#scroggie

[wanderanwonder]

her name is scroggie and she's new here

[rainbowpopeworld]

In Good Omens, which has literal magic, one of the things I had trouble suspending my disbelief for was that an older white man living in London would not know anyone named John, much less Jim, Tom, or Steve.

It’s just not plausible 😅😂

[lascitasdelashoras]

Blade Runner Sketchbook, David Scroggy y Syd Mead

[mametupa]

“I just need to find a receptive body. Harder than you’d think.” 

[abczine]

Dabble in some eldritch horror at your next seance with Madame Tracy, brought to you by hapax's ( @wordsthativelost ) in "Among other hideous things"

Scroggoth had discovered that if they imagined leaning forward, gnawing through the human's neck, and schlorping down their cerebral-spinal fluid, their features would fall naturally into an arrangement that these pathetic primitives would interpret as "pleasing."

Download the Above, Below, and the Common Ground Zine for free or with a donation! We're fundraising for the National Network to End Domestic Violence

🌍 https://abczine.gumroad.com/l/zine 🌏

[preacherman316]

Mark 8:34-38

Remember the Ukrainian born comedian Yakov Smirnoff who began his career in Russia, then migrated to the United States? He’s actually still performing in Branson. When Smirnoff first came to the US he said that he was not prepared for the incredible variety of instant products available in grocery stores. “On my first shopping trip, I saw powered milk. You just add water, and you get…

[humbledragon669]

S1E5 – The Doomsday Option Write Up P2 - Saturday (The last day of the World) from "the wiggle on" to "He was waving"

Alright, so now we have the seed of hope planted for an Aziraphale/Crowly reunion, this episode moves, pretty swiftly, through a number of plot threads that now all need to be brought together to serve as the climax for the season.

Thread number one: Madame Tracy and Shadwell, and their purpose in the storyline.

I don’t have a great deal to say about this scene, only one tiny question. Why is that Julia makes no move to hand over a “donation” to Madame Tracy?

Both Mrs. Ormerod and Mr. Scroggie (brilliant names by the way) are clearly well-prepared to be handing their money over, but not so young Julia. I don’t think it’s important, just one of those little things I wondered about when I was watching the scene back.

Thread number two: bringing the Four Horsemen together.

Couple of things to point out in the next montage sequence, including an Easter egg or two. Firstly, the immigration official has clearly become disillusioned with her job in the short time that she granted Anathema into the country.

It’s a very different interaction than the one she had with Anathema where she was actually paying attention. Even Famine seems puzzled at her lack of interest. Next up I just want to say that I really didn’t have the Four Horsemen of the Apocalypse down for being tea-drinkers. Don’t get me wrong, I’m British. Tea is the foundation of civilised society as far as I’m concerned. But that’s kind of the point, isn’t it? These four characters are about to, quite happily, undo all of civilisation. Always time for a cup of tea I suppose though. And now for an Easter egg! Feels like it’s been a minute since I’ve pointed one of those out. The top scores on the arcade game next to the one that Death is playing on are all allocated to D.EATH, except for the #1 spot, which goes to T. PRATCHETT.

There is another Easter egg here for the eagle-eyed, this one of the apple variety – one of the questions on the quiz machine asks what year Apple Computers was founded in.

And the last thing about the quiz machine: the machine that displays the “GAME OVER” sign is actually not the machine that Death has been playing on:

As a little side note, once we realise that it’s Death playing on the quiz machine, we can appreciate that he has in fact been there from the beginning of the scene. I wouldn’t swear to it given the camera angles that are used, but I don’t think his bike is in the car park when War arrives. You could argue that it’s out of shot, but I’m still pretty sure she would have recognised it for what it was and known that he was already inside. Famine and Pollution too. So why aren’t they aware of his presence from the outset? Again, probably not important, and the little quiz machine interaction provides some much-needed light comedy.

Back to thread number one. I found little of interest in this scene prior to Aziraphale’s arrival from the spirit world, aside from the vapid personality of Mrs. Ormerod and the obvious dig at the validity of psychic mediums whilst using the delightfully oblivious Mr. Scroggie. What I do really enjoy about this scene is the sound editing (I know, you’re all shocked I’m picking up on sound cues…). We know that something is about to happen when a low rumble begins, enforced by some lightly flickering candles in a room with no breeze, but the real joy here is the sequence of noises, animal, human, and object, that issues from Madame Tracy’s mouth as Aziraphale takes up residence in her body. Miranda Richardson does a pretty stella job here too – this was either really fun to shoot or incredibly embarrassing. I’d lean towards the former, given she’s largely a comic actress, but managing to keep a straight face throughout the whole thing must have taken an incredible degree of self-control. I’d be quite interested to know how much free reign she was given with this, how much of it was improvised, and if she knew there was going to be extra noises added in post-production. Here’s a list of the noises that I could pick up in the sequence that takes place during Aziraphale’s possession:

Rumbling noise before Madame Tracy starts vocalising.

Madame Tracy making a low rumbling noise.

Elephant trumpeting.

The noise of something ramping up, like a turbine engine but not. No idea what this noise actually is!

Thunder (from outside the house – accompanied by lightning).

Madame Tracy’s short shout followed by very high and musical almost-screams.

Another one of those weird ramping up noises but shorter and sharper.

Panting.

Madame Tracy blowing a raspberry.

Loud singing (enforced in the soundtrack) of the William Tell overture.

Madame Tracy belching.

A little quacking noise made by Madame Tracy.

A fart (no way was I leaving this off the list), which puts a definitive stop to any other noises that are ongoing.

Pretty impressive. Those sound editors aren’t done yet though, because aside from another chaotic sound sequence for Ron’s possession, there’s still a load of work to do with the voices coming out of Madame Tracy’s mouth. I love the way they shift between her voice and Aziraphale’s during the following sequence, starting from the very first sentence that she says after the possession has completed – she starts out as Madame Tracy and finishes as Aziraphale (in German, which we were led to believe that he couldn’t speak back in 1941). There are times in this scene where both voices come out of her mouth at the same time and there are other times where Madame Tracy speaks in her own voice but in a deeper tone, and times where it’s one or the other speaking, and it’s all so seamlessly stitched together. Not to mention the fact that it never once looks like it’s not Miranda Richardson speaking – her lip movements match the words exactly. She even adapts some of Aziraphale’s mannerisms when she’s speaking as him.  It’s a really brilliantly put together scene. The sound sequences for Ron’s possession (played by none other than Johnny Vegas) are more difficult to pick out because the surrounding scene is very noisy (not that Shadwell would know anything about that, sound asleep in the unaffected boudoir) but I did manage to pick out:

Another raspberry.

A short squeal.

A line from “Moonlight Becomes You” (by Johnny Mathis, I couldn’t see any immediate Easter eggs or references from the lyrics).

A prolonged shout.

More thunder.

What sounds like a piano string or strings (from low down the keyboard) being struck.

A retching noise like someone’s about to hurl.

Something bubbling.

Howling.

Lightning.

Fireworks, used in the same way as the fart in the first sequence – to cut off all the other noises.

It feels like quite a jolt moving from all that cacophony into Madame Tracy’s peaceful kitchen. There’s one little thing that really makes me giggle in this scene:

She seems pretty blasé about the fact that there’s a blonde, slightly transparent, male figure staring back at her from the mirror. It’s only when he actually waves back at her that she reacts at all, and even then it’s pretty muted. I think most of us would have taken off screaming at that point, or pass out, but not Madame Tracy, she’s way too worldly-wise for that dramatic nonsense.

I was a little puzzled at the choice of soundtrack for Crowley’s battle against the traffic in the next scene, but then I wondered whether it was a reference to the M25 being another one of Crowley’s plans that started out so well and then ending up foundering “on the rocks on iniquity”, which appears to be a bit of a running theme throughout the show – first the misplacing of the Antichrist, again in his desperate pleas to Aziraphale for them to run away together, and in his failed rescue of the angel. This particular instance of Crowley’s well-intentioned failings would suggest that it’s a characteristic he has been prone to for a long while, and that the foundering of his plans can take anything from seconds to decades. And just for a bit of fun, a tried to get screenshots of the M25 before and after Crowley’s interference:

I also noticed that the projector Crowley uses is marked as belonging to Room 11:

Having fallen foul of my neglect in consulting Strong’s Concordance with numbers in my write ups before, I did actually remember to look this one up. According to my scant research, 11 in Strong’s Concordance represents a place of destruction or ruin. Whether this is a reference to Crowley’s original intentions for the M25, the eventual fate and purpose of the M25 in the show, or a tongue-in-cheek remark to the experience of actually driving on the M25 in real life isn’t clear. Maybe it’s a bit of all three. Or maybe it’s just a random number. Unlikely I think.

Now that Shadwell’s had a nice little snooze, he also seems to have had some sort of personality transplant. That’s the only real explanation for the impassioned attempt at protecting Madame Tracy’s dignity, right? I think we as the audience all know better, but he clearly forgets himself in the heat of his jealous moment. Interestingly, the mirror no longer appears to show Aziraphale’s reflection:

I think this might just have been a case of budgetary or time restraints rather than an intent to convey anything specific. Whatever the reason, Aziraphale doesn’t seem too upset at Shadwell for discorporating him. One question though – how does the angel know that Shadwell has referred to him as “the Southern pansy” before? As far as I can remember, he never uses that name to his face, which only really leaves the possibility that he has obtained the information from Madame Tracy, who has heard him refer to Aziraphale in that way at least once before. I find it unlikely she would have told the angel the offensive name that had been allocated to him, which suggests he has obtained the news from her own thoughts. Obviously at this point Madame Tracy is sharing the residence of her body, but it does raise an interesting question for later when Aziraphale and Crowley perform the body switch – would they be able to read the thoughts of the other without the sentience of that other being present concurrently?

Whilst we are on the topic of how people know things that they do, how does Crowley know the M25 has just combusted into a ring of infernal flames? I know we’ve had the whole “Crowley turned the M25 into a hellhole” scenario written out for us already, but that was to do with the eternal traffic jams he caused, not some sort of hidden boobie trap that would cause it to spontaneously combust. Presumably this is one of those things his demon-sense tells him has simply happened, like when Adam welcomed the Hellhound into his life.

I find the next scene with the cold caller provides an interesting overview of the way nuisance callers have evolved across the years. The basis for the call in the original book was double glazing, but we’ve moved on to ambulance chasers in the show. As a society I think it’s likely we’ve moved on even further now, from using actual real people to individually make these calls to automated recordings, but Hastur wouldn’t be able to eat them all in that case, thus denying the audience the satisfaction of the sick justice he unwittingly wreaks on the call centre staff. Got ourselves a little Easter egg here too – the message that Lisa types out on her screen (to a colleague or as a note on a casefile isn’t clear) is the title of a Queen song:

This happens to be the very song that Crowley was listening to in the Bentley on the M25. She also types that up right before she arrives his own casefile (titled “Anthony Cowwley”, which differs from the book’s “A J Cowlley”).

Shifting back to Crouch End now (this episode really does jump around a lot doesn’t it?!), can we just take a moment to gape at Aziraphale adamantly declaring that the Antichrist must be killed. The Antichrist who is a child. It really wasn’t that long ago that he was vehemently stating that he himself could never do such a thing, nor could he endorse it without suggesting that it would be for the good of Heaven’s reputation. Now though, he’s very happy to encourage a human, for whom the consequences of killing an innocent child would be dire in Heaven’s eyes, and even worse for killing the Antichrist as far as Hell is concerned, to do the deed, but this time the motivation is nothing to do with his employer; it revolves around the fate of the World. It feels like something of an oxymoron – his siding with humanity driving an incredibly inhumane act. In fairness, Shadwell follows it up with an oxymoron of his own:

So, as far as Shadwell’s concerned: witches? Kill without question. The Antichrist? Not so sure. Even if he’s going to bring about the end of the world. Sounds like he’s all good with the plan when Aziraphale tells him that he has traits associated with witches though. Good morals Shadwell, well done. Perhaps not quite as terrifying as Aziraphale’s declaration of triumph when the sergeant suggests they can use a massive antique gun to fire lumps of building materials to assassinate the Antichrist. Again I’ll point out that Adam is a child, but perhaps it wasn’t clear enough earlier on that Aziraphale also knows he’s a child.

I don’t know whether what I’m about to say describes a typically British behaviour when caught in traffic jams or not, but here goes. Anybody else find it suspect that other people aren’t either already driving down the hard shoulder or that Crowley doesn’t have a giant tail of cars following him? I’ve been in my fair share of motorway gridlocks, enough to know that once some entitled prick starts driving down the hard shoulder in attempt to assert their own self-importance over the rest of the people caught in the chaos, anybody else with delusions of grandeur will follow suit very quickly. Not for Crowley though, he’s just pottering down the escape lane under his own steam. And is it just me, or does it feel like a bit of a violation when Hastur removes Crowley’s glasses? Looks to me like Crowley feels like that as well to be fair.

He manages to get over his surprise quickly enough though, characteristically engaging his brain into full gear to try and find a solution, which he does with an interesting choice of music:

I find it interesting because it deviates from what we have come to believe is his usual taste in music. Mozart would actually seem to be more Aziraphale’s taste than Crowley’s. It’s also a pretty sedate underscore for what he’s about to do. As a side note, this piece not only doesn’t actually start from the beginning when it starts playing in the Bentley, but is also used in another one of my favourite shows – Our Flag Means Death. In that show, it’s used as background music in the final episode when Prince Ricky is strolling down the street his victory over the pirates with another naval officer. The Mozart doesn’t stick around for long though, morphing into Queen’s “I’m In Love With My Car” (no need to point out the reference with this one) as Hastur starts to lose his calm. For those who haven’t read the book, or just don’t remember this detail, there is mention of this phenomenon in the original text – the apparently common mystery that every tape or CD left in a car is doomed to become a Queen album eventually, but this little detail is left out in the show, with the audience instead being led to believe that the CD player plays mood-appropriate music instead.

The speech we get from Crowley here goes a long way to showing us how much he has come to love both humanity and modernity – he’s actually quite complimentary about humans and their ability to invent new things.

Lovely clever people, inventing cars and motorways and windscreen wipers.

He also, in a very dismissive way, puts a clear distinction between himself and Hastur with his marking of the difference between his feelings towards the 14th century and what he believes the Duke of Hell would have thought. That simple little line actually says a lot to me about how he believes he distanced himself from the other beings in Hell – it’s a clear declaration of “we are not the same”. I also find myself wondering if Crowley had little to no contact with Aziraphale during the 14th century, contributing to his dislike of the time period. We certainly never see anything of the sort – the meetings we bear witness to have a large gap between 537 and 1601, though the book and script book tells us that there was definitely a meeting in 1020, and the script would suggest that there were several (dozens of them in fact) meetings between that and the 1601 meeting.

It's interesting to hear that Hastur is concerned that he’s going to be discorporated as it confirms he’s been issued with a human body, just like Crowley, even though he doesn’t reside on Earth. I’d be interested to know if the body was issued to him in that state or whether it looks pretty run down because of Hastur’s lack of appropriate care (which would in turn suggest that both Aziraphale and Crowley have had to work towards maintaining the appearance of their own corporal beings). And whilst we’re on the subject of bodily appearances, I love the little detail that the snake component of Crowley’s eyes now fill his entire eyeball as he maniacally drives through the flames.

I have a suspicion that the size of the snake “irises” (for want of a better word) is reliant on his emotional state, but I don’t feel like I have the patience to go through the show and test the theory. And I don’t know if those little horizontal lines on Crowley’s nose were intentional here or whether that’s just a natural crease in David’s face, but they certainly strengthen the snake resemblance. As a final comment on this scene, we actually hear God telling us that Crowley really is fundamentally different from his peers – he has an imagination. Which is not so different from the idea that Aziraphale is different from his peers because he has free will, a theme that has been presenting itself, with increasing clarity, throughout the series.

Final little note for this section, and it’s about this snippet of epic:

Apparently the most amazing thing about this, according to the local bobby, isn’t the fact that the car is on fire, or that it’s just driven through a wall of fire, or that it’s still moving forward, or even that the person inside it is not only alive, but unharmed and still capable of driving. No, the most amazing thing is that the driver is waving. Gotta love the way us Brits have a way of stating simple facts to display complete amazement.

Right, this section went on for way longer than I thought it was going to so I’m going to cut it short. I was hoping to get as far as the defection of The Them from Adam, but as soon as I started watching that scene I realised I had more to say about it than I thought, so I’m going to let you go for now. As always, questions, comments, discussion – always welcome! See you next time 😊

[rareomens]

Rare Omens Comment Fest 2024 continues! Day 25-27, we’re asking you to leave comments on fanworks that feature: Series 1 + Series 2 Characters!

Tags to search...

Pick 1 character from each list to search!

Series 1 Only:

Adam Young, Brian, Wensleydale, Pepper, Dog, Warlock, Hastur, Ligur, Sandalphon, Anathema Device, Newton Pulsifer, Sergeant Shadwell, Madame Tracy, Death, Pollution, Famine, War, Lucifer/Satan, Agnes Nutter, Witchfinder General Thou-Shalt-Not-Commit-Adultery Pulsifer, Sister Mary Loquacious, Sister Theresa Garrulous, Mother Superior, The Chattering Order of St. Beryl, Lesley the International Express Man, Maud, Arthur Young, Deirdre Young, Harriet Dowling, Thaddeus Dowling, RP Tyler, Mr. Scroggie, Beryl Ormerod, Ron Ormerod, Julia Petley, Giles Baddicombe, Spike, Sally, Adam, Eve, Hell’s Usher, Quartermaster Angel

Series 2 Only:

Nina, Maggie, Muriel, Saraqael, Shax, Furfur, Job, Sitis, Jemima, Keziah, Ennon, Elspeth, Wee Morag, Mr. Dalrymple, Mrs. Henderson, The Ladies of Camelot, Pat the Magician, Mr. Brown, Mrs. Sandwich, Mutt, Mutt’s Spouse, Justine, Mrs. Cheng, Mr. Arnold

Feel free to check out our AO3 collection, Rare_Omens: https://archiveofourown.org/collections/Rare_Omens

[princesssarisa]

Character ask: Ebenezer Scrooge (A Christmas Carol)

No one requested this, but I answered asks for all the other main Christmas Carol characters last year, so it's high time I answered one for the iconic protagonist.

Favorite thing about them: His redemption arc, and how kind, generous, and full of joy he becomes by the end. Also the fact that Dickens breaks the standard rule of "Make the protagonist likable" and depicts a very unpleasant man, yet throws him into situations that make us engage with him even before he becomes likable, and then steadily earns our sympathy for him.

Least favorite thing about them: Well, he's obviously not a good person at the beginning of the story. That's the whole point.

Three things I have in common with them:

*I tend to be less social than many people are.

*I can be greedy and self-absorbed at times, though I try not to be.

*I try to be generous to those in need, as he is by the end.

Three things I don't have in common:

*I'm not an elderly British man.

*I'm not a business owner.

*I've never been a nasty miser.

Favorite line:

"If I could work my will, every idiot who goes about with ‘Merry Christmas’ on his lips, should be boiled with his own pudding, and buried with a stake of holly through his heart."

Explaining to Marley's Ghost why he doesn't believe in him:

“Because a little thing affects them. A slight disorder of the stomach makes them cheats. You may be an undigested bit of beef, a blot of mustard, a crumb of cheese, a fragment of an underdone potato. There’s more of gravy than of grave about you, whatever you are!”

To the Ghost of Christmas Yet to Come:

“Ghost of the Future! I fear you more than any spectre I have seen. But as I know your purpose is to do me good, and as I hope to live to be another man from what I was, I am prepared to bear you company, and do it with a thankful heart. Will you not speak to me?... Lead on! Lead on! The night is waning fast, and it is precious time to me, I know. Lead on, Spirit!

How vow of redemption:

“I will live in the Past, the Present, and the Future! The Spirits of all Three shall strive within me. Oh Jacob Marley! Heaven, and the Christmas Time be praised for this! I say it on my knees, old Jacob; on my knees!”

His giddy joy immediately afterwards:

“I don’t know what to do! I am as light as a feather, I am as happy as an angel, I am as merry as a schoolboy. I am as giddy as a drunken man. A merry Christmas to everybody! A happy New Year to all the world. Hallo here! Whoop! Hallo!”

His prank on Bob Cratchit:

“Now, I’ll tell you what, my friend, I am not going to stand this sort of thing any longer. And therefore... and therefore I am about to raise your salary!”

brOTP: In his past, his sister Fan, his fellow apprentice Dick Wilkins, Fezziwig as a mentor/father figure to him, and Jacob Marley, to whatever extent they were really friends and not just partners. In his future, Bob Cratchit, Tiny Tim, the rest of Cratchit family, his nephew Fred, Fred's wife, and their soon-to-be-born baby.

OTP: Belle in his youth; in the present, none.

nOTP: Any of the ghosts or the Cratchit children.

Random headcanon: He's of Scottish descent. His family's surname was originally the Scottish "Scroggie" (from which Dickens may have derived his name in real life), but they Anglicized it to "Scrooge" when they came to England.

Unpopular opinion: Even though almost every adaptation shows him sharing romantic moments with Belle at Fezziwig's party, in the book I don't think their engagement took place until after his apprenticeship with Fezziwig. In the scene showing Belle with her husband and children on the night Marley died, her youngest child is just a baby, so she was still of childbearing age just 7 years before Scrooge's redemption. This seems to imply that she's much younger than Scrooge. I don't mind this fact; age gaps were common between couples of their generation. But apprentices in that era were usually teenagers, so unless teenage Scrooge started courting Belle when she was 10 or 11 years old, I sincerely doubt they were already sweethearts when he was Fezziwig's apprentice.

Song I associate with them:

Many songs from the many musical adaptations, but chiefly these.

From Mr. Magoo's Christmas Carol:

"Ringle Ringle"

"All Alone in the World"

From the musical Scrooge:

"I Hate People"

"I'll Begin Again"

From The Muppet Christmas Carol:

"Scrooge"

"A Thankful Heart"

From Alan Menken and Lynn Ahrens' A Christmas Carol: The Musical:

"Nothing to Do With Me"

"Yesterday, Tomorrow, and Today/God Bless Us, Every One"

Favorite pictures of them:

These classic illustrations by John Leech:

Sir Seymour Hicks in the 1935 film:

Reginald Owen in the 1938 film (is it true or just a rumor that his wispy tufts of hair inspired the similar feather tufts of Scrooge McDuck?):

Alastair Sim in the 1951 film:

George C. Scott in the 1984 TV film:

Michael Caine in The Muppet Christmas Carol:

[youve-got-the-wrong-shop]

[lorbanery]

You're very welcome, Chong Scroggie! Always happy to support definitely real small business owners by buying my productsd3527231-dba-48b8-ae1c-fdf2f9277c3e at small businesses like 🤨📓

I'm sure that weirdly named file is definitely just an actual pdf of a receipt and not something that will eat my laptop from the inside out!

[dirtyriver]

Comics industry class picture of the 1992

Via Heidi McDonald at The Beat:

Front row (l-r): Jim Shooter, then editor in chief at Valiant; Chuck Rozanski (not doing a very good job of hiding his discomfort with the Marvel suit folks, he says); Richard Pini, publisher of Elfquest; Will Eisner; Mike Richardson, owner/president Dark Horse; Milton Griepp; retailer Bill Liebowitz

Middle row: Denis Kitchen, publisher Kitchen Sink Press; retailer Mike Raub; Bruce Bristow, DC’s marketing director; Mike Friedrich, agent at Star*Reach; John Davis, co-owner at Capital; writer Peter David; I think that’s Mel Thompson, a business analyst whose take in the comics industry was often sought; Mike Hobson (I’m pretty sure) a longtime VP at Marvel; Terry Stewart, then president of Marvel

Back row: Paul Levitz, not sure of his exact title in ‘92 but he ran DC Comics; retailer Gary Colabuono; Tom Flinn , I think he worked at Capital; Allan Caplan of Skybox, a trading card company; Chris Claremont; Mike Martens, then at Capital, later at Dark Horse; retailer Ron Hon; and Shame on me! It’s David Scroggy of Dark Horse!

Color picture posted on Chuck Rozanski's FB.

B&W ID'd picture supplied by John Jackson Miller, as well as the cover of the booklet:

[if-you-fan-a-fire]

"Roadmaking and Mining Pioneers of New Ontario - New Game at Playgrounds," Toronto Star Weekly. August 10, 1912. Page 3. ---- Top row, left to right: MAKING A ROADWAY IN NEW ONTARIO It was such scenes as this that the Rowell touring party saw in New Ontario last week. These sturdy pioneers are doing heroic work in the Northland. A REMARKABLE NEW ONTARIO FREAK Three trees grown together in one on the Montreal River, birch, cedar, and hemlock. TRENCHING A SILVER VEIN IN THE COBALT DISTRICT A typical mining scene in the silver regions visited by the touring Liberal politicians last week. Middle row, left to right: A CHARMING BIT OF NOVA SCOTIAN SCENERY A shady lane of birches off the north-west arm at Halifax, Nova Scotia JUST A LITTLE TOO COOL TO STAY IN LONG A quintet of Fisherman's Island children making for the shore after a brief duck in Lake Ontario. Bottom row, left to right: MAKING A PORTAGE Lifting the canoe out of the water and carrying it in this fashion is easy when you know how.

A NEW GAME, 'VOLLEY BALL,' AT THE CHERRY STREET PLAYGROUND The football is thrown over the elevated tennis net. The two lady instructresses are seen in the two photos. Note how keen the girls are in the lower photograph. Top right: WHY THE BASS SUPPLY IS RUNNING SHORT Three well-known Toronto fishermen and a one-day catch. On the left are W. J. Darby and Geo. E. Scroggie, with a string of forty, and Ed. Mack on the right with a fine showing. MAKING A SAND CASTLE AT WARD'S ISLAND A charming study of child life made by a Star Weekly Photographer.

[mametupa]

[libidomechanica]

Lost in the children

Answered I, for whom the soft ottoman, and of the mortal butcher, barter, which leans, and trust, may yet be light, and when it is no light-winged a box of building with me, sweet creature, to lag behind which fail you I’d pay no attends. That all. What euer auaile. Lost in the children. That taught my heads indifferent far their liege husband, for they had not what were you never settle; mix not waken’d in his braided hands to hear the bloodless Eyes shine where the walked reciting love’s gain, and it’s you have been. Noon, the same euen. Boar, and above yon scroggie glen, we issue of war, if not less.

[wolcichyczas]

07.08.23

Psalm 37:1-13 

(1) Dawidowy. Nie gniewaj się na niegodziwych, Nie zazdrość tym, którzy czynią nieprawość. (2) Bo uschną szybko jak trawa I zwiędną jak zielona murawa. (3) Zaufaj Panu i czyń dobrze, Mieszkaj w kraju i dbaj o wierność! (4) Rozkoszuj się Panem, A da ci, czego życzy sobie serce twoje! (5) Powierz Panu drogę swoją, Zaufaj mu, a On wszystko dobrze uczyni. (6) Wyniesie jak światło sprawiedliwość twoją, A prawo twoje jak słońce w południe. (7) Zdaj się w milczeniu na Pana i złóż w nim nadzieję. Nie gniewaj się na tego, któremu się szczęści, Na człowieka, który knuje złe zamiary! (8) Zaprzestań gniewu i zaniechaj zapalczywości! Nie gniewaj się, gdyż to wiedzie do złego... (9) Bo niegodziwcy będą wytępieni, Ci zaś, którzy pokładają nadzieję w Panu, odziedziczą ziemię. (10) Jeszcze trochę, a nie będzie bezbożnego; Spojrzysz na miejsce jego, a już go nie będzie. (11) Lecz pokorni odziedziczą ziemię I rozkoszować się będą obfitym pokojem. (12) Bezbożny źle myśli o sprawiedliwym I zgrzyta na niego zębami. (13) Ale Pan śmieje się z niego, Bo widzi, że nadchodzi dzień jego.

W tym psalmie, Dawid występuje jako nauczyciel uczący Boży lud, który cierpi, podczas gdy bezbożni prosperują. Jego rady są zarówno pozytyne jak i negatywne: • “Nie gniewaj się” wersety 1a, 7b, 8b: Rzadko spotykane słowo, którego pierwotna forma oznacza, płonąć. Jego gramatyczna forma oznacza, że mamy nie płonąć gniewem [ kiedy martwimy z powodu bezbożnych ludzi]. • “Zaprzestań gniewu”, werset  8a: Dawid dodaje do swojego ostrzeżenia przed gniewem; dosłownie mówiąc: pozwól temu wypaść Ci z rąk, zostaw to w spokoju. • “Zaniechaj zapalczywości”, werset 8: Dawid radzi, żeby stworzyć dystans między mną a moimi wrogami! Zostaw to za sobą, porzuć swój gniew. Teraz, rozważmy pozytywne porady Dawida:  “Zaufaj Panu”, wersety 3a, 5b: “Zaufaj” oznacza poleganie i oczekiwanie z pewnością oparte na Jego wierności.  “czyń dobrze”,werset 3b: Dr. Graham Scroggie mawia, że “Lepiej dla nas jeśli zajmiemy się czynieniem dobra, zamiast całe życie martwić się o tych, którzy czynią zło!”. „Dobrze” zawiera również ptaktyczną pomoc potrzebującym, poprawianie jakości ich życia, wpieranie ich moralnie i służenie im technicznymi zdolnościami.  “Rozkoszuj się Panem”, werset 4: “Rozkoszuj się” oznacza, szukaj, ciesz się przyjemnością bycia pod Bożą opieką; sugeruje jedność z Nim.  “Powierz Panu drogę swoją”, werset 5 “Powierz” oznacza przetoczenie  ciężkiego ciężaru z mojej strony na czyjąś.  “Zdaj się” na Pana, werset 7: “zdanie się” oznacza “bycie cicho, w bezruchu, zaprzestanie wszelkiej aktywności” żebyśmy mogli w ciszy medytować nad Bogiem i Jego ochroną.

Krok Życiowy

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