text:
Senior Living in Groton, CT
Senior Care Society
Groton Assisted Living
Assisted Living Facilities in Groton, Connecticut
Here are the best assisted senior living communities in Groton, Connecticut. These residential care communities include all types of senior care, including Groton assisted living, senior living and assisted elderly housing. Browse through a list of all Groton senior living facilities and communities below:
Groton Regency Center
While searching for assisted living residences in Groton, Connecticut, you may want to keep in mind Groton Regency Center, located at 1145 Poquonnock Rd in the 06340 zip code in New London County. Groton Regency Center is the perfect senior living facility for seniors who want upscale services at an affordable cost. Some of the amenities and services offered by Groton Regency Center include catering options, outdoor deck and moving help. Groton Regency Center is able to house a total of 162 55+ adults who live in New London County.
Mystic River House
Mystic River House is an assisted senior living facility in New London County, Connecticut that is perfect for seniors who need help with their everyday lives. Mystic River House is situated at 205 Elm Street in Groton, Connecticut and provides help with taking a bath, putting on clothes, walking, personal hygiene and using the bathroom. This assisted senior living residence provides services that include medication coordination, all-day security and monitoring, emergency pendants and more.
Fairview is a pet-friendly senior assisted living community in Groton, Connecticut inside New London County. It provides a total of 120 assisted living apartments for senior citizens who live in Groton and surrounding areas. Fairview is situated at 235 Lestertown Rd, inside the 06437 zip code and makes a great senior care community for senior citizens who are trying to find features and amenities that include daily exercise programs, fitness area and interactive games and musical events. Fairview offers a total of 120 senior living apartments.
20 More Senior Living Facilities in New London County, CT
Avalon Health Care Center At Stoneridge
Situated at 186 Jerry Browne Road, in the 06770 zip code area of New London county, Avalon Health Care Center At Stoneridge offers assisted living apartments in Mystic, CT to older adults who are searching for an affordable senior living facility that accepts Medicare and Medicaid. Avalon Health Care Center At Stoneridge offers amenities that include worry-free apartment maintenance, games and activity room, experienced staff and more. Avalon Health Care Center At Stoneridge can accommodate no more than 40 older adults who live in the New London county area.
Greentree Manor Nursing & Rehab
Greentree Manor Nursing & Rehab is a senior assisted living home in Waterbury, Connecticut, located at 4 Greentree Dr, 06385 zip code area. A total of 90 retirees who need a senior living community in New London County can live in Greentree Manor Nursing & Rehab. It offers amenities such as apartment and community upkeep, wifi throughout facility, as well as help relocating. Greentree Manor Nursing & Rehab offers multiple levels of senior living that include senior independent living, assisted living suites and Alzheimer's and dementia care.
Harbor Village South Health And Rehabilitation Center
Harbor Village South Health And Rehabilitation Center provides retired adults assisted living apartments in New London county, Connecticut. With a total capacity of 66 studios and 1-bedroom apartments, Harbor Village South Health And Rehabilitation Center will be at the top of your list when it comes to senior living in New London. This senior living home, located at 89 Viets St Ext in the 06320 zip code area of New London, Connecticut offers features such as scheduled nurse visits, various crafts and activities and education lectures.
Atria Crossroads Place
When retired adults are searching for assisted living residences in Waterford, Connecticut that offer religious services, they should consider Atria Crossroads Place located in New London county in the 06385 zip code area. Atria Crossroads Place specializes in providing tiered levels of senior living and includes amenities such as off site transportation services, health and wellness programs and church and chaplain service. Its total capacity is 113 assisted living residences.
Apple Rehab Colchester
Apple Rehab Colchester is a senior assisted living facility in Colchester, Connecticut that allows pets. Apple Rehab Colchester is situated at 36 Broadway in 06415 zip code and enables retired adults who need senior living residences in New London county to get amenities such as many dining options, security system and religious services. Apple Rehab Colchester provides a total of 60 assisted living units.
Norwich Sub-acute And Nursing
Norwich Sub-acute And Nursing is a luxurious senior assisted living community in New London, Connecticut. Located at 93 West Town Street in Norwich, Connecticut, it helps retirees who are looking for retirement living to receive services and amenities such as transportation service, computers section and incontinence care. Norwich Sub-acute And Nursing can provide senior living to up to 120 retirees living in New London.
New London Sub-acute And Nursing
New London Sub-acute And Nursing is a senior assisted living community in Waterbury, Connecticut in New London county. New London Sub-acute And Nursing is excellent for seniors who are looking for amenities like managing medications, birthday special events and emergency call systems. This luxury senior living community is situated at 88 Clark Lane in the 06385 zip code of New London county. It can provide a total of 120 studio and 1 bedroom assisted living apartments.
Bride Brook Health & Rehabilitation Center
While searching for assisted senior living in Niantic, Connecticut, you may want to keep in mind Bride Brook Health & Rehabilitation Center, situated at 23 Liberty Way in the 06471 zip code in New London County. Bride Brook Health & Rehabilitation Center is the perfect senior living residence for elderly adults who need upscale amenities at a reasonable cost. Some of the amenities offered by Bride Brook Health & Rehabilitation Center include salon and barbershop, computers center and in-room emergency system. Bride Brook Health & Rehabilitation Center can house a total of 130 retirees who live in New London County.
Orchard Grove Specialty Care Center
Orchard Grove Specialty Care Center is an assisted living facility in New London County, Connecticut that is geared towards seniors who require aid with their everyday lives. Orchard Grove Specialty Care Center is located at 5 Richard Brown Drive in Uncasville, Connecticut and provides assistance with showering and taking a bath, putting on clothes, moving from one place to another, hair styling and using the toilet. This assisted senior living residence provides services that include transportation service, wifi internet, religious and chaplain services and more.
Bayview Health Care
Bayview Health Care is a pet-friendly senior assisted living facility in Waterbury, Connecticut inside New London County. It contains a total of 127 assisted living suites for older adults who live in Waterbury or nearby areas. Bayview Health Care is situated at 301 Rope Ferry Rd, inside the 06795 zip code and makes a wonderful senior care community for older adults who are trying to find features and amenities that include regular wellness visits, scheduled health screening and religious services. Bayview Health Care offers a total of 127 senior living suites.
Pendleton Health & Rehabilitation Center
Located at 44 Maritime Drive, in the 06355 zip code area of New London county, Pendleton Health & Rehabilitation Center provides senior assisted living in Mystic, CT to senior citizens who are looking for an affordable senior living community that accepts Medicare and Medicaid. Pendleton Health & Rehabilitation Center offers amenities that include medication administration, routine screenings and checkups, religious services and more. Pendleton Health & Rehabilitation Center can accommodate no more than 120 senior citizens who reside in the New London county area.
St. Jude Common
St. Jude Common is an assisted living facility in Norwich, Connecticut, located at 3 Myrtle Drive, 06360 zip code area. A total of 50 senior citizens who need a senior living community in New London County can live in St. Jude Common. It offers features such as full dining options, large fitness center, as well as assistance with incontinence. St. Jude Common provides several levels of senior living including senior independent living, assisted living and dementia and memory care.
Harrington Court
Harrington Court provides older adults senior assisted living homes in New London county, Connecticut. With a capacity of 130 1 bedroom and studio suites, Harrington Court will be one of your top choices when it comes to senior living in Colchester. This senior living facility, located at 59 Harrington Ct in the 06022 zip code area of Colchester, Connecticut offers amenities like nurse readily available, library section and relocation help.
Crescent Point At Niantic
When retirees are searching for assisted senior living in Niantic, Connecticut that offer religious services, they should consider Crescent Point At Niantic located in New London county in the 06357 zip code area. Crescent Point At Niantic excels at providing full range of senior care and offers services like housekeeping, arts and crafts and staff dietitian.
Academy Point At Mystic
Academy Point At Mystic is a senior assisted living facility in Mystic, Connecticut that allows seniors to stay with pets. Academy Point At Mystic is located at 20 Academy Lane in 06355 zip code and enables older adults who are looking for senior living in New London county to receive amenities such as special dining for birthdays, reading rooms and highly trained staff members. Academy Point At Mystic provides a total of 70 assisted living units.
Harbor Village North Health And Rehabilitation Center
Harbor Village North Health And Rehabilitation Center is a luxurious assisted senior living community in New London, Connecticut. Situated at 78 Viets St Extension in New London, Connecticut, it enables seniors who are searching for retirement living to get services and amenities such as managing medications, wellness and health activities and interactive games and musical events. Harbor Village North Health And Rehabilitation Center can provide senior living and care to up to 128 seniors living in New London.
Three Rivers is a senior assisted living facility in Norwich, Connecticut in New London county. Three Rivers is perfect for elderly adults who are seeking amenities like off-site transportation, arts and crafts activities and Alzheimer's or dementia care. This upscale senior living community is situated at 60 Crouch Avenue in the 06475 zip code of New London county. It can provide up to 114 1-bedroom and studio senior living suites.
While trying to find assisted living residences in New London, Connecticut, you may want to look at Beechwood, situated at 31 Vauxhall Street in the 06776 zip code in New London County. Beechwood is the best senior living home for older adults who want luxury amenities at an affordable cost. Some of the services offered by Beechwood include salon and barbershop, wellness and health center and interactive games and musical events. Beechwood can house a total of 60 55+ adults who reside in New London County.
Apple Rehab Mystic
Apple Rehab Mystic is an assisted living home in New London County, Connecticut that is perfect for retirees who need aid with their everyday lives. Apple Rehab Mystic is situated at 28 Broadway in Mystic, Connecticut and provides help with taking a bath, dressing, sitting and standing up, hair brushing and using the bathroom. This assisted senior living residence provides amenities and services that include housekeeping, reading sections, cards and more.
Mystic Healthcare & Rehabilitation Center
Mystic Healthcare & Rehabilitation Center is a pet-friendly senior assisted living home in Mystic, Connecticut inside New London County. It has a total of 100 assisted living apartments for retired adults who live in Mystic or surrounding areas. Mystic Healthcare & Rehabilitation Center is situated at 475 High St, inside the 06355 zip code and makes a wonderful senior care community for retired adults who are trying to find features such as nurse readily available, spatious dining room and highly flexible visitation. Mystic Healthcare & Rehabilitation Center includes a total of 100 senior living units.
Other assisted living facilities in Connecticut
Assisted Living in Windsor, CT
Assisted Living in Rocky Hill, CT
Assisted Living in Brookfield, CT
Assisted Living in Trumbull, CT
Assisted Living in Orange, CT
Assisted Living in Bethel, CT
Assisted Living in Fairfield, CT
Assisted Living in Woodbridge, CT
Assisted Living in Colchester, CT
Assisted Living in West Haven, CT
Assisted Living in Branford, CT
Assisted Living in South Norwalk, CT
Assisted Living in Stamford, CT
Assisted Living in Mystic, CT
Assisted Living in Madison, CT
Assisted Living in New London County, CT
Assisted Living in Windham County, CT
Assisted Living in Litchfield County, CT
Assisted Living in Middlesex County, CT
Assisted Living in Hartford County, CT
Assisted Living in Fairfield County, CT
Assisted Living in New Haven County, CT
Assisted Living in Tolland County, CT
Hello! My name is Linda and I will be assisting you today.
Get costs and availability for all senior living facilities and communities in Groton
Find the senior living facility or community that is perfect for you
Talk to a senior living advisor. 100% free, no obligation information.
Best senior assisted living facilities in Groton, CT. Full list of all senior living facilities in Groton, CT in 2021.
© Copyright 2021 Senior Living Near Me. All Rights Reserved.
Contact Us | About Us | Privacy Policy


text:
The Guardian (UK): Shell profits beat expectations and fuel City's hopes of recovery
by admin.
Mark Milner
Shell took the City by surprise yesterday, posting better than expected underlying profits based on high oil prices and strong output figures.
Headline profits fell from $7.2bn in the third quarter of 2005 to $6.9bn (£3.7bn) this time but were well above the $5.7bn to $6bn analysts had forecast. Shell said that, stripping out the $1.7bn gain from asset sales last year, earnings a share were up 33% on a current cost of supply basis.
"This is a good performance by the group. Our earnings have proven resilient in the face of rising industry costs and weakening refining margins," said Shell's chief executive, Jeroen van der Veer. "Operating performance has been satisfactory, LNG [liquefied natural gas] growth has been impressive in the quarter and our upstream volumes have grown despite shut-downs in Nigeria."
Shell shares climbed 3% yesterday and the sector received a further boost when ExxonMobil, the world's largest quoted oil company, also turned in better than expected profits. Though Exxon just missed breaking its profits record, set last year, the $10.5bn reported yesterday was still the second-highest quarterly profits total recorded by a US company.
Yesterday's strong performance from Shell has boosted hopes that it is emerging from a tough period that saw it forced to downgrade its oil and gas reserves in 2004 and then report escalating development costs at the Sakhalin-2 project last year.
Some analysts have suggested Russia could be using environmental issues to pressure Shell and its partners into amending Sakhalin's original development plan, which offers the country relatively little money until the developers have covered their costs.
Yesterday Mr van der Veer said that Russia had already received some money from Sakhalin and that it would receive $50bn at an oil price of $34 a barrel and some $80bn if oil stood at $50 a barrel.
There have also been reports that Russia could be trying to pressure Shell to provide better terms in an asset swap that would see state-controlled Gazprom take a stake in Sakhalin in exchange for Shell acquiring a holding in a Siberian field.
Mr van der Veer said Shell was continuing to hold talks with the Russians over issues arising from Sakhalin and added: "I assume by continuing to hold discussions as indicated we will come to a solution which is acceptable to both parties."
Citigroup's analyst Jonathan Wright said in a research note: "There is a case building for Shell to at least close the valuation gap [with BP]."
http://business.guardian.co.uk/story/0,,1932573,00.html
Posted in: Uncategorized.
← The Times: Shell takes BP's crown as market value hits £120bn
The Australian: Shell buys into Browse →
0 Comments on "The Guardian (UK): Shell profits beat expectations and fuel City's hopes of recovery"

redpajama_set_name: RedPajamaCommonCrawl


For the past year, Popper has been working on a book about the history of Bitcoin. As he was in his beginning phase of research, Newsweek published a cover article claiming that Nakamoto was an unemployed engineer from Los Angeles. Almost immediately, however, social media was on fire with people pointing out flaws in the author's logic, as well as the possible harassment of a man who did not seem to have any involvement in the scheme.
As Popper spoke to people in the Bitcoin community he began to trace a common belief that Szabo was the mystery man behind the curtain.
At a private event for Bitcoin programmers and entrepreneurs, Popper met Szabo and had the opportunity to question him about whether or not he was Nakamoto, something Szabo naturally denied.
"As I've stated many times before, all this speculation is flattering, but wrong — I am not Satoshi," Szabo told Popper in an email on Wednesday.
The evidence that this is a lie is strong however, a fact which even Szabo himself acknowledges.
"All I'm saying is, there are all these parallels, and it looks funny to me, and looks funny to a lot of other people," Szabo said.
Evidence pointing to Szabo includes the fact that he was in contact with all the same people Nakamoto had contacted about Bitcoin as he was developing his ideas for bit gold, a predecessor to the digital currency.
Popper pointed out that Szabo had back-dated a blog post in which he asked for help to turn bit gold, which was conceived before bitcoin, into reality, making it appear that he wrote it after Nakamoto had released his paper on Bitcoin in 2008.
Whoever Nakamoto is, he or she does not seem to want the press, and the chances of anyone solidly proving the Bitcoin mastermind's identity likely won't happen until the person decides to step forward.


text:
Tipula (Eumicrotipula) rufirostris is een tweevleugelige uit de familie langpootmuggen (Tipulidae). De soort komt voor in het Neotropisch gebied.

rufirostris
Langpootmug uit het Neotropisch gebied

redpajama_set_name: RedPajamaWikipedia


text:
Lord Byron: Literary Essentials: Great Poems of the World
Lord Byron: Guide to Dramatic Fiction
Lord Byron: Critical Essays on Poetry
Lord Byron: Critical Essays on Drama
Historical Analysis of Lord Byron
Last Updated on May 5, 2015, by eNotes Editorial. Word Count: 3759
Byron's popularity has not always corresponded to his critical appraisal. He stands apart from his fellow Romantic poets— William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, and John Keats—in his stubborn reverence for the poetic style of Restoration and Augustan writers such as John Dryden and Alexander Pope. Indeed, it...
(The entire section contains 8020 words.)
Start your 48-hour free trial to unlock this Lord Byron study guide. You'll get access to all of the Lord Byron content, as well as access to more than 30,000 additional guides and more than 350,000 Homework Help questions answered by our experts.
Byron's popularity has not always corresponded to his critical appraisal. He stands apart from his fellow Romantic poets— William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, and John Keats—in his stubborn reverence for the poetic style of Restoration and Augustan writers such as John Dryden and Alexander Pope. Indeed, it was the eighteenth century propensity for wit and satire that was also Byron's forte. It is ironic, then, that Byron is in many ways considered to represent the epitome of the Romantic figure. Both personally and in many of his dark, tormented Romantic heroes, Byron created a cultural icon that had a significant impact on his society and the literary movement of his time, though it must be noted that, although the Byronic hero is certainly in part autobiographical, it represents only one aspect of a complex personality.
Perhaps the salient characteristic of Byron's work that assures his label as a consummate Romantic is his creation of the so-called Byronic hero. This character type appears in many variations in Byron's works but is generally based on such literary characters as Prometheus, John Milton's Satan, Johann Wolfgang von Goethe's Faust, and many popular sentimental heroes of the age—and, of course, on Byron himself. Though there are variations on this type—Harold, Cain, Manfred, the Giaour, Lara, Selim, and others—generally, the Byronic hero is a melancholy man of great and noble principles, with great courage of his convictions, and haunted by some secret past sin—usually a sin of illicit love, occasionally suggested to be incestuous. He is alienated, proud, and driven by his own turbulent passion.
Recurrent themes in Byron's work can be said to be subsumed under the larger category of nature versus civilization. Political oppression, military aggression, sexual repression, even the superficial restraints of a frivolous, silly English society—all go against the Romantic aspiration that Byron sees as inherent in human nature, and such oppression always yields disastrous results.
Byron, who appears to have had an almost innate love of liberty, was exposed in his extensive travels to markedly diverse cultures and experiences, thus giving him a unique perspective (and certainly a broader one than his contemporaries) on human nature and civilization. Witnessing the ravages of war, the demoralization of political oppression, and the violence of prejudice and hypocrisy particularly afforded Byron a rare insight into the weaknesses of his own English society. These political and societal flaws Byron exposed in many of his works, particularly in Childe Harold's Pilgrimage, Don Juan, and The Vision of Judgment, at the risk of great public disapproval and alienation and at great personal cost. The extent and the exotic nature of Byron's travels, in addition to his vivid descriptions of his experiences and his retelling of colorful folktales, additionally account for much of the popularity of Byron's works. His accounts of the virtually unexplored, mysterious land of Albania, for example, captivated the imagination of his insular English readers.
A common theme in Byron's work is certainly that of love in its many manifestations: illicit love, idyllic love, sexual repression, sexual decadence, thwarted love, marriage. Yet in all of its variations, this theme, too, is one of civilization and the discontentment it creates when it denies natural expressions of love. Probably the most touching of Byron's love stories is that of Don Juan and Haidee in canto 1 of Don Juan. The affair is innocent, natural, primitive, and therefore by society's standards immoral and unsanctified. Similarly, Don Juan's lack of proper sex education, despite his mother's otherwise vigorous intellectual rigors, in denying what is natural and inevitable, ironically destroys lives.
Byron also repeatedly rails against tyranny and political oppression of any kind. The recent turn of events resulting from the French Revolution and the despotic reign of Napoleon I, all of which in the beginning offered such promise, provided Byron with much fodder for condemning such acts of aggression. Yet in war Byron finds inspiration in those who fight to retain or protect their freedoms. His knowledge of political and military history—European, American, Asian, Mediterranean—was vast, his understanding profound.
Byron was a versatile poet, if not always an accomplished one. In addition to skillfully and poignantly handled romantic lyrics such as "She Walks in Beauty," "When We Two Parted," and the more famous epics, Childe Harold's Pilgrimage and Don Juan, Byron also completed lyrical dramas, a number of popular exotic and romantic tales, and satirical works on the literary and political foibles of his time. In terms of both style and structure, his indebtedness to his eighteenth century heroes Dryden and Pope has been given much critical attention. His philosophical and literary faith lay more in reason than in emotion; his preferred delivery was more often one of wit and satire than sentiment and self-indulgence.
Childe Harold's Pilgrimage
First published: Cantos 1 and 2, 1812; canto 3, 1816; canto 4, 1818; the four cantos published together, 1819
Type of work: Poem
Attempting to escape the pangs of guilt resulting from his mysterious past, self-exiled Childe Harold flees to Europe and witnesses the beauties and horrors of other cultures.
Byron began Childe Harold's Pilgrimage on his first trip abroad, when he and Hobhouse toured Spain, Portugal, Albania, and Greece. It was originally titled "Childe Burun"; "Childe" refers to a young nobleman who has not yet officially taken his title, and "Burun" is an earlier form of Byron's own name. Inspired by his recent reading of Edmund Spenser's The Faerie Queene (1590, 1596), Byron chose to employ the nine-line Spenserian stanza for the major part of this work.
The first two cantos were published in 1812, and Byron's ensuing popularity among the social and literary circles of London was unprecedented, in part because the public insisted—with some accuracy and despite Byron's prefatory disclaimer to the contrary—upon identifying the intriguing Harold as Byron himself. Byron's own confusion of the two, however, is evident in his frequent dropping of the story line of the work to engage in repeated authorial digressions, which themselves intrude on the almost gratuitous plot. Harold is a young, though not inexperienced, Englishman who is compelled to flee Britain, although, the reader is told, it is in fact his own psyche he is trying to escape. The young man has a mysterious background, an unspeakably painful secret in his past. Perhaps, it is suggested, the secret is of some illicit love. With Harold, Byron introduces the first of his many Byronic heroes.
In canto 1, Harold leaves England, having lived a life of sensuous indulgence. He bids farewell to no friends or family, not even to his mother and sister, although he loves them both deeply. Landing in Portugal, Harold proceeds to visit various battlegrounds across Europe, thus giving Byron as narrator the opportunity to digress on historical, political, and even moral issues of the recent Peninsular War in which England served to help the Spanish resist the French invasion, an event that portended the end of Napoleon I's tyranny. As he looks upon the towns that were devastated by Napoleon's army, Byron laments the loss of life and champions those who nobly fought for the preservation of liberty. Byron praises the courageous women of the Spanish province of Aragon who joined the men in resisting an invading French army. Though these women were not trained to be warriors, like the mythological Amazons, but were taught to love, they nevertheless proved themselves to be strong and brave; thus, Byron suggests, they emerge far more beautiful than the women of other countries such as England.
In Spain, Harold witnesses a Sunday bullfight in one of the most famous passages from Childe Harold's Pilgrimage, in which Byron is clearly at the same time fascinated and repelled by this violent yet graceful sport. Though Harold is moved by the beauty and song of the festivities around him, he cannot participate, for his pain alienates him from the joys of human activity. He remains a spectator. Singing a ballad, "To Inez," Harold mourns the futility of running away when it is his own "secret woe" that he is attempting to escape. Comparing himself to the "Wandering Jew" of medieval legend who, having mocked Christ, is doomed to roam the earth eternally, seeking the peace of death, Harold bemoans the "hell" that lies hidden in the human heart.
Canto 2 opens with a meditation upon the contributions of classical Greece, a salute prompted by Harold's visit to the Acropolis. As Harold views the ruins of Greece's high achievements, Byron interprets them as reflections of the present loss of Greek freedom, thus foreshadowing his later involvement in the cause of Greek independence. Descriptions of the mysterious land of Albania in this canto represent one of the earliest authentic representations of this exotic country by an Englishman.
Canto 3 begins with Byron sadly recalling his daughter, Ada, whom he has not seen since the breakup of his marriage. Byron returns to the story of Harold, first warning readers that the young hero has greatly changed since the publication of the first two cantos. During the interim, Byron has endured the painful separation and the scandal concerning his relationship with Augusta, all of which essentially forced him to leave England. His bitterness is evident in the far darker tone of canto 3, and the character of Harold and that of the narrator, never strikingly different in temperament, now are more clearly merged.
Still unable to completely detach himself from feeling the pangs of human compassion, Harold flees to the solitude of natural surroundings, finding nature to be the one true consoler. He feels a communication with the desert, the forest, the ocean, the mountains. Finding Harold at the site of the Battle of Waterloo, "the grave of France," Byron resumes the theme of Napoleon's despotism and takes the opportunity to examine tyranny in general. Praising the heroes of that fateful and momentous battle, Byron blames Napoleon's extremism, arguing that moderation would have prevented the disastrous results of a once noble plan. Harold then travels to Germany, where he still is not immune to feelings of love and joy, however fleeting.
Visiting the Swiss Alps leads Harold to the sites of other battles. Lake Leman (Lake Geneva) recalls to Byron the great French philosopher Jean-Jacques Rousseau, one of the forerunners of the Romantic movement. This section, it has often been noted, has a distinctly Shelleyan mood, and indeed Byron wrote it while visiting Percy Bysshe Shelley. Byron explores the pantheistic philosophies of William Wordsworth, Shelley, and Rousseau and expresses feelings of oneness with nature, though he ultimately rejects their ideas. These feelings, furthermore, lead him to consider his feelings of alienation in the world of humankind. Insisting that he is neither cynical nor completely disillusioned, Byron insists that he believes that there are one or two people who are "almost what they seem" and that happiness and goodness are possible. Byron concludes the canto as he begins it, lamenting his absence from Ada, imagining what it would be like to share in her development, to watch her grow.
Canto 4 takes Harold to Italy, at first to Venice, decaying yet still beautiful because its spirit is immortal. Byron confesses that he still has some love for his native country and that he hopes that he will be remembered there. If he dies on foreign soil, he confesses, his spirit will return to England. The canto concludes with Byron's famous apostrophe, or address, to the ocean.
First published: Cantos 1 and 2, 1819; cantos 3 through 5, 1821; cantos 6 through 14, 1823; cantos 15 and 16, 1824; the 16 cantos published together, 1826
Forced to flee his homeland, the ingenuous Spanish rogue finds love, tragedy, violence, hypocrisy, and wisdom on his world travels.
Don Juan is a unique approach to the already popular legend of the philandering womanizer immortalized in literary and operatic works. Byron's Don Juan, the name comically anglicized to rhyme with "new one" and "true one," is a passive character, in many ways a victim of predatory women, and more of a picaresque hero in his unwitting roguishness. Not only is he not the seductive, ruthless Don Juan of legend, he is also not a Byronic hero. That role falls more to the narrator of the comic epic, the two characters being more clearly distinguished than in Byron's Childe Harold's Pilgrimage.
In Beppo: A Venetian Story, Byron discovered the appropriateness of ottava rima to his own particular style and literary needs. This Italian stanzaic form had been exploited in the burlesque tales of Luigi Pulci, Francesco Berni, and Giovanni Battista Casti, but it was John Hookham Frere's (1817-1818) that revealed to Byron the seriocomic potential for this flexible form in the satirical piece he was planning. The colloquial, conversational style of ottava rima worked well with both the narrative line of Byron's mock epic and the serious digressions in which Byron rails against tyranny, hypocrisy, cant, sexual repression, and literary mercenaries.
Byron opens Don Juan with a dedication to his old nemesis, Robert Southey, who was at the time poet laureate. Byron hated Southey for his turncoat politics, for his spreading of rumors about Byron, and for his weak verse. The publication of the first two cantos in 1818 created scandal and outrage for the author. Although the names of publisher and author did not appear on the title page, Byron's identity was unmistakable. Even Byron's friends—Hobhouse and others—though admiring the genius of the work, were shocked and concerned about its language and content. The invectives against contemporaneous writers and against Lady Byron smacked of slander; his comments on political and theological issues bordered on sedition and blasphemy. Byron, arguing that this was in fact "the most moral of poems," remained steadfast against editing and censoring. The work, however, also received significant critical praise from such noteworthy giants as Percy Bysshe Shelley, German poet Johann Wolfgang von Goethe, and John Gibson Lockhart (Sir Walter Scott's son-in-law, writing under the pen name of "John Bull"). Byron found much strength and determination in these encouragements.
Byron's avowed purpose in Don Juan was to be "quietly facetious on everything." The narrative opens with sixteen-year-old naïf Don Juan, who innocently falls in love with Dona Julia, the young wife of Don Alfonso, a gentleman of fifty who has been linked romantically with Juan's mother, Dona Inez. Although Byron's poem is "epic" and he promises to observe the epic conventions of Aristotle and the classical authors, his hero is modern, of ordinary proportions and weaknesses. The plot follows a line of at times almost stock farce, the lovers being discovered by Alfonso's spotting Juan's shoes under Julia's bed. At the end of the canto, Juan must flee Spain, the divorced Julia enters a convent, and the picaresque adventures of the young hero begin. Byron's narrator takes the opportunity during the story to comment on love, education, and marriage.
Juan is shipwrecked in canto 2 and, after a shocking encounter with cannibalism, is washed ashore in the Greek Cyclades and is rescued by the beautiful maiden, Haidee, with whom he shares an idyllic love in canto 3 until her pirate father, Lambro, returns in canto 4 and Juan is sold into Turkish slavery. Haidee dies of a broken heart. The Haidee passage is one of Byron's most poignant, his depiction of innocent love thwarted by external, evil forces one of his most touching. Canto 5 finds Juan accompanied and befriended by Johnson, an English soldier of fortune, and the two are bought by a black eunuch who dresses Juan in women's clothes and takes him to the harem queen, Gulbayez, whose advances Juan rejects in deference to Haidee's memory. In canto 6, however, Juan spends a sensuous and loving night in the harem with Lolah, Katinka, Dudu, and the other odalisques but is unfortunately sentenced to death in the morning.
The epic takes on a more serious tone with cantos 7 and 8, in large part as a result of the significant changes in Byron's own life since the publication of the previous cantos. Juan and Johnson, who have managed to escape, join the Russian army, and Byron vehemently condemns war and military aggression. In cantos 9 and 10, Juan, now a war hero, meets Catherine the Great, who sends him to England. In the remaining cantos, 11 to 16, Byron satirizes English society. As a guest at the country estate of Lord Henry Amundeville, Norman Abbey (based on Byron's own Newstead Abbey), Juan is pursued by three women: Lord Henry's wife, the sophisticated and intellectual but self-centered Lady Adeline; the mysterious, gracious, graceful Countess Fitz-Fulke; and the silent but emotionally deep Aurora Raby. Much of the final canto concerns a social gathering and the identity of the mysterious ghost of the Black Friar, whom Juan sees at night.
At the time of his death in 1824, Byron was still working on Don Juan but had completed only a fragment of canto 17, which does not continue the story line.
The Prisoner of Chillon
First published: 1816
Imprisoned for religious and democratic sentiments, a priest watches his brothers die beside him but is inspired by a songbird and his own strong spirit.
The Prisoner of Chillon is a dramatic monologue written after Byron and Shelley visited the Castle of Chillon in Switzerland, where a priest, François Bonivard, was imprisoned for six years for expressing democratic ideals rooted in his religious doctrine. Impressed by Bonivard's courageous and principled struggle against the cruelty and tyranny of his captors, Byron used the story to comment further on his already characteristic themes of isolation, liberty, oppression, and conviction.
The poem opens with the "Sonnet on Chillon," which reveals, both in content and in style, the influence of Shelley on Byron's work and thought at this time in his career. Byron celebrates the site of Bonivard's imprisonment as consecrated ground, and he praises in exalted and idealistic tones the futility of attempts to constrict the true and free spirit.
The remainder of the poem is told from the first-person perspective of Bonivard himself. Although Byron deviates somewhat from the historical record, this poem represents the first example of Byron using a real person as his protagonist. Bonivard's father and five of his brothers have already perished as a result of this persecution of their faith. Two of them were imprisoned with Bonivard: the youngest brother, sweet of disposition, with tears only for the pain of others; the older brother an active man, strong and courageous. Both of the brothers died while the three of them were chained to huge pillars in the dark Gothic dungeon. Alone and the last survivor of his family, Bonivard then fell into a deep despair, his senses dulled, losing any concept of time, unaware of darkness or light.
In an almost conventional Romantic moment, Bonivard's despair is interrupted by the arrival of a songbird. The prisoner speculates, with the last vestiges of optimism, that the bird may also have been imprisoned in a cage and has managed to escape. Perhaps, he speculates, the bird might in fact be his brother's soul visiting him with messages of hope. When the bird flies away, however, Bonivard feels more alone than ever. Yet miraculously, his captors begin to treat him with more compassion, allowing him to walk around in his cell unchained. He climbs up the wall, not to try to escape but merely to get a glimpse through the barred windows of the mountains once again. The beauty of this sight again makes his imprisonment seem even more unbearable. After an indeterminate length of time—days, months, even years—Bonivard is released. The freedom is a hollow victory, however, since he has lost all that is dear to him, and he had come to consider the prison his home. Even the chains and the spiders seemed to be his friends.
The Vision of Judgment
Upon the death of King George III, Satan and the Archangel Michael debate over possession of the tyrant's soul.
Byron had already mocked Robert Southey in English Bards and Scotch Reviewers (1809) and in his dedication to Don Juan, but his ridicule of Southey is at its pinnacle in The Vision of Judgment. Byron hated Southey for many reasons. He disapproved of the poetry of Southey and even the greater "Lake School" poets, William Wordsworth and Samuel Taylor Coleridge. He also resented Southey's turn to conservatism later in life, marked by his being made poet laureate in 1813. Moreover, Southey had spread vicious rumors about Byron's personal life. Upon the death of King George III, Southey, in his role as poet laureate, wrote a sycophantic celebration of George's glorious entry into heaven, A Vision of Judgment (1821). In this work, Southey lashed out at Byron, ascribing him to the "Satanic" school. Byron retorted with The Vision of Judgment. John Murray, Byron's publisher, was becoming increasingly fearful of the British disapproval of Byron's work, so Byron published the poem in the new literary journal The Liberal, edited by Byron and John Hunt, later Byron's new publisher.
In Byron's poem, Saint Peter waits, bored, by the gates of Heaven, his keys rusty and the lock dull with disuse. The angels have nothing to do but sing. Only the angel who records the names of souls lost to hell is overworked, even requesting additional help. Satan is so busy that his thirst for evil is almost quenched. The death of George III brings hypocritical mourning on earth, people drawn to the pomp without really caring about him. Upon hearing that King George III has died, Saint Peter recalls that the last royal entry into Heaven was by the beheaded King Louis XVI, who was admitted as a martyr by playing on the sympathy of the saints.
While the Archangel Michael and Satan debate over who will get the soul of George III, witnesses are called. These include one who praises George, obviously to flatter him, and the anonymous letter writer known as "Junius" who criticized George and who refuses to recant his writings. Then Southey arrives and starts to recite his A Vision of Judgment. By the fourth line, the angels and devils have fled in terror. At the fifth line, Saint Peter uses his keys to knock Southey into his lake. In the confusion, George slips unobserved into Heaven.
Last Updated on May 5, 2015, by eNotes Editorial. Word Count: 99
Is Lord Byron more of a Romantic figure than a Romantic poet? Justify your response.
Consider the statement that Don Juan does not look as "immoral" today as it once was alleged to be.
Do you agree or disagree with the assertion that Childe Harold's Pilgrimage is more travelogue than character study? Why?
Byron was fond of difficult poetic stanzas, such as the ottava rima and the Spenserian stanza. How do his rhyming techniques contribute to his success at these forms?
Assess Percy Bysshe Shelley's influence on Byron.
Show why Byron deserves to be called an iconoclast.
Other Literary Forms
George Gordon, Lord Byron, is considerably better known as a poet than as a dramatist, and the relative importance of the poetry is quickly evident in any review of Byron's literary career. His first book, Fugitive Pieces, was printed at his own expense in November of 1806, and though it consisted primarily of sentimental and mildly erotic verse, it also contained hints of the satiric wit that would be so important to Byron's later reputation. The volume is also notable for having inspired the first accusations that Byron lacked poetic chastity; at the urging of some of his friends, he withdrew the book from private circulation and replaced it with the more morally upright Poems on Various Occasions, printed in Newark in January of 1807 by John Ridge, who had also printed Fugitive Pieces.
In his first attempt at public recognition as a man of letters, Byron published Hours of Idleness in June of 1807. The volume shows the obvious influence of a number of Augustan and Romantic poets, but despite its largely derivative nature, it received several favorable early reviews. Fortunately for Byron's development as a poet, however, the praise was not universal, and subsequent critical attacks, notably by Henry Brougham of The Edinburgh Review, helped inspire the writing of Byron's first poetic triumph, English Bards and Scotch Reviewers (1809). In the tradition of Alexander Pope's The Dunciad (1728-1743) but written under the more direct influence of Baviad (1794) and Maeviad (1795), by William Gifford, English Bards and Scotch Reviewers is the earliest significant example of Byron's satiric genius. Three more satiric poems soon followed, but none of these—Hints from Horace (1811), The Curse of Minerva (1812), and Waltz: An Apostrophic Hymn (1813)—attracted as much admiring attention as English Bards and Scotch Reviewers.
During this same period, Byron was composing the poem with which he would be most closely associated during his lifetime and which would make him the most lionized literary figure of his day, Childe Harold's Pilgrimage, Cantos I-IV (1812-1818, 1819). The first two cantos of the poem, an imaginative meditation loosely based on two years of travel on the Continent, were published on March 10, 1812, and produced an immediate sensation. In his own words, Byron "awoke one morning and found myself famous." Cantos III and IV were greeted with equal excitement and confirmed the identification of Byron in the popular mind with his poem's gloomy protagonist.
In the meantime, Byron published a series of poetic tales that further exploited the knowledge derived from his Eastern travels and that continued the development of the Byronic hero, the brooding, titanic figure whose prototype within Byron's canon is Childe Harold. These tales include The Giaour (1813), The Bride of Abydos (1813), The Corsair (1814), Lara (1814), Parisina (1816), and The Siege of Corinth (1816). Illustrative of the diversity of Byron's poetic output is the publication, during this same period, of Hebrew Melodies Ancient and Modern (1815), short lyrics based largely on passages from the Bible and accompanied by the music of Isaac Nathan. Although Byron lacked the lyric mastery of a number of his extraordinary contemporaries, he produced well-crafted lyrics throughout his literary career, none of which is more admired or more often quoted than the first poem of Hebrew Melodies Ancient and Modern, "She Walks in Beauty."
Also published in 1816 was "The Prisoner of Chillon," a dramatic monologue on the theme of human freedom, which Byron was inspired to write after a visit to the castle where François de Bonivard had been imprisoned during the sixteenth century. The Lament of Tasso (1817), written during the following year, is a less successful variation on the same theme and, more important, an early manifestation of Byron's fascination with the literature and history of Italy. This fascination is also seen in The Prophecy of Dante (1821), "Francesca of Rimini" (inspired by Canto V of Dante's Inferno), and the translation of Canto I of Luigi Pulci's Morgante Maggiore (1483), which were produced in the years 1819 and 1820.
The importance of Pulci to Byron's poetic career is immeasurable. Through Whistlecraft (1817-1818), by John Hookham Frere, Byron became indirectly acquainted with the casual, facetious manner of the Morgante Maggiore and adapted the Pulci/Frere style to his own purposes in his immensely successful tale of Venetian dalliance, Beppo: A Venetian Story. Written in 1817 and published in 1818, Beppo is the direct stylistic precursor of Don Juan, Cantos I-XVI (1819-1824, 1826), the seriocomic masterpiece whose composition occupied Byron at irregular intervals throughout the last six years of his life.
Although the final years of Byron's literary career are important primarily for the writing of Don Juan, several of Byron's other works deserve passing or prominent mention. Mazeppa (1819) is a verse tale in Byron's earlier manner that treats heavy-handedly a theme that the first cantos of Don Juan address with an adroit lightness: the disastrous consequences of an illicit love. The Island (1823) is a romantic tale inspired by William Bligh's account of the Bounty mutiny, a tale that possesses some affinities with the Haidée episode of Don Juan. The years from 1821 to 1823 produced three topical satires, The Blues: A Literary Eclogue (written in 1821 but first published in The Liberal in 1823), The Vision of Judgment (1822), and The Age of Bronze (1823), the second of which, a devastating response to Robert Southey's obsequious A Vision of Judgment, is one of Byron's undoubted masterworks.
Finally, no account of Byron's nondramatic writings would be complete without making reference to his correspondence, among the finest in the English language, which has been given its definitive form in Leslie A. Marchand's multivolume edition, Byron's Letters and Journals (1973-1982).
Achievements in Drama
In his The Dramas of Lord Byron: A Critical Study (1915), Samuel C. Chew, Jr., makes it abundantly clear that George Gordon, Lord Byron, was simultaneously fascinated with the theater and contemptuous of the accomplishments of contemporary dramatists. He was frequently to be found in the playhouses, especially during his days as a student and during the period immediately following his Eastern travels, and on at least two occasions, he acted, with considerable success, in amateur theatrical productions. His comments on the stage suggest, however, that he was appalled by the reliance of early nineteenth century playwrights on melodramatic sensationalism and visual spectacle. His letters mention the scarcity of fine plays, and his poetry castigates modern dramatists for their tastelessness. English Bards and Scotch Reviewers, for example, calls contemporary drama a "motley sight" and deplores the "degradation of our vaunted stage." It cries out to George Colman and Richard Cumberland to "awake!" and implores Richard Brinsley Sheridan, who had achieved a recent success with Pizarro: A Tragedy in Five Acts (pr. 1799), an adaptation of a play by August von Kotzebue, to "Abjure the mummery of the German schools" and instead to "reform the stage." It asks, in indignant mockery, "Shall sapient managers new scenes produce/ From Cherry, Skeffington, and Mother Goose?" and makes sneering reference to the extravagances of Matthew "Monk" Gregory Lewis's The Castle Spectre (pr. 1797). It suggests, on the whole, that the once glorious English theater is in woeful decline.
Despite Byron's sense of the theater's decay, or perhaps because of it, evidence exists, in epistolary references to destroyed manuscripts and in a surviving fragment or two of attempted drama, that, as early as 1813-1814, he had ambitions of becoming a playwright, but he had completed nothing for the stage when, in 1815, he was appointed a member of the Drury Lane Committee of Management. Although he found his committee work "really good fun," it did nothing to improve his opinion of the taste of contemporary dramatists and their audiences, and when he finally finished a dramatic work, it was not intended for popular presentation.
Like the rest of his completed drama, Manfred was written during Byron's final, self-imposed exile from England. Begun in Switzerland and finished in Venice, the play is psychosymbolic rather than realistic and may have been inspired, as any number of commentators have pointed out, by Byron's acquaintance with Johann Wolfgang von Goethe's Faust: Eine Tragödie (pb. 1808, pb. 1833; The Tragedy of Faust, 1823, 1828). Byron appears to have known of Goethe's masterpiece through translated passages in Madame de Staël's De l'Allemagne (1810) and through an extensive oral translation by Monk Lewis during a visit to the poet in August of 1816. Considerable controversy has occurred, however, over the extent of Faust's influence on Manfred, the consensus now being that Faust is simply one of many sources of the play's intricate materials, albeit an important one. Chew makes mention of Vicomte Françoise Auguste-René de Chateaubriand's René (1802, 1805; English translation, 1813), Goethe's The Sorrows of Young Werther (1774), Horace Walpole's The Castle of Otranto (1764) and The Mysterious Mother (1768), Samuel Taylor Coleridge's Remorse (1813), Charles Robert Maturin's Bertram: Or, The Castle of St. Aldobrand (1816), William Beckford's Vathek (1782), and Lewis's The Monk (1796) as other works with which Manfred has affinities and from which borrowings may have occurred. More important, however, Manfred is a cathartic projection of Byron's own troubled psyche, an attempt, which some critics have called Promethean rather than Faustian, to cope with the seemingly unconquerable presence of evil in the world, to deal with his frustrated aspirations toward an unattainable ideal, and, on a more mundane level, to come to terms with his confused feelings toward his half sister Augusta. With respect to Manfred's place in theatrical history, Malcolm Kelsall, in The Byron Journal (1978), has made an excellent case for grouping Byron's play both with Faust and with Henrik Ibsen's Peer Gynt (pb. 1867; English translation, 1892). Kelsall states that "the new kind of stage envisaged" in these plays "is unfettered by any kind of limitation of place, and that assault, which is as much upon the conceived possibilities of stage allusion as upon unity of place, demands of the imagination that it supply constantly shifting visual correlatives for the inner turmoil of the hero's mind."
Byron's next play, Marino Faliero, Doge of Venice, is of an entirely different sort and ushers in a period in which Byron attempted to return to classical dramatic principles to produce plays whose themes are essentially political. He sought to counteract the undisciplined bombast and sprawling display of the drama with which he had become familiar in England by making use, without becoming anyone's slavish disciple, of theatrical techniques exploited by the ancient Greeks and Romans, the neoclassical French, and the contemporary Italians, notably Conte Vittorio Alfieri. Because he did this during a time when his involvement in Italian political intrigue was beginning to develop, Byron's decision to center his play on Marino Faliero, the fourteenth century doge of Venice who was executed for conspiring to overthrow the oppressive aristocratic class to which he himself belonged, is hardly surprising. He wrote the play as a closet drama—to be read rather than staged—considering its classical regularity an impossible barrier to its popular success, and he was furious when he learned of Drury Lane's intention of producing it. As he summarized the matter in a journal entry of January 12, 1821, how could anything please contemporary English theatergoers that contained "nothing melodramatic—no surprises, no starts, nor trap-doors, nor opportunities 'for tossing of their heads and kicking their heels'—and no love—the grand ingredient of a modern play"?
In Sardanapalus, Byron extended his experimentation with classical regularity and continued his exploration of political themes while at the same time appealing in two particular ways to popular taste. The play's setting, ancient Nineveh, accorded well with popular interest in Eastern exoticism, an interest that Byron's own Eastern tales had intensified, and the devotion of the slave Myrrha to Nineveh's troubled ruler satisfied the public's desire to witness pure, selfless love.
The Two Foscari, the third of the classically constructed political plays, again makes use of Venice for its setting. Although generally considered to be less successful than the earlier of the Venetian dramas, The Two Foscari contains autobiographical elements, embodied in Jacopo Foscari, that give a certain fascination to the play. Jacopo, after a youth of aristocratic gaiety, has been unjustly exiled from his native land. He had been the boon companion of the city's most promising young men, had been admired for his athletic vigor, particularly in swimming, and had drawn the attention of the city's most beautiful young women. Then the powerful had intrigued against him, and his banishment had begun. Byron's contemporaries could hardly have missed the personal significance of this situation or have overlooked the note of defiant anguish in such an exchange as the following:
Guard: And can you so much love the soil which hates you?Jac. Fos: The soil!—Oh no, it is the seed of the soilWhich persecutes me; but my native earthWill take me as a mother to her arms.
Jacopo's persecution is carried out as an act of vengeance by an enemy of the Foscari family, an act that corrupts its perpetrator, but unlike Percy Bysshe Shelley's The Cenci (pb. 1819), whose theme is much the same, The Two Foscari is not effective theater.
Cain was published as part of a volume that also contained Sardanapalus and The Two Foscari, but it ought instead to be grouped with Heaven and Earth, which was written at about the same time but whose publication was delayed because of the controversy inspired by Cain. In Cain and Heaven and Earth, Byron returned to the style of Manfred, but he derived his materials from biblical lore and from previous literary treatments of these same stories. He called the plays "mysteries," a reference both to the medieval mystery plays and to the mystified response Byron was expecting from the general public. Cain is a reinterpretation of the tale of the primal murder, a reinterpretation in which Cain is clearly the superior of his brother Abel and kills his brother, as Chew observes, in an "instinctive assertion of freedom against the limitations of fate." Heaven and Earth is based on the passage in Genesis that states that "the sons of God saw the daughters of men that they were fair; and they took them wives of all which they chose." Its plot culminates in the nearly total destruction of the flood, a destruction so general and arbitrary that the play becomes, in Chew's summary, "a subtle attack on the justice of the Most High."
Werner was much more in keeping with the literary tastes of the time than Byron's other plays, a fact that can be at least partially explained by its having been begun in 1815, during the period of Byron's closest association with Drury Lane. A surprisingly faithful rendering of "The German's Tale" from Sophia and Harriet Lee's The Canterbury Tales (1797-1805), Werner centers on the title character and his perfidious son, Ulric, an ambitious villain of the deepest dye. Making no pretense of adhering to the classical unities, the play moves with gothic ponderousness toward its dark conclusion, in which Ulric is revealed to be the cold-blooded murderer of his own fiancée's father, Stralenheim, the one man who stood between Ulric's family and their return to hereditary wealth and power.
The Deformed Transformed is one of Byron's two dramatic fragments (the other being Heaven and Earth). As its prefatory "Advertisement" states, Byron based it on Joshua Pickersgill's novel The Three Brothers (1803) and on Goethe's Faust. Chew points out the autobiographical significance of Byron's adding lameness to the other deformities from which his central character, Arnold, escapes by dealing with the Devil, but the play's incompleteness and incoherence make it difficult to comment further on Byron's dramatic intention. The fragment was composed in 1822 and published in February of 1824 by John Hunt.
The history of Byron's plays in theatrical production appears largely to be a tale of creative misinterpretation in the twentieth century and commercial adaptation and exploitation in the nineteenth. Margaret Howell's 1974 account in The Byron Journal of Charles Kean's June 13, 1853, production of Sardanapalus is particularly instructive. Reduced from its full length of 2,835 lines to 1,563, the play was presented almost solely as spectacle and required the approval of the local fire inspectors, because of one of its more impressive effects, before it could be performed. The production seems to have embodied everything that most disgusted Byron about London theater.
Achievements in Poetry
If poets can be judged by the intellectual and cultural myths which they inspire, then Lord Byron must be deemed the most broadly influential of the Romantic writers. Through his creation of a brooding and defiant persona known as the Byronic Hero—according to Peter L. Thorslev, Jr., a composite blend of the attributes of Cain, Ahasuerus, Satan, Prometheus, Rousseau's Child of Nature, the Man of Feeling, the Gloomy Egoist, the Gothic Villain, and the Noble Outlaw—Byron exerted a profound impact on the entire nineteenth century and its conception of the archetypal Romantic sensibility. The essential trait that came to be associated with Byronism is what Bertrand Russell, in his History of Western Philosophy (1945), identifies as "Titanic cosmic self-assertion." Signifying less a specific stance than a generalized attitude, the phrase denotes a proud, often despairing, rebellion against any institutional or moral system that threatens to rob the self of its autonomy, centrality, and independence. Something of the extent to which this outlook captured the imagination of the age can be gauged from a brief list of artists and thinkers whose works reflect Byron's influence: in Germany, Johann Wolfgang von Goethe, Heinrich Heine, Ludwig van Beethoven, and Friedrich Nietzsche; in France, Honoré de Balzac, Stendhal, Hector Berlioz, and Eugène Delacroix; in Russia, Alexander Pushkin and Fyodor Dostoevski; and in America, Herman Melville. Even Matthew Arnold, that most Wordsworthian of Victorian critics, admitted in his 1850 poem "Memorial Verses" that the collective English soul "Had felt him like the thunder's roll." Thirty-one years later, Arnold's view had not changed: "The power of Byron's personality," he wrote, approvingly quoting Algernon Charles Swinburne, "lies in . . . 'the excellence of sincerity and strength.'"
What fascinated nineteenth century audiences about Byron was not simply the larger-than-life character of the man transmuted into art but also the flinty integrity of his mind that penetrated all deception and constantly tested the limits of skepticism. In this respect Byron seems peculiarly modern. Although often considered a Romantic paradox because of various antitheses in his nature (he led the Romantic revolution toward "expression" in poetry, for example, but was thoroughly Augustan in his literary ideals and a lifelong admirer of Alexander Pope), he rarely succumbs to the temptation of believing his own fictions and always examines his experience with obsessive honesty. In conversations with his friend and confidante Lady Blessington, Byron thus confessed to being "so changeable . . . such a strange mèlange of good and evil, that it would be difficult to describe me," but he goes on to say: "There are but two sentiments to which I am constant—a strong love of liberty, and a detestation of cant." These last qualities undoubtedly explain why the vein of satire was so congenial to him as a poet. In both the barbed heroic couplets of English Bards and Scotch Reviewers, the scathing burlesque that launched his career, and the seriocomic use of ottava rima in Don Juan, the epic satire that he did not live to complete, Byron sought to expose the smug complacencies and absurd pretensions of his time and, if possible, to restore to it the ability to see itself objectively. The dark Weltschmerz of poems such as Childe Harold's Pilgrimage may attest his personal despair over whether that goal could ever be accomplished, but in all his variegated moods he writes with energetic conviction born of "sincerity and strength." Byron's seminal achievement, therefore, may be his capacity for embodying the strivings of a deeply restless age, for articulating those longings and doing what all great poets do—namely, to return the imagination to the world.
Brewer, William D., ed. Contemporary Studies on Lord Byron. Lewiston, N.Y.: Edwin Mellen Press, 2001. A collection of essays on the works of Byron. Bibliography and index.
Brisman, Leslie. "Troubled Stream from a Pure Source." In George Gordon, Lord Byron, edited by Harold Bloom. New York: Chelsea House, 1986. A readable and pithy examination of the Romantic origins of Byron's major drama that places Cain within the context of the Romantic task of returning fallen man to his original state of innocence. The volume contains a brief chronology of Byron's life as well as a useful select bibliography.
Byron, George Gordon, Lord. Byron. Edited by Jerome J. McGann. New York: Oxford University Press, 1986. The most comprehensive one-volume edition of Byron's poetry and prose. Includes complete text of Childe Harold's Pilgrimage and Don Juan, as well as other poems and plays, and also includes selections from Byron's incomparable letters.
Byron, George Gordon, Lord. Byron's Letters and Journals. Edited by Leslie A. Marchand, 12 vols. Cambridge, Mass.: Belknap Press of Harvard University Press, 1973-1982. Byron's letters were always witty, irreverent, and highly entertaining, written quickly and without inhibitions. They mirror his many-sided personality and the charm of his conversation.
Chew, Samuel C., Jr. The Dramas of Lord Byron: A Critical Study. 1915. Reprint. New York: Russell and Russell, 1964. The first sustained analysis of Byron's plays, Chew's book remains the best single introductory examination of Byron's dramatic works and his career as a dramatist. Although methodologically dated, Chew offers a sensible investigation of Byron's development of dramatic structure in the light of the larger context of Romantic drama, in addition to some solid insights into the connections between Byron's poems and plays. The volume includes appendices that examine Byron's use of the dramatic unities and compares Byron's Manfred with Johann Wolfgang von Goethe's Faust (pb. 1808, 1833).
Crane, David. The Kindness of Sisters. New York: Alfred A. Knopf, 2003. A study of Byron's reputation after death, exploring bitter and conflicting accounts by the wife he divorced and the sister he seduced.
Eisler, Benita. Byron: Child of Passion, Fool of Fame. New York: Alfred A. Knopf, 1999. A narrative biography that does justice to the love affairs that made Byron notorious while giving ample coverage of the reasons Byron is an influential and important poet. Includes bibliographic references.
Franklin, Caroline. Byron: A Literary Life. New York: St. Martin's Press, 2000. A study of Byron's career, with some attention to the poet's neglected playwriting.
Garrett, Martin. George Gordon, Lord Byron. New York: Oxford University Press, 2001. This brief, well-illustrated biography, designed for students in grades nine and above, is a good introduction to Byron. Replete with choice quotations and primary source references. Includes an index.
Graham, Peter W. Don Juan and Regency England. Charlottesville: University Press of Virginia, 1990. Six self-contained but interrelated essays that explore Byron's comic masterpiece in the context of various aspects of the culture of Regency England. Graham argues that in Don Juan, Byron continually advocated a cosmopolitan point of view, satirizing traditional English insularity. Readers should have some familiarity with Don Juan before tackling this volume, but Graham writes jargon-free prose, and each essay is highly illuminating.
MacCarthy, Fiona. Byron: Life and Legend. New York: Farrar, Straus and Giroux, 2003. A biography that re-examines the life of the poet in the light of MacCarthy's assertion that Byron was bisexual, a victim of early abuse by his nurse.
Marchand, Leslie A. Byron: A Portrait. Chicago: University of Chicago Press, 1970. The best biography for the general reader. It is based on Marchand's definitive three-volume biography published in 1957 but includes research done in the 1960's. Marchand's portrait of Byron is balanced and free of bias. Includes fifty-six illustrations, genealogical tables, and two maps showing Byron's travels from 1809 to 1811, and Byron's Greece.
Martin, Philip. Byron: A Poet Before His Public. Cambridge, England: Cambridge University Press, 1982. This biographical-historical analysis of Byron's plays, with chapters on Manfred, Cain, and Sardanapalus, places Byron's work within the context of his contemporaries of the second generation of Romantic poets. The analyses of the plays include an excellent discussion of the placement of Byron's plays within the dramaturgical context of the time, particularly the mannered expressionism of Edmund Kean, Sarah Siddons, and Charles Kemble. Contains a number of illustrations and a complete bibliography.
Peters, Catherine. Byron. Stroud, Gloucestershire, England: Sutton, 2000. A concise biography of Byron that covers his life and works. Bibliography.
Wilson, Frances. Byromania: Portraits of the Artist in Nineteenth-and Twentieth-Century Culture. New York: St. Martin's Press, 1999. These eleven essays shed light on the scandalous nature of Byron's fame, including his carefully wrought self-presentation, as well as the extraordinary popularity of his work and persona. The poet is viewed through multiple, if sometimes contradictory perspectives, the essays varying in tone from academic to humorous.
Download Lord Byron Study Guide
How is Lord Byron a Romantic poet?
What are some ideas for a close text analysis of Lord George Gordon Byron's poem "Apostrophe to the Ocean"?
Can you help me with the analysis of this poem by George Gordon, Lord Byron?
Why does the speaker in "Apostrophe to the Ocean" by Lord Byron admire the ocean?
Who was Lord Byron? What are three interesting facts about him?


text:
Julia Mason
Robert Pope: Guinness-fuelled man runs across Ireland in a day.
Marathon champion goes from Galway to Dublin in under 24 hours. Julia Mason interviewed him and asks why.
When people who don't know where Galway and Blowtorch Records is (incredibly there still are some) and ask me of its location, I tell them that it is directly across from Dublin on the opposite coast. I don't ever remember ultra distance runner Rob Pope asking me of Galway's whereabouts. However he is plainly aware that the best route across Ireland is a straight line from Galway to Dublin. Rob's a runner, Guinness drinker and music fan. There's only person for this interview - over to you Julia Mason. I should also say at this point that there is an excellent half hourly coach service between these two great cities which takes less than 3 hours. Just saying.
Robert Pope ran from Galway City on Ireland's west coast to the capital Dublin in just 23 hours and 39 minutes. The 44-year-old took on the 134-mile (215 km) challenge after a pint of Guinness in Galway, before finishing with another at the end of the route.
He set off from Galway's Spanish Arch (or as young uns call it - Sparch) on Saturday August 6 and began his 215 kms run to Dublin. He settled in, with his four-man support team, for a quiet pint of Guinness in Galway's Monroes Tavern before setting off at 22.31 pm. He dipped his feet in the waters of the Atlantic Ocean and 23 hours and 39 minutes later he finished in the capital.
Monday August 8 was the The Edge's (guitarist from U2) birthday and so U2 was the main soundtrack to this epic adventure. I just had to find out more about this extraordinary challenge and the man behind it.
1. Where did the idea come from?
I'd wanted to try and do a 100-miler and/or a 24h run for a long time after having completed some different distance challenges in the past. These ranged from running from Paul McCartney's house to Glastonbury over 3 days in 2021 to raise money for Oxfam (the festival fell victim to COVID); to the big one - recreating Forrest Gump's entire run, 5 times across the USA over 422 days between 2016 and 2018. I decided this Summer was the right time and looked for a cool way to do it. I guessed Ireland would be somewhere over 100 miles across and less than 200 and was intrigued by the fact it was about 135 miles - at the limit of what might be possible for me at this point. I gave myself a 40% chance of being able to do it in a day but would have been happy to have taken a couple if it was beyond me, or even just getting the 100-miler done in a day.
2. Why did you tie it into The Edge from U2's birthday? Did you get any response from him?
I'm a huge U2 fan and when I ran across the States, I got massively into them, especially The Joshua Tree, which some people say is Bono's "love letter to America". I listened to that album on loop through Joshua Tree National Park (8.5 times, if you're wondering) and became the first person ever (like, who else has realistically going to have done this?) to run from Joshua Tree NP to the ACTUAL Joshua tree, just outside of Death Valley. How did I know it was the right one? Well, there's a huge U2 shrine with a concrete and bronze plaque asking "Have You Found What You're Looking For?" Anyway, I digress. I wanted a summer date to get good weather and I saw that the 8th of August was the day that I Still Haven't Found... hit number one in the US Billboard 100 and a certain David Howell Evans was born. The 7th was a Sunday and I thought it would be ace to try and get to Dublin in time to celebrate these wondrous anniversaries!
The Edge hasn't got in touch yet, but I guess he is most famous for delay... 3. What motivates you to run?
So many reasons. I like the challenge and I like to move quickly. Time on the road gives me time to myself and think things through if I need, but often I'm just wandering within my mind and listening to music, both new and old. Recently, of course, I've found that I can use my running for good and in the course of my running, I've raised approaching £100,000 for various charities, most notably on my US run, for Peace Direct and WWF. 4. How does listening to music help? What songs in particular boost your motivation?
It passes the time! That's seriously important when you're running long, but it also can provide a huge boost. On my Glastonbury run, I made a playlist of all the bands who were slated to play that weekend and each selection got an hour - Fontaines DC were sandwiched between London Grammar and Supergrass. I imagine next time, they'll be a lot higher! It was pretty cool as it made me listen to a good few bands I'd never have normally checked out. Having a band per hour broke those days up and it did the same on the Ireland run, as I made my way through the extended versions of every album U2 ever did, in chronological order. Every 6 hours, I switched to Fontaines DC for an album, to start a new chapter of the run. Of course, when I was in the States certain bands were just perfect. Bruce Springsteen in New Jersey, I had a day of nothing but Bob Dylan and Neil Young running through the desert and even bands like U2 and the Stones took on new life in what was like a real-life movie. I also had a rule where I could never take a walking break if AC/DC came on shuffle. It always seemed to happen when I was desperate for one! 5. Training is obviously important but what other tips would you provide to help others looking to challenge themselves?
A nice simple answer here, ask why you're challenging yourself. Don't do it to impress others, do it for yourself, or for a good cause. If you do it for those reasons, you'll always find the motivation to succeed. You can feel free to make others proud, of course... 6. Have you discovered if this has been achieved before?
As far as I can work out, it hasn't certainly not in a day - I'm sure a few have done it on bikes or walked though... 7. You are fundraising. Can you expand on the reasons for the organisations you are supporting?
I picked the WWF and Peace Direct as my causes for this run as I did a trek earlier in the year where I didn't really hit my fundraising goals. Initially, I wasn't going to do this for charity as my focus was primarily on getting the job done and I didn't want to do a half-assed job of either, but then lots of people seemed to ask if I was doing it for charity and then it seemed weird not to. In Forrest Gump, Forrest gets asked if he's running for world peace, women's rights, the homeless, animals or for the environment; and in Peace Direct, a small charity that tries to stop conflict from escalating through education, mediation, empowerment and opportunity creation and the Worldwide Fund for Nature, these bases are covered. Their work means so much to me that anything I can do to help, I do. Please check 'em out and see how you can help - they're both ace.
Ah, there are so many ideas, it all depends on which blocks fall into place, with family, work etc, but stay tuned to @run.robla.run on social, there'll be some good stuff, I can promise. Sometimes with very little warning - after all this run was only 9 weeks from idea to getting it done and trust me, I felt the lack of training!
Please visit Rob's Just Giving page
Subscribe to our weekly newsletter and never miss out on gig info and our latest deals
New single 'Circle' from TV People
We welcome Japanese Jesus as they join forces with Blowtorch Records
Future West release 'Who Will Forgive All My Sins'.


text:
Project Runway 4
Project Runway's Chris March died on Thursday
Chris March, who made it to the finale of Project Runway season four and had his own Bravo series, Mad Fashion, was recovering from severe injuries related to a fall two years ago.
Read More about Project Runway's Chris March died on Thursday
Project Runway's Chris March almost died. Now he needs financial helps as he recovers.
The three-time Project Runway contestant hit his head in 2017, and is still recovering, now in a facility where he's also dealing with homophobia, plus anxiety and depression.
Read More about Project Runway's Chris March almost died. Now he needs financial helps as he recovers.
Project Runway's Heidi Klum and Chris March get their own reality shows
A former Project Runway cast member, Chris March, and the show's host, Heidi Klum, are both getting their own reality shows. Heidi will host a new series on Lifetime, the new home of the fashion competition, that's basically Kids Say the Darndest Things. Its working title is Seriously Funny Kids, and it "will feature Klum …
Read More about Project Runway's Heidi Klum and Chris March get their own reality shows
Details illustrates "douchefag" article with picture of Christian Siriano and his boyfriend
A photo of Project Runway 4 winner Christian Siriano and his boyfriend Brad Walsh was used to illustrate a December Details magazine chart feature about "The Rise of the Douchefag." Their photo appears next to stock art, including a bottle of bleach (a reference to the chart's mention of anal bleaching) and an iPhone featuring …
Read More about Details illustrates "douchefag" article with picture of Christian Siriano and his boyfriend
Rami Kashou was attacked at a bar and is recovering from injuries to his face
Project Runway 4 runner-up Rami Kashou was injured when he was hit in the face with a bottle at a bar last Thursday night, according to several blog reports. The incident sounds familiar to something that happened to Top Chef 2 contestant Marcel, who was hit in the face with a bottle at a bar. …
Read More about Rami Kashou was attacked at a bar and is recovering from injuries to his face
Christian Siriano says his comments "mean no disrespect to the transgender population"
Project Runway 4 winner Christian Siriano has been criticized for using "tranny" as an insult, and now he's quasi-apologized after being criticized for comparing drag queens and transexuals to "white-trash women and trailer parks." He made those comments in an interview with Time Out New York in which he was asked about drag. He replied, …
Read More about Christian Siriano says his comments "mean no disrespect to the transgender population"
Project Runway wins Peabody Award
Bravo's Project Runway became one of the first two reality series to receive a Peabody Award, which honors "the best in electronic media." The University of Georgia's Grady College of Journalism and Mass Communication, which gives the awards, explained the show's win like this: "A series that redeems the reality-contest genre, this face-off competition among …
Read More about Project Runway wins Peabody Award


You haven't lived until you've made your own tortilla chips. And once you try these, your standard industrially-manufactured Tostitos will never taste the same again.
These chips are best when eaten just a bare minute or two after they've been cooked and seasoned to your liking. The hot oil caramelizes the starches in the corn tortilla, giving these chips a subtle, slightly sweet taste that you'll never find in the store-bought version.
1) Heat oil in a deep, non-stick pan to medium/medium-high heat. Use enough oil so that it is at least 1/2 to 3/4 of an inch deep (note: do not heat the oil so much that it begins smoking).
2) Drop handfuls of tortillas at a time into the oil. Flip them over as necessary.
3) Fry until golden brown. Drain on paper towels and season with a dash of salt, pepper or other desired spices.
1) Don't confuse flour and corn tortillas. You must use corn tortillas for this recipe.
3) These chips are made the same way our Tapas-Style Potato Chips were made, except that you can make these guys even more quickly and easily. But note that because they cook through in just a couple of minutes, you've got to stand there and keep an eye on them.
4) On seasonings: You can use whatever seasonings you choose, and I encourage you to experiment. However, I don't recommend oversalting--it will mask the subtly sweet taste of these chips. We used just a few flakes of kosher salt and a few liberal shakes of cayenne pepper. Pure heaven. You can try all sorts of spice modifications: thyme, hot curry, chipotle powder, cumin, paprika--or a combination of any or all of the above!
5) Frugality alert: You don't have to dump out the oil after just one use. We've reused frying oil up to four or five times without problems. In fact, on days when we're feeling particularly lazy but still want to have tortilla chips or patatas fritas again tomorrow, we'll just leave the oil in a covered pan and reheat it the next day. Obviously, though, never leave hot oil unattended in the kitchen, especially if you have young kids in the house.
6) I'd be remiss if I wrote a fried food recipe and I didn't address any health and diet questions surrounding the type of oil I used and why. Since I can quickly see this issue going way beyond the scope of a simple recipe post, I'll leave you with a one-sentence rule of thumb: Try and always use oils that are liquid at room temperature, because they're more likely to stay liquid when they're floating around in your arteries. I used corn oil (rather than olive oil, which I typically prefer) because it smokes at a higher temperature, and thus is better suited for deep frying.
Oils which are solid at room temperature, including hydrogenated oils of all types, may have certain shelf-life and culinary advantages (especially for industrial snackfood manufacturers), but they have few redeeming health advantages. Those are the types of oils I generally avoid, except in rare instances.
If you enjoy reading Casual Kitchen, tell a friend and spread the word! Another way you can support me is by submitting this article, or any other article you particularly enjoyed here, to bookmarking sites like delicious, digg or stumbleupon.
If you can find it in your hispanic section of the store, or in the hispanic store, or make your own (they make powered lime juice now), I suggest a lime/chili/salt mixture. It's great for these (it's usually used on corn or jicama), I use it when I bake my tortillas (I very rarely fry since I was burned when my mom was frying chicken when little).
Oh, I agree--not only are homemade corn chips MUCH tastier than store-bought, they're also much cheaper! I can buy a package of fresh corn tortillas for $1--which makes a huge amount of chips!
Lady Di: Lime juice is a great idea! Just like Tostitos Hint of Lime but homemade and better.
Thank you! I googled "how to fry your own tortilla chips" and it lead me to your blog and you explained everything perfectly! I'm using a deep fryer (I just bought!) and grapeseed oil. If you have any pointers re: these few things, they'd be greatly appreciated. I'm going to try my hand at taquitos too. I'm sort of shooting blind here... thanks again!
Hi Angela, thanks for your comment. I've never used grapeseed oil, but I'd just carefully read the instructions on your deep fryer and see what oils it recommends you use and if there are any varying suggestions for handling different kinds. Good luck!
I'm from Texas and I do love a good homemade tortilla chip... However, since I LOVELOVELOVE flour tortillas, I make my own baked flour tortilla chips. I cut the tortillas in sixths or eighths, depending on how big they are, spray them with oil and sprinkle them with salt, and bake about 12 minutes until they're brown and crispy. They're divine. I may have to try the technique with corn tortillas (not a terribly big fan of frying since I have high cholesterol).


text:
package org.scalajs.jsenv

import java.io.InputStream

import org.scalajs.logging._

/** Configuration provided when starting a [[JSEnv]].
 *
 *  @param onOutputStream Callback once output streams of the JS VM run become available.
 *
 *      The callback receives the output and the error stream of the VM if they
 *      are available. If [[inheritOutput]] or [[inheritError]] are set to true, the
 *      respective streams must be `None`, in the invocation of
 *      [[onOutputStream]]. Note however, that if [[onOutputStream]] is present,
 *      it must be invoked by the JS VM.
 *
 *  @param inheritOutput Whether the output stream of the VM should be inherited.
 *
 *      The implementation may chose to redirect to the actual output stream of
 *      the parent JVM or simply [[scala.Console#out]].
 *
 *      If you set this value to `false` you must set [[onOutputStream]].
 *
 *  @param inheritError Whether the error stream of the VM should be inherited.
 *
 *      The implementation may chose to redirect to the actual error stream of the
 *      parent JVM or simply [[scala.Console#err]].
 *
 *      If you set this value to `false` you must set [[onOutputStream]].
 *
 *  @param logger The logger to use in the run. A [[JSEnv]] is not required to
 *      log anything.
 */
final class RunConfig private (
  val onOutputStream: Option[RunConfig.OnOutputStream],
  val inheritOutput: Boolean,
  val inheritError: Boolean,
  val logger: Logger,
  /** An option that will never be supported by anything because it is not exposed.
   *
   *  This is used to test that [[JSEnv]]s properly validate their configuration.
   */
  private[jsenv] val eternallyUnsupportedOption: Boolean
) {
  import RunConfig.OnOutputStream

  private def this() = {
    this(
        onOutputStream = None,
        inheritOutput = true,
        inheritError = true,
        logger = NullLogger,
        eternallyUnsupportedOption = false)
  }

  def withOnOutputStream(onOutputStream: OnOutputStream): RunConfig =
    copy(onOutputStream = Some(onOutputStream))

  def withInheritOut(inheritOutput: Boolean): RunConfig =
    copy(inheritOutput = inheritOutput)

  def withInheritErr(inheritError: Boolean): RunConfig =
    copy(inheritError = inheritError)

  def withLogger(logger: Logger): RunConfig =
    copy(logger = logger)

  private[jsenv] def withEternallyUnsupportedOption(
      eternallyUnsupportedOption: Boolean): RunConfig =
    copy(eternallyUnsupportedOption = eternallyUnsupportedOption)

  private def copy(onOutputStream: Option[OnOutputStream] = onOutputStream,
      inheritOutput: Boolean = inheritOutput,
      inheritError: Boolean = inheritError,
      logger: Logger = logger,
      eternallyUnsupportedOption: Boolean = eternallyUnsupportedOption
  ): RunConfig = {
    new RunConfig(onOutputStream, inheritOutput, inheritError, logger,
        eternallyUnsupportedOption)
  }

  /** Validates constraints on the config itself. */
  private def validate(): Unit = {
    if (onOutputStream.isEmpty && (!inheritOutput || !inheritError)) {
      throw new IllegalArgumentException("You may not set inheritOutput or " +
          "inheritError to false without setting onOutputStream.")
    }
  }
}

final object RunConfig {
  type OnOutputStream = (Option[InputStream], Option[InputStream]) => Unit
  def apply(): RunConfig = new RunConfig()

  /** Support validator for [[RunConfig]].
   *
   *  Validators allow us to add options to [[RunConfig]] in a forward
   *  compatible manner.
   *
   *  Every [[JSEnv]] must
   *
   *  1. create a [[Validator]]
   *  1. inform it of the [[JSEnv]]'s capabilities
   *  1. invoke [[validate]] with every received [[RunConfig]]
   *
   *  This ensures that enusre that all set config options are supported by the
   *  [[JSEnv]].
   */
  final class Validator private (
      inheritIO: Boolean,
      onOutputStream: Boolean
  ) {
    private def this() = this(false, false)

    /** The caller supports [[RunConfig#inheritOutput]] and
     *  [[RunConfig#inheritError]].
     */
    def supportsInheritIO(): Validator = copy(inheritIO = true)

    /** The caller supports [[RunConfig#onOutputStream]]. */
    def supportsOnOutputStream(): Validator = copy(onOutputStream = true)

    /** Validates that `config` is valid and only sets supported options.
     *
     *  @throws java.lang.IllegalArgumentException if there are unsupported options.
     */
    def validate(config: RunConfig): Unit = {
      def fail(msg: String) = throw new IllegalArgumentException(msg)

      config.validate()

      if (!inheritIO && (config.inheritOutput || config.inheritError))
        fail("inheritOutput / inheritError are not supported.")

      if (!onOutputStream && config.onOutputStream.isDefined)
        fail("onOutputStream is not supported.")

      if (config.eternallyUnsupportedOption)
        fail("eternallyUnsupportedOption is not supported.")
    }

    private def copy(inheritIO: Boolean = inheritIO,
        onOutputStream: Boolean = onOutputStream) = {
      new Validator(inheritIO, onOutputStream)
    }
  }

  object Validator {
    def apply(): Validator = new Validator()
  }
}

redpajama_set_name: RedPajamaGithub


text:
Recap of Our 10/29/18 Presentation: CRYPTO: How to Juice your Investments, Revolutionize Society, and Conquer the World
Home ULCC Recap of Our 10/29/18 Presentation: CRYPTO: How to Juice your Investments, Revolutionize Society, and Conquer the World
by David Lynam in ULCC
David Lynam, the Chair of the Union League Club of Chicago Entrepreneur Group and the author of this blog, introduced the program. He spoke of the beginnings of cryptocurrency from an underground network of cyber counterculturists, to gaining a significant amount of popularity in the last decade. Cryptocurrencies operate on an anonymous, decentralized ledger which connects vendors and customers, known as blockchain, which was also discussed at an earlier ULCC meeting. Since its inception, popular cryptocurrencies such as Bitcoin have had several highs and lows, however, it is a powerful force that can shape how future business interactions develop. Bitcoin has experienced shortcomings, one mainly being the unpredictability of the project, which is probably one of the main factors that makes this concept so exciting to follow. This hasn't stopped the trend from growing, as Fidelity Investments has announced it is opening a cryptocurrency trading service; large companies such as these typically were not participating in the crypto wave. Cryptocurrency has continuously proved its tenacity in the market, making it a movement to watch.
Investing in the crypto environment: Joshua Rodgers, a graduate of St. John's College in Annapolis, is the founder and Chief Executive Officer of Arete Wealth – a full service Broker Dealer, Register Investment Advisor (RIA) and Insurance firm. In 2018, Rogers applied his financial expertise as a managing member of Windy City Crypto LLC, which administers investment options in the expanding and evolving cryptocurrency market. From an investment standpoint, 2017 was a highly volatile year for crypto, while 2018 has been relatively quiet. Looking at various time frames over the past 10 years of crypto, there have been periods of crypto performance that model very much like the recent run up and fade, suggesting future run ups are in store.
Crypto Macroeconomics, politics, and emerging technologies: Clint Cox is an active member of the ULCC and the founder of The Anchor House, Inc., an investment advisory firm. Since 2016, Cox has been researching crypto and blockchain technologies and has since then advised various firms and government agencies regarding cryptocurrencies and blockchain. Cox is currently the Co-Chief Investment Officer of Crypto Futura Fund LLC. Cox holds a B.A. degree in English from Colgate University. He spoke about the potential for crypto to replace or augment developing countries' currencies where economies have run into trouble.
Crypto and the big picture: Karl Muth holds a J.D. degree and a M.B.A. degree, the latter from the University of Chicago as well as a both a M.Phil. and a Ph.D. degree from the London School of Economics. Muth is a prolific writer across these areas of expertise, his opinions on economic, finance, and legal issues have been quoted in a wide variety of media and have been cited by the Commissioner of the Securities and Exchange Commission and in the Yale Journal on Regulation. Muth has taught economics at Northwestern University since 2011, and holds a separate teaching appointment there as an Adjunct Professor at the law school. Karl is also the CEO of FRST a start up that equips commercial traders with enterprise grade trading desk tools for analyzing and trading digital assets. Karl Muth rounded off the Crypto saga by discussing the big picture for cryptocurrencies. Karl spoke of his company's ability to use the blockchain transparency to peer into the blockchain history. He gave the example of a musician at a recent crypto conference collecting tips in his guitar case in crypto. Checking the QR code used by the musician, Karl was able to see into the digital "wallets" of many wealthy individuals who had "tossed" in tips.
Thanks to all who attended and took away a better understanding of this exciting but controversial subject.
Last Call for the ULCC CRYPTO MeetingHow to be Charitable Over the Holidays While Saving Money
David Lynam (David Lynam)
Emergency FMLA and Sick Leave


Make your transfer between Sea-Tac Airport, Cruise Terminals (Pier 66 or Pier 91) or downtown Seattle smooth and stress-free by arranging for private charter transportation. We specialize in transport for groups of up to 14 people. Don't let the words "charter" or "private" mislead you. We believe you'll find our services delightfully affordable compared to other options out there. This is a basic transfer service between these points. If you require a longer duration of service or service radius, please look for our half-day or full day charter services also listed on Viator.
Your professional driver will greet you at the designated pick-up location in a new Ford Transit 350 XLT High-Roof, Extended Length Wagon. Your driver will help you with your bags, provide you with bottled water, reconfirm the route for the day and you'll be off. With a maximum of 14 passengers, the vehicle has capacity for at least 6 large pieces of luggage. If your group is smaller than 14, the van will be able to accommodate additional luggage in the cargo area. If you have a large group with a lot of luggage, please discuss your requirements at the time of booking and we will make the necessary arrangements to accommodate your needs. Subject to the availability of vehicle and driver, this service can be reserved at any hour of the day, at any time of year.
No matter your trip length, we'd like you to know we take safety seriously!


John S. Dickerson is an evangelical Christian pastor and author of The Great Evangelical Recession: 6 Factors that Will Crash the American Church … and How to Prepare. He has written about evangelicals and presidential politics for The New York Times. Dickerson is the teaching pastor at Venture Christian Church in Los Gatos, Calif.