The last outfit for the follow fashion blogger battle! We had to create our favorite summer outfit. I choose to wear my white DIY shorts and a loose cut out top, these are my favorite items for summer, I think they're comfortable and stylish at the same time. I would be very glad if you will vote for me this last round of the battle! Or vote for your favorite of course! I want to thank everyone who have voted for me the last few weeks! I really appreciate! :) So, thanks a lot! click here to vote.
thanks for your lovely comment! great outfit! I really love your shorts!
leuk heb je op je gestemd!
love these shorts of yours!
Wow ! I just found your blog and I really like it! You are gorgeous and I love your style, edgy and chic ! Beautiful !! I'll vote for you, you really deserve to win, I wish you luck !
PS I will definitely vote for you too! :) Good luck!
Mooi broekje & leuke details in de outfit!
Love the DIY shorts, and the heels!
Your heels are so cool!


Film Southasia 2015 continued on Saturday with the screening of 12 documentaries. From a movie following families battling it out on a hockey field, to another exploring the underground anime subculture in Nagaland, India, the festival continued to act as a platform to screen movies touching upon a wide range of issues.
Among the films screened at the biennial film festival were those which had been facing difficulties being screened in their native countries.
Similarly, other controversial documentaries such as Red Ant Dream, Blood Leaves Its Trail, and News from Jaffna, among others, were screened at the festival.
Film Southasia, on Saturday, hosted a panel discussion programme featuring prominent filmmakers Nakul Singh Sawhney, Sanjay Kak, Iffat Fatima and Mohan Mainali.
The panel discussed the obstacles of independent filmmaking in the region. The discussion was moderated by Kanak Mani Dixit, the Chairman of Film Southasia.
Film Southasia will run through November 22.


text:
James Rosen left Fox News amid reports he sexually harassed colleagues
By Megan Cerullo
James Rosen, a former Fox News chief Washington correspondent, appears on "The Friend Zone." (Fox News)
Fox News' chief Washington correspondent James Rosen abruptly left the network last month following years of alleged sexual misconduct, according to NPR.
Fox News confirmed that Rosen left the network after 18 years the Friday before Christmas, but never explained why.
Eight of Rosen's former colleagues at the Fox News bureau in Washington, D.C., however, say he flirted aggressively with his peers and made sexual advances toward three female Fox News journalists, according to the report.
Rosen, who is married with young children, allegedly sent lewd notes to former female co-workers through the company's internal messaging system.
He also allegedly made physical and sexual advances toward three different journalists, according to the NPR report.
In the winter of 2001, Rosen allegedly groped a female reporter in a cab ride home from a shared meal.
Politicians accused of sexual harassment or assault
When she refused his advance, Rosen allegedly attempted to steal her sources and poach stories from the reporter.
Four colleagues confirmed the woman's account of what happened, saying she relayed the episode to warn about Rosen's behavior.
In a separate incident, a female producer covering the State Department alleged that Rosen sexually harassed her, NPR reports.
The producer, a foreign national, said she agreed to a deal from Fox that allowed her to stay in the U.S. longer in exchange for staying mum about the episode.
In a third case that occurred last spring, Rosen tried to kiss a female reporter in an elevator ride back to the office. She refused, and he tried again, according to two colleagues who say they knew about the incident.
Rosen then asked the reporter not to talk about the incident, and offered to help her advance in her career.
james rosen
Latest U.S.
Father strangles coyote who attacked child

redpajama_set_name: RedPajamaCommonCrawl


Boolio offers flexible payment options to unlock advanced features (e.g Capture/Web Scraping) depending on your sourcing needs. Users may either choose a Subscription or a Pay As You Go plan.
Ideal for the occasional user.
Found your ideal plan? Login or Sign Up to get started.


text:
Rik Van Nutter, né en Californie à Los Angeles le  et mort à West Palm Beach le , est un acteur américain d'origine néerlandaise.

Il joua notamment le rôle de l'agent de la CIA Felix Leiter dans le quatrième épisode des aventures cinématographiques de James Bond : Opération Tonnerre (1965).

Il fut marié à l'actrice Anita Ekberg de 1963 à 1975.

Filmographie
 1960 : Le Vainqueur de l'espace (Space Men) d'Antonio Margheriti
 1965 : Opération Tonnerre (Thunderball) de Terence Young : Felix Leiter
 1966 : Intrigue à Suez () de Paolo Heusch : Fraser
 1967 : Joe l'implacable (Joe l'implacabile) d'Antonio Margheriti : Joe Ford, dit « Dynamite Joe »

Liens externes

Naissance en mai 1929
Naissance à Los Angeles
Décès en octobre 2005
Décès à 76 ans
Acteur américain
Acteur de James Bond
Acteur ayant incarné Buffalo Bill

redpajama_set_name: RedPajamaWikipedia


inRiver and Earley Information Science (EIS), specialists in information science partner to accelerate the path to meaningful results from PIM deployments.
Chicago, January 25, 2017 – inRiver, the leader in cross-channel product information management and enrichment solutions, and Earley Information Science (EIS), specialists in information science, and making data more findable, usable, and valuable, are partnering to prepare customers for more successful implementations and accelerate the path to meaningful results from PIM deployments.
This complementary joint solution broadens the value that the two firms can deliver to their customers, as well as extends the capabilities of EIS and InRiver to existing clients. EIS governance design has proven to be both cost-effective and durable, providing a catalyst for organizational change and the integration of new practices within the enterprise, as well as speeding return on technology investments.
Joint customers can augment their ability to address data challenges through effective design and taxonomy, when implementing PIM software and related services. Through the integration of these joint solutions, enterprises can keep these product data issues from recurring through the adoption of governance programs driven by metrics and KPIs.
Earley Information Science (EIS) is a boutique agency specializing in information science, making data more findable, usable and valuable. By solving data governance, product data management, content optimization, and knowledge management challenges, we help our clients achieve optimal user experiences, lower costs, and maximized revenues. EIS has more than 20 years of experience in working with Fortune 1000 organizations around the world in such industries as manufacturing, retail, financial services, healthcare, the life sciences, professional services and the public sector. Learn more about EIS at http://www.earley.com.


TSG, a member of the AWS Partner Network (APN), is proud to announce the release of OpenContent Management Suite on Alfresco on the AWS Marketplace on Alfresco. With the new OCMS marketplace instance, TSG's entire suite of products running on Alfresco can be deployed with just the click of a button. The deployed solutions not only include all of our products but sample configurations and example documents.
OCMS is deployed with several pre-configured solutions: Insurance (Policy & Claims), Compliance (Controlled Docs) and Accounts Payable (Invoices).
Insurance Claim and Policy – OpenContent Policy & Claim allows companies to extend their current data-driven policy and claim systems with electronic file capabilities with seamless integration. Demo include sample claim and policy documents.
Accounts Payable – OpenContent Accounts Payable Solution provides for a document-centric approach to Accounts Payable Invoices and supporting documents.
OpenContent Search & Case – Use the streamlined search interface to quickly find documents within Alfresco. Efficiently view and interact with a set of related documents via the configurable case interface.
OpenAnnotate – TSG's very popular "100% browser-based" annotation tool is configured for quick viewing and annotating of documents, images, audio and video.
OpenContent Forms – Users can leverage TSG's dynamic workflow solution to easily route documents for review and approval. This highly configurable form and workflow solution has been leveraged by our clients in the regulated life sciences and manufacturing industries for over 15 years.
OpenContent Admin – Admin users can configure their own use cases via the powerful admin interface. Nearly everything in OCMS can be configured – create custom search forms, case views, pick-lists, document and folder actions and more.
TSG wants to make sure you are successful in implementing our products. Please contact us to request a license key for OCMS and complete an EULA on our FAQ page.


text:
Q: Primary keys with same names in different tables
*

*Event (EID, Semester, MName, Time, Room,...)

*Module (MName,...)

*Eventplan (EID, SName)

*Subject (SName, ...)

This is my DB schema. I don't understand the relation between Event <-> Eventplan <-> Subject. The bold names are primary keys. But if EID is a primary key in Event and Eventplan, which one is the primary key in their own relation?
There must be a primary key, and a foreign key in order to use them in SQL. So I really don't understand how to see which one of them has which role, when both names are equal and even marked as primary keys.

A: The theory is a bit off on the Event Plan...
Given that a plan can be used for any number of events but an event always has only 1 plan...
I'd structure like this:
PLAN
PID, PName.... etc..,
Event
EID, Semester, MID, SID, PID, Time, Room
Module
MID, Mname...
Subject
SID, SName
This assumes the following:

*

*Plans belong to Zero or many events.

*Modules belong to Zero or may events.

*Subjects below to zero or many events.

*Events have exactly one module, subject and plan.

*Fields containing ID are PK or FK.. Those listed first are PK, those listed later are FK.

I interject MID, and SID because if names change you have to update both tables.  In this case MID and SID become surrogate keys not dependent if names change.

redpajama_set_name: RedPajamaStackExchange


The bathroom can take longer to clean than a large living room. That's because per square foot, bathrooms have more dirt and clutter areas- cabinets,shelves,fixtures ledges and vanities. Too many towels, too many magazines and far too many personal care items, and all of this is bathed constantly in moisture and soap scum. Start with the medicine cabinet. The first thing you will notice when you force yourself to open the toothpaste-spattered door is that one quarter of the stuff here really doesn't belong in the medicine cabinet. Old flashlights, night lights, class rings, WD-40, find a new home for this stuff. Then move on to the sorting. Get rid of rusty razors, frizzled toothbrushes, capsules and tablets you wouldn't dare take, because you are not sure what they are, The tiny tube of cream they gave you after your wart-removal operation ten years ago and said apply for three days, The dozens of drug samples , Toothpaste you will never use again and the many travel size bottles of almost everything. Now get to the sink area - below and underneath. Dispose of any non-working hair dryers, curling irons and any duplicate appliance. Throw out all those lipsticks, nail polishes, miracle wrinkle creams and anything you no longer use. Get rid of the bottles of oils and bath salts you bought in 1950. Soap you don't like the smell of and would never use even if you were out of everything (including dish soap). Eight- year old air freshener (it's not fresh anymore). Once you have these areas under control, cleanse the drawers. Don't let sneaky spots get by you. The tub ledge and toilet tank top were made for functional purposes, not for holding decorations and crocheted clutter holders. When you are all done, take a bath and enjoy the feeling of having a clutter free bathroom.


I love timeless, sophisticated and storytelling images, seamlessly combining photojournalism and lifestyle portraiture.
My style is inspired by filmic pastels, cool greens, crisp whites, luminous palettes and natural skin tones, integrated with beautiful black & whites, an aesthetic that will still look great in years to come.
Passionate about my work I see every wedding as individual in its own right, this is your special day and the interactions and emotions that unfold will be unique to you.
It is my role to capture the very essence of your day, always observing, always anticipating the next opportunity to freeze a moment in time, so you and your loved ones can re-live those memories for years to come. The love and laughter, the tears and romance, all documented with creative flair, a visual story board of timeless, natural and artistic imagery with you the couple at the center of my attention.
Its so important to me that you feel comfortable in front of the camera, so our portraiture sessions are fun, relaxed and therefore full of character and sincerity.
One of the unique features of my wedding packages is a beautifully edited video of your day to music, couples love this addition and it's the perfect complement to enhance the narrative of your day.
I cover the whole of the UK and destination weddings so lets have a coffee or a chat on the phone and start planning your experience, it really is an honor to photograph the most special day of your life.


In the process of ionization, there are certain ways to consider so as to produce an ionized water that is done with the use of an alkaline water ionizer machine. In doing this kind of process, there are certain rules to follow and the most basic thing to do is to separate an acidic water to an alkaline water so as to not produce any difficulty or further problems in doing the process. When processing water, there are electrodes who bring up magnesium and calcium ions which are separated along the undergoing process and that there must be certain steps and rules to follow for the proper processing of electrolysis.
There are millions of anti-oxidants that are found and present in an ionized water which help in the active and effective flow of cells that are being generated in a human being's body, this kind of water will help in the proper formation of cells as well as keeping the cells work in a way that may not cause any trouble or abnormality inside the body. Everyone wants to make sure that they are healthy, and with that their body is their greatest asset that must be taken cared and well pampered on, through an ionized water that produces a lot of benefits that will surely enable the cells to their task and that, you can prevent or avoid any odd feeling. Water can actually produce 10 to 13 molecules per group and after it is being processed through electrolysis, the ionized water can greatly regenerate 5 to 6 molecules per batch. Remember that the smaller the cluster, the faster absorption is going to happen for the cells, and with that, there could be positive and produce a better effect in a human being's body so as to maintain the healthiness and alertness of the cells that are present. Those water higher than a pH value of 7, means that it is high in alkalinity, the better it can be, Alkaline Water is an example of this type. Alkaline water is greatly processed through a water ionizer machine that will help in the establishment and nourishment of one's body to keep and remain healthy.


text:
Organisation in Consultative Status with the UN Economic and Social Council since 2015
Return Week
Refugees News
Palestinians of Syria
Palestinians of Lebanon
Palestinians of Jordan
Palestinians of Iraq
Pal Refugees in Gaza
Pal Refugees in West Bank
Palestinians Abroad
JPRS
Search Field Post Title Post Content Post Title and Content
UN Reiterates Commitment to Boost Mission of Palestine Refugee Agency
Category : Refugees News / United Nations
UNRWA was set up in the years after more than 700,000 Palestinians had been expelled or fled their lands during the 1948 war surrounding the creation of Israel. (File photo)
The Secretary-General of the United Nations will keep up strong support for the UN Relief and Works Agency for Palestine Refugees in the Near East (UNRWA), said Spokesman for the Secretary-General.
In his press briefing dating January 6, Stéphane Dujarric, Spokesman for the Secretary-General said: "Our support, full support, strong support, for UNRWA continues".
His comments came in response to a question on UNRWA's failure to pay the salaries at the end of December because of the shortages of funds.
Asked whether he read a report by The Guardian saying that United Arab Emirates is working with Israel to dismantle UNRWA, the Spokesman said: "Our call for UNRWA to be fully funded also continues, and the Secretary‑General, in partnership with Mr. [Philippe] Lazzarini, will continue to ask Member States to fund the vital work that UNRWA provides in the region".
Dujarric received another question about "the level of oppression that the occupied Palestinian territories have been witnessing in this transition period between the departure of Mladenov and the incoming Special Coordinator….Israel had been invading villages. They have been confiscating land. They have been destroying homes. They entered forcefully the hospital in Tulkarem. Yesterday, they shot and killed a civilian near Bethlehem. They let him bleed to death in front of the cameras".
"Look, the… while Mr. Mladenov is no longer the head, as you know, we've named a new head of UNSCO (United Nations Special Coordinator's Office). The Office continues. Its work continues, and I can assure you that, in the next report to the Security Council, the Special Coordinator will report fully on what he has observed and what he has… his office has seen".
By the end of December, French newspaper Le Monde reported that Israel and the United Arab Emirates have been working together to eliminate UNRWA without solving the issue of Palestinian refugees,
According to Le Monde, this process has been underway since Israel and the UAE announced normalisation between the two countries in August.
According to the report, Emirati officials are weighing up a plan to gradually eliminate UNRWA, without making it conditional on a resolution of the refugee issue. This is despite the UAE having been a major funder of UNRWA in 2018 and 2019, along with Qatar and Saudi Arabia, to offset US President Donald Trump's halting of funds to the agency, which had brought it to the verge of bankruptcy.
UNRWA was established 70 years ago to supply aid to Palestinian refugees and its mandate is renewed every three years. UNRWA says that the services it provides would otherwise not be available to Palestinians.
The agency was set up in the years after more than 700,000 Palestinians had been expelled or fled their lands during the 1948 war surrounding the creation of Israel. It provides schooling and medical services to millions of impoverished refugees in Jordan, Lebanon and Syria, as well as the Palestinian territories.
Short Link : http://bit.ly/35k0NV9
US Considering Resuming aid to Palestine Refugee Agency
Rights Watchdog: Israeli Home Demolitions, Heinous Killings Escalated against Palestinians despite Pandemic
Israel Court Slams Government for Delay in Demolishing Palestinian Village
Israeli Settlers Set Palestinian Olive Trees on Fire South of Nablus
Palestinian Family Goes Homeless as Israeli Forces Demolish Jerusalem House
Condition of Palestinian Families in Iraq Gets Worse due to Suspension of Rental Allowance
UN: Number of Structures Demolished, Palestinians Displaced by Israel in 2020 The Largest since 2016
UN Expert Calls for Halting Israeli Evictions Edict on Palestinian Families
Palestine's UN Observer Briefs UN Officials on Critical Situation in Palestine
UN: 21 Palestinian Structures Demolished by Israel in 2 Weeks
The Palestinian Return Centre is an independent consultancy focusing on the historical, political and legal aspects of the Palestinian Refugees. The organization offers expert advice to various actors and agencies on the question of Palestinian Refugees within the context of the Nakba - The catastrophe following the forced displacement of Palestinians in 1948 - and serves as an information repository on other related aspects of the Palestine question and the Arab-Israeli conflict. It specializes in the research, analysis, and monitoring of issues pertaining to the dispersed Palestinians and their internationally recognized legal right to return.
Nakba 1948
Copyright © 2021 The Palestinian Return Centre.


Fit For True Princes and Princesses!!
Your Heir to the Throne will to go to sleep like a royal charge with this deluxe King Richard Norwich Castle Bunk Bed. Featuring spectacular castle-like construction in a beautiful hand painted crackle paint finish, this unique bed is truly something special. This extraordinary full over full bed is loaded with delightful features including; a spacious bookcase, inside access to an 8-sided tower with shelves and additional shelves in rear tower - just like the old-time castles! So watch your little ones clamor into bed and drift off into dream land as they build castles in the air!!


text:
package org.apache.lucene.analysis.pattern;

import java.io.IOException;
import java.util.regex.Matcher;
import java.util.regex.Pattern;

import org.apache.lucene.analysis.TokenFilter;
import org.apache.lucene.analysis.TokenStream;
import org.apache.lucene.analysis.tokenattributes.CharTermAttribute;
import org.apache.lucene.analysis.tokenattributes.PositionIncrementAttribute;
import org.apache.lucene.util.CharsRef;
import org.apache.lucene.util.CharsRefBuilder;

/**
 * CaptureGroup uses Java regexes to emit multiple tokens - one for each capture
 * group in one or more patterns.
 *
 *

 * For example, a pattern like:
 *

 *
 *

 * "(https?://([a-zA-Z\-_0-9.]+))"
 *

 *
 *

 * when matched against the string "http://www.foo.com/index" would return the
 * tokens "https://www.foo.com" and "www.foo.com".
 *

 *
 *

 * If none of the patterns match, or if preserveOriginal is true, the original
 * token will be preserved.
 *

 *

 * Each pattern is matched as often as it can be, so the pattern
 *  "(...)", when matched against "abcdefghi" would
 * produce ["abc","def","ghi"]
 *

 *

 * A camelCaseFilter could be written as:
 *

 *

 *
 *   "([A-Z]{2,})",

 *   "(?<![A-Z])([A-Z][a-z]+)",

 *   "(?:^|\\b|(?<=[0-9_])|(?<=[A-Z]{2}))([a-z]+)",

 *   "([0-9]+)"
 *
 *

 *

 * plus if {@link #preserveOriginal} is true, it would also return
 * "camelCaseFilter
 *

 */
public final class PatternCaptureGroupTokenFilter extends TokenFilter {

  private final CharTermAttribute charTermAttr = addAttribute(CharTermAttribute.class);
  private final PositionIncrementAttribute posAttr = addAttribute(PositionIncrementAttribute.class);
  private State state;
  private final Matcher[] matchers;
  private final CharsRefBuilder spare = new CharsRefBuilder();
  private final int[] groupCounts;
  private final boolean preserveOriginal;
  private int[] currentGroup;
  private int currentMatcher;

  /**
   * @param input
   *          the input {@link TokenStream}
   * @param preserveOriginal
   *          set to true to return the original token even if one of the
   *          patterns matches
   * @param patterns
   *          an array of {@link Pattern} objects to match against each token
   */

  public PatternCaptureGroupTokenFilter(TokenStream input,
      boolean preserveOriginal, Pattern... patterns) {
    super(input);
    this.preserveOriginal = preserveOriginal;
    this.matchers = new Matcher[patterns.length];
    this.groupCounts = new int[patterns.length];
    this.currentGroup = new int[patterns.length];
    for (int i = 0; i < patterns.length; i++) {
      this.matchers[i] = patterns[i].matcher("");
      this.groupCounts[i] = this.matchers[i].groupCount();
      this.currentGroup[i] = -1;
    }
  }

  private boolean nextCapture() {
    int min_offset = Integer.MAX_VALUE;
    currentMatcher = -1;
    Matcher matcher;

    for (int i = 0; i < matchers.length; i++) {
      matcher = matchers[i];
      if (currentGroup[i] == -1) {
        currentGroup[i] = matcher.find() ? 1 : 0;
      }
      if (currentGroup[i] != 0) {
        while (currentGroup[i] < groupCounts[i] + 1) {
          final int start = matcher.start(currentGroup[i]);
          final int end = matcher.end(currentGroup[i]);
          if (start == end || preserveOriginal && start == 0
              && spare.length() == end) {
            currentGroup[i]++;
            continue;
          }
          if (start < min_offset) {
            min_offset = start;
            currentMatcher = i;
          }
          break;
        }
        if (currentGroup[i] == groupCounts[i] + 1) {
          currentGroup[i] = -1;
          i--;
        }
      }
    }
    return currentMatcher != -1;
  }

  @Override
  public boolean incrementToken() throws IOException {

    if (currentMatcher != -1 && nextCapture()) {
      assert state != null;
      clearAttributes();
      restoreState(state);
      final int start = matchers[currentMatcher]
          .start(currentGroup[currentMatcher]);
      final int end = matchers[currentMatcher]
          .end(currentGroup[currentMatcher]);

      posAttr.setPositionIncrement(0);
      charTermAttr.copyBuffer(spare.chars(), start, end - start);
      currentGroup[currentMatcher]++;
      return true;
    }

    if (!input.incrementToken()) {
      return false;
    }

    char[] buffer = charTermAttr.buffer();
    int length = charTermAttr.length();
    spare.copyChars(buffer, 0, length);
    state = captureState();

    for (int i = 0; i < matchers.length; i++) {
      matchers[i].reset(spare.get());
      currentGroup[i] = -1;
    }

    if (preserveOriginal) {
      currentMatcher = 0;
    } else if (nextCapture()) {
      final int start = matchers[currentMatcher]
          .start(currentGroup[currentMatcher]);
      final int end = matchers[currentMatcher]
          .end(currentGroup[currentMatcher]);

      // if we start at 0 we can simply set the length and save the copy
      if (start == 0) {
        charTermAttr.setLength(end);
      } else {
        charTermAttr.copyBuffer(spare.chars(), start, end - start);
      }
      currentGroup[currentMatcher]++;
    }
    return true;

  }

  @Override
  public void reset() throws IOException {
    super.reset();
    state = null;
    currentMatcher = -1;
  }

}

redpajama_set_name: RedPajamaGithub


text:
'Golf's reboot gives us all a chance to start afresh' – Our CEO's letter to golfers and clubs
Is it really only four weeks since golf was given the government green light?
We are just at the beginning of our journey back, yet there's been so much activity crammed into this first, hectic month.
I'm pleased to say that the positivity buzzing around our beloved game continues to keep us all going through extraordinary times.
Adrenaline has helped conquer fatigue!
For me, it's been heartening to see a value once again being placed on membership and the visitor golfer experience since we all pulled together to re-open courses and facilities on 13 May.
England Golf exists to promote the amateur and club game and I am proud to bang the drum on our game's behalf.
But we should not make the mistake of undervaluing our game. Too often our sport has sold itself short.
It may have been largely accidental, but the spike in recruitment over last few weeks has proved two key things – golf club membership remains relevant and affordable.
Golf has been forced to hit the reset button, but the reboot gives everyone a chance to start afresh and carry this momentum forward.
Each time I've been to my home club at Marlborough, visited Bassett Down or spoken to my pals at Broome Manor, I've felt the energy for myself.
And, of course, through the national golfing network, I know this story has been repeated up and down the country.
But we must also take a breath as not everything in the garden is rosy. Clubhouses remain closed, cash is tight and I'm not naïve to the prospect that the toughest times might yet lie ahead for many of our clubs.
Re-forecasting, re-evaluating, re-planning and, in some cases, re-inventing are all potentially the order of the day as we look to maximise opportunities and stabilise finances while coming out of this crisis.
Since my last letter, there have been updates on practice facilities, driving ranges and group coaching.
Within a week we can all look forward to visiting our pro shops, as non-essential retail re-opens from Monday…so, if there are a few pounds burning holes in pockets, we can once again chase the "Holy Grail" of a perfect game with the help of another new club or piece of equipment!
There's no doubt too that the return of fourball play from 1 June has also been a game-changer for golf clubs.
I can't stress to you how much hard work went on behind the scenes to allow golf to quickly reach a point where fourballs were considered safe to resume under government regulations on outdoor recreation.
For clubs, fourball play has helped reduce the pressure on tee-times. Although, as with many things, I'm well aware of the healthy, ongoing debate on the merits of more players per tee-time.
It felt harsh to turn away golfers or ration slots to golfers already deprived of their sporting fix after months of enforced closure.
Fourballs have allowed clubs to get more members on the course, re-introduce guests and accept visitor bookings.
Of course, there are golfers who enjoyed the freedom of two-ball golf again. I get that.
Slow play is a curse in a fast-moving society and a sub three-hour round is a joy.
For many of our older golfers, there are sound health reasons why two-ball play and limiting social contact remains a wise choice with coronavirus still a threat.
I've been pleased to discover so many clubs listening to members and setting aside times for two-balls while also re-introducing the fourball format.
A 'best of both worlds' policy seems to be sensible and right.
Competitions are also an integral part of golf club life for many members.
After advising clubs and golfers to find their 'sea legs' when it came to social distancing and sanitising guidance, I believe the 1 June date was a good time to re-introduce a competitive element to play for those who wanted it.
Safety must always remain the priority, but there's no reason why competitions cannot take place within the regulations.
Here at England Golf, Championship director James Crampton and his team are working towards our own events starting back on 28 July.
We wanted to offer light at the end of the tunnel by keeping a revised schedule in place and that shaft of sunshine is getting brighter by the day.
Just as golf clubs eagerly anticipate the day when clubhouses can safely re-open, we too need a change in lockdown regulations to allow hotels to function and our events to tee off.
If the government's roadmap out of lockdown remains on track, we will hopefully receive good news on that front soon…
In the spirit of golf's return it was brilliant to see our friends at the European Tour promote a 'UK Swing' as the professional game gears up for a comeback.
Likewise, our fantastic England Golf ambassador Justin Rose has proved his class once again by sponsoring seven events to allow many of the LET golfers to play competitively from 18 June.
Slowly, safely and surely golf is beginning to find its feet.
By continuing to work together, we will soon stand tall.
Jeremy Tomlinson, CEO England Golf


text:
/* @flow */
import Text from '../../../../../../library/Text';

export default {
  id: 'truncate',
  title: 'Truncate',
  description: `You can truncate Text with an ellipsis. Passing \`true\` will
apply a max-width of \`'100%'\`, passing a number will apply it in pixels, and
strings (\`'50%', '15em'\`) are passed directly. Note that the \`element\` must
be block-level (like the default \`'p'\`) for this to display correctly.`,
  scope: { Text },
  source: `
    <div>
      <Text truncate>
        Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed non purus
        id dolor maximus eleifend nec in nunc. Integer quis lacinia leo.
      </Text>
      <Text truncate={200}>
        Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed non purus
        id dolor maximus eleifend nec in nunc. Integer quis lacinia leo.
      </Text>
      <Text truncate="50%">
        Lorem ipsum dolor sit amet, consectetur adipiscing elit. Sed non purus
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Preorders declining industry-wide - Hirshberg
Activision Publishing president says reservations are no longer the most important pre-launch performance predictor
Published on Aug. 5, 2014
Bungie's upcoming shooter Destiny is on track to be the most preordered new intellectual property in gaming history, but Activision Publishing president and CEO Eric Hirshberg isn't putting as much stock in that as one might expect. Speaking to investors during a post-earning conference call today, Hirshberg said preorders just don't mean as much as they used to.
"It's also important to sort of reset expectations as it relates to preorders overall," Hirshberg said. "You guys can see the same thing we see industry-wide, which is that there's been sort of a secular downturn as it relates to preorders. We think that's happening due to a number of factors: Things like increased digital consumption, particularly on the next-gen consoles; titles being widely available on day one; and the decline overall for demand of software on the previous gen consoles."
As a result, Hirshberg said other metrics like awareness and purchase intent have become even more important than the number of preorders. Fortunately for Activision, Hirshberg said both of those measures are at all-time highs and climbing for Destiny when compared to any other new intellectual property at this point ahead of its release.
Later in the call, Hirshberg discussed Call of Duty: Advanced Warfare preorders, saying the series is "not immune" to the downward trend. However, he expects the series to lead the industry in reservations once again this year. He also noted that purchase intent for Advanced Warfare is significantly above last year's Call of Duty: Ghosts, and "actually in line with our past top performing titles."


The flag of Bulgaria is a tricolour consisting of three equal-sized horizontal bands of (from top to bottom) white, green, and red. The flag was first adopted after the Russo-Turkish War (1877–1878), when Bulgaria gained independence. The national flag at times was charged with the state emblem, especially during the People's Republic of Bulgaria. The current flag was re-established with the 1991 Constitution of Bulgaria and was confirmed in a 1998 law.
From 1948 until 1990 the emblem of People's Republic of Bulgaria was placed on the left side of the white stripe. It contained a lion within a wreath of wheat ears below a red five-pointed star and above a ribbon bearing the years 681, the year of the establishment of the First Bulgarian Empire by Asparukh, and 1944, the year when the Fatherland Front took power which lead to the establishment of the People's Republic of Bulgaria.


Join Janice Ingson and Molly Dearstine as they collaborate to offer an incredible gift of healing to you! This event starts with a 75-minute Flow & Restore yoga class, and is followed by a long savasana enhanced by acupuncture! What a beautiful way to release the built up stress we often feel after the long winter holidays!
Please email Janice directly at janice@janiceingsonyoga.com to reserve your spot!
This class will be limited to 8 people, and the cost is $40.
FLOW & RESTORE YOGA with Acupuncture ONE SPOT LEFT!


text:
Erratum: MHP-133, a drug with multiple CNS targets: Potential for neuroprotection and enhanced cognition (Neurochemical Research 32, 7, (1224-1237) DOI: 10.1007/s11064-007-9294-0)
Jerry J. Buccafusco, James C. Powers, Maria A. Hernandez, Mark A. Prendergast, Alvin V Terry, Ramamohana R. Jonnala
Neurochemical Research
MHP 133
Buccafusco, J. J., Powers, J. C., Hernandez, M. A., Prendergast, M. A., Terry, A. V., & Jonnala, R. R. (2007). Erratum: MHP-133, a drug with multiple CNS targets: Potential for neuroprotection and enhanced cognition (Neurochemical Research 32, 7, (1224-1237) DOI: 10.1007/s11064-007-9294-0). Neurochemical Research, 32(10). https://doi.org/10.1007/s11064-007-9489-4
Erratum : MHP-133, a drug with multiple CNS targets: Potential for neuroprotection and enhanced cognition (Neurochemical Research 32, 7, (1224-1237) DOI: 10.1007/s11064-007-9294-0). / Buccafusco, Jerry J.; Powers, James C.; Hernandez, Maria A.; Prendergast, Mark A.; Terry, Alvin V; Jonnala, Ramamohana R.
In: Neurochemical Research, Vol. 32, No. 10, 01.10.2007.
Buccafusco, JJ, Powers, JC, Hernandez, MA, Prendergast, MA, Terry, AV & Jonnala, RR 2007, 'Erratum: MHP-133, a drug with multiple CNS targets: Potential for neuroprotection and enhanced cognition (Neurochemical Research 32, 7, (1224-1237) DOI: 10.1007/s11064-007-9294-0)', Neurochemical Research, vol. 32, no. 10. https://doi.org/10.1007/s11064-007-9489-4
Buccafusco JJ, Powers JC, Hernandez MA, Prendergast MA, Terry AV, Jonnala RR. Erratum: MHP-133, a drug with multiple CNS targets: Potential for neuroprotection and enhanced cognition (Neurochemical Research 32, 7, (1224-1237) DOI: 10.1007/s11064-007-9294-0). Neurochemical Research. 2007 Oct 1;32(10). https://doi.org/10.1007/s11064-007-9489-4
Buccafusco, Jerry J. ; Powers, James C. ; Hernandez, Maria A. ; Prendergast, Mark A. ; Terry, Alvin V ; Jonnala, Ramamohana R. / Erratum : MHP-133, a drug with multiple CNS targets: Potential for neuroprotection and enhanced cognition (Neurochemical Research 32, 7, (1224-1237) DOI: 10.1007/s11064-007-9294-0). In: Neurochemical Research. 2007 ; Vol. 32, No. 10.
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title = "Erratum: MHP-133, a drug with multiple CNS targets: Potential for neuroprotection and enhanced cognition (Neurochemical Research 32, 7, (1224-1237) DOI: 10.1007/s11064-007-9294-0)",
author = "Buccafusco, {Jerry J.} and Powers, {James C.} and Hernandez, {Maria A.} and Prendergast, {Mark A.} and Terry, {Alvin V} and Jonnala, {Ramamohana R.}",
journal = "Neurochemical Research",
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T2 - MHP-133, a drug with multiple CNS targets: Potential for neuroprotection and enhanced cognition (Neurochemical Research 32, 7, (1224-1237) DOI: 10.1007/s11064-007-9294-0)
AU - Buccafusco, Jerry J.
AU - Powers, James C.
AU - Hernandez, Maria A.
AU - Prendergast, Mark A.
AU - Terry, Alvin V
AU - Jonnala, Ramamohana R.
JO - Neurochemical Research
JF - Neurochemical Research


iSuppli Corporation, the California-based global leader in technology value-chain research and advisory services approached Marlin & Associates with a challenge. Six months earlier, they had agreed to acquire Screen Digest, a London UK-based firm that operated in an analogous field. The deal was subject to a financing contingency, and iSuppli had been trying to raise the required capital - $20 million - on its own – in a tough environment. iSuppli's existing shareholders, including Goldman Sachs' Hudson Street group and two other financial sponsors were constrained. Goldman wasn't making follow-on investments; and the other two firms were at end-of-life and prohibited from making additional investments. Time was running short; iSuppli had four months to raise the capital and complete the acquisition or it was likely to lose the opportunity.
M&A rapidly put together a team of seasoned bankers and worked with the company to prepare a detailed Confidential Information Memorandum that described both iSuppli and Screen Digest; the potential for each to grow substantially on their own; and the synergies between them. Then Marlin approached a select group of financial sponsors and strategic firms. Management meetings were held and bids solicited.
With 90 days to go, several financial sponsors expressed interest in supporting iSuppli and its Screen Digest transaction at valuations and terms that were acceptable to the iSuppli board. In addition, two strategic firms indicated interest in acquiring 100% of iSuppli together with Screen Digest, at values significantly higher than those indicated by the financial sponsors. However, these values were still less than the value that some iSuppli board members had determined would be required for a complete exit. Some board members didn't want to sell at all (now). Further, Management was optimistic about the future and - as the holders of considerable amount of stock options – leaned towards working with a financial sponsor for a few more years before exiting.
There were myriad challenges in executing this transaction: complete two acquisitions simultaneously with one firm in California, one in London and a buyer in Colorado made it enough of a challenge. Completing two simultaneous deals under intense time pressure added to the stress levels. Getting consensus from a board made up of members with diverse agendas and not the same objectives added to the complexities. The buyer identified was not willing to pay what the sellers were asking.
The key to success was motivating one of the strategic buyers to increase its bid, without losing the financial sponsors as back up. M&A worked with the bidders and the company to produce pro-forma historical financials, and projections as well as a pro-forma organization for the new company. Synergies were quantified and extensive due diligence managed. Eventually, M&A was able to get IHS to increase its bid sufficiently such that the iSuppli Board agreed to a transaction. On December 3rd 2010, IHS announced the acquisition of iSuppli, and the near simultaneous acquisition of Screen Digest by iSuppli.
Marlin & Associates managed the process, assisted in the negotiations and acted as exclusive strategic and financial advisor to iSuppli.
IHS Inc. (NYSE:IHS), a leading global source of critical information and insight, today announced it has signed a definitive agreement to acquire iSuppli Corporation, the global leader in technology value chain research and advisory services. The transaction is expected to be completed on or before November 15, 2010.
"This acquisition is an excellent complement to the existing IHS Product Design and Supply Chain business, and further builds our position as a key information provider in the electronics, manufacturing and supply chain markets," said IHS Chairman and Chief Executive Officer Jerre Stead. "Combined with the IHS electronic components information business, and our global commodity and economic outlooks, customers will have access to a full suite of robust information services across the entire electronics value chain."
iSuppli is the global leader in electronics technology research and advisory services serving a wide variety of market segments including computer platforms, automotive, consumer electronics and both wired and wireless communications. Product offerings range from electronic component research to device-specific application market forecasts, from teardown analysis to consumer electronics, and from display device and systems research to hardware design forecasting.
iSuppli serves companies involved in high-tech services, consumer electronics, multi-national industrial conglomerates, financials, and governments. iSuppli has successfully expanded their capabilities to encompass the full electronics value chain from fundamental electronic component supply to end-market demand. This complete value chain view is critical to operating and investment decisions of electronics manufacturers and across many core IHS market verticals which rely on electronics and electronic components.
The acquisition of iSuppli is subject to closing conditions contained in the definitive agreement.
Marlin & Associates acted as exclusive strategic and financial advisor to iSuppli's Management, Board and shareholders, including Goldman Sachs, Covidien, CMEA and NeoCarta.
IHS (NYSE: IHS) - www.ihs.com - is a leading source of information and insight in pivotal areas that shape today's business landscape: energy, economics, geopolitical risk, sustainability and supply chain management. Businesses and governments around the globe rely on the comprehensive content, expert independent analysis and flexible delivery methods of IHS to make high-impact decisions and develop strategies with speed and confidence. IHS has been in business since 1959 and became a publicly traded company on the New York Stock Exchange in 2005. Headquartered in Englewood, Colorado, USA, IHS employs more than 4,400 people in more than 30 countries around the world.
iSuppli Corporation is the global leader in technology value chain research and advisory services. Services afforded by iSuppli range from electronic component research to device-specific application market forecasts, from teardown analysis to consumer electronics and from display device and systems research to automotive telematics, navigation and safety systems research. More information is available at www.isuppli.com and by following us at twitter.com/iSuppli.
Marlin & Associates Securities LLC, a wholly-owned subsidiary of Marlin & Associates Holding LLC, is a broker-dealer registered with the Securities and Exchange Commission and is a FINRA/SIPC member firm (www.finra.org). Investment banking and/or securities are offered through Marlin & Associates Securities LLC. Marlin & Associates' professionals have advised on more than 200 successfully completed transactions. More information is available at www.MarlinLLC.com.


text:
After the Rebellion: "Shakespeare's" Final Tragedy and His Triumphant Rebirth
[Following is my talk at the Shakespearean Authorship Trust (S.A.T.) conference at Shakespeare's Globe in London on 24 November 2019. The text has been adjusted for print and slightly expanded for greater clarity.]
Some years ago, I was on a train heading down to New York City and found myself sitting next to a distinguished looking gentleman who turned out to be an architect who also loved literature and drama. We began talking and he asked me about myself and, at some point, I mentioned I'm one of those folks looking for the "real" Shakespeare. He turned and looked at me with intensity and put up his finger, and I flinched. Who knows what this topic is going to bring out in people!
"Look," he said, "there are two things you have to know about Shakespeare, whoever he was. One, he uses words to stimulate the muscle of your visual cortex, so it throws images on the screen of your mind." He mentioned some examples, such as Horatio in Hamlet describing the dawn as a knight in rusted armour, climbing up "o'er the dew of yon high eastward hill."
"The second thing you need to know," he said, "is that Shakespeare is a storyteller. And his greatest stories are tragic. Therefore, just identifying the real author will not be good enough. What you need to do is find that tragic story."
We talked a lot more … the authorship question was new for him and he thought the whole idea of this mystery must be deeply sad and tragic. He was thinking about how this great author's identity could have been obliterated. He considered it would have been a form of murder, or suicide, in the face of some powerful force against him.
Edward de Vere
17th Earl of Oxford
Well, as many of you know, I'm convinced the true voice of the author is that of Edward de Vere, Lord Oxford, and that he provided the unifying vision of the individual artist that we know as "Shakespeare." And, too, that it's in the Sonnets where we find his most directly personal voice.
Oxford's death or disappearance in June 1604 was followed soon upon by publication of the full-length second quarto of Hamlet; and in that great tragedy, the protagonist, the most autobiographical of all Shakespearean characters, cries out to his friend: "O God, Horatio, what a wounded name! Things standing thus unknown shall I leave behind me!" Then he begs Horatio to "tell my story" — his tragic story that remains unknown to the world; and that sounds like what my friend on the train was talking about.
Well, the focus of our gathering here at Shakespeare's Globe is the failed Essex Rebellion led by the earls of Essex and Southampton – an event which, I submit, is the inciting incident of the tragic story of the Shakespearean author's posthumous loss of identity. In this view the rebellion is not the end of the story, but, rather, the beginning of de Vere's final evaporation behind the pen name; and this perspective sheds light on a crucial legal story that I want to share with you.
I also hope to show that Oxford countered this loss of identity with a super-human effort to create, in the Sonnets, his final masterwork – to preserve his final story and prevail in death, thereby creating his own resurrection and ultimate triumph.
This final story takes place during the two years and two months following the failure of the so-called rebellion — a period which, I suggest, is the true historical time frame and all-important context for Oxford's posthumous disappearance as the author. This was a dark time when Southampton languished in the Tower as a convicted traitor; when the condemned Earl of Essex wrote a long poem to Queen Elizabeth from his prison room, during the four days before his execution; and when Southampton also wrote a long poem to her Majesty from his Tower room, begging for mercy – a poem discovered less than a decade ago. ("Was Southampton a Poet? A Verse Letter to Queen Elizabeth" by Lara M. Crowley, English Literary Renaissance, 2011.)
I agree with Ms. Crowley that these poems by the earls are more accurately called "verse letters" of communication with the queen; and clearly the Sonnets are verse letters as well.
First the prologue: the Shakespeare pseudonym making its grand entrance just eight years before the rebellion, in 1593, when things are heating up to determine control of succession to Elizabeth – who, by refusing to name anyone, is putting the country in danger of civil war around the throne when she dies. The Essex faction is up against the entrenched power of William Cecil Lord Burghley and his rapidly rising son Robert Cecil, the cunning hunchback seething with resentment toward those nobles whom he views as so unfairly fortunate by their birth alone. The goal of the Essex faction is to prevent the Cecils from continuing their power into the next reign; but I don't need to tell you that Robert Cecil is going to win this game. He is going to outwit and outmaneuver those spoiled, arrogant noblemen.
(Consider this strikingly blunt comment about Robert Cecil from the Dictionary of National Biography 1885-1900: "Life was to him a game which he was playing for high stakes, and men and women were only pieces upon the board, set there to be swept off by one side or the other or allowed to stand so long only as the risk of letting them remain there was not too great.")
Now in 1593 the previously unknown author William Shakespeare (without any prior history of written work) suddenly appears on the dedication of Venus and Adonis to Southampton. "Shakespeare" is on the side of those same young lords heading toward their tragic end game, which is also the end game to determine the future course of England.
A year later, in the 1594 dedication of Lucrece to Southampton, the same author confirms where he stands with an extraordinary public promise: "The love I dedicate to your Lordship is without end …What I have done is yours, what I have to do is yours, being part in all I have, devoted yours." This from a great author with a vast storehouse of 25,000 words from which he can choose, who never needs to repeat any word twice, much less three times in a single sentence.
It's a pen name, saying, in effect: "All the writings I have done so far (i.e., the two narrative poems), and all the writings I am going to do in the future, published under this name, are for you and in your support. These written works are, and will be, yours … yours … yours."
Once Burghley dies in 1598 and Principal Secretary Cecil takes over, the gloves come off with the first issuance of plays under the pseudonym, among them Richard III with "Shake-speare" hyphenated as if to emphasize the image of a writer "shaking the spear" of his pen. This play of royal history contains a mirror image of the hunchbacked Cecil, an allegorical portrait of him as an evil monster, and a shockingly obvious attack on him that the secretary cannot, will not, ever forgive. He will bide his time, keeping a steady course, until he gets revenge.
In the next year, 1599, it appears that "Shakespeare" in the chorus of Henry V is publicly cheering for Essex's success on the Irish military campaign, in which Southampton is also a leader. The playwright predicts that "the general of our gracious Empress" will return with "rebellion broached on his sword," but the effort to crush the revolt is doomed – in no small part because Cecil has prevented the earls from receiving the needed assistance.
That fall back in London, Essex is in deep trouble with the queen and her council, under Cecil's pressure against him. Meanwhile Southampton spends much of his time attending politically instructive plays at the Curtain such as Julius Caesar by "Shakespeare," who, for the public audience, is creating an allegorical road map toward avoiding civil war and achieving a peaceful royal succession.
Queen Elizabeth I of England (1533-1603)
Events are moving fast, tensions are building, as the aging queen falls increasingly under Cecil's influence. In January 1601 Southampton is attacked in the street by Lord Gray and his party on behalf of Cecil and Raleigh; the earl draws his sword and fights them off with the help of his houseboy, who joins in the fray and has one of his hands lopped off. As far as Essex and Southampton are concerned, they are in mortal danger and can no longer delay taking action.
In the first week of February, Southampton takes charge of planning to finally gain access to the queen at Whitehall. They plot to hold Cecil captive so Essex and Southampton can be in her Majesty's presence and convince her to call a Parliament on succession – to finally name someone, even give up her crown, avoid civil war, and remove Cecil in the bargain.
Preparing for this confrontation with the queen, the conspirators on Sunday 7 February 1601 attend a special performance of Richard II with a deposition scene of the king handing over his crown. In this newly revised play, Oxford demonstrates to the Essex faction how it might be possible to confront Elizabeth with rational arguments and persuade her to do the same – without, most importantly, violating the laws of God or man.
Of course, the play is viewed allegorically, making it easy for Cecil to incite the queen's fear and anger; and Elizabeth well understood, as she later exclaimed: "I am Richard Second, know ye not that!"
More immediately, however, the cunning Cecil uses this special performance to summon Essex to the palace that night for questioning; and his calculated move predictably causes the earl to panic. The next morning, at Essex House, his followers are clamoring in the courtyard amid an atmosphere of chaos. The subsequent events predictably end in disaster; that night, both Essex and Southampton surrender up their swords and are taken through Traitors Gate into the Tower of London, facing charges of high treason against the crown and virtually certain execution.
Eleven days later, at their joint trial in Westminster Hall, are two of the future leading candidates for the authorship of the "Shakespeare" works: Sir Francis Bacon, viciously prosecuting; and Lord Oxford, having come out of retirement to sit as highest ranking earl on the tribunal of peers sitting in judgment. The accused earls will both be found guilty and sentenced to death; Essex will be executed six days later, but Southampton will find himself in perpetual confinement.
Now all authorized publications of as-yet-unprinted Shakespeare plays have abruptly ceased; aside from the full Hamlet in 1604, there will be no more newly printed authorized plays for nearly two decades; but my theme here is that the rebellion is not the end of author's tragic story, it's the beginning.
Southampton in the Tower: 8 February 1601 – 10 April 1603
In the normal telling it's the conclusion: Southampton remains in the Tower while Cecil, under terrible tension, works desperately and even treasonously to communicate in secret with King James in Scotland. In that traditional history, Shakespeare writes few if any sonnets to Southampton all during the twenty-six months of his imprisonment. Then, upon Henry Wriothesley's release from the Tower by King James on 10 April 1603, the author suddenly exclaims in Sonnet 107 that "my true love" had been "supposed as forfeit to a confined doom" but is now free; and, therefore, "my love looks fresh" – once again, offering the young earl his endless love, devotion and commitment.
Was Shakespeare a hypocrite? His true love in the prison and he writes maybe a few private sonnets to or about him, or none at all, only to jump back on the bandwagon when Southampton is liberated? Well, I don't think he could have been hypocritical.
Thinking about my friend on the train describing Shakespeare as a masterful storyteller, I recall the diagram of the most basic structure of a story, the way my English teacher drew it on the blackboard. In that light, if Sonnet 107 at the climax celebrates Southampton getting out of the Tower, in 1603, how could we care about that event unless the author has already established when he was put in the Tower two years earlier, back in 1601? In the framework of such a story, certainly Southampton's entrance into the prison fortress is the inciting incident that finally reaches the climactic turning point later, in 1603.
Why would we care about Southampton getting out of the Tower if we didn't know, in the first place, that he was in there? Well, if we climb back down the consecutively numbered sonnets, we can see that the usual view is wrong. A journey "back down the ladder" of sonnets takes us through a long series of darkness, despair, prison, trial, legal words related to crime, guilt, death – all the way back down to where this great wave of darkness and suffering first appears; and then it becomes clear that literally dozens and dozens of sonnets have been leading up to the climax.
The author did not abandon Southampton; he never stopped writing to or about him; and in this context – the context of the prison years – those legal words are no longer metaphorical; rather, they are real, and carefully accurate: real words applied to real life, when the author is steeling himself against the worst outcome for the young earl.
Now I hope you'll to indulge me for less than ninety seconds, as we take a quick "fly-over" to view these words from the high point of Sonnet 107 back downward; and this is just a sampling of those dark and legal words as we climb back down to where they begin at Sonnet 27:
(Sonnets 106-96): Confined doom, Wasted time, weak, mournful, despair, death, dark days, decease, fault;
(Sonnets 92-87): Term of life, thy revolt, sorrow, woe, fault, offence, night, attainted, misprision, judgment;
(Sonnets 86-77): Tomb, dead, confine, immured, attaint, decayed, waste, graves; (74-66): Fell arrest, bail, death, buried, blamed, suspect, died, dead, for restful death I cry;
(Sonnets 65-57): Plea, gates of steel, drained his blood, shadows, for thee watch I, imprisoned, pardon, crime, watch the clock for you;
(Sonnets 55-51): Death, judgment, die, deaths, shadows, shadow, up-locked, imprisoned, offence, excuse;
(Sonnets 50-46): Heavy, bloody, grief, lawful reasons, allege, bars, locked up, thyself away, defendant, plea deny, verdict;
(Sonnets 43-38): Shadow, grief, waiting, blame, forgive, grief, absence, torment, pain;
(Sonnets 37-33): Shadow, confess, guilt, trespass, fault, lawful plea, offender's sorrow, ransom, basest clouds;
(Sonnets 32-27): If thou survive, dead, grieve, buried, death's dateless night, disgrace, outcast, hung in ghastly night…
That's just a sampling of the "dark" words and legal terminology in the eighty sonnets from the climax of Sonnet 107 all the way back down to number 27, in which the author tries to sleep that night in the darkness, but his mind travels instead to Southampton in the Tower. He can imagine the earl up there in a window, like "a jewel hung in ghastly night." In the dictionary "ghastly" is "frightful, dreadful, horrible," as in "a ghastly murder" – or, we can be sure, like the ghastly torture of being hanged, drawn and quartered.
SONNET 27 on the night of the failed Rebellion on the Eighth of February 1601, where the story begins:
Weary with toil, I haste me to my bed,
The dear repose for limbs with travail tired.
But then begins a journey in my head,
To work my mind, when body's work's expired.
For then my thoughts (from far where I abide),
Intend a zealous pilgrimage to thee,
And keep my drooping eyelids open wide,
Looking on darkness, which the blind do see.
Save that my soul's imaginary sight
Presents thy shadow to my sightless view,
Which like a jewel (hung in ghastly night)
Makes black night beauteous and her old face new.
Lo thus by day my limbs, by night my mind,
For thee, and for myself, no quiet find.
Southampton entering the Tower as a prisoner is the first of many recorded, factual events. The overall circumstance is that he's accused of a crime; and sure enough, in this diary of verse letters, Oxford calls it by name:
"To you it doth belong yourself to pardon of self-doing crime" – Sonnet 58
"How much I suffered in your crime." – Sonnet 120
In this case, the crime is that of treason, the most serious offence Southampton could have committed. It would almost cost him his life and cause the author of the Sonnets to descend into darkness and despair and finally to disappear. So, now, from Sonnet 27 forward, we have what might be called the "foundational tracks" of his personal story. These tracks during Southampton's more than two years in prison are on the record; Oxford knows they are events that will be indelibly stamped upon English history.
Edward de Vere Earl of Oxford served as highest-ranking nobleman on the tribunal at the February 19, 1601 treason trial of Essex and Southampton — as indicated by a contemporary notice of the event
FEBRUARY 11, 1601: The twenty-five peers, Oxford among them, are "summoned" to serve on the tribunal at the "sessions" or treason trial; and in Sonnet 30 the author writes: "When to the Sessions of sweet silent thought, I summon up remembrance of things past." Yes, it's poetry, but I suggest there's a "second intention," which is actually the primary context – and, as you have probably noticed, that's the most important word of this talk: context.
FEBRUARY 19, 1601: The trial of Essex and Southampton is held on this day at Westminster Hall. Bacon prosecutes; Oxford sits with the peers, who come to a foregone unanimous conclusion: both earls are found guilty of treason and sentenced to be executed.
Oxford, reacting to the tragedy, addresses Southampton in Sonnet 38 and wonders in sorrow: "How can my Muse want subject to invent/ While thou dost breathe? … The pain be mine, but thine shall be the praise." In Sonnet 46 he glances back at the recent trial: "And by their verdict is determined…"
FEBRUARY 25, 1601: Essex is executed on the Tower Green by beheading; and the poet writes in Sonnet 44, referring to Southampton and himself, about their "heavy tears, badges of either's woe."
MARCH 5, 1601: The treason trial of five conspirators; all convicted and condemned to death; and Oxford writes to Southampton in Sonnet 57: "I, my sovereign, watch the clock for you."
MARCH 13, 1601: Gelly Merrick & Henry Cuffe are hanged, drawn and quartered. "For thee watch I," Oxford writes to Southampton in Sonnet 61; and in Sonnet 63 he sets down his fears that Wriothesley will face the executioner's axe – using a double image that combines both universal time/age and specific words such as "knife" and "cut" and "life" related to beheading:
For such a time do I now fortify
Against confounding Age's cruel knife,
That he shall never cut from memory
My sweet love's beauty, though my lover's life.
MARCH 18, 1601: Charles Danvers & Christopher Blount are publicly beheaded, leaving Southampton as the only one with the death sentence hanging over him; and the author writes Sonnet 66 as a virtual suicide note, listing reasons he wishes to die:
Tired with all these, for restful death I cry …
Tired with all these, from these I would be gone,
Save that to die, I leave my love alone.
He would prefer to kill himself, but will not commit suicide while Southampton remains alive and "alone" in the Tower. In that same virtual suicide note, he complains about "strength by limping sway disabled," and John Dover Wilson (in his Cambridge edition of the Sonnets in 1969) finds it "tempting to suspect a glance at the control of the state by the limping Robert Cecil." Well, as my friend on the train might say, it's not only tempting, it "stimulates the muscle of our visual cortex" to create an image of Cecil swaying and limping toward his "disabling" or destruction of the earls.
"And captive good attending Captain Ill," Oxford adds. Southampton, the captive prisoner, is at the mercy of Captain Ill, echoing Cecil, the captain in command of the situation.
Early the next morning, crowds wait on Tower Hill for the spectacle of Southampton being executed, but they're disappointed because, without official explanation, the scaffold is taken down. The earl's life has been spared. His sentence is quietly reduced to perpetual confinement. He becomes a nobody, stripped of all lands and titles, and is now "Mr. Henry Wriothesley," a commoner, and even "the late earl" – a dead man in the eyes of the law; and therefore, in Sonnet 67: "Ah, wherefore with infection should he live … Why should he live …?" And in Sonnet 69: "Thou dost common grow…"
Is Cecil is holding him hostage in the Tower? If so, the key must be Oxford himself and Cecil's need to remove all future trace of him as the author calling himself Shakespeare, the poet-dramatist who devoted his work to Southampton, and, too, who had depicted Cecil as the monstrous ruler Richard the Third.
In number 87 of this diary of verse letters, Oxford supplies the legal mechanism by which Southampton's life was spared:
So thy great gift, upon misprision growing,
Comes home again, on better judgment making
"Misprision of Treason" is literally a "better judgment" or verdict, a reduction of the crime of treason. This special judgment is a kind of plea bargain, used by Tudor monarchs to gain information in exchange for a lesser verdict. It means Southampton was supposedly ignorant of the law; he knew about the plot but didn't really participate and failed to report it; he expresses true sorrow or repentance; and it gives him the possibility of future liberation and even a royal pardon, so he cannot be retried for the same offence.
Oxford supplies a crucial account of how this better legal judgment for Southampton was obtained. Soon after Sonnet 27 on the night of the failed rebellion, anticipating the trial, he promises Southampton in Sonnet 35 that "Thy adverse party is thy Advocate," or as editor Katherine Duncan-Jones reads the line: "Your legal opponent is also your legal defender."
Oxford has no choice but to join the other peers on the tribunal, in effect acting as Southampton's "adverse party," forced to vote with them to condemn him to death; but he also vows to work (privately, behind the scenes) as the earl's "Advocate" or defense attorney, trying to save his life.
He must make a deal with Cecil, his former brother-in-law; and as he records in the Sonnets, there is a kind of prisoner exchange, that is, Oxford offers his life in exchange for Southampton's reprieve from execution and possible future liberation. The younger earl is in fact spared from execution, without any official word, but he must remain in confinement until the monarch decides to release him and perhaps grant him a pardon.
Oxford instructs him on the law (and the plea deal), adding in Sonnet 58, "To you it doth belong yourself to pardon of self-doing crime," that is, "Your life is in your own hands, young man."
The monarch who may give him a pardon, however, will not be Elizabeth, who is much too angry and fearful. Cecil must succeed in bringing James to the English throne; only then will Cecil can he continue in his position of power, and only then might Southampton get out alive. Therefore, to save Southampton, Oxford must agree to help Cecil make James the King of England. (And to that end, perhaps Edward de Vere is the unidentified "40" in the Secretary's secret correspondence with the Scottish king).
Also in Sonnet 35, Oxford blames himself for "authorizing" the crime as author of Richard II and depicting Elizabeth "with compare" as that historical king; as Duncan-Jones explains, "authorizing" is "used here in a legal sense for sanctioning or justifying, with a further play on 'author' as composer or writer."
All men make faults, and even I in this,
Authorizing thy trespass with compare…
Oxford is guilty not only for writing Richard II with its deposition scene, but, also, for allowing the Chamberlain's Men to give the special performance of his play that Cecil then used to trigger the whole debacle. The actors are called in for questioning, but not the author, even though he had played a crucial role in the crime. In fact, he himself could possibly be charged with Treason by Words, if the queen chose to believe that Richard II depicts her as a tyrant. Oxford, too, could be executed.
More important to Cecil, however, was being able to ensure that Oxford, his former brother-in-law, could not be linked to the portrait of him in Richard Third (or, for example, that Oxford could not be linked to portraits of Burghley in the quartos of Hamlet). Instead of Oxford himself being physically executed, his identity could be obliterated beyond his death — forever — behind the Shakespeare pen name. Oxford could agree to that (and to ensuring that no one who know the truth will ever reveal it), if it means saving Southampton; and therefore, an essential part of the plea deal is his self-sacrifice.
In Sonnet 35 he records his acceptance of posthumous disappearance: "And 'gainst myself a lawful plea commence" – a legal plea bargain, directed against himself. At the same time, Southampton must agree to his own guilt and confess that he never meant to commit treason; and so, for example, he writes to the Privy Council from his prison room: "My soul is heavy and troubled for my offences … My heart was free from any pre-meditate treason against my sovereign…."
Oxford refers in Sonnet 34 to the younger earl's need to repent, while he himself must take on a Christlike role:
Though thou repent yet I have still the loss,
The offender's sorrow lends but weak relief
To him that bears the strong offence's cross …
In his poem to the queen, Southampton begs for mercy:
Vouchsafe unto me, and be moved by my groans,
For my tears have already worn these stones.
His tears of repentance are "riches" to be paid, the way other noble prisoners are able to use actual money to purchase their freedom. Oxford reminds him in Sonnet 34 that his tears of repentance are a form of "ransom" for his life and possible liberty:
Ah but those tears are pearl which thy love sheeds (sheds),
And they are rich and ransom all ill deeds.
The price also includes total separation from each other – in life, on the record, in future history. Oxford had linked Southampton to the pen name; the earl and the famous pseudonym went together; therefore, now Oxford must agree to de-link himself from not only "Shakespeare," but, also, from Southampton. The two of them must be "twain" or apart, one from the other, as Oxford tells Southampton in Sonnet 36:
Let me confess that we two must be twain …
I may not ever-more acknowledge thee…
The author, a legal expert, finds in Sonnet 49 another way to phrase the same legal bargain behind the scenes:
And this my hand against myself uprear,
To guard the lawful reasons on thy part.
To leave poor me, thou hast the strength of laws…
The dark time continues, no one knowing the outcome.
FEBRUARY 8, 1602: First anniversary of the failed Rebellion: Southampton has spent one full year in prison, as Oxford records in Sonnet 97:
How like a winter hath my absence been
From thee, the pleasure of the fleeting year!
"Fleeting" is a deliberate play on the Fleet Prison to emphasize Southampton's continuing confinement.
FEBRUARY 8, 1603: Second anniversary, marking two years or "three winters cold" in the Tower as indicated in Sonnet 104, covering the three Februaries of 1601, 1602 and 1603.
MARCH 24, 1603: Queen Elizabeth, the "mortal Moon," dies in her sleep and those "sad Augurs" who predicted civil war are proved wrong. Cecil quickly proclaims King James of Scotland as James I of England, and the new monarch, who uses "Olives" to symbolize peace, quickly sends ahead the order for Southampton's release. On April 10, 1603, after all the uncertainties are crowned with assurance, and after Southampton was "supposed as forfeit to a confined doom," he walks out of the Tower as a free man and Oxford records this amazing climax of his recorded story in Sonnet 107:
Not mine own fears, nor the prophetic soul
Of the wide world dreaming on things to come
Can yet the lease of my true love control,
Supposed as forfeit to a confined doom!
The mortal Moon hath her eclipse endured,
And the sad Augurs mock their own presage,
Incertainties now crown themselves assured,
And peace proclaims Olives of endless age.
Now with the drops of this most balmy time,
My love looks fresh, and death to me subscribes,
Since 'spite of him I'll live in this poor rhyme,
While he insults o'er dull and speechless tribes.
And thou in this shalt find thy monument,
When tyrants' crests and tombs of brass are spent.
How very confident de Vere is that these "verse letters" are going to comprise a "monument" for Southampton that will outlive the crests of tyrants and the brass tombs of kings! As Oxford promised him in Sonnet 81:
Your monument shall be my gentle verse,
Which eyes not yet created shall o'er-read…
And now, proceeding from the climax of number 107, the story's resolution unfolds in nineteen days covered by exactly nineteen sonnets, advancing with increasing power and grandeur to the funeral procession bearing the coffin and effigy of Elizabeth under a canopy, on April 28, 1603, marked by Sonnet 125, the official end of the Tudor dynasty, followed immediately by the author's envoy of farewell to "Oh thou my lovely Boy."
The result is a self-contained series of the 80 prison sonnets plus the 20 sonnets of resolution, exactly 100 sonnets or a "century" of them – mirroring Hekatompathia, or the Passionate Century of Love (1582), the 100 consecutively numbered sonnets attributed to Thomas Watson and dedicated to Oxford. The "century" within SHAKE-SPEARES SONNETS is the central sequence of his monument for Southampton.
The younger earl will live on, but the author will disappear. Oxford consistently expresses this sacrifice of one life for the other — the exchange of his life or identity as "Shakespeare" for Southampton's life as a free man:
When I, perhaps compounded am with clay,
Do not so much as my poor name rehearse. (Sonnet 71)
(When I am dead, you will continue without acknowledging me.)
My name be buried where my body is
And live no more to shame nor me nor you. (Sonnet 72)
(My identity will disappear, leaving you to flourish)
Your name from hence immortal life shall have,
Though I, once gone, to all the world must die. (Sonnet 81)
(You are forever tied to "Shakespeare," while I must disappear.)
In effect, these lines of the Sonnets comprise Edward de Vere's own version of Hamlet's cry for his wounded name. It's a tragic story, but also the basic answer to the Shakespeare Authorship Question, delivered to posterity by the author himself — as he talks about his "poor name" or "name" to be "buried" and stating that he himself must die – not just in the physical sense, of course, but to "all the world." He disconnects himself from "Shakespeare" and, therefore, from Southampton, ensuring that his own identity will disappear … but not forever!
In fact, Oxford is counting on these very sonnets to "tell my story," as Hamlet begs his friend Horatio. Back in Sonnet 55, when Southampton's fate was by no means certain, Oxford vowed to create "the living record of your memory," adding:
'Gainst death and all-oblivious enmity
Shall you pace forth! Your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
In this way he will triumph over Time and defeat the false "registers" or "records" upon which the future writers of history will rely. He himself will prevail in these sonnets, which will be printed in 1609 only to be quickly suppressed and driven underground, until the quarto's reappearance more than a full century later. And so he defeats Time and Cecil and even Death, as expressed in Sonnet 107: "I'll live in this poor rhyme."
He draws his breath in pain, to tell his story. The "monument" of the Sonnets is his ultimate triumph, as expressed in Sonnet 123:
No! Time, thou shalt not boast that I do change!
Thy pyramids built up with newer might
To me are nothing novel, nothing strange:
They are but dressings of a former sight.
Our dates are brief, and therefore we admire
What thou dost foist upon us that is old,
And rather make them borne to our desire
Than think that we before have heard them told.
Thy registers and thee I both defy –
Not wond'ring at the present, nor the past,
For thy records and what we see doth lie,
Made more or less by thy continual haste.
This I do vow, and this shall ever be:
I will be true, despite thy scythe and thee.
on December 5, 2019 at 11:21 am Comments (7)
Tags: 100 Reasons Shake-speare was the Earl of Oxford, authorship, dover Wilson, Duncan-jones, earl of oxford, edward de vere, essex rebellion, henry wriothesley, Lara Crowley, monument sonnets, queen elizabeth 1, richard II, Richard III, robert cecil, shakespeare authorship, shakespeare's globe, shakespearean authorship trust, The Monument, tower of london, whittemore, who wrote shakespeare, William Cecil
Reason 95 – Part One – Why Edward, Earl of Oxford was "Shakespeare" — the Shadowy and Elusive Figure of Christopher Marlowe
This series now confronts the immortal but shadowy figure of Christopher Marlowe, the Cambridge student and government spy who was stabbed to death at age twenty-nine on May 30, 1593 – just when the initial copies of Venus and Adonis, carrying the first appearance of the printed name "William Shakespeare," were on their way to the London bookstalls.
"Tamburlaine" was printed in 1590 without an author's name (click on image to enlarge it)
Even though Tamburlaine the Great had drawn great crowds to the Rose from 1587 onward, Marlowe's name had never appeared on any published work during his lifetime. Given that audience members seldom if ever cared to know who wrote the plays they attended (the way we seldom care to know the screenwriters of our movies), the commonly held assumption that he was "the toast of the town" as a popular playwright must be a fantasy.
Ironically, however, at the very moment of Marlowe's death in 1593 the "Shakespeare" name was being launched as that of a new, heretofore unknown poet whose highly cultured narrative poem would soon be a bestseller reprinted over and over again. In fact the name of Shakespeare, on the dedication to Henry, Earl of Southampton, quickly did became the toast of the town, at least for those who could buy books and read them.
Dedication of "Venus and Adonis" in 1593 to Southampton with first printing of the Shakespeare name
The nature of the relationship between "Marlowe" and "Shakespeare" has generated much academic uncertainty and perplexity. Scholars and biographers have pondered and dissected the inextricable entanglement of those two famous names, and of the works attributed to those names, without consensus. Oscar James Campbell in his trustworthy & valuable Reader's Encyclopedia of Shakespeare (1966) notes the confusion:
"Because the chronology of the composition of Marlowe's plays and those of Shakespeare is uncertain, and because of the dearth of information about Shakespeare's activities during the 'seven lost years' [1586-1592], it is impossible to discuss with precision the literary interrelationship of these two playwrights … Whatever their personal relationship, it is demonstrable that Shakespeare knew Marlowe's plays and poetry. There are hundreds of verbal echoes and dozens of comparable scenes and situations in the works of the two men. Frequently it is difficult to guess who is echoing or borrowing from whom…"
The traditional idea is that Will Shakspere of Stratford, being the same age as Marlowe but newly arrived in London, was so inspired by Tamburlaine's commanding eloquence and unrelenting violence that soon he began to write parts one, two and three of Henry VI and then got to work on his own bloody play, Titus Andronicus. Exactly how such a miracle might have occurred – amid Shakspere's supposed acting career, his moneylending activities, and so on – is beyond words.
Edward Alleyn as Tamburlaine, with the Admiral's Men at the Rose Playhouse
But Stephen Greenblatt in Will in the World: How Shakespeare Became Shakespeare (2004) betrays no perplexity and no trouble at all comprehending the miracle. He imagines — he fancies, he supposes, he conjectures — that, just when Shakspere was "finding his feet in London," he must have noticed the hoopla over Tamburlaine and "almost certainly saw the play." And this "may indeed have been one of the first performances he ever saw in a playhouse – perhaps the first."
Yes, and on the basis of what we see in the early plays, this "appears to have had upon him an intense, visceral, indeed life-transforming impact."
(Hmmmm. The transformation — in just a few years — would have been from a young man who had never been inside a packed London playhouse to a dramatist not only surpassing Marlowe himself, but, of course, becoming the greatest playwright of the English language! By 1595 he would have turned out both Richard II and Richard III and, by 1598, completed no less than twelve plays including Love's Labours Lost, Romeo and Juliet , King John and The Merchant of Venice!]
The 2007 production directed by Michael Kahn for the Shakespeare Theatre Company in Washington DC
"Shakespeare had never heard anything quite like this before," writes Greenblatt as he imagines the Tamburlaine experience, "certainly not in the morality plays or mystery cycles he had watched back in Warwickshire. He must have said to himself something like, 'You are not in Stratford anymore.'"
[Do I hear a song coming on …?]
Attending this play among the groundlings at the Rose, and staring up at Edward Alleyn playing Tamburlaine, was a "crucial experience" for him and a "challenge" that "must have been intensified when he learned that Marlowe was in effect his double: born in the same year, 1564 …"
Okay, enough! Enough of this imaginative fiction run rampant…
Let us return to 1593, when the sophisticated and highly cultured narrative poem, which "Shakespeare" called "the first heir of my invention," was instantly popular among university students, aristocrats and even members of the royal court including young Henry Lord Southampton, to whom it was dedicated. This blockbuster would be joined in 1594 by an even more brilliant poem – Lucrece, also dedicated to Southampton, whose primary source was the story as told by Ovid in his Fasti, a work that would not be translated into English until … 1640!
We shall need even more imaginative fiction to explain how the young Warwickshire fellow pulled that rabbit out of the hat…
The first time Marlowe's name becomes linked to this poem is in 1598…
On September 28, 1593, the unfinished manuscript of another narrative poem, Hero and Leander, was entered at the Stationer's Register by John Wolf, who described it as "an amorous poem devised by Christopher Marloe [sic]." But something happened to stop Wolf from printing the poem and it was five years until the initial edition was published by Edward Blount in 1598, attributed to Marlow; and this was followed in the same year by another edition from publisher Paul Linley, who advertised it as "begun by Christopher Marloe [sic] and finished by George Chapman."
"Marlowe's Hero and Leander is the best of the Ovidian romances," Campbell writes. "It contains the most successful combination of the genre's distinctive characteristics: descriptions of natural beauty, voluptuous development of erotic situations, and an ornate style. These are also the elements of which Shakespeare composed Venus and Adonis."
Imagine that! Marlowe and "Shakespeare" were both writing the same kind of long, romantic, sensual, erotic poem based on Ovid; they were writing and/or completing their similar narrative poems at virtually the same time, in the year of Marlowe's untimely death, when "Shakespeare" forged ahead by getting his masterful "first heir" into print and taking over the poetical limelight from there on.
Marlowe's name appeared in print for the first time in the following year, 1594, when the play Edward II was published as by "Chr. Marlow" and another play Dido, Queen of Carthage was published as by "Christopher Marlow and Thomas Nashe."
"No play of Marlowe's is more closely related to one of Shakespeare's than is Edward II to Richard II," Campbell writes. "For decades scholars assumed that Marlowe's was the first significant English chronicle history play, and that therefore he taught Shakespeare much.
"Recently, however, it has been established that Shakespeare's Henry VI trilogy antedates Edward II; in other words, Shakespeare helped Marlowe; the combination of Shakespeare-Marlowe helped Shakespeare in Richard II."
Reflecting the aforesaid academic perplexity, Campbell adds in classic understatement: "The intricacies of these interrelationships are detailed and complex."
Part Two will look at the elusive, shadowy figure of Marlowe from a different angle, beginning to resolve this confusion by arranging the puzzle pieces — the seemingly inscrutable facts of the history — in a new way, bringing into focus of what I suggest to be the contours of a true, clear picture.
on May 18, 2014 at 6:33 pm Comments (23)
Tags: authorship, christopher marlowe, earl of oxford, edward de vere, edward II, hero and leander, richard II, shakespeare authorship, thomas nashe, Venus and Adonis, whittemore
The Shakespeare Histories as "Mirrors of Elizabethan Policy" — Lily B. Campbell's Work is No. 79 of 100 Reasons Why Oxford was the Author
For a couple of centuries it was generally accepted that Shakespeare had no interest in the issues confronting England in his time; but in 1947 there appeared a bombshell book entitled Shakespeare's "Histories" – Mirrors of Elizabethan Policy by Lyly Bess Campbell, Professor Emeritus of English at UCLA, putting forth the radical idea that the great author's history plays were mirrors in which Elizabethans could perceive the contemporary political problems they were facing.
Miss Campbell comes out swinging. Her first victim is Professor Mark Van Doren of Columbia University, whom she ridicules for postulating that Shakespeare "does not seem to call for explanations beyond those which a whole heart and a free mind abundantly supply." It's a "heartening conviction," she quips, "that John Doe has only to reassure himself about the wholeness of his heart and the freedom of his mind to undertake to interpret Shakespeare. Any heart and any mind will do."
Then she holds H.H. Furness up for scorn, citing his statement in the New Variorum Edition of Shakespeare in 1919: "I cannot reconcile myself to the opinion that Shakespeare ever made use of his dramatic art for the purpose of instructing, or as a means of enforcing his own views, any more than I believe that his poetic inspiration was dependent on his personal experiences."
These are comforting thoughts, Miss Campbell wryly notes, for writers and critics alike – that whatever the great author wrote had nothing to do with his personal experiences and convictions! And just think – Shakespeare himself had no interest in the problems of contemporary politics!
Lily Campbell begs to differ: "I do not believe that a poet exists in a vacuum, or even that he exists solely in the minds and hearts of his interpreters. I do not believe he can write great poetry without conviction and without passion. I do not believe that his reflection of his period is casual and fragmentary and accidental. Rather, it seems to me the poet must be reckoned a man among men, a man who can be understood only against the background of his own time…"
Looking at the history plays without any authorship axe to grind, Miss Campbell sees that "Shakespeare" deliberately used history to set forth the great political problems his day, such as Queen Elizabeth's lack of an heir and her unwillingness or inability to name a successor. For example, plays like King John and Richard II revolved around issues of legitimacy and the possible need to depose a weak monarch for the sake of England's health and survival. And as Queen Elizabeth herself remarked, six months after the Essex Rebellion of February 8, 1601, "I am Richard II, know ye not that!?"
Miss Campbell in 1947 was breaking through the traditional image of the author. I have no idea whether she knew about the 1920 identification of Edward de Vere the seventeenth Earl of Oxford as "Shakespeare," but if not her argument is the more powerful – that in fact the great poet-dramatist was deeply, passionately concerned about the country and, yes, about the Tudor dynasty.
This view had already been confirmed a quarter-century earlier, when J. Thomas Looney pointed to Oxford, thereby identifying a high-ranking nobleman and member of the House of Lords, a courtier who had been a royal ward of the Queen under the guardianship of her powerful chief minister, William Cecil Lord Burghley (later his father-in-law) and one who – while obviously obsessed with poetry and plays, with the power of the printed word and the stage – was demonstrably involved in crucial affairs of state.
If Oxford was the author of King John, Richard II and Henry V, to name three of the several histories covered by Miss Campbell, then "Shakespeare" was not just a concerned observer of the great issues of his day, but, indeed, a participant in them. As Chesterton noted, "Men can always be blind to a thing, so long as it's big enough," and Looney, by identifying Oxford, was pointing to an author whose world was larger than that of the Stratford man in every way.
The overall implication of Oxford's authorship is so enormous, in fact, that even Oxfordians can be blind to it: we are not talking about switching one name for another, or one writer for another, but, rather, about the seismic shift from a man born in a small market town in the countryside to a man raised by blood to inhabit the palace and be part of THE GOVERNMENT – as if the author of popular political novels in the U.S. turned out to be a top official of the C.I.A. or State Department, and who had been filling his works with thinly disguised, inside information that had never gotten into the official record.
[In the case of Edward de Vere, we have the amazing story of a man who, in the 1570s and 1580s, led a renaissance of English literature and drama, helping to rouse unity in the face of foreign invasion; but who, in the 1590s, found himself adopting the pen name "Shakespeare" in a power struggle against the entrenched Cecilian control over the government and over the queen herself. In the early stages, Oxford had been working on the same side as Burghley and spymaster Walsingham, within the government; in the final stages, however, he was in a power struggle (behind the scenes) with Principle Secretary Robert Cecil to determine who would control the succession to Elizabeth on the throne.]
William Cecil 1520-1598
Robert Cecil 1563-1612
Here is Oxford as a young man:
24 November 1569, to William Cecil, in reference to the Northern Rebellion of Catholic earls: "And at this time I am bold to desire your favor and friendship that you will suffer me to be employed by your means and help in this service that now is in hand … now you will do me so much honor as that by your purchase of my license I may be called to the service of my prince and country…"
And here with my emphases added to some of the words that "Shakespeare" uses in similar ways —
September 1572, to Wm. Cecil Lord Treasurer Burghley, in reference to the St. Bartholomew's Day massacre of Protestants in France: "And think if the Admiral in France was an eyesore or beam in the eyes of the Papists, then the Lord Treasurer of England is a block and a cross-bar in their way, whose remove they will never stick to attempt, seeing they have prevailed so well in others. This estate hath depended on you a great while, as all the world doth judge, and now all men's eyes … are, as it were, on a sudden, bent and fixed on you as a singular hope and pillar …
["…shame to your estate, an eyesore to our solemn festival" – Taming of the Shrew; "His brandished sword did blind men with his beams" – 1 Henry VI; "… who, like a block, hath denied my access to thee" – Coriolanus; "Any bar, any cross, any impediment" – Much Ado About Nothing; "They will not stick to say you envied him" – Henry VIII; "…for on his choice depends the safety and health of this whole state" – Hamlet; "…why such unplausive eyes are bent on him" – Troilus and Cressida]
"I am one that counts myself a follower of yours now in all fortunes, and what shall hap to you, I count it hap to myself … Thus my Lord, I humbly desire your Lordship to pardon my youth, but to take in good part my zeal and affection towards your Lordship, as on whom I have builded my foundation, either to stand or fall … I shall be most willing to be employed on the sea coasts, to be in a readiness with my countrymen against any invasion."
When the young Oxford was prevented from a military career, his service soon took the form of literature and drama. In the process he created a robust language and cultural identity that helped give England a new sense of national pride. Miss Campbell noted that "each of the Shakespeare histories serves a special purpose in elucidating a political problem of Elizabeth's day and in bringing to bear upon this problem the accepted political philosophy of the Tudors."
Lily Campbell's view of the Shakespeare histories as "mirrors of Elizabethan policy" is no. 79 of 100 reasons why Edward de Vere Earl of Oxford was the man who wrote them.
Lily Campbell Biographical Synopsis
on October 13, 2013 at 12:56 pm Comments (43)
Tags: authorship, earl of oxford, edward de vere, lily campbell, mark van doren, richard II, shakespeare authorship, whittemore, who wrote shakespeare


text:
Brian Jones was born in 1950 in Chatham, a small city in south-western Ontario. Upon completion of his training at H.B. Beal Technical School in London and after a brief apprenticeship with Jack Chambers, Brian became determined to pursue full time painting. From the very beginning, his work depicted people during moments in their everyday lives – walking the dog, shovelling snow, picnicking in the park and visiting the grandparents. His strong narrative quality touched with subtle humour or charged with suspended energy links the artist and the viewer to common experiences mirroring life in Canada during the 50's and 60's up to the present time. Initially, a skillful photorealist, Jones gradually learned that by adding a curve here, a line and some shading there, he could manipulate his images to great effect. By streamlining the figure, adding brighter colours and simplifying his shapes in a more abstract format, Jones developed what would eventually be called his "Neighbours" style. More recently, larger scale canvases with fine detailed brushwork and complex compositions illustrate his newer paintings. From 1975 to 2006, Brian Jones has produced a solo exhibition every eighteen months in Toronto. He has won many grants and awards, including the Queen's Silver Jubilee award in 1977; OSA Best Oil Award, 1985, and the "Young Achievers" National Award 1982. The artist is represented in many major public collections: Canada Council Art Bank, Museum London, McIntosh Gallery University of Western Ontario, Confederation Art Gallery, Province of Ontario, City of Toronto Archives and in Corporate and Private Collections throughout Canada, the US and Europe.
Oil on Canvas, 36 x 24
Babyview


text:
SKIDATA GmbH è un'azienda austriaca operante nel settore della costruzione di apparecchiature adibite alla gestione dell'accesso e del controllo dei visitatori per destinazioni turistiche, parcheggi, stadi, parchi di divertimento, centri commerciali e zone fieristiche, stazioni sciistiche.

, l'azienda ha filiali e partner in più di 100 paesi..

Storia
1977 - Günther Walcher sviluppa il primo dispositivo automatico di emissione di biglietti d'accesso con foto che sostituisce gli skipass scritti a mano. Per la commercializzazione e l'ulteriore sviluppo di tale dispositivo viene fondata a Grödig presso Salzburg la ditta Skidata.

1979 - nasce il primo registratore di cassa, un apparecchio elettromagnetico per timbrare i biglietti.

All'inizio degli anni Ottanta la Skidata crea dei biglietti a striscia magnetica e introduce un sistema di cassa per i grandi comprensori sciistici.

1990 - Skidata introduce nei parcheggi il pagamento tramite carta di credito.

1997 – il produttore francese di Smart card con chip Gemplus diventa il proprietario maggioritario della Skidata.

Dal 2000 si verifica l'acquisizione da parte della svizzera Kudelski.

Prodotti

 Sistemi di gestione dei parcheggi
 Sistemi di accesso
 Supporti magnetici

Note

Altri progetti

Collegamenti esterni

Aziende austriache
Grödig