The corrugated iron growled like thunder When March came in; then as the year turned warmer And invalids and bulbs came up from under, I hibernated on behind the dormer, Staring through shaken branches at the hill, Dissociated, like an ailing farmer Chloroformed against things seasonal In a reek of cigarette smoke and dropped ash.
Lent came in next, also like a lion Sinewy and wild for discipline, A fasted will marauding through the body; And I taunted it with scents of nicotine As I lit one off another, and felt rash, And stirred in the deep litter of the study.
The Tragedy of Macbeth Shakespeare homepage Macbeth Entire play ACT I SCENE I. A desert place.
Thunder and lightning. Enter three Witches
First Witch
When shall we three meet again In thunder, lightning, or in rain?
Second Witch
When the hurlyburly's done, When the battle's lost and won.
Third Witch
That will be ere the set of sun.
First Witch
Where the place?
Second Witch
Upon the heath.
Third Witch
There to meet with Macbeth.
First Witch
I come, Graymalkin!
Second Witch
Paddock calls.
Third Witch
Anon.
ALL
Fair is foul, and foul is fair: Hover through the fog and filthy air.
Exeunt
SCENE II. A camp near Forres.
Alarum within. Enter DUNCAN, MALCOLM, DONALBAIN, LENNOX, with Attendants, meeting a bleeding Sergeant
DUNCAN
What bloody man is that? He can report, As seemeth by his plight, of the revolt The newest state.
MALCOLM
This is the sergeant Who like a good and hardy soldier fought 'Gainst my captivity. Hail, brave friend! Say to the king the knowledge of the broil As thou didst leave it.
Sergeant
Doubtful it stood; As two spent swimmers, that do cling together And choke their art. The merciless Macdonwald-- Worthy to be a rebel, for to that The multiplying villanies of nature Do swarm upon him--from the western isles Of kerns and gallowglasses is supplied; And fortune, on his damned quarrel smiling, Show'd like a rebel's whore: but all's too weak: For brave Macbeth--well he deserves that name-- Disdaining fortune, with his brandish'd steel, Which smoked with bloody execution, Like valour's minion carved out his passage Till he faced the slave; Which ne'er shook hands, nor bade farewell to him, Till he unseam'd him from the nave to the chaps, And fix'd his head upon our battlements.
DUNCAN
O valiant cousin! worthy gentleman!
Sergeant
As whence the sun 'gins his reflection Shipwrecking storms and direful thunders break, So from that spring whence comfort seem'd to come Discomfort swells. Mark, king of Scotland, mark: No sooner justice had with valour arm'd Compell'd these skipping kerns to trust their heels, But the Norweyan lord surveying vantage, With furbish'd arms and new supplies of men Began a fresh assault.
DUNCAN
Dismay'd not this Our captains, Macbeth and Banquo?
Sergeant
Yes; As sparrows eagles, or the hare the lion. If I say sooth, I must report they were As cannons overcharged with double cracks, so they Doubly redoubled strokes upon the foe: Except they meant to bathe in reeking wounds, Or memorise another Golgotha, I cannot tell. But I am faint, my gashes cry for help.
DUNCAN
So well thy words become thee as thy wounds; They smack of honour both. Go get him surgeons.
Exit Sergeant, attended Who comes here?
Enter ROSS
MALCOLM
The worthy thane of Ross.
LENNOX
What a haste looks through his eyes! So should he look That seems to speak things strange.
ROSS
God save the king!
DUNCAN
Whence camest thou, worthy thane?
ROSS
From Fife, great king; Where the Norweyan banners flout the sky And fan our people cold. Norway himself, With terrible numbers, Assisted by that most disloyal traitor The thane of Cawdor, began a dismal conflict; Till that Bellona's bridegroom, lapp'd in proof, Confronted him with self-comparisons, Point against point rebellious, arm 'gainst arm. Curbing his lavish spirit: and, to conclude, The victory fell on us.
DUNCAN
Great happiness!
ROSS
That now Sweno, the Norways' king, craves composition: Nor would we deign him burial of his men Till he disbursed at Saint Colme's inch Ten thousand dollars to our general use.
DUNCAN
No more that thane of Cawdor shall deceive Our bosom interest: go pronounce his present death, And with his former title greet Macbeth.
ROSS
I'll see it done.
DUNCAN
What he hath lost noble Macbeth hath won.
Exeunt
SCENE III. A heath near Forres.
Thunder. Enter the three Witches
First Witch
Where hast thou been, sister?
Second Witch
Killing swine.
Third Witch
Sister, where thou?
First Witch
A sailor's wife had chestnuts in her lap, And munch'd, and munch'd, and munch'd:-- 'Give me,' quoth I: 'Aroint thee, witch!' the rump-fed ronyon cries. Her husband's to Aleppo gone, master o' the Tiger: But in a sieve I'll thither sail, And, like a rat without a tail, I'll do, I'll do, and I'll do.
Second Witch
I'll give thee a wind.
First Witch
Thou'rt kind.
Third Witch
And I another.
First Witch
I myself have all the other, And the very ports they blow, All the quarters that they know I' the shipman's card. I will drain him dry as hay: Sleep shall neither night nor day Hang upon his pent-house lid; He shall live a man forbid: Weary se'nnights nine times nine Shall he dwindle, peak and pine: Though his bark cannot be lost, Yet it shall be tempest-tost. Look what I have.
Second Witch
Show me, show me.
First Witch
Here I have a pilot's thumb, Wreck'd as homeward he did come.
Drum within
Third Witch
A drum, a drum! Macbeth doth come.
ALL
The weird sisters, hand in hand, Posters of the sea and land, Thus do go about, about: Thrice to thine and thrice to mine And thrice again, to make up nine. Peace! the charm's wound up.
Enter MACBETH and BANQUO
MACBETH
So foul and fair a day I have not seen.
BANQUO
How far is't call'd to Forres? What are these So wither'd and so wild in their attire, That look not like the inhabitants o' the earth, And yet are on't? Live you? or are you aught That man may question? You seem to understand me, By each at once her chappy finger laying Upon her skinny lips: you should be women, And yet your beards forbid me to interpret That you are so.
MACBETH
Speak, if you can: what are you?
First Witch
All hail, Macbeth! hail to thee, thane of Glamis!
Second Witch
All hail, Macbeth, hail to thee, thane of Cawdor!
Third Witch
All hail, Macbeth, thou shalt be king hereafter!
BANQUO
Good sir, why do you start; and seem to fear Things that do sound so fair? I' the name of truth, Are ye fantastical, or that indeed Which outwardly ye show? My noble partner You greet with present grace and great prediction Of noble having and of royal hope, That he seems rapt withal: to me you speak not. If you can look into the seeds of time, And say which grain will grow and which will not, Speak then to me, who neither beg nor fear Your favours nor your hate.
First Witch
Hail!
Second Witch
Hail!
Third Witch
Hail!
First Witch
Lesser than Macbeth, and greater.
Second Witch
Not so happy, yet much happier.
Third Witch
Thou shalt get kings, though thou be none: So all hail, Macbeth and Banquo!
First Witch
Banquo and Macbeth, all hail!
MACBETH
Stay, you imperfect speakers, tell me more: By Sinel's death I know I am thane of Glamis; But how of Cawdor? the thane of Cawdor lives, A prosperous gentleman; and to be king Stands not within the prospect of belief, No more than to be Cawdor. Say from whence You owe this strange intelligence? or why Upon this blasted heath you stop our way With such prophetic greeting? Speak, I charge you.
Witches vanish
BANQUO
The earth hath bubbles, as the water has, And these are of them. Whither are they vanish'd?
MACBETH
Into the air; and what seem'd corporal melted As breath into the wind.
Screwy insurance companies, and Screwier Drug Prices!
Paul and I use a prescritption tooth paste we got hooked on in Chicago. I had a script called in, so did he.
Mine was not covered under my policy, it was 10 bucks a tube.
Pauls' was covered, and was 14 bucks.
See the problem? Pharmacyman told me it happens. With insurance some things can be more.
Then he commented that Target/Walmart 4 buck generics are often far better than using insurance...... perhaps implying if you did the price would GO UP!
SO NOW, before you pick up that prescription ask how much you are saving, AND IF ITS CHEAPER without INSURANCE!!!
000000
On a similar note, I was in line at Giant Eagle last Thursday. The elderly woman ahead of me naturally had 1000 coupons. She asked before the cashier started on them what her tab was: 54 bucks. After the coupons her total bill was $79.54.
The cashier was new, and a bit dim, and saw nothing wrong, I about fell over laughing. Until they had to ring it all up again. And re-do the coupons. In the middle of that the register blew up (it was the culprint). The old woman just laughed and went about, I was getting a bit cranky and grinned and told her I should have shopped ACME that night (local competitor). She wisely and levelly said, "honey, you have to shop the sales."
microsoft wants $ for an add on for Windows Media Player, so go the free route....
VLC is a portable multimedia player, encoder, and streamer supporting many audio and video codecs and file formats as well as DVDs, VCDs, and various streaming protocols.
Play all your media files with VLC. Includes most of the major codecs for video files downloaded off of BitTorrent.
By MELISSA CLARK Time: About 1 1/2 hours, plus cooling
1 cup (2 sticks) unsalted butter, softened, more for greasing pan 2 cups all-purpose flour, more for dusting pan 5 ounces unsweetened chocolate 1/4 cup instant espresso powder 2 tablespoons unsweetened cocoa powder 1 cup bourbon, rye or other whiskey, more for sprinkling 1/2 teaspoon kosher salt 2 cups granulated sugar 3 large eggs 1 tablespoon vanilla extract 1 teaspoon baking soda Confectioners’ sugar, for garnish (optional).
1. Grease and flour a 10-cup-capacity Bundt pan (or two 8- or 9-inch loaf pans). Preheat oven to 325 degrees. In microwave oven or double boiler over simmering water, melt chocolate. Let cool. 2. Put espresso and cocoa powders in a 2-cup (or larger) glass measuring cup. Add enough boiling water to come up to the 1 cup measuring line. Mix until powders dissolve. Add whiskey and salt; let cool. 3. Using an electric mixer, beat 1 cup butter until fluffy. Add sugar and beat until well combined. Beat in the eggs, one at a time, beating well between each addition. Beat in the vanilla extract, baking soda and melted chocolate, scraping down sides of bowl with a rubber spatula. 4. On low speed, beat in a third of the whiskey mixture. When liquid is absorbed, beat in 1 cup flour. Repeat additions, ending with whiskey mixture. Scrape batter into prepared pan and smooth top. Bake until a cake tester inserted into center of cake comes out clean, about 1 hour 10 minutes for Bundt pan (loaf pans will take less time, start checking them after 55 minutes). 5. Transfer cake to a rack. Unmold after 15 minutes and sprinkle warm cake with more whiskey. Let cool before serving, garnished with confectioners’ sugar if you like. Yield: 10 to 12 servings.
"The Triumph of Death" by Pieter Bruegel the Elder is not for the squeamish. Commonly dated circa 1562, it ranks among the most terrifying paintings of the age, and the centuries since have only boosted its fearful currency. Not until Goya's 1810-20 "Disasters of War" was there anything in European art quite like this savage depiction of hell on Earth.
The painting hangs in the Prado in Madrid, directly across from Hieronymous Bosch's "The Garden of Earthly Delights." As Bruegel was regarded by his contemporaries as a "second Bosch," they make fitting roommates. Both artists were favorites of Phillip II, who secured multiple works by each for the Hapsburg collections in Spain and elsewhere.
Bosch's large and elaborate triptych attracts the bigger crowds, and it's easy to see why. His naked men and women and fantastic animals can be viewed as drug-addled comedy, more Lewis Carroll than Book of Revelation. Even scholars can't agree if the arcane allegory is a remonstration about the demons of lust or the dream of a prelapsarian paradise before sex became sinful.
Bruegel's smaller (46-inch-by-64-inch) single-panel masterpiece has a grimmer message. There is no escape from the scourge of war. The men and women in the fire-strewn landscape try to fend off death's henchmen with sword and spear. But the living are badly outnumbered, their efforts futile. Not only is death inevitable and unsparing of society high and low, a lesson Medieval and Renaissance artists never tired of teaching their audiences, but death is perversely creative as well. The variety of tortures in store for the human race during wartime is endless. The hallucination is as intense and action-packed as Bosch's, but the cold-bloodedness of the violence leaves no room for whimsy.
Given the immense popularity of Bruegel, art historians know amazingly little about his biography. When he was born (c. 1525-30) and where is open to debate. His early training remains a mystery. The first documentary trace of his existence is his 1551 signature in the Antwerp artist's guild, the guild of St. Luke. A successful printmaker before turning to painting in the 1550s, he was no peasant and had a clientele of well-connected, urban patrons throughout the rest of his life. From a church monument that Jan Bruegel erected to his parents, we know that Pieter the Elder died in Brussels in 1569.
It's therefore hard to tell whether the scenes in "Triumph of Death" are purely imagined, conventions based on earlier artists' infernal visions, eyewitness observations of war atrocities, or a combination of the three. Philip II's zealous general, the Duke of Alva, did not arrive in the Low Countries until 1567. But a Spanish-directed terror campaign against Protestants and other heretics had already been in effect for decades.
However unknowable many aspects of the painting may be, including the religious sympathies of its author, it presents a virtuosic whirlwind of destruction. As a storyteller, Bruegel tended to fill his canvases with related human and animal actions, of more or less equal weight, that unfold simultaneously on several planes in undulating landscapes that are more than backdrops. Every inch of "The Triumph of Death" features chaos on a massive scale. It is as though the artist's brush cannot keep up with the fanatical energy of death's hordes, busy killing and harrowing wherever you look. The realistic details of suffering invite our scrutiny and upon examination turn out to be far more unsettling than in a typical Medieval "Dance of Death." The raging, centerless battle is not a fair fight. In the foreground, a skeleton is cutting a man's throat while not far away a starving dog eats a woman's face. On a hillside further back on the right, a dead man has been skinned and hung from a tree. His head is thrown backward and held in the branches by a metal pin that passes through his skull. In the vicinity a man hangs from a gallows, watched by onlookers, and a few inches to their right a man on his knees is about to be decapitated. Other victims are impaled on spoked wheels that sit atop poles.
In a ghoulish touch, the dead advance on the outnumbered humans and hold coffin lids as shields, emblazoned with the sign of the cross. The king with his ermine-trimmed robe and buckets of gold is as helpless as everyone else. At the top of the picture ships are aflame or sunk in a harbor while smoke rises from distant towers. This temporal plot point is especially chilling, for it suggests death has been marauding across the countryside for days, if not weeks, and has nowhere been halted. Indeed, the army appears unstoppable.
Salvation through Christ, a resolution in many other pictures that warn of death's inevitability, is missing here. The resounding overtone is one of mocking nihilism. The pulling on a black bell by a pair of skeletons in the upper left corner, instead of ringing out the goodness of the Angelus or the triumph of the Second Coming, seems to announce that humanity is done for.
The brutality of these images has given Bruegel's picture a woeful and continual relevance. It seems to anticipate descriptions of the Thirty Years War in the 17th century, the horrors of which Jacques Callot drew and etched. Most disturbing from a 21st-century perspective are what appear on the right of the picture to be rectangular containers where humans are forced inside and sent to their deaths. The devices' similarity to Nazi technology of mass extermination has struck many viewers.
Such secular readings don't qualify as responsible art history, but they explain the painting's status as a nightmarish icon. Unsigned and undated, it lacks a distinct religious meaning, even in the 16th century of the artist's shadowy life, and whispers insidiously to a world in which ferocious civil wars and graphic video games are daily visual fare. The first section of Don DeLillo's novel "Underworld" is titled "The Triumph of Death" and includes a fantasy in which J. Edgar Hoover compares Bruegel's painting ("a census-taking of awful ways to die") to nuclear war. The image was the cover art for Black Sabbath's "Greatest Hits" album, and its disquieting mood permeates the battle scenes in director Peter Jackson's epic "The Lord of the Rings." The 19th-century Swiss historian Jacob Burkhardt derided Bruegel as a crude and vulgar painter. It is these same qualities -- a willingness to inject barnyard realism and seasonal atmosphere into his moral tales -- that make him so beloved today. "The Triumph of Death" may resist interpretation as a Christian allegory. But the burned, dirty, leafless landscape of war is all too familiar.
Pierre Huyghe was born in 1962 in Paris, where he currently lives and works. The artist graduated form the École Nationale Supérieure des Arts Décoratifs, Paris, in 1985. Huyghe's work, which has taken the form of video and installations in recent years, often uses film as a departure for his investigations of fiction versus fact. His work has been presented in numerous solo exhibitions including shows at the Kunsthaus Bregenz, Bregenz, Austria (2002); Musée d' Art Moderne et Contemporain, Geneva (2001); the Stedelijk Van Abbemuseum, Amsterdam (2001); Musée d'Art Contemporain, Montreal (2000–2001); Centre Georges Pompidou, Paris; and the Museum of Contemporary Art, Chicago, and the Renaissance Society, University of Chicago (2000); Aarhus Kunstmueum, Denmark (1999); Musée d'Art Moderne de la Ville de Paris (1998).
for the first time I remebered enough of this word to google a misspelling and get it! i was reading about minds refering to heads, but oddly not to thoughts.....:
Britanica:
synecdoche literature
figure of speech in which a part represents the whole, as in the expression “hired hands” for workmen or, less commonly, the whole represents a part, as in the use of the word “society” to mean high society. Closely related to metonymy—the replacement of a word by one closely related to the original—synecdoche is an important poetic device for creating vivid imagery. An example is Samuel Taylor Coleridge’s line in “The Rime of the Ancient Mariner,” “The western wave was all aflame,” in which “wave” substitutes for “sea.” See also metonymy.
+++++++ OED synecdoche
[a. late L. synecdoche (in med.L. sinodoche, whence obs. F. synodoche), a. Gr. , f. lit. to take with something else, f. SYN-1 + to take, take up. Cf. F. synecdoche, -doque, It. sineddoche, Sp. siné(c)doque, Pg. synecdoche. The form sinecdochine represents the acc. synecdochen, , and synodoches is a new nom. formed upon it; cf. syncopis, -in, s.v. SYNCOPE.]
A figure by which a more comprehensive term is used for a less comprehensive or vice versâ; as whole for part or part for whole, genus for species or species for genus, etc. Formerly sometimes used loosely or vaguely, and not infrequently misexplained.
1388 Wyclif's Bible, Prol. xii. (1850) 47 Bi a figure clepid synodoches [v.r. synadochie], whanne a part is set for al, either al is set for oo part. 1432-50 tr. Higden (Rolls) IV. 263 Criste was seide to be in the..herte of therthe thre daies and iij. nyhtes by a figure callede sinodoches, after Seynte Austyn, sythe Criste reste not in his sepulcre but by xlti howres. 1483 CAXTON Gold. Leg., Resurr. (1892) 52 Jhesus was in the sepulcre iii dayes & iii nyghtes. But after saynt austyn the first day is taken by synecdoche, that is, that the last part of the day is taken [etc.]. 1548 R. HUTTEN Sum of Diuinitie Eijb, They imagyne a Sinecdoch to be in thys worde. Ibid. Fviijb, The subtyll cauillacyons, whereby they fayne Sinecdochine. 1551 T. WILSON Logike (1580) 75 Therefore, whereas I saie, the Churche doeth not erre, it is called Synechdoche, that is to saie, when the parte is vsed for the whole [sic]. 1602 MARSTON Ant. & Mel. v. Wks. 1856 I. 55, I did send for you to drawe me a devise, an Imprezza, by Sinecdoche a Mott. 1612 J. MASON Anat. Sorc. 56 By these two blessings (to wit) the sunne & raine meaning al other earthly benefits whatsoever, by the figure synechdoche. 1638 CHILLINGW. Relig. Prot. I. v. §94. 295 By a Synecdoche of the whole for the part, he might be said to forsake the Visible Church. 1657 J. SMITH Myst. Rhet. 44 Of the Grammarians it is called a Synecdoche, or Comprehension, when a common word or name is restrained to a part which is expressed by the Accusative Case..: as, Æthiops albus dentes, an Ethiopian white in the teeth; here, white agreeing to the teeth only, is attributed to the whole Ethiopian. 1660 JER. TAYLOR Worthy Commun. I. iii. 58 It is by a Metonymy and a Sacramental Manner of speaking, yet it is also a synecdoche of the part for the whole. 1718-31 J. TRAPP tr. Virg., Eclogues I. 87 note (ed. 2) I. 11 Aristas, by a Metonymy of the Adjunct, for Harvests; and Those by a Synecdoche, for Years. 1872 W. MINTO Engl. Prose Lit. Introd. 15 Metaphors, personifications, synecdoches and metonymy in almost every sentence. 1900 R. J. DRUMMOND Apost. Teach. viii, This ordinance was frequently by synecdoche spoken of as the Breaking of Bread.
Calling out around the world, Are you ready for a brand new beat? Summer's here and the time is right For dancin' in the street Dancin' in Chicago (Dancin' in the street) Down in New Orleans (Dancin' in the street) In New York City
All we need is music, sweet music, There'll be music everywhere There'll be swingin' swayin', And records playin', Dancin' in the street
Oh it doesn't matter what you wear, Just as long as you are there. So come on every guy, grab a girl, Everywhere, around the world
There'll be dancin', They're dancin' in the street. This is an invitation, Across the nation, A chance for folks to meet.
There'll be laughin' singin', And music swingin' Dancin' in the street
Philadelphia P.A., Baltimore and D.C now, Can't forget the motor city
All we need is music, sweet music There'll be music everywhere There'll be swingin' swayin', And records playin, Dancin' in the street
Oh it doesn't matter what you wear, Just as long as you are there. So come on every guy, grab a girl, Everywhere, around the world
They're dancin', dancin' in the street Way down in L.A., Every day they're dancin' in the street Lets form a big strong line, And get in time, We're dancin' in the street.
Across the ocean blue, Me and you We're dancin n the street
Men hear the call of wild BY HEATHER AUGUSTYN Times Correspondent Sunday, February 08, 2009
VALPARAISO Crockpots full of critter casseroles lined four banquet tables at the second annual Wild Game Banquet at Valparaiso's Faith Evangelical Bible Church.
The Friday night event, organized by church leaders, was a way to bring together men in the community who have an interest in wild game and hunting. But for Valparaiso sixth-grader Nicholas Keleman, trying one of the squirrel pot pies, barbecued goose on a bun or venison Hungarian goulash was much more wild than he could stomach.
"There was nothing I wanted to try, except the mashed potatoes," said Keleman, whose classmate, William Hartman, was a little more adventurous.
"I like the venison meatballs. They're pretty good," he said, eating at a table decorated with tree-stump candle holders, a camouflage table cloth and pinecones.
The event also brought out taxidermy specialists, meat processing businesses and conservation officers who set up tables to educate the crowd of about 200.
"This is something we felt as men would be good to do for the church. We have a lot of hunters in the area, and three-fourths of the men in this room don't go to this church, so it's a nice draw," Associate Pastor David Wade said.
Senior Conservation Officer Shawn Brown, who is also an elder at the church, said it is a great way to bring the community together.
"We get together as men, share a meal and share the message of Jesus Christ," Brown said.
The event was funded in part by donations from area business, whose shotguns, rifles and tree stands were raffled off.
One unique item donated for raffle was from 18-year-old David Cieply, whose family attends the church. He gave one of his handcrafted fine writing pens, the barrel of which was made of deer antler.
these critters are very entertaining... I hit one with a snowball a few weeks ago. Just sat there eating as the balls flew by getting closer and closer, then pop, a squirrel bark and off he ran......
a down to the second countdown! 00 days, 23 hrs, 58 mins, 40 secs
if he sees his shadow I may have to shoot him. and hire a skunk.
There will be an information booth at Gobbler's knob on January 31st from 10:00 AM to 3:00 AM February 1st from 10:00 AM to 4:00 PM and again on February 2nd from 3:00 AM - 10:00 AM
From 10:00 a.m. to 6:00 p.m. on Saturday, January 31st, 12:00 noon to 12:00 midnight on Sunday, February 1st, and 5:00 a.m. to 2:00 p.m. on Monday February 2nd, there will be an information station at the Celebration Tent in Barclay Square
47.6 days until Spring! March 21, 2009 . . . at any rate . . .
btw:
Here are some answers to Frequently Asked Questions about the holiday: Yes! Punxsutawney Phil is the only true weather forecasting groundhog. The others are just impostors.
