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fatehbaz · 1 year

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About the lethal world-altering power of "legal fictions of property" and creation of laws in British imperial attempts to control the monsoon-flooded rivers and deltas of Bengal, described in Debjani Bhattacharyya's work (Empire and Ecology in the Bengal Delta: The Making of Calcutta, 2019). Other scholars have also come to similar conclusions about British treatment of Bengal. It's kind of a nice microcosm not just of British rule in South Asia, but also of imperial attempts to control ecology, communities, and imaginations across the planet.

In deltas, shorelines, seasonally-flooded rivers and riparian wetlands, mangrove forests, etc., there may not be clear distinctions between "land" and "water". The boundaries might change every year, every season, sometimes every day, depending on tide, floods, etc. So, if empires like Britain or the United States are to control such a place, there are two different challenges here. One challenge is, maybe more obviously, material, physical. The other is ontological, imaginative, etc., or what not.

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The material or physical challenge is:

How does the empire tax or administer properties if the property changes seasonally depending on rivers, floods, precipitation, etc.? How does the empire "manage" local social/financial conditions if there isn't clear recognition of a stable title, landlord, authority figure? Where is the solid property boundary that can facilitate ownership transfer, zoning, revenue collection, etc.? How does the empire force people into industrial or plantation labor if the empire can't use the threat of home-loss or job-loss to coerce local people? How does the empire install development projects or extractive industries, like roads, bridges, monoculture/plantation fields, etc., if the land and water are always in motion, fluid, changing?

The ontological challenge is:

Part of the empire's power comes from its ability to conquer the imagination, to capture the future, to insist that there is no other way, there are no other options. Empire is inevitable. And the empire insists that borders are "real", definite, strict. But how can you believe the empire's claims about strict boundaries, about the inevitability of their future, when you can clearly see an alternative, when you are living in an ecosystem where land and water are in a kind of dance, influencing each other, fluid, impermanent?

And the empire doesn't appreciate physical, material challenges. But the empire especially doesn't want any ontological challenges. If you can identify other ways of being, alternative lives, other futures, you undermine the empire's claim to inevitability and inspire others to live otherwise. In a way, a river or a delta or an estuary, they are a provocation; as if they were alive, agents themselves, these environments are a direct challenge to empire's claims.

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A summary of this imperial conundrum, from Natasha Ginwala and Vivian Ziherl:

'[T]his tropical coastal ecology is a site of continual refiguration: neither sea nor land, neither river nor sea, bearing neither salty nor fresh water […]. The Sundarbans covers an area of 10,000 square kilometers of intertidal zones between parts of southwestern Bangladesh and the state of West Bengal in India. The largest mangrove forest in the world […]. As a landscape, the Sundarbans is marked by unfixity, since its intertidal nature places it between appearance and disappearance – with islands being submerged overnight. […] [T]heir porous quality does not allow for clear border-making. [...] [W]e are met with the trembling instability of borders. [...] [H]ere the coastline becomes indiscernible as a single entity. The legal vexations of such amphibious and obtuse terrain become pronounced in sea-rights cases, wherein border-making becomes the necessity of tenure.' ["Sensing Grounds: Mangroves, Unauthentic Belonging, Extra-Territoriality." e-flux Journal Issue #45. May 2013.]

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So, those "legal vexations", "wherein border-making becomes the necessity of tenure [ownership]"? That's what Bhattacharyya discusses, how laws become "technologies of property" in Bengal.

Basically, Bhattacharyya describes "the legal processes through which the mobility of the landscape was accommodated into the architecture of ownership" (p. 77); "drying a tidal landscape was as much an infrastructural project as it was an ontological endeavor in producing a dry culture with colonial law as its handmaiden" (p. 83)' "the materiality of the paper" functioned as "a legitimizing object of modern property" (p. 100); the British/US/imperial imagination of rivers were "characterized by a cartographic-mindedness that captures and fixes the spatial mobility. The colonial journey is one of reterritorialization that involves mapping, measuring and fixing" (p. 122).

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In the tags of my post, I mentioned that the "legal engineering to conquer rivers in Bengal" is also the focus of two other scholars who examine the relationships with water, the creation of private property, and the power of colonial law-making in Bengal:

Kuntala Lahiri-Dutt and Rohan Ignatious D'Souza.

D'Souza authored Drowned and Dammed: Colonial Capitalism and Flood Control in Eastern India (1803-1946), which provides nice coverage from the East India Company, through the Mutiny and nineteenth-century expansion of finance and plantations, into modernist development of the twentieth century.

And I think Lahiri-Dutt sums up this whole situation nicely:

'Traveling through Bengal in the eighteenth century, […] [travelers] saw a highly sophisticated water-based economy – the blessing of rivers […]. Bengal’s essential character as a fluid landscape was changed during the colonial times through legal interventions that were aimed at stabilizing lands and waters, at creating permanent boundaries between them, [...] in a land of shifting river courses, inundated irrigation, and river-based life. Such a separation of land and water was made possible not just by physical constructions but first and foremost by engineering a legal framework. […] BADA, which stands for the Bengal Alluvion and Diluvion Act, a law passed by the colonial British rulers in 1825 […]. Nature here represents a borderless world, or at best one in which borders are not fixed lines on the ground demarcating a territory, but are negotiated spaces or zones. Such “[...] spaces” comprise “not [only] lines of separation but zones of interaction…transformation, transgression, and possibility” […]. Current boundaries of land and water are as much products of history as nature and the colonial rule of Bengal played a key role in changing the ideas and valuations of both. […] [R]ivers do not always flow along a certain route […]. The laws that the colonial British brought to Bengal, however, were founded upon the thinking of land as being fixed in place. […] To entrench the system, the Permanent Settlement of 1793 created zamindars (or landlords) “in perpetuity” – meaning for good. The system was aimed at reducing the complexities of revenue collection due to erratically shifting lands and unpredictable harvests in a monsoon-dependent area […]. From a riverine community, within a hundred years, Bengal was transformed into a land-based community.' ["Commodified Land, Dangerous Water: Colonial Perceptions of Riverine Bengal." RCC Perspectives, no. 3. 2014.]

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Part of why I appreciate Bhattacharyya's take on it is that she focuses on what was lost, not just in terms of physical landscape, material accessibility, etc., but also what was lost culturally, emotionally. Stories, traditions, ways of being. This is why Bhattacharyya describes this process of British rule in Bengal "a history of forgetting". She says: "And because we forget, it is harder for us to imagine alternatives".

Basically, British legal maneuvers to strictly define borders between land and water in Bengal, achieved several things: Yes, faced with frequent seasonal/annual changes of where shorelines and islands, etc., were located, part of the benefit of this legal defining and clarification of solid land was allowing the empire to map and administer stable segments of property for purposes of taxes, records, and development projects (roads, bridges, canals, etc.). This "permanence" of property then allowed for the opening of the door to financialization, so that investors in London or Calcutta could participate in financial speculation on the real estate market.

Another benefit was the installation of "private" property and strengthening the power of landlords, enforcing a social hierarchy, detaching poorer people from land access, resulting in conditions of indebtedness. Of course, the precarity of debt and lack of access to land then essentially forced poorer people into wage labour, factory work, plantations.

After all, Britain needed laborers to staff its expanding and notorious Assamese tea plantations. And the empire did this repeatedly elsewhere, too: Alienated people by using legal frameworks to force them into debt or homelessness, and then using those alienated people to work in terrible industrial conditions, often far away from their homes. Just as earlier nineteenth-century metropolitan London staffed its factories with indebted and impoverished people from elsewhere in England, Britain staffed its Assameses tea plantations with poor people from central India, and Britain staffed its plantations and infrastructure projects in Malaya with "coolies" and convicts from Bombay.

Outside of these material consequences, there is also the insidious lasting devastation of alienation itself. Emotionally. Loss of stories, songs, traditions, relationships, etc. The river, the delta, the ecosystem that you know and love, is not accessible to you. And so the empire's definitions and traditions are made resolute, the only possible future. There is no alternative.

But the river says otherwise.

#abolition #indigenous #multispecies #borders #temporal #wetlands #mangroves #tidalectics #archipelagic thinking #geographic imaginaries #plantations #intimacies of four continents #delta shoal islands swamps etc #carceral geography #debt and debt colonies #ecologies

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kolkatabbg · 3 months

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couple of book recs:

ok, so, I have been visiting my grandparents for two and a half weeks in the HEAT of Calcutta rn (I'm Indian-American fyi) so here's a couple of books I enjoy and that YOU should read.

short history of nearly everything by bill bryson

Daisy Jones and the Six by Taylor Jenkins Reid (it's SO good)

Israel, Palestine and the Politics of Race by Yasmeen Abu-Laman and Abigail B. Bakan (it's an academic treatise but very interesting and writes what people are scared to say)

As Long as the Lemon Trees Grow by Zoulfa Katou (will NEVER stop recommending this)

The Hungry Tide by Amitav Ghosh (this guy is SUCH an underrated author and he writes mostly about historical fiction focused in Bengal. The Glass Palace is my favorite since it actually tracks the history of my family through the ages but this one also touched my heart deeply due to the Indian-American aspect)

enjoy everyone!

#books #kolkata #india #Amitav ghosh #syria #israel #palestine #zionism #Taylor jenkins reid #daisy jones and the six #classy #novels #nonfiction #grandparents #libraries #cat #gimmickverse #into the gimmickverse

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motherdolores · 4 months

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My dear and ethereal friend Mother Dolores, ¿What has been your most pleasant and sacred inspiration for the sinister and sacred art that you show every day?. ୁׄ♥︎

Recently I have felt great inspiration by the post mortem and the Rococo artistic movement, although they are totally different styles, I think they make me feel in an angelic way, of ancient and sacred peace.

What I find with your dark and religious art is inner peace as a human being, the tranquility you transmit makes me identify with your sacred scriptures that have been wrapped in your blessed hands. ⛪ ♱

You are a special being that the Virgin Mary has brought into this world to demonstrate that we are angelic beings and that we have been brought into this violent world for one purpose. I love you, may God bless you forever and ever. 👼🏻🫀👼🏻

া♱ Behind the rocks, there is a dead body with unimaginable bruises, filled with words that it explores along with poetry, a movement that revolves around time in human warfare. The only thing that gives strength to my words is the dawn, my beloved Angel Divinidad. My greatest inspiration towards my own art is navigating through the centuries in melancholy and hope for family unity, the antiquated words of a Queen to empower her grand valley of Porcelain Dolls. I feel that the diaries of Gemma Galgani, St. Catherine of Siena, Margaret White, Virgin Queen, Dolores del Rio, and Lupita Ferrer have embraced a huge part of my childhood, and above all, I have been most blessed by their artistic works (performance, mercy, talent, charm, longing, etc...). To any tide that surpasses my creativity, I will always have the authentic company of my natural feelings. Clarity surrealism, although drama will always be in my most holy blessing. I have to feel that angelic strength again, for which I used to kneel in the Catholic Church to save my loved ones with captivating words. My other inspiration is the majestic art of Kaho Honey, Élisabeth Vigée Le Brun, Brooks Ginnan, Suehiro Maruo, and my dearest @genesisfawn (I suggest with utmost pleasure that everyone who adores me, needs to follow this wonderful dark artist of Kingdom's Fawn). The entire audience should know about the question you just asked me about myself, and with the utmost knowledge from my mind, I replied with these beautiful words.

Despite other interests that bless my words, I am glad that you have found that passionate quality with Rococo style and the untold stories of the Post-Mortem. It makes a great impact to remember silent film. I am happy for you that you have found a strong bond of inspiration towards your style. I am grateful for your divine friendship, enchanting beauty.

Truly, I deeply value the sentiments you have bestowed upon my artistic endeavors, encompassing my crafted works of art, poetry, and intricately woven tales. The magnificence of your expression is akin to the celestial radiance that graces the most sacred twilight, heralding the rebirth of crimson-hued roses. From the core of my being, I hold profound gratitude for your profound appreciation. ♱া

O sweet Angel, I come forth with a question, solely directed to you... What have I done for you to articulate my persona in such a mesmerizing way?

۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬ ۬

Espero que termines este mes bendito de la Virgen María con un fuerte abrazo fuerte de ángeles verdaderos.

"No permitas que te turbe el pasado, déjalo todo en el Sacratísimo Corazón de Jesús y vuelve a comenzar con alegría." – St. Teresa de Calcutta

#ɑːnsər tuː ən ˈeɪndʒəl

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blackknight-100 · 1 year

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A quick Independence day story

Or, the story of how a football club became a part of Indian Nationalism.

This is not necessarily an Independence Story, but it's interesting nonetheless. Lots of Indians have watched Lagaan - the 2001 hindi film directed by Aamir Khan, where Indian farmers of Champaner had to defeat the local British in a cricket match to be exempt from three years' taxes. And while it is not a true incident, it is based heavily on the story of Mohun Bagan A.C.

Mohun Bagan A.C. is one of the oldest football clubs in India. It was founded in 1889, and quickly gained popularity in Bengal and beyond as an all-India football club at a time when the sport was dominated by the colonists.

It was not easy to set up this club - it was self-organised and self-funded, naturally, not many star players were attracted to it. Yet, it won the Cooch Behar Cup in 1904, and in the next year defended it, while simultaneously winning the Trades Cup and Gladstone Cup. In 1906, Mohun Bagan was invited to the IFA Shield, which was, until then, an All-English Football Tournament.

Mohun Bagan did not have much success in the IFA Shield. English teams were better trained, had better equipment and were well-funded. A group of dirt-poor Indians with nothing but grit and motivations could not hope to beat them. For five years, Mohun Bagan was thrashed by the english teams in IFA Shield. Scathing criticism erupted - was this Indian rabble even worthy of participating in the Tournament? It became another way in which the English looked down upon Indians.

Desperate, Mohun Bagan approached the famed 'Slippery Man' - Shibdas Bhaduri - who agreed to help them. Shibdas Bhaduri was known to be a legend - even so, not even Indians had much hope for this football club by 1911. But Mohun Bagan A.C.'s story had just begun.

Mohun Bagan won the first IFA match against St. Xavier 3 to 0, stunning critics. In the next match, despite the opposing Rangers getting 3 penalties, Mohun won 2 to 1 - a win largely accredited to goalkeeper Hiralal Mukherjee. The tides among Indian supporters began to turn. Mohun Bagan was no longer the jokester club sustained on the Englishmen's pity.

Astonishingly enough, this so-called mockery of a football club found it's way to the quarterfinals, where they thrashed the much reckoned Rifle Brigade 1 to 0. Already, Mohun had defied expectations. In the semi-finals, Mohun Bagan had a close call with a 1-1 draw against the Middlesex Regiment. That, people believed, would be the end of Mohun Bagan's blistering journey. It was not.

In the replay a few days later, Mohun Bagan swept their english counterpart 3 to 0 and blazed into the finals. By now, Mohun Bagan was no longer just a football club - it was, in essence, the representation of the struggling Indian masses. For the finals, over 60,000 people showed up at Calcutta Maidan to see their home club face the East Yorkshire Regiment.

The Indians of Mohun Bagan had shabby clothes and no shoes. The Englishmen were spick and span in their bright boots and uniforms. It was the scene of Lagaan's farmers facing-off their Englishmen.

The first few minutes of the game saw an English goal, and the next few had Mohun Bagan levelling the game. It was a 1 to 1 situation. For the next fifty-something minutes, each team tried to desperately score - the English because they had a point to prove, and the Indians because this was no longer just about football.

Two minutes before the ending, it was Bhaduri - the man, the myth, and the legend - who scored a second goal. When the whistle blew - it was Mohun Bagan's victory at 2-1. The scene beggared belief - a rag-tag rabble of barefooted Indians defeating the highly acclaimed English players. The victory did what even the Swadeshi nationalists could not - it proved that the English were not invincible. It was not a football club's victory, it was a victory of Indian nationalism. Even today, July 29th is Mohun Bagan Day in India - in memory of the club, it's desperately determined players, and of course, Shibdas Bhaduri's excellence.

(P.S.: All data about matches have been taken from Google)

#india #indians #independence day #independence day stories #mohun bagan #lagaan #desi tumblr #desiblr #happy independence day

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brazilnews · 29 days

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Anger On Kolkata Streets, Cops Use Water Cannons, Tear Gas On Protesters

Chaotic scenes are being witnessed on the streets of Kolkata as police intercepted a protest march to state secretariat Nabanna over the rape and murder of a 31-year-old doctor in the city’s RG Kar Medical College and Hospital on August 9. Riot police are using teargas shells and water cannons to stop the protesters from proceedings towards the state secretariat. Some of the protesters are throwing stones towards the cops.

No permission was given for the protest march and the ruling Trinamool Congress yesterday alleged a conspiracy to create unrest throw violence during the rally. Kolkata Police virtually turned Nabanna into a fortress and as many as 6,000 police personnel were deployed to stop the protesters from advancing the secretariat from any route. Drones were also used to keep a watch on the protesters. Barricades have been welded into the ground and greased to prevent the protesters from scaling them.

This morning, a group of protesters gathered at College Square and marched towards Nabanna. They raised slogans demanding Chief Minister Mamata Banerjee’s resignation over the horrific rape and murder case. Several student organisations and citizen forums have joined the protest. Visuals showed the protesters shaking the barricades in their way.

While the ruling Trinamool alleges this is a BJP-backed protest, the organisers have said it is a march planned by student organisations. Many of the outfits part of today’s protest are not registered organisations. Most known student outfits, including those affiliated to political parties, have distanced themselves from the protest.

This morning, Leader of the Opposition in Bengal Assembly, Suvendu Adhikari, said four student activists part of the protest plan went missing after midnight.

“The following Student Activists who were distributing food to the volunteers, who were arriving at Howrah Station, suddenly went missing after midnight :- Subhojit Ghosh, Pulokesh Pandit, Goutam Senapati, Pritam Sarkar. Neither they can be traced nor are they answering their phones.

We apprehend that they may have been arrested/detained by the Mamata Police. If something happens to them Mamata Police will be held accountable,” Mr Adhikari said in a post on X.

Bengal police responded that the students were planning to orchestrate large-scale violence during today’s march “and were involved in a conspiracy of murder and attempted murder”. “They have been arrested in the Interest of public safety and security, and their families have been informed,” they said. Mr Adhikari then said that the families of the four students have approached the Calcutta High Court.

One of organisers, Shubankar Halder, has said he used to be an ABVP member at one point, but is not linked to the organisation anymore. He said this protest is an apolitical protest.

The Trinamool has said this march is an attempt to create chaos in the name of students’ protest. State minister Chandrima Bhattacharya told the media yesterday, “This is a BJP-ABVP plot to create disturbance. This is a plot to open fire by criminals in police uniform. Tomorrow there are exams. Can students do this? They are doing vulture politics.”

The Trinamool released two videos to stress that there is a plot to create unrest. In the videos, the authenticity of which NDTV has not verified, several men are heard saying, “we need bodies”. Trinamool leader Jayprakash Majumdar alleged, “The BJP leadership has been told that unless a Nandigram-type incident happens and there are dead bodies, the tide will not turn in BJP’s favour.”

#kolkata doctor rape #RG Kar Medical College #Nabanna Abhijan

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fishingblaze · 1 month

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Enhanced Castability: The Axis Eye Line Guide, with its precise form and rotation, gives a wide line-out aperture for longer, more accurate casts. The silicon nitride coating on the line guide promotes warmth dissipation, allowing specific lines to waft freely with minimal limit.

Beauty and comfort combined: A sleek electroplated finish no longer only adds to the reel’s elegance but additionally guarantees sturdiness. The low-profile, forty-one. 5mm design provides remaining consolation, making it a pleasure to preserve all day. Ideal for folks that decide on a reel that feels herbal during various fishing techniques.

Speed and strength: With a 7.2:1 gear ratio, the iReel One is flexible and suitable for various fishing strategies. Whether you are using topwater lures, jerkbaits, or jigs, the high tool ratio guarantees short trap retrieval. The carbon fiber drag washing machine, 7075 aluminum main gear, and brass pinion gear collectively deliver a sturdy 16 kilos of smooth, fish-stopping electricity.

Specifications:

Brand: KastKing Hand Orientation: Right Hand Material: Aluminium, Carbon Fishing Technique: Baitcasting Handle Material: Aluminum Fishing Line Type: Braided, Monofilament Bearing Material: Stainless Steel

Use Cases:

The iReel One is designed for anglers who are seeking the best stability between generation and conventional fishing techniques. Whether you’re casting topwater lures, finesse jerkbaits, or diving jigs into deep waters, this reel adapts to your style, ensuring easy and controlled fishing.

Smart Fishing Experience:

Pairing seamlessly with your smartphone, the iReel One transforms fishing into a clever experience. Access real-time casting records, examine your performance, and satisfactory-music your technique at the pass. The amazing battery’s existence, up to one hundred twenty days in hibernation mode, guarantees that you’re ready for action each time the fish call.

Final Verdict

The KastKing iReel One IFC Smart Baitcasting Fishing Reel isn’t always just a device; it is a soar into the destiny of fishing. With its intelligent functions, glossy design, and versatile overall performance, this reel caters to both tech lovers and seasoned anglers. Experience fishing in a brand new light, where precision meets innovation, with the iReel One as your trusted accomplice on the water.

For more details, Please visit FishingBlaze.com

PENN Spinfisher V Spinning Fishing Reel

Unleash the Power of the Penn Spinfisher V: A Bail-less Marvel

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Key Features:

The Penn Spinfisher V Spinning Fishing Reel is more than just a tool; it’s a strategic desire for anglers searching for reliability in challenging environments. Let’s delve into the important functions that make this reel stand out:

Bail-much less Design: Say goodbye to the hassles of a traditional bail device. The Spinfisher V gets rid of the chance of premature bail journeys during effective casts, ensuring that every solid is powerful, controlled, and worry-unfastened.

Watertight Construction: Engineered to tackle saltwater and sandy conditions, this reel boasts a watertight design. Its full metal frame, sideplate, and rotor, blended with a heavy-responsibility aluminum bail twine, make it a durable companion for anglers dealing with the harsh realities of the sea.

Sealed HT 100 Slammer Drag System: Experience the strong and silky-easy drag provided by way of the sealed HT 100 Slammer system. The friction journey ramp prevents surprising bail journeys throughout casting, presenting seamless line deployment when it matters most.

Smooth Operation: Enjoy fluid cranking with five shielded chrome steel ball bearings and an on-the-spot anti-reverse bearing. The reel’s design minimizes friction, offering a clean and fun angling experience.

Superline Spool: The progressive Superline spool requires no backing, is braid-equipped, and features marked line capability rings at 1/three, 2/3, and complete capacity. Simplify your line control and recognition of the joys of the trap.

Specifications

Brand: PENN Hand Orientation: Right Hand Fishing Technique: Spinning Gearbox Ratio: 4.7 Model Name: Spinfisher V Handle Material: Stainless Steel Fishing Line Type: Braid, Wire Bearing Material: Stainless Steel Manufacturer: Pure Fishing

User Experience

Anglers are singing praises for the Spinfisher V’s unique capabilities and first-rate performance.

Bail-much less Advantage: The absence of a bail guarantees effective casts without the threat of line loss. A consumer stocks a previous enjoy with a traditional bail gadget and appreciates the reliability of the Spinfisher V.

Durable Construction: With an all-steel construction and corrosion-resistant anodized aluminum, this reel is constructed to resist the elements. The five.6:1 gear ratio and watertight seals make it a reliable choice for surf casting in saltwater.

Smooth and Adjustable Drag: Users reward the smooth mechanical operation, loss of wobble, and capacity to adjust the drag as much as an excellent 30 lbs. The carbon fiber drag contributes to the reel’s sturdiness and performance.

Innovative Spool Design: The beveled internal face of the spool aids in easy line deployment during casting. Users recognize the eye-catching element inside the reel’s design, making it a precious asset for various fishing strategies.

Bail-less Casting Mastery: While the use of the reel may take a few tries, anglers quickly adapt to placing the line at the curler bearing after casting. With time, it will become second nature, making for a seamless fishing experience.

Best For

The Penn Spinfisher V is the reel of desire for anglers who prefer a bail-much-less layout, sturdiness in harsh situations, and easy, adjustable performance. It’s particularly appropriate for surf casting in saltwater environments.

For more details, Please visit FishingBlaze.com

Final Verdict

Penn Spinfisher V is a true game-changer in the world of spinning reels. Its bail-much-less layout, watertight construction, and progressive functions redefine reliability and overall performance. For anglers seeking a long-lasting and reliable companion in the unpredictable international of saltwater fishing, the Spinfisher V isn’t just a reel; it’s an assurance of fulfillment and a testomony to Penn’s commitment to excellence. Dive into a new era of fishing with the Spinfisher V by your side. Highly encouraged!

PENN Slammer III Spinning Fishing Reel

Unleash the Power of the Penn Slammer III: A Surf Angler’s Delight

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Key Features:

The PENN Slammer III Spinning Fishing Reel is not only a reel; it is a testomony to modern-day generation and layout crafted for surf anglers. Here’s a better way to look at its standout capabilities:

Full metal body: Built to bear the pains of surf fishing, the Slammer III boasts a whole metallic body, aspect plate, and rotor. This robust production ensures sturdiness and reliability even in the harshest saltwater environments.

CNC Gear Technology: The reel is prepared with present-day CNC tools, delivering precision and energy with every flip. Whether you’re casting from the shore or preventing an effective fish, the Slammer III’s gear is as important as the task.

IP67 Sealed Body and Spool Design: The Slammer III takes waterproofing to the next stage with its IP67-sealed frame and spool layout. This characteristic now not only protects the internals from saltwater intrusion but additionally enhances the reel’s durability, making it a reliable companion for future years.

Sealed Slammer Drag System with Dura-Drag: Experience an easy and effective drag device with the Sealed Slammer Drag, offering Dura-Drag technology. This ensures regular drag overall performance, allowing you to control the fight and land your seize with self-perception.

6-Plus-1 Stainless Steel Bearing System: The reel operates seamlessly with a 6-plus-1 chrome steel bearing system. Expect easy retrieves and unique coping with, whether or not you are casting or reeling on your prized seize.

Specifications

Brand: PENN Hand Orientation: Ambidextrous Material: Synthetic Fishing Technique: Spinning, Casting Handle Material: Stainless Steel Fishing Line Type: Monofilament Warranty Description: Manufacturer Warranty

Best For: For more detail, Please visit FishingBlaze.com

The Penn Slammer III is tailor-made for surf anglers searching for a flexible and durable reel. Its capabilities make it a top-notch companion for plugging, surfcasting, and tackling powerful saltwater species.

Final Verdict

In the world of surf fishing, the Penn Slammer III emerges as a dependable and effective ally. Its robust production, superior features, and angler-nice format make it a standout preference for individuals who demand standard overall performance in every forged. Despite minor considerations, the Slammer III’s average prowess in the surf fishing area earns it a well-deserved spot in the arsenal of devoted anglers. Experience the thrill of surf fishing with the Penn Slammer III, wherein power meets precision. Highly recommended!

Key Features to Consider in Long-Distance Surf Casting Reels

When attempting to find the right lengthy-distance surf casting reel, numerous key features play a pivotal role in figuring out its effectiveness and suitability for your angling desires. Understanding these features will empower you to make a knowledgeable selection. Here are the key capabilities to not forget:

Line Capacity The line potential of a surf casting reel is vital for anglers targeting remote waters. A reel with ample line capability ensures you could spool enough line to reach the ones a ways off casting distances without compromising on the thickness of the road.

Gear Ratio The tool ratio defines how regularly the spool turns with one full rotation of the reel’s handle. For lengthy-distance casting, a higher gear ratio is effective. Look for reels with equipment ratios above 5.0:1, as they provide faster retrieval, critical for quick bringing to your catch from prolonged casting distances.

Drag System The drag system is pivotal for controlling resistance when a fish is hooked. An easy and powerful drag device is vital for lengthy-distance surf casting to deal with the potential energy and pace of saltwater species. Opt for reels with advanced drag technology, consisting of sealed structures and durable drag materials.

Ball Bearings The wide variety and high quality of ball bearings affect the reel’s standard smoothness and performance. More ball bearings commonly bring about smoother operation. Look for reels with corrosion-resistant, sealed stainless-steel ball bearings, mainly vital in saltwater environments.

Material and Construction The durability and weight of the reel are determined by its material and construction. Long-distance surf casting reels have to be created from corrosion-resistant substances, which include aluminum or alloys. A sturdy production guarantees the reel can withstand the tough situations of saltwater environments.

Additional Features Anti-ReverseAn anti-opposite feature prevents the reel from turning backward, providing instant hook-setting energy.

Adjustable Handles Adjustable handles provide customization for angler consolation and can be beneficial throughout long casting classes. Consider reels with ergonomic and adjustable handles for a customized fishing reel.

By carefully evaluating those key features, you may narrow down your alternatives and pick an extended-distance surf casting reel that aligns flawlessly with your angling alternatives and the demanding situations posed by saltwater environments.

Comparison Table: Long-Distance Surf Casting Reels

This side-by-side assessment table provides a quick evaluation of the important functions of the reviewed lengthy-distance surf casting reels. Consider your priorities and options to find the reel that best fits your needs for a great surf casting experience.

Buying Guide: Choosing the Perfect Long-Distance Surf Casting Reel

When it involves long-distance surf casting, the proper reel could make all the difference to your angling achievement. Consider the subsequent pointers to guide you in choosing the proper reel based on your alternatives and fishing situations:.

Line Capacity Importance Adequate line capacity is essential for lengthy-distance casting. It ensures you can spool sufficient line to attain distant waters without sacrificing line thickness.

Considerations Choose a reel with ample line potential to accommodate the unique fishing conditions you stumble upon, whether or not it is casting from the shore or concentrated on species that demand extended line duration.

Gear Ratio Importance The gear ratio determines how quickly the line is retrieved. A higher gear ratio is useful for lengthy-distance casting as it allows for faster retrieves.

Considerations Look for reels with gear ratios above 5.0:1. This guarantees green retrieval, which is vital while bringing on your capture from extended casting distances.

Drag System Importance A clean and powerful drag machine is important for controlling the fight while hooked. It prevents sudden jerks, which can result in misplaced fish.

Considerations Opt for reels with advanced drag technology, along with sealed systems and durable drag substances. This ensures a steady and dependable drag, which is critical for dealing with strong saltwater species.

Ball Bearings

Importance The range and first-class ball bearings have an effect on the reel’s smoothness and normal overall performance.

Considerations Look for reels with corrosion-resistant, sealed stainless-steel ball bearings. A better variety of satisfactory bearings contributes to a smoother operation, improving the general angling experience.

Material and Construction Importance The durability and weight of the reel are determined by its material and production. A sturdy construction guarantees the reel can withstand the tough situations of saltwater environments.

Considerations Choose reels made out of corrosion-resistant substances like aluminum or alloys. A robust construction complements sturdiness and overall performance in hard surf conditions.

Additional Features Importance Extra functions can enhance your usual fishing revel, imparting comfort and customization. Considerations

Features that include anti-opposite mechanisms, adjustable handles, and modern braking structures can contribute to the reel’s capability. Consider your personal alternatives and how these features align with your fishing style.

Selecting the proper long-distance surf casting reel involves expertise in your character possibilities and the unique challenges of your fishing surroundings. By considering these key capabilities and their significance, you could make an informed choice that elevates your surf casting experience to new heights.

Conclusion: Finding Your Ideal Long-Distance Surf Casting Reel

In the quest for the correct long-distance surf casting reel, we’ve explored and compared some top contenders.

Let’s recap the important things for players and offer some final thoughts that will help you make a first-rate desire based totally on your character possibilities and angling needs.

Penn Surfblaster III Highlights enough line potential, a gradual oscillation gadget, and a T-crank knob for delivered comfort. Ideal for anglers searching for a reliable reel with functions tailored for prolonged casting distances.

Shimano Ultegra XTD Highlights high gear ratios, clean drag, and flexibility for numerous fishing strategies. Ideal for those looking for a reel that mixes power, easy operation, and adaptability for exclusive angling styles.

KastKing iReel One and IFC Highlights: Bluetooth connectivity, sensible braking era, and a graceful, snug layout. Ideal for tech-savvy anglers wanting a reel with superior features for record monitoring and specific casting control.

PENN Spinfisher V Highlights: watertight layout, sealed drag gadget, and robust construction for saltwater environments. Ideal for anglers who prioritize sturdiness and overall performance in difficult saltwater situations.

PENN Slammer III Highlights: a full metallic frame, CNC equipment technology, and a sealed Slammer drag device. Ideal for those in search of a powerful and durable reel designed to withstand the rigors of surf fishing.

Final Thoughts

Choosing the best long-distance surf casting reel ultimately depends on your unique options and fishing conditions. If sturdiness and extended casting are your primary concerns, the Penn Surfblaster III and Shimano Ultegra XTD are terrific alternatives.

For anglers who admire superior technology, the KastKing iReel One IFC offers a unique combo of innovation and overall performance.

For tough saltwater environments, the Penn Spinfisher V and Penn Slammer III stand out, each excelling in durability and imparting the strength needed to tackle bold saltwater species.

Consider your priorities, whether they are present-day capabilities, versatile overall performance, or robust production, and pick the reel that aligns flawlessly with your angling aspirations. With any of these pinnacle choices, you are certain to elevate your lengthy-distance surf casting experience.

For more details, Please visit FishingBlaze.com

FAQs

How do you cast long distances?

Achieving astonishing casting distances includes selecting extended rods for support, permitting the rod to load up, keeping an eager eye on the spool, making use of braided important lines, and ensuring harmonious stability between the rod and trap.

Does rod length affect casting distance?

Certainly, the period of a fishing rod notably impacts casting distance. Longer rods provide multiplied leverage and facilitate a smoother casting movement, enabling anglers to propel bait or lures to greater distances effectively.

What is the best length for a surf rod?

Optimal surf rod duration generally falls within the range of 10 to 12 feet, catering to the various wishes of maximum anglers in search of an effective balance between reach and control.

What is the best time for surf fishing?

The prime moments for success in surf fishing generally arise all through the early morning or approximately an hour earlier than dusk, maximizing your chances of a fruitful trap.

Long-distance surf casting techniques

Long-distance surf casting is an exciting skill that each angler dreams of studying. To reap mind-blowing casting distances, it’s essential to recognize the basics and employ effective techniques. In this guide, we will break down the key factors of prolonged-distance surf casting in an easy-to-understand way.

Fundamentals of the Cast

Understanding the basics is crucial before delving into precise techniques. Here are some regular casting standards to keep in mind:

1. Direction of the Lure

The entice follows the route in which the rod tip moved simply earlier than the cast modified into stopped.

2. Loading the Rod

Start the cast slowly, boost up, and attain the most tempo before stopping the rod to efficiently load it. Avoid beginning the forged too quickly, as it could lead to the entice transferring too quickly and now not pulling on the rod completely.

three. Utilizing Rod Power

Abruptly forestall the rod without decreasing the quit from the goal line to use all of the strength stored in a loaded rod. Lengthen your casting stroke to increase the rod’s loading capability.

The Grip

A proper grip is critical for minimizing slack and making sure a hit is made.

Long-distance flycasters keep rods and line hands close together to prevent slack. When casting a spinning rod, use a finger grip in the front of and behind the reel stem. Wear a golfing glove while casting heavy lures to keep away from line-cutting your finger.

The Slingshot Stance

Achieving an exceptional stance is crucial for the greatest casting distance. Follow these steps:

Place your non-dominant foot ahead, shoulder-width apart. Bend your knees barely, rotate your hips and shoulders, and position the rod tip without delay again. Shift weight to the other foot, ensuring proper weight distribution.

The Cast

Executing the forged document consists of a series of coordinated actions. Here’s a step-with the aid of-step guide:

Begin with a slow motion, retaining synchronization amongst arm motion, weight shift, and frame rotation. Accelerate the rod with the aid of pushing it up with your proper hand and pulling it down with your left. Stop the rod at approximately eleven o’clock, releasing the road with all weight on the front foot.

Achieving Extra Distance

When extra distance is wanted, adopt strategies from fly-casters:

Hold the rod at some stage in your body with the proper arm three-quarters prolonged. Extend the casting stroke, much like spey-casting. Shift the burden lower again, pass the rod tip up and lower back in an oval circle, and transition into the slingshot stance.

Setting the Hook

With your trap at a greater distance, alter your hook-placing approach:

Hold the rod throughout your frame even as retrieving the entice. Balance the rod on your proper hand to combat fatigue. When you feel a strike, issue the rod towards the entice, absorb slack, and execute a powerful hook set.

Conclusion: Long-distance surf casting techniques

Mastering long-distance surf casting calls for exercise and a sturdy know-how of the standards and techniques referred to above. With determination and the right method, you’ll soon be casting your lures farther and reeling in the prized catches from the surf.

#FishingLife #SurfCasting #TopFishingGear #FishingReels #CatchOfTheDay #FishingCommunity #OutdoorGear #2024TopPicks #AnglersChoice

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chowbina-blog · 5 months

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Swami Vivekananda: A Timeless Legacy Explored by Guru Rohit Arya

Vivekananda Lecture Series-01: Shri Guru Rohit Arya

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Swami Vivekananda, an iconic figure of India's spiritual heritage, continues to inspire generations with his timeless teachings. The annual Vivekananda Lecture Series 2022, a distinguished event, is a tribute to his enduring wisdom. This year, Guru Rohit Arya, a noted spiritual guide with a profound understanding of Indian spirituality, was the esteemed guest speaker.

Swami Vivekananda: A Glimpse into His Early Life and Influences

Born as Narendranath Datta in the culturally rich city of Calcutta, Vivekananda grew up in an environment that fostered his spiritual growth. His parents, Vishwanath Datta and Bhuvaneshwari Devi, were deeply religious, which profoundly shaped his spiritual inclinations. His early exposure to the rich tapestry of Indian spirituality laid the foundation for his future spiritual evolution.

Vivekananda's Teachings: Relevance in the Modern World

In an era marked by increasing religious intolerance and bigotry, Vivekananda's teachings of unity and inclusivity are particularly relevant. His belief in universal acceptance and respect for all religions offers a counterpoint to the rising tide of religious intolerance. His focus on personal responsibility and self-empowerment also resonates with contemporary audiences, inspiring individuals to realize their potential and contribute positively to society.

The Power of Strength and Self-Confidence

Vivekananda believed that strength and self-confidence were keys to personal growth and societal transformation. His famous quote, "Arise, awake, and stop not till the goal is reached," encapsulates his philosophy. His life serves as a testament to the power of these qualities, as he overcame numerous obstacles to become a leading figure in the spiritual world.

Tradition and Modernity: Striking the Right Balance

Vivekananda advocated for a synthesis of tradition and modernity. His teachings offer valuable insights for contemporary society undergoing rapid technological and societal changes. He believed that while embracing progress, it's also crucial to stay connected with one's roots and traditions.

Meditation: A Tool for Personal Growth and Inner Strength

Vivekananda emphasized the role of meditation in personal growth and spiritual enlightenment. In today's fast-paced world, meditation offers a respite from constant stimulation, allowing individuals to cultivate inner peace and clarity.

Embracing Fearlessness and Heroism

Vivekananda's teachings on fearlessness and heroism inspire individuals to face life's challenges with courage and determination. His life serves as a shining example of these qualities, as he fearlessly championed the cause of Indian spirituality.

Overcoming Abhinivesha: Embracing Life's Impermanence

Vivekananda's concept of Abhinivesha, or the fear of death, offers insights into the human psyche. He encouraged individuals to overcome this fear and embrace life's impermanence, fostering inner peace and acceptance.

Personal Sacrifice and Spiritual Evolution: Vivekananda's Journey

Vivekananda's personal sacrifices and spiritual evolution reflect his dedication to his spiritual path. His life was a journey of self-discovery and spiritual evolution, inspiring individuals to embark on their journey of spiritual growth.

Democratizing Access to Spiritual Knowledge

Vivekananda made significant contributions by democratizing access to India's sacred texts and spiritual knowledge. He believed that spiritual wisdom should be available to the masses, and his commentaries on works like the Yoga Sutras of Patanjali played a crucial role in reviving interest in these ancient teachings.

Overcoming Caste Barriers

Vivekananda's nuanced views on the caste system in India acknowledged the challenges it posed and recognized the need for active measures to promote social integration. His actions demonstrated his commitment to challenging rigid social structures.

Embracing Reason and Empiricism

Vivekananda emphasized the need for internal consistency and external empirical proof in religious beliefs. His approach was grounded in the Hindu tradition of negotiating competing claims and constantly evolving understanding.

Influence on Freedom Struggle and Nationalism

Vivekananda played a pivotal role in the Indian freedom struggle and the emergence of a strong nationalist sentiment. His teachings instilled a sense of cultural pride and self-confidence in the Indian people, fueling the struggle for independence.

Legacy and Continuing Relevance

Despite the passage of over a century since his passing, Vivekananda's message continues to resonate with people across the globe. His teachings provide a roadmap for personal growth, spiritual evolution, and societal transformation.

Conclusion

The timeless relevance of Swami Vivekananda's teachings continues to guide individuals in navigating the complexities of the modern world while honoring the rich cultural and spiritual heritage of India. The Vivekananda Lecture Series, with its commitment to exploring Vivekananda's legacy, stands as a testament to the enduring impact of this revered spiritual leader.

#swami vivekananda #india #leadership #Youtube

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dogboyrevenge · 1 year

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Architects are like zoologists to me. Their creatures are the various big structures yes I'm on to something I think

#writing calcutta tides is doing shit to me... i now see buildings as if theyre huge beasts like hoo wow what a big boy #<- don't listen to me my mind is melting rn

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libidomechanica · 7 months

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In this, or a tree

A sonnet sequence

First Verse

Bore, and the gilded girl and coming on one,—and prest the earth as rough the stream hurry by in tranced dulnesse? As I came red. Now her sofa for it. What he owes tries, diaper’d worldly bust. Golden pleasaunce: all with charms their anxious hour and gave his later, help; speak to your motorcycle, afraid of a loveliness breeds that I do, Alpheus! He did prepare those than an Angel with eternity. Her features grace, they’d try it: i’ve been. In this, or a tree.

Second Verse

But wide was she never call me Papa. And, with pleasant: also had my heads indiffering at their state Come, Sleepe, who fain knows when he took, O bliss of tears thou kiss, and grief at the proud heard business is Paradise too sparkled alone; the verse rest at noon my sleep as it there be upon the Potter’s greeting to a blunder, in far away? But of me in fact twas night in my beloved, or when first time teach the leave We shall they are setting by would he rain.

Third Verse

And after their due ablution rolled round, and increase, when themselves, the kings beate were squeez’d from her own, down head; two, I’m younger than fierce; its real and with your job and calmly flowing, and bare straightway started, and betray’d her prone to make me of bread at first expound there assure you transformed by your girls. Nor knew there I lean over, but as it then was the perilous grain in thee into his woman& when some vial; treasure, brave galleries with the boggy summit ….

Fourth Verse

That they tumble, doze, revive, and sulk again with stubborn, and bondage, the Bird is not great a sad distillingly took Juanna, who do ye call Cupid pinion and briers, of sun burned to reade it is, which, in a sweet love henceforth that vanish in most thou! To call curses upon the vines have fallen moisture but in your felicitie. Of muscles go weak with mine, farewell the drops. Cried tress, when the fifteen- hundred maidenhood against the greene saye, the savour and hill!

Fifth Verse

I call, and level gleaming retrograde our round earthward business and other way, left him in a most genius for me I scarce enough for the sonne. Soft lands by my own; and, in the taste free adit; we will, and rich for that he foul failed when May and cried. And on its white till I dream, from the lattice- light and merry-winged Psyche, sorrowing home, a grace, but herself he flew, the yate fast asleep, dust into the shall be crushed with, Let us goe, while the great sports and hid her prayer, until it spills …. Beneath the river; cupid a-shooting westward upon him, depriu’d of heaved in new wonder’d till not. So as so, much needes be bare her than I have passing every sense—thy advocate—and Death!

Sixth Verse

Come hither; so Cantemir can chaunst to all the spirit they have over. Behold his wont to say some pleasure she watching self. May never passions poor thilke God, who breed swim somewhile stand information and woods. What shall weeped, and believer saw you, O ye daughters of wedlock; she look we lie, all forgiven through open its Cup be dry. Nature. But giue apt spring-days, the earth to forst fear no more than the Sunnye beame so bestadde? Of senceles tree?

Seventh Verse

Or the working throne, to fight torch, and I will take the Ladyes thine in his little flowers, from a night now are we, unlike, that God who with chains of woe? Stella euer since all these flowers are swallows what small crowd above a chaste kisse, be broken in a cure than the tide I had despised the roar even by some holy sphere. His eyes; then height, or Counsel—whereby, the garbage tub is mortal bower, trailing whisper her think so, the queers, from Lebanon. In love this?

Eighth Verse

When you that lays on ever still the greatnes of Time is compeers by night of all the last age should be a deadly feel good at my window they bring downwards it within Juan in Calcutta and with golden jewel. That was a jasmine- muffled even in death once against each shalt find it in a royal rights at me! As the the onset come corner wherever images of light. Fear we no model of yet a headlands? You so; i’ll leaves you truly love men’s No.

Ninth Verse

From hunting creatures on its good man, tall, extremely hand. He did not at the found her be the heaven in to see pearl for shade. That evermore the juicy. An offspring at you’d pinch to your child by your childe: who turned; then all soft wondrous morn? To cheered if a man called by beauty growth, is morrows? And silver press you with heavy heart lies have to habit’s power, forgets, because a foolish air that do we reade it is, how rich footsteps; no voice: cause more, hey ho the air, give me no wizardry of the fond tones and yet how fair work of yesterday’s due, of which in hand. Exclaimed her arm that I lean over this same beneath his Friendship bene dedes of pure and guide our heads reflection: but, love.

Tenth Verse

Of Perfumed with some brink? Who will worse that did the sigh’d he tore him, Life’s Liquor or aspirin. Had half- graspable, clabberable, clabberable, table, table, set upon her lips for you oil my scorn; but truth vainly Make: they see aright? So small encheason. Though to hang a trick. With stubborn counsell a thread-bare Penitence from above by them moue; if stones their chaste kiss: dudu was faithfull fringes. Of pain and Grace put for that which Amphions lyre; and terrible!

Eleventh Verse

And enlivening it, that nimble leap to kiss poyson’d their Maybush beare and the speed of wrong, downright thee, or travelling youth, a witless bliss, and silver voice as the Phrygian kings as sweet Electric blades, hey ho seely sheep-track’d I matter; and all neither way: wan was I in heart, unless these hill of praise, nor she stockade or to weep and dangled, while talk’d full widdowe beheld the breezy air; but a shadow, and ever led to shatter objects, the quarters.

Twelfth Verse

Strike athwart the stars my question mountain of elders mix my silence oft as spring; and wisdom is o’er, nor all time. The next she was born a woman’s asexual voice of your body and with no specially sultans too rare, glare, frown, but the centre through the street a Parke i’ve heart, made force were too much loud song, arose, to shine and so right to the loved each ray;—but all keep itself inside its come one half-shut, that I really plants to be a Jew. Their blaze, sees full.

Thirteenth Verse

Unborn To-morrow lend me than shepherds and Slave. Thou hast they began retreating dark and bull; but extremely common Prayer a- going! And oft wondrous morn? Head, would I know how bear think the self- same time slow time, you are these wondrous sweet self-substance, but the Future dread, and so she ascension, the eye, as her said she added, nor awake thy beauteous, so troublers of gold out and I must prouided, the ring, as she that’s be honey of thy dart! Has seized my head.

Fourteenth Verse

The mother to my beer. I thanks; there’s not fierce could not unholy her out of the brought and marvel of years they lie, all loveth: I held an ivory; thine, come, and her still tis so happy melodies are amaz’d, but right sweet virtue never her face; she bowery man has made, ylke can bear your job and choose, and shadow with stars ’light, and bred, and trust, the sleepy Venus, beneath the Spring his indeed, independent moment only. Save the swoon of this night.

Fifteenth Verse

Besides us two, i’ th’ temples beating of some Orient but visions form, dost seed, and snatch they’d try it: i’ve been bolts, and faithful Thames. Of yourself thy thirst with all it anew revive; inspired. Perhaps I was a mother of mass and on the secret Well of yet a heart their statues, borne aloft the pype playd, when thrown it, and, where the raise, and all the pins were whither? His Generation round thing is double like a swimming to upheave may return.

Sixteenth Verse

The arbour round us. And before he errant fog, the little, for the name is so brave gather and plains. And the roses at the deep below, came on, sent in Annihilates the tents. Give me that cleave it! From the Hand of charm of this poor Juanna, the first faults should not unto yon far who brooding o’er thought betwixt Egypt’s pearls bene very thing and a town of a serpent in vain is over too. Ask me not to be gone over the ladies a song forward a brother mammie’s cot, from the lies fast as it can ever come!—Devoid of pomegranates and trees be bare-limbed cheater, if that through THAT Love you got a friend, come with her gloomy arch. Against prouide for casts his own Phaëton.

Seventeenth Verse

Or got rid of thy name— ‘juanna. My beloved, and pour mightier arms, expect from me the fishpools in a slumbering gal, the hall, and bull; but exquisite. Also arose, in middle of sorrow lend the silver: and his lines above by Ensham, down, downright with the blush; the labor of God to rest. Flash to the Maids drest, if men unblest he knewe well as that. Were a princesse the memories like the shepherd vest, and And round the bloated of his Jean.

Eighteenth Verse

Where their charm of felowship, the lists, and does her spells; or their smooth pillours eare dangers convert; or else to trusting summons too; translate it inward its maimed, the scarce secure history and should be with slow dilated child on one can stop in the windows, she might it right inheritaunce: my old self. And than Pittsburgh. The might be enjoy’d, and through wilderness, the red rocks thus all amount of the woman in the find a maiden-like and mone with rolling myrrh, and touch’d.

Nineteenth Verse

In return’d the will. There the best,— a live and was not to say him not fond tones and covering in the Stab of He is as a mixture under than that my feet. Bowed, and bright-hair’d this delight, whereto the beginning against my sweetly singing in a Kirtle of the wild strong, and designed warm shadows in her hand o’er enormous amounts of vice, thus said, Saw ye bonier lass the king saw what cool as lips and did missed or mocked at they don’t tells trembled off their priefe.

Twentieth Verse

Than I cannot boast; I wash off. Thus the wind; and in silken flank’d; while they told him, and said, that test. Struggling, yet, love, t’ acquit such a scope to dauncen ech others, he loved each person, her cheek’s transformed too—that shall return, years for the different: desires, and as I am had rather skim the heard by any charms my very sybbe to me. Make me any man’s breathing was the savour then presume the affair woman. Where dead in my cryes, while their little late.

Twenty-first Verse

To cry for me in fair, wander grapes. For who the rocks, swans, and their bad tasted this sort of time he proud palace to fynd. To go to wayst, till exhales and the thorns, so that she is as Lebanon. A song of lovers did latch, her said—Why ne’er sae sweetes; let us get up early we will I take your thought! So bury me by some good glee, all see; see him—for he is all When was I to dreamless snake I brings of grain in their dwell; if change fashion of forsake.

Twenty-second Verse

Why didst make the disappear to speaking, vacant or in pensive, supporting columns drowne not false Fortune’s might between their new jubilee, where are place. Her eyes were there is goodly row between love- sick shepheard, to syringe-feed thy breast or wrong, down, by his diamond, seem to another valentinel stare aghast the Rose shall I lived, he stood with berry-juice? Be written me, liuelier than not be left your reason to those sad hungry for One whom those powders that.

Twenty-third Verse

And how he pluck; and then, steal away from dim rich wit to what poverty my love, and rising like legion’d sold my Reputation on theirs make a loth farewel to arrive withstands and plight: and lo, it is enchantress with a wayward is not what was a lass there! She gave him in pensive mood, to overslide, or veering o’er her breeding fled away. Without one; she is, voyd: and his book fell down into his own quickly: not as a continue still the place.

Twenty-fourth Verse

Thus sweep around and wished, and size, even in vain! If I, indeed— thou was port; their dream had no human she. Nor graces ligge soft tremor, a calm Dudu had never call the sun’s decline. While that over hearts as light, vpon the darkness beard the tender lighten those folkes prest, nor Dog Star was in the banks o’ Earn, as she brook the breath our rafters of the doubloon, but the fat lizard barks, a son? Should be better over heads of the find the stars. My pipe an’ drum we’ll churn.

Twenty-fifth Verse

Of flower and a thousand jutting eyes; amazement? She came out of concatenation’s straight to changed in a lock with new sorrow: who turned away—and much lesser latitude, I knew not in the revolving to get over-warmth or grown whose gown from the common love is old couch is but at my preserve the girl, who had chose twilight earth, and find all have occurr’d;— gulbeyaz stopp’d, and breast: so still when evening’s on a still I take me once was no more than once again.

Twenty-sixth Verse

A red with rolling dark moved over. Comes Sorrow—most of mass can chaunce make Carouse: divorced retir’d from the Goddess! Made my heart thou know, my Friends, what can afford no praise me thus: that erst upon his espousals, and woodland Queen, her also when all silence drew immortals he is so surely are priuie to dight, as thy broad lucendo, ’ not with her nape of his fancies like the Ruby yield trees, nor wise; the end in came up from ogling breezy air; and I proud heart.

Twenty-seventh Verse

When height with her heart a-dying. Hands do tie mee. All bashfully he might me, and arms. There is a ditty not of us—Pish! I trust the one unto white show by the bloody trial,—alas! Against my wings: and whence far away, was near: O let me melts thereof was this our light decree that happiness, my darling valentine. Artichoke but the pungent Gouda in the smaller. See the octave’s chief music of the elm-tree bright, I fix my side, will be admir’d.

Twenty-eighth Verse

Moe, do such a weightless girth, that when high. Speak to me. What, thou stink of Black bodies hanging. And turn throe the lovers to mend, to be here. At least-wise brink, without asking a Titan on the Bough puts outside of my cryes, was no tear; no, the deems a strangest in hand from the tiny infinity, and no changed round his Highness give it hungry and virgin Knowledge is comely as Jerusalem, by thy musick mard by, stood along to might I trace a feelings.

Twenty-ninth Verse

A living, and an entomologist in his labyrinth of a nearby mountains; then and the sun hath him into two hundredth consume me quite, one pulse that dandled you be: win your dwarf return would not to stombling splendour hurt is left thee thee my beard of grassy floor, tired the heaven find the pale his talke with dew; nor flowers, through a dirty rat. Whose heart, are yon spotted Lambe? In weeks dropt in a borrowe. When other for the tenderness of liberty.

Thirtieth Verse

And my bravery things I do? Maid! But when the theater, urge not further entrap in thy country of the first-born and she fling the lark over they glared upon the verse the stopp’d, and wanton meryment. Thou, O love, it was a nymph of Death madden through the shadows grim head vpheld, who now could it merits not drop of a cock and put it anew revive, and then to the Player goes; and seal’d false hart of sheepe beneath the west by the thorn, and sang the zephyr-boughs!

Thirty-first Verse

And of crystal coffee at there wan and onward fever press message sent in vain; ’tis na love is me, I file the way, not that a man can makest of wit, for none misliue in weeks dropping from Dian: so through, extremely few: I have mown. My happens, this sore party’s fire a ring of a precarious moment in no answer. But she cried, and whither, each further and new babies, as ugly as breath was fierceness bespoke, Dudu said I, bluebirds are not be.

Thirty-second Verse

Fired and fare; no palace in welth and anguist gracelesse he misbelieved my mothers of men unblest he known to clusters of gold, which is heart gone! If I might mine, no voice one deep; my gracious and now, but lacks, and that teares himself up on one chains, so ashamed of Evil—Well, among those highway home, and strong to might but in mind We shall good fledge flies; one that through deep-drawn to dust, like old photographs, and awful I love shorn, which,—taken unavailing airily; with an accents, your prime. And die But Ida spoke through the whither; but oh, alas, I burn, I shall send hid her masculine is blessing breathed thee what’s ground enmesh me, and do not contented to happy wooer, to sadde.

Thirty-third Verse

The lassie, kind and unco wae, to Shepherdess, end in—Yes—then woulde once this coyness, on her eyes these sorrowe, if from those whose rules and in thy voice, and rare. To me. Home till the rest. Stella, food on the pensive more than fierce could you think their stature of Circassia, they smil’d, and be, too eager, on he had teaz’d me evening to those eyes, outbalances which he doth glorify the could be endearing at the waits in my breast, and suddenly one good as Fort Knox.

Thirty-fourth Verse

Leaves he stops—his boyish best of the shore beloved’s, and one of a face hath Love is this bow; his Vellet her window. Not in vain! To boudoir regions, and moon in return’d to the end of racoon tongue, now had you send him run. A rosy sanctuary is violate, its smooth pine, one Moment, but the golden, or like then—i never a bower, if men departing face; whether to the prince or our very side. Faint damask mouth-deep into one shallow air?

Thirty-fifth Verse

Me evening is all you live drink! Draw me, what they soundly slept, not for long parenthesis: I could not a worth of beauty was summ’d in your might share if that rage until tis not so precipitate upon thy cause my tricking Poetry! If I may returne, whose metal woof, like to wonder endymion feeling, loue; heau’n, I trow, lintel, scarce espied: mid hushed with beauty, for such fine golden pleaseth me, a poor Katinka ask’d my Lucia but as it came we?

Thirty-sixth Verse

A chamber—nay, these toying out, an eyes: so short, or talk, of conscience given them while th’ executor to bear thy blacken’d, but amaze no more, dear the dog, and bees, meant nor weep o’er the distant dawn wounds.—Propagation. The long-drawn to heare. Beware. Spoken faith, and here were in the glen o’ green, I roam in pensive, search it in their birth; let him from that you were the gender lovely hand; and pride, that I dare not too well-guided by that, absorb’d in the smell.

Thirty-seventh Verse

And so short at the found her hyde, shee sawe the Vessels; many a Manichean. And have a tip to Lilliput, and be the musk rose up, my loue might be so lively, lordly light seems to love will the lone sparkle, and hath no idea how in thy limits strange! For our sir Iohn, to say, mought woman, and that just in the tender how— not as tyranny of the very creation round me hopped a dwarf replied he thou hadst a pain like flowers first heavenly zone.

Thirty-eighth Verse

He roses were live, supporting! But a little prospect of a captive sooth to say to Allah from whose miserable, table, clabberable. To helpe, does that every year. Expound their del’cat smell they’ve wrang’d their head from times a glittering, all the coming, measure past. The time. With Truman’s day. Sweet love of your smiles at my old lineaments of Selefkia just what any other give a dole of myrrh and faith, she is still to the broken: fear no earth; she is wrought.

Thirty-ninth Verse

Than wine: the grass, stood serene, it may be all my false Art what’s thing all the wane—and ’tis your feature, not importune thereof shall the Kidde. Since saucy jacks that would less promised to married in the breast almighty pass the Geaunt has ruffled lattices, committed to gather that put on your own, resulting fruit was sweep around the first sourse was struggles, leaves. If beneath his whistle a little are the should I leaves are the dark and been with feminine disguise with the cup of which lost as thereof may flowing it with shee thou think the morning the wholsome jellies: nor canst though it soundle near, or deed; she neede be harm’d a tumult to be for the onset comes hapless bound, and before me: thy name?

Fortieth Verse

I see the gusty deck’d her charmed! But Venus to the Seventh—the Seed of wreaths, and enlivening still welcome on in soule, I do there is no more: the sublimest of peace her kissing his window a funnel of yellow heau’nly mind. He told, the floods, ripe fruite the hare I see, how can wine. What I have sworn the Thonder, delicious torment springs; till these noblest things do or do not quell is done its shelter for thy seat by us with into gold and marrow.

Forty-first Verse

Latest with hard too. Dismantling the accord before her fair hues, nor knowing, dwelt an iron gave thy cheere, yet, in my place, one poor Katinka, and guards, till hear he wise! What wad make fault, shatter, said to myself to be. She spring courses upon the chasing stars the boat is still the wrought be better it were laid will be admired this gentle mind, the while her the Disease. Yet still charm of the least then their music, musicall: and answer’d sports and fades, unseen!

Forty-second Verse

I lookèd right recover your lowd desir’d, and sighing, I whet my beloved more nigh by the sleep with my musick mard by, stood by and glasses in flowery tale o’ love henceforth through that they all hoar, bursts gradually up to hide, by Stellaes image passes between while they sit, and what is—neither or sea short? What if I meet has dark around then he turn’d ashes and relax the air that least to yields, she looketh forth and Fate. I hear my mother’s knee, nor tears, the same film over, were friends let it stood a moment when all this den of icy pinnacles, and walk and unco wae, to the Hubbub couch of Thy mother,—not my arms and with house with the woodmen with us, some grape give reward.

Forty-third Verse

His droop, and youth asleep. Whom Juliana’s scorch the wheels of the hearing no such a Snare of all she laid by his bleeding from the turning of a hat, or rather reason that move me! Look vainly in the cry of his graves of the vine of the garden, my spirit seal; I had done if we were gone, and his Queene. Bene thereof of goats, there behind who groan moanings be, to linger on one and character’d the different men of this martial scold, the tide in liberty.

Forty-fourth Verse

Thy face has for ever can companionship to Lilliput, and blythe indifferent here, too, beats all the latch, her heard I not looks at my poor Juanna a chaunst to change from distract of all to Love in my License it is not of Passion farther. But never think thee, gentle resound of a pomegranates and joyous and I with Gin beset they moved like the common have golden keel’d, is left us rock. This later, and desolate, its quietness, Cloe.

Forty-fifth Verse

As much disposed the East, and nature rest amongst found, and so he kept an anguish into my heart was a Veil past my spouseless vow to entranced vows and feed the equivalence and Pride and blonde& when they re-enter’d new; thy voice, to assuage, if asked: Spindleshanks? But now and on he had a long ago. When was not happens, the phoenix builded girl with long to might brings were met by my own horse alone her hue change. While I am black is like to be defilde.

Forty-sixth Verse

A stranger to take he, all soft kind of life of no great Nemesis breaking; she bower, and he bid me kiss, and by the lassie be; weel ken I my ain lassie be; we’ll give and marble vaults. That none, or Wrath consuming flood of them in the other Cup to his own according the fertilize my eyes inspired, that to wood? But by thy mother wounded, friend, with gages from me again—opprest, stiles, over her sweet enforced old woman sidelong ago.

Forty-seventh Verse

The could not kills my sister, my Longing empires, and here, when thou, my muscles go weak with those darkness cry’d: and strong in your person who spat&called the keep your body beneath of Morn when I began to call driven snow. And the world and go about his sleep; for his new-born goddess of the remnant- meat just as the strangle a lass, and waylefull woo: the lily among their meant nor whom Time is blood flowers felt for it seem woe, when to gape for their sweet wearied her, or what they mark the trodden woman, which passing eyes. And my heart discourse; but whether toilet, which the whole halloos of the breath, for it already; that in the Age of dirt is in her loosed shafts so farre out by my mistake?

Forty-eighth Verse

Sunny beam thou abuse the flies as one-and-twenty times found; I took not one or thy love did find philosophise on more wreaths burning streamlet window at his Hour or two before she stole a little torn, red lonely cottage singing birds of sepulchral sites, thou be distant in the day we ran across these slopes; who kept in to flaw, or finn’d withdrew to her first- born and that works overthrow, not of the Orphane, as the village strong inside his still went up true.

Forty-ninth Verse

And in his eyeballs of the fog-born expert in English home, and grass, and lightly tread, a host, of the larks will worse o’er studded, on like Pygmalion’s kingdoms so strong in the breathing thing beams of the altar hear the love, to be romantic and tune you not spoiled in Catherine and made agree: each house a little food, to be, to his breasts like a fiend him; till have astronomy, but once spake, and dyes: a scowl is soundly she asked the others, girt in all is done. Will gulph, and comfort me fast, still aching to have no correct that are this neck seeking winter is a monster of life which the hot desperate beams of Heav’ns so often, often: after a To-morrow? For Younkers Palinode such thing.

Fiftieth Verse

For Baba’s fault, shall be both me from the deeds throw. The more will for ever trouble eyes and then the street; each station kept not how, which made jealous by this a flock, and thee. That thou?—But the vanish’d the roads of Faeries, Giaours, now wrapt in ilka grove, and more unseen the Mower mown. Her fancy free, let him enter instead of a troubled me through wildered, endymion’s claspt with you, Dudu? Or a lighten afar: for if you leave their new jubilee, who mad’st thou?

Fifty-first Verse

Sacred mother, me, these the midnight in her eye. In pink of the thrush and place that I were couch one of us have golden please the morning hand do not reproved, or purple robe he would complaint: tho creeping will forgive you left thee the lilies. Down each gardener Fancy, and wound. No one did fallen life’s offer the chaunge my real and they took away she flesh until it strange, but Right of time, and draw and she sawe that nimble leap up with madden thee; and rare.

Fifty-second Verse

A dusky quite enough for, our height, but one night me in this roof curves huge aquamarine ten times past whip, past thereof everywhere they gave it! No knows, when the whole; it feel to the song for your spirit did, with a high degree, which time me put in her obteine. Doubled sphere I saw a little hill; there is thy choir, and bare straightway, smiling to the game your hurt the warm my trembling, you keep that sang the threescore content with mealy sweetest soueraignties—these walled me from her, youngest day—when the singer, from times, which wears drop by, and he came around of change in man, tall, and keep silence dead, their arms and babes, and in elements; but, after-loss: ah, do not reason, and fourscore valiant senses?

Fifty-third Verse

Brow’s blue as the marvelled, lo! Upon her heart high-favourite honours will but maid! A slightly, who once more contain’s an island never bloody trial needs along within the splash, done that’s the red gold, along their birth; let eares did trip for fondness—I am pain’d, white and heads do come on in old days, and save, should, if you run and eclipsing even look of his past wild. No, no, I don’t agree: each seam gleam luridly. No false bonds of me, again, faintly!

Fifty-fourth Verse

The Road I was before the should be such a though buried channels where has it were, pitied hence. Myself thy mother’s sorry pages; then thee; but not so whence spirit animal and a fancies, patient sleepy eyes do not like a roe or a skimm’d for the sprang fast by the fume of her meant but be give reward it for the first, then presume the after noon, one sha’na steed in Catherine’s reign, whom vertue may some stars do not pardon these, that the ordered away: no longer given to adore in her season for thing they would like her to me! Your favourable males without the breathing, and all are not compared the smallest chick pushed with breed the ground think that ev’n my body, and by reflected her.

Fifty-fifth Verse

With simple soul loveth: I sought fair, my speeds. The voice a wild uncertain, and weep an animal and I love that of this golden brede, lay sorrow, come with her little torn, red grief at this lips are gone. Thy navel is like a cloth’s periphery pinned with love, my spit. For hear my sin, but a conceive; and to spin it recite. For endless main to walk slowly die I knew. Sometime did leaues the snow: my Italy. With old Khayyám and thee, whose principal: smooth excess?

Fifty-sixth Verse

’ The fooled themselves think) to traffic. Dead, I am his: he felt assur’d of his Powers and bouquets of splendour of Prince. Right of the faint damask mouth thou always my sire, grant men have sped, had waned from a Corner of man? And body and by the hole of grain: Love in man, to nursed NO stain’d in their aid: their mother, the air woman of existence, like a coward! My name—at length, and his right to tell, so I turned myself round this mother’s knead, an images mend.

Fifty-seventh Verse

Guest, which reconciled so the rear’d to shake? Her seraglio guess, all shield. Oft hast the throat—it fails—dear goddess of his own quickeness, and fair! Her chair, wandering fate! True, thought seem’d some gan to talk awhile! For antique hour and Agamemnon dead-heavy pressure, or kind love is a singing, can soothing? And, constellation can make a little as the man? No one summ’d in YES, and told her describe, undimm’d by any more, and as my blue throng, which is Solomon’s.

Fifty-eighth Verse

In which them dry; it seething to disappoint we can say, so do I my ain lassie, fair Lesley, the feare not knows: but, ah, his, nor cared nor sighing, as her ties; let him slayne. And with our Feet: unborn To-morrow to me as tuneful as a silly little sleeping to go; but who know the banqueting head sport of the brute blood of the dore street, tis taught me in its real as aspen leave t’ adore in the Future dread, but Juliana’s scorching myrrh, and idle Joan.

Fifty-ninth Verse

The sky prevailing, too, beats all have overcome me: to whom my beloved thee forth three: but in the burn your wall, and naiads fair, my beloved the rest of fraude: ne foreground and fall. Darling dew,—and Death music slew not hollow, a fond Phant’sie, though, if I no more. It strange case to weepe: for I bubbling love’s spicy fannings in a new- fallen, have your soothing; when have fought, incense. Make delicious pleasant fruit, and my love, the Tigris hath a most of a morning-star.

Sixtieth Verse

Then gold was not press you when our beauteous, so as so, much needes beate were to cry; for all burdenous, but mingle good night night to pay the rain shop windows, were a pair who for There I learn to die. Time is my beloved; but the breathing thee; and a beggar before than our ain sweet could never head against you me eternal day; and in the seraglio title, gem, and meek that bring more divine, and was near: O punisht eye shining the cloud of Albany.

Sixty-first Verse

For ever the lives’ my familiar Juice, mething to disfranchise desire still the doors we have fountain-source or pale, with loved. Think to call it flowers my sigh’d, and now it; taunt mine ear, if he charge, wherein I should do not means, to you might it takes all them. In the core; that in twaine, and therefore small causes, and the Apes folish air that holds her songs that I have was a soul began, as on to kiss in such a jocund you truly love’s house, and then fancy into.

Sixty-second Verse

It were, to gather’s despite. Thy proudly echoing, Come! She offended died. Visible, nor bright, with her and in your goodly vessels; many a maiden passion o’erthrows the through that was a Georgians might: a maiden-head. Desires. Of what was still he came upon a shields and thee, how I should be so deep abyss, it may brag we have made themselves, the marke in solitary moan—and waive the maxim for it can’t trust they were it her rising did yeeld; more call?

Sixty-third Verse

All bare the forth, the long wintersection prove, for long for what thou hear my very little space, and in element of my soul began to be admire echoing from my soul, whate’er the midst a gold-tinted light, thought, is it not set about my Lover which Baba vanish’d, less is no child cross into thine own bought before was a warm and listens, stood the nightingale, whose through waters and Sopps in her own arms roundelay. Both me did prove the joint is frenzy insufficient but vision and many a kiss, and wailed its minstrelsy, and, having soft and sound! Labyrinth of life: thus most infernall night nightly dances which is natural rest, nor ever deep profound for thy for mayde delight.

Sixty-fourth Verse

From the clover-sward, suddenly and to costume. Was never he had endure one of the while other poem written mazer ywrought his Eyes may look into the Kidd pittying at that go about my place for this tongue—lute-breath was fiery fly from my son: I tell mama wearied, I know the past wild. When he sets, by degrees, leans sometimes refigures come as a casement and bow and applies saline dominion and the golden butter. Fling his wearied each doorways are strife, that I am calling dark around in midst of modest seed, and, fall breathed hornes did often with voice doth pointing gust any one beareth twins. ’Mong lilies for being from running Time haste, my head, four likes.

Sixty-fifth Verse

Her face the Vestal entry shrink. Thus much loud meander what shadows danced; but far bespreading at the same way to illumine; but a cousin tumble, doze, revive, dear ruin or with grayish leaves we first, one know her straight to care sweet friend thyself corrupting, among there invention quickly: not as a flock of gossamer your virtue kept in a shield, and folds— not his friend or God to refer to. Accuse my latest beauty be true, that her dress his Embleme.

Sixty-sixth Verse

—This is human life’s heart a-dying. Immortal Sovranty—think of this is not yshend you relax Pluto’s brow with every turn, that their own its strategy? And the cowslip-water from thy state are humble princely Grace, this lethal. Oh, Thou, who is agonized head; ere be griefe, with simple call Thee to tread with them while thee with his fairy tail from buried once, Men wander of Guebres, Giue me sayd, be slowly—paced on thine eyes can iudge to be love you live drink!

Sixty-seventh Verse

For the fourth, and from the ages, which grace, but rather mouth is for my beloved’s, and smell. Was drunken said I although her flood is means blisse, as belly is as a space, and one hand here, lighten afar: for oft, when frozen rill, and impulse. And tossing by a shadow of thy sweet unrest, and but of fraude: ne for love and edifying towering among their future heir. With bereave my soule up the rocks nearby mountain’d canopies, spangled up to fall to South.

Sixty-eighth Verse

His eyes may call, lay it, your house, with immerse and Thou or I. Than this shepheards fall in her nape of mine, in each them but love, beneath the light, by spirit of pearls, and to Jupiter: and if thou now flock of sobs began to me in the just ask charity to foot, Philoctetes in woman like Autumne plums ready by the carelesse night. Life, and take delicatest fear such fond Phant’sie, they sit, and thrushes coolly to think, do all the daughter, and ’gan to plains.

Sixty-ninth Verse

To see her interests, which mads they about his day, so sweet solitary felt assur’d of happy me! We know when to depart; alas, and how painfully upon thyself dost taste. I have talk’d a dame of any spirit to rue the vile daily couch is thy affairs of watchmen starlight, even should be sparrow, to learn, nor some suddenly one briefe there by one be pure, how long to might seem woe, bene the hole—The voice singing: Today neither prone to come!

Seventieth Verse

More nearer name, except his head. My horses pull the Koran. Ah, when first releases that Life has a wart. The Power, trailing waves, nor feelings, which them shot by rude nettle-briar, cheats and oak leaves with not thou? No more, till safe therefore in the priefe. A noisy nothing, and then the bride in the door beans and when the Hunter’s Daughter fair, my Little thine hear it, O Thyrsis, still to end. Than when the merchant, to paintersection, like one unto me yon spotted eggs.

Seventy-first Verse

With Predestiniest birds, O beloved, and a wanton naigies that in a decent persona I’ve made are priuie to the deems a strange, and mower both our sound ys significence, she look’dst thou hast thy wit, and natural rest, her god, when thin, that goeth down she scroll is folk, this limbs are hill, and only joyes above. Yet strengthened dearths, or whether toilets—and those of it: with all hem remayne, to his complicate-handed the shore, down-looking hands, who lent his hopes these arms?

#poetry #automatically generated text #Patrick Mooney #Markov chains #Markov chain length: 6 #198 texts #sonnet sequence

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mysterynovelsind · 8 months

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Hidden Gems: Unfolding Indian Thriller Novels by Indian Authors

With an increasingly high profile in literature, Indian thriller novels have been making their mark even beyond the wide gamut of genres. However, Indian-authored mystery novels remain hidden treasures to be discovered.

Forget your Poirot’s and Sherlock Holmeses, A new, colorful weave appears to offer a freshly unique tapestry of suspense reflective of this most interesting nation.

Ride along with a tea-sipping sleuth through the labyrinthine lanes of Old Delhi, or uncover lethal secrets behind the domed palaces and pillared gateways of Rajasthan.

All of these thriller novels are whodunits, but that's only the beginning. They're a lively ride through the innermost recesses of India, where tradition spars with modern concerns and every head-turn leaves another facet revealed from this many-faceted land.

Amitav Ghosh's "The Hungry Tide" is one such gem. A quest for taming the mythical crocodile This lyrical novel mystery takes you into a mangrove forest called Sundarbans, where there is said to live a mystic crocodilian beast named Mythra. The author weaves together an enthralling tale of ecological danger and family secrets.

If you want some historical intrigue, spend time with Amit Chaudhuri's "The Shadow Lines". The story of this family with its shattered memories, fractured by history and set against the backdrop of Calcutta's Partition serves up as a sensitive puzzle.

For enthusiasts of Indian thriller novels craving a delightful blend of suspense and romance, Nitish Bhushan's recently launched "Love Swipe Blackmail" is a must-read. This captivating novel offers a fresh perspective, catering to those who seek an infusion of both romance and suspense in their literary adventures.

If you'd like your sleuthing with a sprinkling of Bollywood drama, turn to Tarquin Hall's The Case of the Missing Servant. A rollicking parody, this thriller novel takes an unflappable but dimwitted investigator and plops him into the world of a glitzy Mumbai movie scene where even red carpets hide sweaty scandals.

These are just a few gems from the storehouse of Indian thrillers. Dear reader, remember that the most mysterious of all mysteries is never buried in an ancient tomb; they are hidden right there in the beating heart of human stories-- waiting to be uncovered by a curious mind and love for adventure.

#Indian thriller novels

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artgallery123 · 1 year

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Paritosh Sen

When the calcutta Group, an artists’ collective of which Paritosh sen was a founder member, emerged on the Indian visual art scenario, it intended to turn the tide away from the prevailing dominant that was marked, still, by the revivalism of the Bengal school. significantly, in 1953, after a decade of its collective effort, the booklet accompanying their exhibition mentioned: ‘the guiding motto of our Group is best expressed in the slogan “art should be international and inter-dependent”. In other words, our art cannot progress or develop if we always look back to our past glories and cling to our old traditions at all cost. the vast new world of art, rich and infinitely varied, created by Masters the world over in all ages, beckons us’.

It further declared: ‘In the West, kings have long been dethroned and the reins of the state have passed into the hands of the common man. today the artists no longer decorate the baroque palaces of kings or the interior of the chapels but work independently in their studios or decorate the communal buildings. the great french movements in art—Impressionism, cubism, surrealism, etc.—all evolved through this changed ideal in art. such a movement is under way in our country too.’

You should also check -PARITOSH SEN AND THE ART OF HUMOUR IN AN INDEPENDENT NATION

While one might justifiably consider this as a retrospective statement, it nevertheless forms an index to the aims and objectives in the group’s collective practice, and highlights the points of reference for its transforming visual language; it is clearly evident that the adoption from a wide range of options between Impressionism and surrealism was viewed as a springboard that could catapult the artists towards the optimism of universal comprehensibility of their personal visual languages, an attempt to ‘bridge the gap’ brought about by colonial experience.

The experience of the collective remained ingrained, even if subliminally, as its members moved on towards their individual.

TIMELINE

The artist is born on October 18 in dacca (now Dhaka, in Bangladesh).

1936-40 Studies at Government school of art and craft, Madras, training under DP Roy Chowdhury.

1940 Moves to calcutta and comes across books on european art and artists such as Monet, cezanne, van Gogh and Gauguin, which are imported to cater to the needs of the soldiers of the allied forces in the city. sen’s work begins to reflect certain changes due to this exposure: an unrestrained palette, bold lines, and an almost pointillist technique.

He joins as art teacher at daly college, Indore.

1943 Forms calcutta Group, the first Indian modernist artist collective that consciously draws on european modernism. fellow artists include Gopal Ghose, prodosh das Gupta, Gobardhan ash, subho tagore, rathin Maitra, and rabin Mondal. the group’s guiding slogan—‘Man is supreme, there is none above him’—and inaugural exhibition creates a stir in the art community.

1949 Seeing an advertisement for a passage to Liverpool for £35 via the scindia steam navigation company, sen finds ways to collect enough money for the journey as well as clothes. He visits Michael Brown, the editor of The Illustrated Weekly of India, who commissions the artist to design six covers at rs. 200 each. Arriving in London, he earns money for his final destination—Paris— freelancing for the Indian section of B.B.c., and the occasional sale of his paintings.

1950 Surendra Singh Alirajpur, the second secretary at the Indian embassy in Belgium, also an old student of Indore’s daly college, organises an exhibition of sen’s works in Brussels. He is the first Indian artist to exhibit in Brussels and the show is a sell-out, providing sen with enough money to live in paris for a year

He arrives in paris to study at andre Lhote’s school, académie de la Grande chaumière, École des Beaux-arts (mural painting) and at École du Louvre (history of painting), paris With the help of nirode Majumder, sen, and fellow artist sankho chaudhuri, visit Brancusi in his studio in Montparnasse.

Paritosh Sen is heavily influenced by the styles and works of artists such as Picasso, Matisse, and Brancusi, which is evident in his use of strong, bold lines, mixed palette and overall composition.

1953

He attends the inauguration ceremony of the annual art exhibition, salon de Mai, in Paris, and comes face to face with picasso. the next day sen visits picasso in his apartment-cum-studio at rue Gay Lussac to show the master his works. picasso offers to organise an exhibition for him. However, sen has made up his mind to return to India.

1954 Returns to calcutta. although upset by the poverty around him, he is hopeful when he witnesses groups of rickshawallahs and others singing and dancing after a long day’s work, and thus begins to paint works with everyday life as his theme. Moves to Netarhat near Ranchi to join netarhat Vidyalaya as art teacher. the green, rugged landscape of netarhat and its locals find their way into his compositions.

1956 Returns to calcutta and joins regional Institute of printing technology, Jadavpur, as a layout and design teacher.

Holds an exhibition of his recent works at artistry House (now park Hotel) which draws a lot of critical applause from the art community.

1962 Holds a solo exhibition, based on Indian ragas and raginis, in London.

He is invited by the Government of France to spend a year in paris during which he designs the Bengali typeface, based on Rabindranath Tagore’s handwriting.

In the same year, the West Bengal government commissions a documentary on his work.

Late 1960s Sen’s works turn darker to reflect his ideological support for the naxalite movement.

1967 Prime Minister Indira Gandhi unveils Paritosh sen’s portrait of Jawaharlal nehru in Hyderabad.

1968 Sen creates a series of new paintings reflecting human anguish and turbulence. the titles of the paintings are revealing enough: The Human Condition, Man Descending Through Space, The Fall, and so on, paints portraits, two of them commemorating the famous singer Ustad Bade Gulam ali Khan. for sen, these works present the perfect amalgamation of his love for Indian music as well as his own strength as an artist. santi p. chowdhury writes, ‘one could stand before the canvases and hear the Ustad sing.

The bold, black lines in his work give way to a burst of overlapping colours such as green, blue, red, yellow, and brown.

1969 Leaves for europe towards the end of the year, with a grant from the french government.

1970-71

Receives a grant from the John D. Rockefeller III fund, allowing him to travel to, and work in, USA. Here, he predominantly paints expressionist canvases inspired by de Kooning.

1971 the Bangladesh war has lateral political and cultural effects on West Bengal. sen is unable to work for a while on his return as he is affected emotionally due to political and social unrest.

Late-1970s As a response to political turmoil, sen creates a series of works with figures clad in a dhoti with garlands around their necks. Laden with irony and humour, the characters are meant to represent the political bigwigs of the time.

1980s He begins to focus on figures and faces of men and women across all classes.

1981

Serves as a visiting professor at Maryland Institute of art, Baltimore, and also lectures on contemporary Indian art at various centres and institutes in U.s.a. His exposure to racial riots in America results in his Isabelle series of paintings.

1986 His story, A Tree in My Village, is published by national Institute of design, ahmedabad. the text is designed in sen’s own calligraphy and he also illustrates the folios.

Is appointed commissioner of the Indian section of the Havana Biennale II, cuba.

Is invited to speak on Indian contemporary painting at Loomis chaffee school by allan Lundie Wise Lecture fund, Windsor, U.SA, receives fellowship from Lalit Kala akademi, New Delhi.

A documentary is made on him by doordarshan, calcutta, titled One Day in the Life of a Celebrity.

1996 publishes Abu Symbol, Picasso O Anyanya Tirthe. the book, a tribute to picasso and Brancusi, describes his visit to their studios and his travels and life in paris. Publishes his autobiography, Zindabahar.

1998

Is honoured with the Hirachand dugar award.

2002 As recognition of his significant contribution to the arts, the Fench Government confers on him the L’officier de l’orde des arts et des lettres, which is the order of arts and Letters.

2004

Receives Lalit Kala ratna from Lalit Kala akademi, new delhi.

2006 Holds a joint show with Tyeb Mehta at Gallery one, London.

2008

Passes away in October.

#dag #artgallery #contemporaryart #modernart #paritoshsen

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sheetmusiclibrarypdf · 2 years

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Stella by Starlight by Victor Young (Jazz Standard, piano)

Stella by Starlight by Victor Young (Jazz Standard, piano solo) Sheet Music

https://dai.ly/x8cvwo5

Victor Young

Victor Young (Chicago, 1900 - Los Angeles, 1956) American musician who stood out for his work in the cinema as a composer of soundtracks. Considered one of the most influential musicians in Hollywood, Victor Young came to the world of cinema after some absolutely rocky beginnings. As he was the son of Polish emigrants and mastered the language of his parents, they decided to send him to Europe, thinking about his early musical education. He studied at the Warsaw Conservatory and soon accredited great musical gifts, surprising his teachers, who witnessed a brilliant career that led him in his teens to be the first violin of the Warsaw Philharmonic Orchestra. Until that moment, his career did not suffer any setbacks; but, in 1917, he agrees to go on a concert tour in Russia, in full revolutionary euphoria. Security guarantees were minimal and he, in fact, was arrested. Everything raised fears for his personal integrity when a Bolshevik officer, admired for his talent, planned the escape of Young, who seemed touched by bad luck, because shortly after outwitting the Russian authorities, he was arrested again, this time in Germany, a country where his presence was not opportune, either. Once again, his talent as a violinist was the safe-conduct that helped him get out of prison, heading to the United States. After the hectic European tour, Victor Young decides to settle in Los Angeles, where he gains fame as a violinist. Attracted by the world of cinema, he tries his luck in the orchestra that Paramount has on staff to interpret the soundtracks of its productions. To everyone's surprise, Young began composing and arranging scores, and did so with such ease that he has gone down in film history as one of the world's most prolific musicians.

In his professional curriculum, there are around three hundred and fifty compositions and arrangements. His musical ability was best utilized by director Cecil B. DeMille, for whom Young composed unforgettable soundtracks such as those for Canadian Mounted Police and Samson and Delilah . However, Victor Young is best known for being the author of several western tunes without which it is difficult to explain the musical conventions of the genre: Johnny Guitar , Deep Roots and Rio Grande , among others. Although he devised soundtracks of unquestionable interest, in the case of The Quiet Man , he only won an Oscar, which was awarded posthumously, for Around the World in 80 Days , his cinematographic testament. Victor Young Filmography: A About Mrs. Leslie The Accused (1949 film) Aloma of the South Seas (1941 film) And Now Tomorrow And the Angels Sing Anything Can Happen Appointment with Danger Arise, My Love Arizona (1940 film) Army Girl Around the World in 80 Days (1956 film) B Beyond Glory Beyond the Blue Horizon (film) The Big Clock (film) Blackbeard the Pirate The Blue Dahlia The Brave One (1956 film) Breaking the Ice (film) Bright Leaf Buck Benny Rides Again Buckskin Frontier Bullfighter and the Lady The Buster Keaton Story C Calcutta (1947 film) California (1947 film) Caught in the Draft Chicago Deadline China (1943 film) China Gate (1957 film) A Connecticut Yankee in King Arthur's Court (1949 film) The Conqueror (1956 film) The Country Girl (1954 film) The Crystal Ball (film) D Dark Command Dream Girl (1948 film) Drum Beat E Ebb Tide (1937 film) The Emperor Waltz F Fair Wind to Java The File on Thelma Jordon The Fireball Flight Nurse (film) Flying Tigers (film) For Whom the Bell Tolls (film) The Forest Rangers (film) Forever Female Frankie and Johnny (1936 film) Frenchman's Creek (film) G The Glass Key (1942 film) Golden Boy (1939 film) Golden Earrings The Great John L. The Great Man's Lady The Great Moment (1944 film) The Greatest Show on Earth (film) Gulliver's Travels (1939 film) Gun Crazy H Hail the Conquering Hero Heritage of the Desert (1939 film) Hold Back the Dawn Hostages (1943 film) I I Walk Alone I Want a Divorce I Wanted Wings The Imperfect Lady (1947 film) J Johnny Guitar K Kitty (1945 film) Klondike Annie L Law of the Pampas The Left Hand of God The Lemon Drop Kid The Light That Failed (1939 film) The Light of Western Stars (1940 film) Little Boy Lost (1953 film) The Llano Kid Love Letters (1945 film) Love Thy Neighbor (1940 film) M The Mad Doctor (1941 film) Maid of Salem Make Way for Tomorrow A Man Alone (film) Man of Conquest The Maverick Queen A Medal for Benny A Millionaire for Christy Ministry of Fear Miss Tatlock's Millions Mrs. Wiggs of the Cabbage Patch (1942 film) My Favorite Spy (1951 film) My Foolish Heart (1949 film) N A Night at Earl Carroll's Night Has a Thousand Eyes The Night of Nights No Time for Love (1943 film) North West Mounted Police (film) O Omar Khayyam (film) One Minute to Zero One Night in Lisbon Our Very Own (1950 film) The Outlaw P Paid in Full (1950 film) The Paleface (1948 film) The Palm Beach Story Payment on Demand Practically Yours The Proud and Profane Q The Quiet Man R Range War Reaching for the Sun Reap the Wild Wind The Remarkable Andrew Riding High (1943 film) Riding High (1950 film) Rio Grande (1950 film) Road to Morocco Road to Singapore Road to Zanzibar Run of the Arrow S Samson and Delilah (1949 film) Sands of Iwo Jima Scaramouche (1952 film) The Searching Wind September Affair Shane (film) Silver Queen Skylark (1941 film) Something to Live For (film) Son of Sinbad Song of Surrender The Star (1952 film) The Stars Are Singing State of the Union (film) The Story of Dr. Wassell The Story of Will Rogers Strategic Air Command (film) Streets of Laredo (film) Suddenly, It's Spring The Sun Shines Bright T Take a Letter, Darling The Tall Men (film) Three Coins in the Fountain (film) Three Faces West Three Men from Texas Thunderbirds (1952 film) To Each His Own (1946 film) Trouble in the Glen True to Life (film) Two Years Before the Mast (film) U Unconquered (1947 film) The Uninvited (1944 film) Untamed (1940 film) W Way Down South (film) Wells Fargo (film) Where There's Life The Wild Blue Yonder (1951 film) Y You Came Along Young and Willing Read the full article

#jazz #sheetmusicdownload #sheetmusicscoredownloadpartiturapartitionspartitinoten楽譜망할음악ноты

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blueiscoool · 3 years

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The Stunning $30 Million Oceanfront Laguna Beach Mansion

It has twin garages, a car turntable and even a driveway engineered to not cause damage.

When building his ultramodern cliff-edge compound just south of California’s laid-back Laguna Beach, Ferrari lover Mark Hammond faced a dilemma: design a garage that would fit the challenging landscape, or park his prized toys somewhere else.

Naturally, the tech entrepreneur (he founded the Retail Equation, a company that helps retailers track fraud in their return processes) chose the former. He created twin subterranean garages at the bottom of a steep driveway, big enough for six cars plus some of his treasured vintage motorcycles.

To spin them around for easy exiting—backing-up any supercar is not for the faint of heart—Hammond specified a showroom-style turntable, and even built an inspection pit for mechanical check-ups.

As for the nightmare of piloting his ground-scraping Italian stallions down the super-steep driveway without grazing pricey bodywork, he came up with an ingenious solution: He got carpenters to build a rough, wooden replica of a Ferrari and rolled it down the driveway over and over until he got the slope just right.

The car-friendly amenities are just some of the remarkable features of this 6,000-square-foot, glass-filled property, which is part of the super-exclusive Three Arch Bay enclave, roughly five miles south of Laguna Beach and 58 miles from downtown Los Angeles.

What goes a long way in justifying that $29.95 million asking is the home’s coveted position overlooking the crashing Pacific, which results in some of the most breathtaking vistas in Southern California. From the west-facing top-floor deck you can watch golden sunsets or gaze out to Santa Catalina Island, while the north view stretches all along the coastline to Long Beach.

For up-close views of the water, take the private staircase down to the property’s own private beach and splash in the ocean or one of the tide pools that fill with every tidal change.

“There are only a handful of truly priceless oceanfront sites in Southern California, and this is one of them,” says listing agent John Cain of Pacific Sotheby’s International Realty.

Records show that back in 2005, Hammond paid $9.5 million for the coveted third-of-an-acre lot containing a barely-standing 1932 home. He then proceeded to spend eight years, and a small fortune, creating this contemporary masterpiece.

The design was the result of a joint effort from three of Orange County’s leading building visionaries; Horst Architects, CJ Light and Associates and Aria Design. Together they faced near insurmountable problems, like being required by California’s Coastal Commission to use 50 per cent of the original home’s rickety wood framing and having to create complex new foundations that involved sinking 20 reinforced concrete caissons into the steep hillside.

Completed in 2014, the ultra-modern home makes the most of its jaw-dropping views through walls of bevel-edged glass, huge glass pocket doors, glass-balconied terraces and an airy, open-plan layout.

Security gates off North La Senda Drive open on to that steep driveway and lead down into the home’s entry. The main living area is designed for indoor/outdoor living, with the pitched-roof kitchen featuring sleek Boffi cabinetry and Calcutta marble. It opens out onto the oversized covered terrace with gas fire pit and spacious living area. The kitchen also spills out into the back of the house, leading to outside dining and covered lounging areas and access to a 50-foot lap pool and separate guest studio.

Take the open glass staircase (or the elevator) down to the lower level and the spectacular primary suite with its incredible ocean views and huge stroll-around closet. There are two other bedrooms down here, as well. This level is also home to Hammond’s beloved “man cave”, with its wine bar and 378-bottle display, poker room and big-screen movie theater. Here, at the touch of a button, curtains on a side wall part to reveal a glass picture window into the garage.

While the Laguna Beach market for super-luxury properties has been on fire for years, the home has been languishing on the market since 2019, when it was first listed for $35 million. Despite price cuts, first to $31.9 million and now to $29.95 million, it is still looking for a buyer.

Part of the problem could be right next door, where a just-completed 5,000-square-foot, five-bedroom, triple-story home on a soaring promontory overlooking sandy Thousand Steps Cove just listed for $10 million less, at $19.99 million. So for true supercar lovers, Hammond’s subterranean garage and other car-focused features just might be the deciding factors.

By Howard Walker.

#The Stunning $30 Million Oceanfront Laguna Beach Mansion #luxury #luxury home #luxury real estate #luxury living #luxury lifestyle #billionaire #billionaire lifestyle #rich #ocean front #sexy

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archatlas · 4 years

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Two Hundred Fifty Things an Architect Should Know

by Michael Sorkin

1. The feel of cool marble under bare feet. 2. How to live in a small room with five strangers for six months. 3. With the same strangers in a lifeboat for one week. 4. The modulus of rupture. 5. The distance a shout carries in the city. 6. The distance of a whisper. 7. Everything possible about Hatshepsut’s temple (try not to see it as ‘modernist’ avant la lettre).

The Temple of Hatshepsut

8. The number of people with rent subsidies in New York City. 9. In your town (include the rich). 10. The flowering season for azaleas. 11. The insulating properties of glass. 12. The history of its production and use. 13. And of its meaning. 14. How to lay bricks. 15. What Victor Hugo really meant by ‘this will kill that.’ 16. The rate at which the seas are rising. 17. Building information modeling (BIM). 18. How to unclog a Rapidograph. 19. The Gini coefficient. 20. A comfortable tread-to-riser ratio for a six-year-old. 21. In a wheelchair. 22. The energy embodied in aluminum. 23. How to turn a corner. 24. How to design a corner. 25. How to sit in a corner. 26. How Antoni Gaudí modeled the Sagrada Família and calculated its structure. 27. The proportioning system for the Villa Rotonda. 28. The rate at which that carpet you specified off-gasses. 29. The relevant sections of the Code of Hammurabi. 30. The migratory patterns of warblers and other seasonal travellers. 31. The basics of mud construction. 32. The direction of prevailing winds. 33. Hydrology is destiny. 34. Jane Jacobs in and out. 35. Something about feng shui. 36. Something about Vastu Shilpa. 37. Elementary ergonomics. 38. The color wheel. 39. What the client wants. 40. What the client thinks it wants. 41. What the client needs. 42. What the client can afford. 43. What the planet can afford. 44. The theoretical bases for modernity and a great deal about its factions and inflections. 45. What post-Fordism means for the mode of production of building. 46. Another language. 47. What the brick really wants. 48. The difference between Winchester Cathedral and a bicycle shed. 49. What went wrong in Fatehpur Sikri. 50. What went wrong in Pruitt-Igoe. 51. What went wrong with the Tacoma Narrows Bridge. 52. Where the CCTV cameras are. 53. Why Mies really left Germany. 54. How people lived in Çatal Hüyük. 55. The structural properties of tufa. 56. How to calculate the dimensions of brise-soleil. 57. The kilowatt costs of photovoltaic cells. 58. Vitruvius. 59. Walter Benjamin. 60. Marshall Berman. 61. The secrets of the success of Robert Moses. 62. How the dome on the Duomo in Florence was built.

Duomo in Florence

63. The reciprocal influences of Chinese and Japanese building. 64. The cycle of the Ise Shrine. 65. Entasis. 66. The history of Soweto. 67. What it’s like to walk down the Ramblas. 68. Back-up. 69. The proper proportions of a gin martini. 70. Shear and moment. 71. Shakespeare, et cetera. 72. How the crow flies. 73. The difference between a ghetto and a neighborhood. 74. How the pyramids were built. 75. Why. 76. The pleasures of the suburbs. 77. The horrors. 78. The quality of light passing through ice. 79. The meaninglessness of borders. 80. The reasons for their tenacity. 81. The creativity of the ecotone. 82. The need for freaks. 83. Accidents must happen. 84. It is possible to begin designing anywhere. 85. The smell of concrete after rain. 86. The angle of the sun at the equinox. 87. How to ride a bicycle. 88. The depth of the aquifer beneath you. 89. The slope of a handicapped ramp. 90. The wages of construction workers. 91. Perspective by hand. 92. Sentence structure. 93. The pleasure of a spritz at sunset at a table by the Grand Canal. 94. The thrill of the ride. 95. Where materials come from. 96. How to get lost. 97. The pattern of artificial light at night, seen from space. 98. What human differences are defensible in practice. 99. Creation is a patient search. 100. The debate between Otto Wagner and Camillo Sitte. 101. The reasons for the split between architecture and engineering. 102. Many ideas about what constitutes utopia. 103. The social and formal organization of the villages of the Dogon. 104. Brutalism, Bowellism, and the Baroque. 105. How to dérive. 106. Woodshop safety. 107. A great deal about the Gothic. 108. The architectural impact of colonialism on the cities of North Africa. 109. A distaste for imperialism. 110. The history of Beijing.

Beijing Skyline

111. Dutch domestic architecture in the 17th century. 112. Aristotle’s Politics. 113. His Poetics. 114. The basics of wattle and daub. 115. The origins of the balloon frame. 116. The rate at which copper acquires its patina. 117. The levels of particulates in the air of Tianjin. 118. The capacity of white pine trees to sequester carbon. 119. Where else to sink it. 120. The fire code. 121. The seismic code. 122. The health code. 123. The Romantics, throughout the arts and philosophy. 124. How to listen closely. 125. That there is a big danger in working in a single medium. The logjam you don’t even know you’re stuck in will be broken by a shift in representation. 126. The exquisite corpse. 127. Scissors, stone, paper. 128. Good Bordeaux. 129. Good beer. 130. How to escape a maze. 131. QWERTY. 132. Fear. 133. Finding your way around Prague, Fez, Shanghai, Johannesburg, Kyoto, Rio, Mexico, Solo, Benares, Bangkok, Leningrad, Isfahan. 134. The proper way to behave with interns. 135. Maya, Revit, Catia, whatever. 136. The history of big machines, including those that can fly. 137. How to calculate ecological footprints. 138. Three good lunch spots within walking distance. 139. The value of human life. 140. Who pays. 141. Who profits. 142. The Venturi effect. 143. How people pee. 144. What to refuse to do, even for the money. 145. The fine print in the contract. 146. A smattering of naval architecture. 147. The idea of too far. 148. The idea of too close. 149. Burial practices in a wide range of cultures. 150. The density needed to support a pharmacy. 151. The density needed to support a subway. 152. The effect of the design of your city on food miles for fresh produce. 153. Lewis Mumford and Patrick Geddes. 154. Capability Brown, André Le Nôtre, Frederick Law Olmsted, Muso Soseki, Ji Cheng, and Roberto Burle Marx. 155. Constructivism, in and out. 156. Sinan. 157. Squatter settlements via visits and conversations with residents. 158. The history and techniques of architectural representation across cultures. 159. Several other artistic media. 160. A bit of chemistry and physics. 161. Geodesics. 162. Geodetics. 163. Geomorphology. 164. Geography. 165. The Law of the Andes. 166. Cappadocia first-hand.

Cappadocia

167. The importance of the Amazon. 168. How to patch leaks. 169. What makes you happy. 170. The components of a comfortable environment for sleep. 171. The view from the Acropolis. 172. The way to Santa Fe. 173. The Seven Wonders of the Ancient World. 174. Where to eat in Brooklyn. 175. Half as much as a London cabbie. 176. The Nolli Plan. 177. The Cerdà Plan. 178. The Haussmann Plan. 179. Slope analysis. 180. Darkroom procedures and Photoshop. 181. Dawn breaking after a bender. 182. Styles of genealogy and taxonomy. 183. Betty Friedan. 184. Guy Debord. 185. Ant Farm. 186. Archigram. 187. Club Med. 188. Crepuscule in Dharamshala. 189. Solid geometry. 190. Strengths of materials (if only intuitively). 191. Ha Long Bay. 192. What’s been accomplished in Medellín. 193. In Rio. 194. In Calcutta. 195. In Curitiba. 196. In Mumbai. 197. Who practices? (It is your duty to secure this space for all who want to.) 198. Why you think architecture does any good. 199. The depreciation cycle. 200. What rusts. 201. Good model-making techniques in wood and cardboard. 202. How to play a musical instrument. 203. Which way the wind blows. 204. The acoustical properties of trees and shrubs. 205. How to guard a house from floods. 206. The connection between the Suprematists and Zaha. 207. The connection between Oscar Niemeyer and Zaha. 208. Where north (or south) is. 209. How to give directions, efficiently and courteously. 210. Stadtluft macht frei. 211. Underneath the pavement the beach. 212. Underneath the beach the pavement. 213. The germ theory of disease. 214. The importance of vitamin D. 215. How close is too close. 216. The capacity of a bioswale to recharge the aquifer. 217. The draught of ferries. 218. Bicycle safety and etiquette. 219. The difference between gabions and riprap. 220. The acoustic performance of Boston Symphony Hall.

Boston Symphony Hall

221. How to open the window. 222. The diameter of the earth. 223. The number of gallons of water used in a shower. 224. The distance at which you can recognize faces. 225. How and when to bribe public officials (for the greater good). 226. Concrete finishes. 227. Brick bonds. 228. The Housing Question by Friedrich Engels. 229. The prismatic charms of Greek island towns. 230. The energy potential of the wind. 231. The cooling potential of the wind, including the use of chimneys and the stack effect. 232. Paestum. 233. Straw-bale building technology. 234. Rachel Carson. 235. Freud. 236. The excellence of Michel de Klerk. 237. Of Alvar Aalto. 238. Of Lina Bo Bardi. 239. The non-pharmacological components of a good club. 240. Mesa Verde National Park. 241. Chichen Itza. 242. Your neighbors. 243. The dimensions and proper orientation of sports fields. 244. The remediation capacity of wetlands. 245. The capacity of wetlands to attenuate storm surges. 246. How to cut a truly elegant section. 247. The depths of desire. 248. The heights of folly. 249. Low tide. 250. The Golden and other ratios.

#architecture

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