenarist

Zunanje povezave

 BenBrowder.net
 Karlsweb Farscape e-Zine
 Ben Browder-Online
 Ben-Browder.com
 Portal Bena Browderja
 Britangieva spletna stran Bena Browderja

Živeči ljudje
Ameriški filmski igralci
Ameriški televizijski igralci

redpajama_set_name: RedPajamaWikipedia


text:
The Rosenbergs Were Blamed for Starting a War. It Wasn't True.
tags: Rosenberg case
by Lori Clune
Lori Clune is Associate Professor of History at California State University, Fresno and author of Executing the Rosenbergs: Death and Diplomacy in a Cold War World, which analyzes the widespread global protest movement the Rosenberg case provoked, just released from Oxford University Press.
Sixty-five years ago this week – on April 4, 1951 – Judge Kaufman settled into his courtroom chair, turned to Julius and Ethel Rosenberg and sentenced them to death. They were traitors, he explained, guilty of "putting into the hands of the Russians the A-bomb years before our best scientists predicted Russia would perfect the bomb." And by empowering the Soviets they had caused Communist aggression in Korea – where American casualties topped 50,000 and increased daily. A jury – hardly of their peers since there were no Jews on it – had convicted the NYC couple of conspiracy to commit espionage. In June 1953 – after nearly two years of appeals – prison officials executed the Rosenbergs in the Sing Sing Prison electric chair, making orphans of their two young sons, Michael and Robert.
Truman administration officials were convinced that the couple needed to die because they handed "the secret" of the atomic bomb to the Soviet Union and, empowered with the bomb, the Communists had encouraged North Korea to invade South Korea in 1950. U.S. and UN troops countered this aggression in a bloody police action. Most Americans believed their government officials. So did Judge Kaufman, who used the charges to justify the death sentences. The only problem was, the accusations were false.
Irving Kaufman – a prickly, demanding adjudicator – took the packed courtroom on a lengthy trek to rationalize the death sentence. He argued that espionage – "sordid, dirty work" which included "the betrayal of one's country" – deserved the maximum sentence. He explained the penalty for espionage was up to thirty years in prison – or death if committed during wartime – and since the prosecution proved the conspiracy began during World War II, the judge argued, the executions were justified. Kaufman focused, however, on a different war – the "life and death struggle" of the Cold War – to defend the harsh treatment of the "traitors in our midst." Soviet Communism threatened "our very existence," Kaufman argued, and he chose a severe sentence as a warning to others engaged in espionage. Leniency towards the Rosenbergs, he explained, "would violate the solemn and sacred trust that the people of this land have placed in my hands" and be interpreted as a sign of weakness overseas.
The judge admitted that sentencing a young mother to death required further explanation. While Julius "was the prime mover in this conspiracy," Kaufman explained, "let no mistake be made about the role which his wife, Ethel Rosenberg. Instead of deterring him from pursuing his ignoble cause, she encouraged and assisted the cause. She was a mature woman, -- almost three years older than her husband and" – despite much evidence to the contrary – "she was a full fledged partner in this crime."
But Kaufman saved his strongest argument, the final nail in the Rosenbergs' coffin, for the end – Korea. In justifying his decision, he blamed the "arch criminals in this nefarious scheme" for instigating North Korea's invasion of South Korea. He considered their crime "worse than murder" and predicted " millions more of innocent people may pay the price of your treason." The jury had declared the couple guilty of conspiracy to commit espionage, but the judge appeared to be sentencing them to death for treason.
The Rosenbergs did not hand an atomic bomb to the Soviets. The information Julius provided came from his brother-in-law, David Greenglass. An army mechanic, Greenglass did not have an advanced understanding of nuclear physics and could only supply rudimentary material. While scholars continue to debate the importance of the atomic information Julius Rosenberg forwarded to the Soviets, they probably got little to nothing that was new.
Historians continue to debate what likely prompted North Korea to launch a sizeable offensive into South Korea in June 1950, but evidence indicates that the invasion was not the result of the Soviet Union's plan to expand Communism. Stalin had repeatedly rejected North Korea's plan for invasion, even just after the Soviet's first successful atomic bomb test in August 1949, presumably when Stalin was feeling strong and confident. The Soviet leader finally relented in January 1950, crediting the importance of the Communist victory in China the previous year. Mao and his troops were now ready, willing, and able to provide support in Korea if necessary. Stalin also doubted any U.S. intervention, agreeing with North Korea that they would enjoy a quick victory before the Americans had time to get involved. After Secretary of State Dean Acheson gave a speech in early 1950 that appeared to exclude Korea from the U.S. "defense perimeter," American involvement seemed even less likely. The evidence does not indicate that Stalin ordered the invasion because he was emboldened by possession of atomic weaponry. Yet that is the narrative that U.S. government officials believed.
The 1951 trial was a mess, plagued with irregularities and illegalities. Truman's Justice Department prosecution team committed acts of misconduct, the judge violated the judicial code of ethics, the defense performed with minimal competence, and the Supreme Court's subsequent review of the case proved inadequate. After President Eisenhower twice denied clemency, prison officials electrocuted the couple on June 19, 1953.
Julius Rosenberg did not hand atomic bomb blueprints to the Communists or cause the Korean War, as Judge Kaufman had asserted. He did, however, run a sizable spy ring that funneled military secrets to the Soviet Union from 1944 to 1950. We know now that Kaufman, in consultation with the Justice Department, handed down the death sentence to pressure Julius into confessing – he would name his fellow spies and spare the life of his wife and the mother of his children. This effort failed. Up until Julius and Ethel's final moments the FBI was prepared to listen. The couple called their bluff and went to their deaths instead – and dead spies don't talk.
The executions also tarnished America's image abroad. While the majority of Americans believed the Truman administration's assertions, recently discovered State Department documents expose a widespread protest movement that erupted in eighty-four cities in forty-eight countries around the world. Allies across the globe – even those who accepted the couple's guilt – saw the executions as senseless violence motivated by paranoid anti-Communism. During the Cold War, American administrations worried about the spread of Communism at home and overseas, and were horrified at the prospect of leaving the homeland vulnerable to a devastating nuclear attack. Protesters accused U.S. government officials of allowing those real fears to cloud their judgment regarding the Rosenbergs.
Cold War terror and paranoia drove federal officials to prosecute the only spies they could get their hands on. Federal officials, most Americans, and Judge Irving Kaufman, all subscribed to the false narrative that Julius and Ethel Rosenberg handed the secret of the atomic bomb to the Soviets and thus emboldened Stalin ordered North Korea to invade its neighbor to the south. But they were wrong.

redpajama_set_name: RedPajamaCommonCrawl


Web typography is complex and highly dependent on the capabilities of the visitors web browser software. In the past web development was forced to use fonts that were available on the viewers computer, so typographic choices where highly limited. With updates to web browsers and the proliferation of services that can provide modern web-friendly fonts, we now have more choices for our web typography needs.
Here is the list of fonts used on the Nicholls website along with the fall-back fonts used if the visitors are using old web browsers.


text:
Palghar lynching case: Supreme Court seeks probe report from Maharashtra
PTI | 1 May 2020 9:28 AM GMT
The Supreme Court Friday sought a report from the Maharashtra government on the ongoing investigation in the Palghar incident in which two sadhus and their driver were allegedly lynched by a mob on the night of April 16.
NEW DELHI: The Supreme Court Friday sought a report from the Maharashtra government on the ongoing investigation in the Palghar incident in which two sadhus and their driver were allegedly lynched by a mob on the night of April 16.
A bench of Justices Ashok Bhushan and Sanjiv Khanna sought the report while hearing a plea, through video-conferencing, which has alleged that the incident was a failure on the part of the police as a mob had gathered there in violation of the lockdown rules.
The apex court, which refused to stay the investigation in the case, asked the petitioner to serve a copy of the plea to standing counsel for Maharashtra and said that state would file a probe report within four weeks.
The plea, filed through his counsel Rashi Bansal, has sought a direction to the authorities to constitute an apex court monitored SIT or a judicial commission headed by a retired top court judge to deal with the case.
It has also sought CBI investigation into the matter and registration of FIR against concerned police officials for their failure to prevent the incident.
The three victims from Kandivali in Mumbai were travelling in a car to attend a funeral in Surat in Gujarat amid the lockdown when they were attacked and killed by a mob in Gadchinchile village on the night of April 16 in the presence of a police team.
The victims were identified as Chikne Maharaj Kalpavrukshagiri (70), Sushil Giri Maharaj (35) and the driver Nilesh Telgade (30).
During the hearing, the counsel appearing for petitioner Shashank Shekhar Jha referred to the media reports and claimed that police was complicit in the incident as they did not use force to prevent it.
"This happened despite of the fact that whole country is under Lockdown since March 25 and that no person is allowed to be out of their house and everyone has been asked to follow social distancing which raises a huge suspicion on part of local police," the plea said.
"During this whole incident, Police did not take any concrete step to protect these innocent men which could be proved by the fact that they did not use any force to disperse the crowd and one of the video even shows that one of the police official actually pushed saints to the crowd when they were asking for the protection," it claimed.
The plea has alleged that the whole incident was "pre-planned and there could be police involvement as well".
It has also sought transfer of trial in the case from Palghar to a fast track court in Delhi.
The police has arrested as many as 110 persons in connection with the case. Nine of the accused are minors and have been sent to juvenile home.
Palghar lynching case


David Hornsby discusses the contentious issue of how we teach reading to young students. Why can't we agree on the fundamentals and insist on comprehensive English language training for teachers? David brings a common sense approach to the decades-long debate around phonics vs whole language.


text:
Back to Current Squad Page
ADAM RANDELL
Full Name: Adam Fletcher Randell
Came from: Trainee Went to:
First game: 13 November 2018 Last game: 08 September 2020
Appearances: 10 (4/6) Goals: 0
Randell, a midfielder from Plymstock School, was recruited at the age of nine while playing for his local team, Hooe Rovers. He attended the development centre at Stoke Damerel before joining Argyle's academy as an under-11 the following year.
Coming through the junior ranks, he impressed in the successful FA Youth Cup run in 2017-18, helping to knock out Manchester City and Burnley. Impressive midfield showings in the Premier League Cup, Central League and Peninsula League followed, including several eye-catching goals.
His first team debut came in November 2018 alongside a number of other academy prospects in a 'dead rubber' EFL Trophy tie at Newport County after Argyle had lost their first two games at the group stage.
After signing his first professional contract in June 2019, new manager Ryan Lowe handed the academy graduate the captain's armband for three of that summer's pre-season friendlies. Randell made his full League debut in the second month of the new campaign, as a 76th minute substitute in a 2-2 draw at home to Oldham Athletic. At the end of that COVID19-hit season, he was rewarded with another contract, reflecting the potential that Lowe saw in him.
Sorry, new contributions are not accepted until the player leaves the club.


Profanity towards any member of the site is not tolerated here. If the debate is getting too heated for you and find youself unable to communicate without resorting to profanity towards a user, the answer is simple - don't respond.
Anyone caught using profanity against another member will immediately have their posting ability suspended and face reduced posting rights upon reactivation.
If someone uses profanity towards you, you are encouraged to contact me privately and direct me to the violating post.
If you have a CTL 2 or higher and are the subject of profanity or witness profanity occur towards another member, you can help keep Captain Cynic Forums clean by clicking on the 'Report as Inappropriate' link that is near the bottom right side of every post (you have to be logged in first.) Don't send reports for old threads that may contain profanity - they are too old to be changed. The possible presence of abusive profanity in past threads is not grounds for anyone to use profanity against another member.
Understood. Didn't read that before.


Miami chiropractor dr. curtis Garner of east side chiropractic center, a Miami Florida FL 33138 chiropractic clinic, is your preferred chiropractor.
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Pembroke pines chiropractor dr. joseph buckley of Pines West Chiropractic, a Pembroke Pines Florida FL 33029 chiropractic clinic, is your preferred chiropractor.
Miami chiropractor dr. damian Martinez of Martinez Chiropractic Center, a Miami Florida FL 33186 chiropractic clinic, is your preferred chiropractor.
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Queen Letizia attended the Spanish Red Cross fundraising day (Dia de la Banderita). The fundraising event has been celebrated annually for over a century and customarily includes the participation of the Spanish royal family.
On this traditional day, Queen Letizia opted to wear a monochromatic outfit, just like she did at last years event.
Today, she debuted a Adolfo Dominguez black and white graphic knit top from the Spring-Summer 2015 collection (sold out).
Queen Letizia paired the sweater with a new Hugo Boss black A-line skirt. She wore the 'Rumilla' skirt from the HUGO collection (US$335). The stretch-cotton skirt features a subtle trumpet hem and belted waist.
At first glance, I thought Queen Letizia wore her Yanes flower stud earrings but upon closer inspection I noticed they were different.
These new earrings are from Carolina Herrera's 'Falling Jasmine' capsule jewelry collection created by her daughter Carolina Herrera de Baéz and Argentinian artist Grillo Demo.
Completing the ensemble were the familiar Prada black Saffiano print patent leather pointy toe pumps and Ángel Schlesser orange croc-embossed clutch.


text:
Penis and Testicle Health
Peyronie's Disease
UTIs
Sex and Libido
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Uterine Health
Factors in Fertility
Coping with Infertility
Women's Fertility
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Physical Causes
Sex and ED
Psychological Causes
Prevention and Risks
STDs/STIs
Symptoms and Treatment
Living Through and After
Complications and Conditions
Pregnancy and Postpartum Life
Postpartum Life
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Alt Partner Styles
Identity and Sexuality
Grooming and Hygiene
Sexual Assault and Consent
Awareness Months
The Authority on Sexual Health
The Authority on Sexual Health. We want to help readers take control of their sexual health with illuminating content that will enhance their quality of life.
Medical Review
Our website services, content, and products are for informational purposes only. Giddy does not provide medical advice, diagnosis, or treatment. See additional information.
Diseases & Disorders
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Stages of Life > Menopause > Symptoms and Treatment
Manage the Highs and Lows of Menopausal (and Perimenopausal) Mood Swings
Sudden shifts in emotion are a frustrating side effect of a new life stage. Here's how to deal.
Photography by David Heisler
Author: Elen Turner
Treatments for the annoying, uncomfortable symptoms of menopause, such as mood swings, include hormonal and medical interventions, as well as lifestyle changes. Many women are used to hormonal mood fluctuations related to menstruation and pregnancy. The new stage of life brought on by menopause (which usually occurs between the early 40s and late 50s) brings on a new set of hormonal challenges.
Feeling overwhelmed, emotional, sad or generally just a little out of control is one of the most common symptoms of perimenopause, the first stage of menopause before periods stop. Estrogen and progesterone are hormones related to the production of serotonin, a chemical that regulates mood. During perimenopause, the production of these hormones fluctuates, before stabilizing postmenopause. If you're perimenopausal and struggling with mood swings, it may be cold comfort to hear that things will likely get better later. You want relief in the meantime. Here's how you can manage the highs and lows of mood swings.
Dietary changes
Weight gain and slower metabolism is common in older age and during menopause, so generally reassessing your diet is important around menopause. Eating a balanced diet is always a good idea, and some research shows that eating plant estrogen (found in soy and soy-derived foods) can help reduce the severity of the symptoms of menopause. Avoiding foods that can exacerbate hot flashes and sweating can improve sleep and therefore have a direct influence on mood. Caffeine, spicy food and alcohol can all negatively impact sleep quality.
This may be easier said than done during menopause, with hot flashes and night sweats being common symptoms, but improving your sleep quality and length can improve your mood, too; mood swings during menopause are often directly related to sleep quality. As well as making the dietary changes suggested above, try to sleep in a cool room (use a fan if you need to) and wear loose clothing made from breathable fabrics. Ban phone and electronic use in the bedroom. Good sleep hygiene can have a huge impact on many aspects of life.
Get regular exercise
Exercising regularly has many positive knock-on effects, including helping you sleep, which can improve your mood. Endorphins, a hormone that can help you feel good, are released during exercise, which is good news because menopausal women may also produce less of this hormone than menstruating women. Running, dancing and other exercises that elevate the heart rate is especially good for boosting mood and positive feelings. Exercise that includes a meditative or mindfulness component, such as yoga, can also help calm the mind and relieve anxiety.
Therapists can help you regulate your emotional responses to challenges you face. While hormonal treatments and lifestyle changes can treat the root cause of your mood disorder, a therapist can help you regain perspective and develop emotional tools for coping. Look into support groups, in person or online, to connect with other women who know exactly what you're going through.
If lifestyle changes aren't enough to improve your quality of life and mind, consider hormone therapy. Estrogen may be given with or without progestin, a synthetic form of progesterone. This can help with severe mood swings, as well as other symptoms of menopause such as hot flashes and sleep problems. Hormone therapy is not suitable for everyone, but if your doctor thinks it could work for you, a low dose of hormones for a short period is often enough to regulate mood swings.
Menopause and perimenopause are life-changing and difficult periods of life, but they don't last forever, and there are ways to alleviate the symptoms in the meantime. Talk to your doctor about the right treatment for you.
How to Treat ED and High Blood Pressure
A Guide to Nursing at Work
When to Have Sex (or Not) With a Urinary Tract…
Prescription Drugs and Links to Male Infertility
Massachusetts Reports New Strain of Gonorrhea
Menopause Is Tough—Yoga May Help
By Annabel Lee
menopause perimenopause hormone treatments sleep diet exercise getting older meditation anxiety stress
Menopause: Beyond Hot Flashes and Brain Fog
By Giddy Staff
Every year, about 1.3 million women enter menopause. Are you ready for the Change of Life?
Sex After Menopause
By Marianne Dougherty
Menopause doesn't mark the end of sex. These remedies can help sex stay enjoyable at any age.
Conventional vs. Bioidentical Hormones: Which Is Right for You?
By Sarah Morris
Consider this information when you weigh the options for hormone replacement therapy.
How to Cope With Perimenopausal Depression
By Erin Dougherty
Though little known, perimenopausal depression can occur in women during a transitional time.
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text:
Application for review
A person who is dissatisfied with a decision made by a delegate of the Commission in relation to certain claims for a pension or reassessment of a rate of pension may apply for a review of that decision. This is referred to as a "right of review".
Requests for review by the Repatriation Commission
The VEA provides review procedures for veterans, eligible Defence personnel and widows who wish to appeal against decisions concerning:
a disability pension, war widow's/widower's pension or attendant allowance, or More ?
allowances and other benefits such as:
clothing allowance, More ?
funeral benefits,
decoration allowance, More ?
Victoria Cross allowance, More ?
recreation transport allowance, More ?
temporary incapacity allowance, and More ?
loss of earnings allowance. More ?
For matters regarding disability pension, war widow's/widower's pension, or attendant allowance, section 31 VEA allows the Commission to intervene at its discretion to vary initial decisions where there are grounds for doing so. A claimant/applicant dissatisfied with a decision on disability pension, widow's pension or attendance allowance may also seek a review under section 31. This review may be requested at the same time as making an application for review by the Veterans' Review Board [glossary:(:]VRB[glossary:):] (see below). The first level of review for supplementary benefits is to a delegate of the Repatriation Commission. Subsequent review is by the Administrative Appeals Tribunal.
More ?
Application for Review to the Veterans' Review Board (VRB)
In addition to a section 31 review applicants may seek review by the VRB which is an independent statutory body specifically established to review decisions of this kind.
Application for Review to the Administrative Appeals Tribunal (AAT)
If a review by the VRB on veterans' compensation issues, does not resolve the matter the applicant has an option of an application for review to the Federal AAT. Applications for review may also be made to the AAT following review by the Commission for:
clothing allowance,
decoration allowance,
Victoria Cross allowance,
recreation transport allowance,
temporary incapacity allowance, or
Appeal to the Federal Court
Beyond the AAT, appeals can be made through the Federal Court system on issues of law. Either the applicant or the Commission may appeal to the Federal and High Courts if it considers that a decision made by the AAT is not in accordance with the VEA. The AAT can also refer matters on errors of law to the Federal Court (although this rarely occurs).
Under the Freedom of Information Act 1982 a person may seek access to information in documentary form in the possession of DVA, including those relating to a decision which adversely affects their interests (or has the potential to do so).
More ? (go back)
Review of Decisions by the Commission
Section 12.5.2
Review by the Veterans' Review Board (VRB)
Review by the AAT
The Commonwealth Ombudsman
Section 12.5.10
A Delegate of the Commission is a decision-maker who has been delegated authority to exercise the Commission's powers for the administration of pensions under theVEA.
According to Section 179 of the VEA, the Commission is a body corporate under the name of Repatriation Commission.
Veterans' Entitlements Act 1986.
For the purposes of Part VI of the VEA, a reference to a veteran is taken to be a reference to:
a veteran as defined in subsection 5C(1) of the VEA;
a member of the Forces as defined in subsection 68(1) of the VEA; or
a member of a Peacekeeping Force as defined in subsection 68(1) of the VEA.
For the purposes of Part VII of the VEA, according to subsection 5C(1), veteran means a person (including a deceased person):
who is taken to have rendered eligible war service, or
in respect of whom a pension is, or pensions are, payable under subsection 13(6) and
in Part III and Part VIIC of the VEA includes a person who is:
a Commonwealth veteran, or
an allied veteran, or
an allied mariner.
A widow is a woman who was:
the partner of a person immediately before the person died; or
legally married to a man and living with him immediately before he died; or
legally married to a man and living separately and apart from him on a permanent basis, immediately before he died.
Disability pension, for the purposes of service pension and income support supplement, means:
a pension paid for incapacity from war caused conditions, or peacetime, peacekeeping or hazardous service caused conditions (other than a war widow's or orphan's pension); or
temporary incapacity allowance; or
any other payment in respect of incapacity or death resulting from war or war-like operations in which the Crown has been engaged [usually paid by another Commonwealth country].
A form of pension that is paid to the partner of a veteran where the veteran has died as a result of war service or eligible Defence Service. War widow's/widower's pension is also paid to the partner of a veteran whose death was not war caused if the veteran was a ex-prisoner of war or if the veteran was receiving Extreme Disablement Adjustment Rate, Special Rate (T&PI) or a rate increased in respect of certain war-caused injury or disease.
The purpose of attendant allowance is to assist an eligible Veterans, Members of the Forces, or a Member of a Peacekeeping Force with the cost of an attendant to help with such things as feeding, bathing, dressing and other activities of daily living. The allowance is paid to the veteran and not the attendant.
To be eligible for attendant allowance the person must be in receipt of a Disability Pension for Incapacity for a war-caused or defence-caused injury or Disease that severely affects a persons' ability to care for themselves. Attendant allowance is payable at a higher or a lower rate depending on the type of Injury or disease accepted under the Veterans' Entitlements Act.
The Veterans' Review Board is an independent statutory authority that has the power to review decisions made by the Repatriation Commision for the disability pension, war widow's/widower's pension, orphan's pension and attendant allowance.
Administrative Appeals Tribunal.
The Department of Veterans' Affairs.
URL: https://clik.dva.gov.au/compensation-and-support-policy-library/part-12-compliance-and-obligations/125-reviews-and-appeals/1255-overview-reviews-and-appeals-veterans-compensation-matters


Discerning drivers will appreciate the 2018 Chevrolet Colorado. With less than 10,000 miles on the odometer, this vehicle provides excellent value as a pre-owned model. Top features include front bucket seats, a tachometer, variably intermittent wipers, a rear step bumper, air conditioning, tilt steering wheel, power windows, and much more. Audio features include an AM/FM radio, and 6 speakers, enhancing the audio experience throughout the interior. With side curtain airbags supplementing the rest of the safety network, you can be assured that you and your passengers will experience top-tier protection. Our team is professional, and we offer a no-pressure environment. We'd be happy to answer any questions that you may have. We are here to help you.


text:
package riak

// Convert from csv with:
// %s/\(\d\+\),\([^,]\+\),.*/const rpbCode_\2 byte = \1/
const rpbCode_RpbErrorResp byte = 0
const rpbCode_RpbPingReq byte = 1
const rpbCode_RpbPingResp byte = 2
const rpbCode_RpbGetClientIdReq byte = 3
const rpbCode_RpbGetClientIdResp byte = 4
const rpbCode_RpbSetClientIdReq byte = 5
const rpbCode_RpbSetClientIdResp byte = 6
const rpbCode_RpbGetServerInfoReq byte = 7
const rpbCode_RpbGetServerInfoResp byte = 8
const rpbCode_RpbGetReq byte = 9
const rpbCode_RpbGetResp byte = 10
const rpbCode_RpbPutReq byte = 11
const rpbCode_RpbPutResp byte = 12
const rpbCode_RpbDelReq byte = 13
const rpbCode_RpbDelResp byte = 14
const rpbCode_RpbListBucketsReq byte = 15
const rpbCode_RpbListBucketsResp byte = 16
const rpbCode_RpbListKeysReq byte = 17
const rpbCode_RpbListKeysResp byte = 18
const rpbCode_RpbGetBucketReq byte = 19
const rpbCode_RpbGetBucketResp byte = 20
const rpbCode_RpbSetBucketReq byte = 21
const rpbCode_RpbSetBucketResp byte = 22
const rpbCode_RpbMapRedReq byte = 23
const rpbCode_RpbMapRedResp byte = 24
const rpbCode_RpbIndexReq byte = 25
const rpbCode_RpbIndexResp byte = 26
const rpbCode_RpbSearchQueryReq byte = 27
const rpbCode_RpbSearchQueryResp byte = 28
const rpbCode_RpbResetBucketReq byte = 29
const rpbCode_RpbResetBucketResp byte = 30
const rpbCode_RpbGetBucketTypeReq byte = 31
const rpbCode_RpbSetBucketTypeReq byte = 32
const rpbCode_RpbGetBucketKeyPreflistReq byte = 33
const rpbCode_RpbGetBucketKeyPreflistResp byte = 34
const rpbCode_RpbCSBucketReq byte = 40
const rpbCode_RpbCSBucketResp byte = 41
const rpbCode_RpbCounterUpdateReq byte = 50
const rpbCode_RpbCounterUpdateResp byte = 51
const rpbCode_RpbCounterGetReq byte = 52
const rpbCode_RpbCounterGetResp byte = 53
const rpbCode_RpbYokozunaIndexGetReq byte = 54
const rpbCode_RpbYokozunaIndexGetResp byte = 55
const rpbCode_RpbYokozunaIndexPutReq byte = 56
const rpbCode_RpbYokozunaIndexDeleteReq byte = 57
const rpbCode_RpbYokozunaSchemaGetReq byte = 58
const rpbCode_RpbYokozunaSchemaGetResp byte = 59
const rpbCode_RpbYokozunaSchemaPutReq byte = 60
const rpbCode_DtFetchReq byte = 80
const rpbCode_DtFetchResp byte = 81
const rpbCode_DtUpdateReq byte = 82
const rpbCode_DtUpdateResp byte = 83
const rpbCode_RpbAuthReq byte = 253
const rpbCode_RpbAuthResp byte = 254
const rpbCode_RpbStartTls byte = 255

redpajama_set_name: RedPajamaGithub


text:
Corporations and Clans can build Space Stations and upgrade them. Space Stations can be built on any free star. It is impossible to move the SS, therefore the heads of corporations must seriously approach the issue of choosing a place for the construction of the SS.
At Space Stations, you can build special structures for the daily production of the Solarium, the construction of Modules according to the studied blueprints and copies of the blueprints, as well as for trade with other players and processing the minerals they bring into Energy.
Each Space Station will produce 1 Solarium on the star for every 10 million recycled Energy in automatic mode.
IMPORTANT! The generated Solarium is not credited to the SS, if at the time of charging there are already 100 or more Solariums on the SS - now make sure that you take out the Solarium from the SS on time! Example: if 97 Solarium is stored on the SS, and 10 Solarium should be added at night, then only 3 will be added instead of 10.
Trade in Space Stations
Any players (not necessarily members of a corporation / clan) can trade with Space Stations, bringing minerals mined on planets to them, in return for receiving Energy with possible good bonuses (depending on the level of pumping the Command Center on the SS and the percentage set by the owner of the Space Station for different groups of players).
In other words, if, for example, the Command Center is pumped into level 20, then the minerals brought to the SS will be processed into Energy with a coefficient of x10 (Trade Bonus = 1000%), and if the player is not a member of a corporation, he will receive 20% of the generated Energy, and if he is a member of a corporation as an ordinary member, he will receive 50% of the generated Energy. Percentages for all types of players on each Space Station are set by its owner.
IMPORTANT! Players with an excess of the points limit, regardless of the pumping of the Command Center (Trade Bonus), will always process Energy at the SS with a coefficient of x1.5, and they will receive even less energy depending on the percentage set on the SS!
The corresponding warnings will be displayed about this until the moment of exchange:
Before you start trading, you will see the Trade Bonus and how much Energy you will receive when sending minerals to the Space Station.
We draw your attention to the fact that the amount of Energy depends not only on the level of pumping of the Command Center on the Space Station, but also on the Trade Bonus for certain categories of players, which the owner of the station has set in the Command Center settings.
Space Station upgrade
Corporations and Clans can upgrade Space Stations. This will require a lot of Energy, which is mainly planned to be obtained from successful trade with other players who bring minerals for processing.
The following types of structures can be built on Space Stations (with their own distinctive characteristics and functions in comparison with planetary structures):
Command Center - the main building of the Station, trade bonuses for different categories of players are displayed here. There may be only one for each station. Speeds up the construction time of buildings at the station. Daily automatically mines +1 Solarium for each level of Command Center *.
Maximum building level: 20
Trade bonus: 5% (+5% per level)
Build Time Bonus: 0% (+0% / +1% / +0% / +1% / +1% / +1% / +2% / +1% / +2% / +2% / +2% / +2% / +3% / +2% / +3% / +3% / +3% / +3% / +4% / per levels)
Detection station - this building allows you to detect in advance any ships flying to the Station with a certain radius of coverage, which increases with each level of pumping of this building. There may be only one for each station.
Detection: 60 sec (+60 sec per level)
Suppression: 60 kW (+60 kW per level)
Missile tower - protects the Station from Blockades. There can be a maximum of 14 per Station. Allows you to build and store Rockets to defend against blockades.
Missile storage: 150 (+150 per level)
Modules Factory - produces the selected modules. There can be up to 5 pieces per Station. At levels 11+, a button "Get ready" will appear (receiving modules as they are ready, without waiting for the construction of the entire queue).
Production Acceleration: 0% (+1% / +0% / +2% / +1% / +2% / +2% / +2% / +3% / +3% / +3% / +4% / +4% / +4% / +5% / +5% / +5% / +6% / +6% / +6% / per levels)
Spaceport - accepts arriving cargo spacecraft with minerals, putting them in a queue for unloading. Has an Unload parameter (X minerals per minute), which increases with each level of the Spaceport. There can be a maximum of 9 per Station.
Processing speed (X minerals per minute): 3000 (+3000 per level)
Any building can be upgraded to a maximum of level 20.
Improve - you can improve a building by increasing its level and parameter values.
Demolish - you can demolish a building to build another one in its place.
Demolish level 1 - you can demolish 1 level of the building.
ATTENTION! If you completely demolish the Command Center, you will lose control of the Space Station along with everything that is on it: the fleet, rockets, minerals, modules, energy and the Solarium!
Building Time at Level 10 Command Center:
Building level
Spaceport
Detection station
Missile tower
Modules Factory
5 03:32 02:56 04:07 04:43
10 21:48 18:10 25:26 29:04
19 131:02 109:12 152:52 174:43
19 115:12 96:00 134:24 153:36
19 92:09 76:48 107:31 122:52
Building cost, Energy:
5 18.00 m 90.00 m 27.00 m 36.00 m
10 60.50 m 30.25 m 90.75 m 121.00 m
19 200.00 m 100.00 m 300.00 m 400.00 m
When building and upgrading, all buildings on the Space Station require almost 100 times more Energy (relative to their counterparts on the planets).
Space Station Battles
Capturing Space Stations is not possible. Attacking Space Stations directly is also not possible, however Space Stations (as well as planets) can be scouted or blocked (see the "Blockade Mode" section). During the Blockade, all resources (minerals, Solarium, modules) that are transported from or to the blocked SS are robbed.
Thus, you can undermine the economy of Space Stations or even the entire corporation / clan by blocking the most important strategic objects.
Features of Space Stations:
Only the owner of the Corporation can build the Space Station.
The Station can only be built on the stars, and you can always build only one Station on one star from any number of Corporations. To build a Station, just click on a free star (it is not required to fly to such a star in space).
The owner of the Corporation will be able to appoint managers for each Space Station. Managers will be able to build and improve structures, produce modules, but they will not be able to destroy or demote already built structures.
The station can be attacked by any other Corporation or by a player not belonging to this Corporation / Alliance. In this case, only the following are valid for Space Stations:
Any member of the Corporation can send resources to the station, but resources cannot be sent from the station to anyone.
Initially, the newly built station only has a Command Center
There is no mining of minerals at the stations
Any member of the Corporation entering the station sees all the resources of the station (only members of the Corporation but not members of the Alliance), sees all buildings on the Station (but cannot build / upgrade them) and sees his ships at this Station.


…the gift of health – it's keeps on giving!
Come and see us this 'insert day' at the 'insert market link' we have have the best gift of all for your loved ones this Xmas!!
Thanks for your Xmas pictures over the weekend !! If your still yet to text me or post too the Patch page! – please do so ASAP !! A great xmas picture of you at stall we think will work best however happy to see your ideas !!
1. We are going to feature your picture some other pics and some written copy from Jeanie with the basic message of giving goodMix this year as a present, we'll target your local area around every market you do using a from orders PRAM $20. This will happen for every market you do!!
Please make sure your calendars are up to date – Malou will be in touch by email to confirm.
Remember this time of year you may see lots of travellers through the markets so grab emails and / or share your codes and build your online business!!


We are innovating products every day, and our next bag is coming out soon. For a sneak peak, we are presenting another out-of-the-bag idea just in time for Mother's Day. Elevate flowers to a new level by personalizing the package using this 5" custom gift bag. The flowers, which came in a 4" pot and are available in most grocery store floral departments, have a plastic liner that fits perfectly into the gift bag. This gives mom, or anyone special in your life, the perfect reason to hang onto and display the bag for all to see.
Interested in ordering your own custom bag for your flower gift? It is not yet available online, but as a special insider you can order one upon request. Email the sales team at sales@digi-wrap.com and ask about the "Flower Gift Bag." We will help you create incredibly personalized gifts for your loved ones.