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Thomas Gray is generally considered the second most important poet of the eighteenth century (following the dominant figure of Alexander Pope ) and the most disappointing. It was generally assumed by friends and readers that he was the most talented poet of his generation, but the relatively small and even reluctantly published body of his works has left generations of scholars puzzling over the reasons for his limited production and meditating on the general reclusiveness and timidity that characterized his life. Samuel Johnson was the first of many critics to put forward the view that Gray spoke in two languages, one public and the other private, and that the private language—that of his best-known and most-loved poem, "Elegy Written in a Country Churchyard " (published in 1751 as An Elegy Wrote in a Country Church Yard )—was too seldom heard. William Wordsworth decided in his preface to Lyrical Ballads (1798), using Gray's "Sonnet on the Death of Richard West" (1775) as his example, that Gray, governed by a false idea of poetic diction, spoke in the wrong language; and Matthew Arnold. in an equally well-known judgment, remarked that the age was wrong for a poetry of high seriousness, that Gray was blighted by his age and never spoke out at all. Such judgments sum up the major critical history of Gray's reception and reputation as a poet. He has always attracted attentive critics precisely because of the extraordinary continuing importance of the "Elegy," which, measured against his other performances, has seemed indisputably superior.
Born in Cornhill on 26 December 1716, Gray was the fifth of twelve children of Philip and Dorothy Antrobus Gray and the only one to survive infancy. His father, a scrivener given to fits of insanity, abused his wife. She left him at one point; but Philip Gray threatened to pursue her and wreak vengeance on her, and she returned to him. From 1725 to 1734 Thomas Gray attended Eton, where he met Richard West and Horace Walpole, son of the powerful Whig minister, Sir Robert Walpole.
In 1734 Gray entered Peterhouse College, Cambridge University. Four years later he left Cambridge without a degree, intending to read law at the Inner Temple in London. Instead, he and Horace Walpole sailed from Dover on 29 March 1739 for a Continental tour. The two quarreled at Reggio, Italy, in May 1741; Gray continued the tour alone, returning to London in September. In November 1741 Gray's father died; Gray's extant letters contain no mention of this event.
Except for his mother, West was the person most dear to Gray; and his death from consumption on 1 June 1742 was a grievous loss to the poet. West died in the year of Gray's greatest productivity, though not all of the work of that year was inspired either by West's death or by Gray's anticipation of it.
West's death did inspire the well-known (largely because of Wordsworth's use of it) "Sonnet on the Death of Richard West," yet it is the shortest and least significant work of the year. The "Ode on the Spring " (1748) owes something to an ode West sent Gray on 5 May, and An Ode on a Distant Prospect of Eton College (1747) may owe something to West's "Ode to Mary Magdelene." The "Hymn to Adversity" (1753) and the unfinished "Hymn to Ignorance" (1768) complete the work of the year, which, together with 1741, may comprise Gray's most critical emotional period.
Gray's poetry is concerned with the rejection of sexual desire. The figure of the poet in his poems is often a lonely, alienated, and marginal one, and various muses or surrogate-mother figures are invoked—in a manner somewhat anticipatory of John Keats 's employment of similar figures—for aid or guidance. The typical "plot" of the four longer poems of 1742 has to do with engaging some figure of desire to repudiate it, as in the "Ode on the Spring," or, as in the Eton College ode, to lament lost innocence. Sometimes, as in the "Hymn to Adversity," a harsh and repressive figure is conjured to rebuke excessive desire and to aid in the formation of a modest and humane fellowship, the transposed and social form of sexual desire. In the "Hymn to Ignorance" a goddess clearly modeled on Pope's Dulness in The Dunciad (1728) is used to rebuke the "I" who longs for the maternal and demonic presence. In different but related ways these four poems enact the poet's quest for his tutelary spirit, for the muse who will preside over the making of poetic and personal identity.
The "Ode on the Spring" was written while West was still alive and is to some extent a response to the ode he sent Gray on 5 May. In West's poem "the tardy May" is asked, as "fairest nymph," to resume her reign, to "Bring all the Graces in [her] train" and preside over a seasonally reviving world. Gray's "Ode on the Spring" was sent to West at just about the time of his death and was returned unopened ("Sent to Fav: not knowing he was then Dead," Gray noted on the manuscript in his commonplace book; Favonius was Gray's affectionate name for West). The ode takes the implicit form of elegy, displacing spring from the context of renewal to that of death, and is consistent with a 27 May 1742 letter to West in which Gray explains that he is the frequent victim of "a white Melancholy, or rather Leucocholy" but is also occasionally host to "another sort, black indeed, which I have now and then felt, that has somewhat in it like Tertullian's rule of faith, Credo quia impossible est [I believe because it is impossible]; for it believes, nay, is sure of every thing that is unlikely, so it be but frightful; and, on the other hand, excludes and shuts its eyes to the most possible hopes." Already characteristic of Gray is the view advocated in the "Ode on the Spring" by a tutelary figure:
The lines preview Gray's appreciation in the "Elegy" of rustic simplicity against the claims of the proud and the great and reveal the inception of a poetic persona that will be adapted and modified during the coming years. The poem therefore offers a model for reading Gray's early poetry, in which the various rejections of desire are the major adventure of the speaker of the poems.
In An Ode on a Distant Prospect of Eton College. which is "about" the return of a disillusioned adult to the site of his schoolboy years, desire is represented by "grateful Science [who] still adores / Her HENRY'S holy Shade" (Henry VI was the founder of the college). The ode's opening implies the persistence of desire within the trope of loss and mourning. Science and Henry are icons of desire and loss that signify the import of the speaker's return to Eton: the apprehension of yearning and loss. What arises from the Etonian landscape are more shades, prefiguring future loss: "Ministers of human fate," Anger, Fear, Shame, images of desire defeated: "Or pineing Love shall waste their youth, / Or Jealousy with rankling tooth. " Father Thames authorizes the speaker's vision; he is a silent confirmatory figure, another version of the tutelary muse.
Muse, Contemplation (in the "Ode on the Spring"), and Father Thames are evoked for the prophetic wisdom they possess. One function of prophecy is to transform desire into "pineing Love" or the "fury Passions." The imagination's habit of personification exposes the debased forms assumed by desire ("Envy wan, and faded Care"), just as the "race of man" in the "Ode on the Spring" is revealed as insect life to "Contemplation's sober eye." Vision always serves to reveal form, and in Gray what is revealed is diminished, repudiated, or forbidden. The strategy of reductive acknowledgment in the "Ode on the Spring" dismisses the dream of desire; the strategy of creating giant spectral forms in the Eton College ode encourages bad dreams, translating desire into the demonic. Northrop Frye describes something similar to this action in his discussion of quest-romance: "Translated into dream terms, the quest-romance is the search of the libido or desiring self for a fulfillment that will deliver it from the anxieties of reality but still contain that reality." Fulfillment may require, as with Gray, that a protective maternal figure displace a threatening female judicial figure; guilt is thereby dissipated in the approval received by the obedient actor who has rejected desire. This summary also describes the "Hymn to Adversity."
Adversity and Virtue are both daughters of Jove; the former is older than and tutor to the latter. Adversity is equipped with "iron scourge and torturing hour" but also has an alternative "form benign," a "milder influence." Virtue needs Adversity "to form her [Virtue's] infant mind"; the function of the tutelary spirit here is to engender pity ("she learn'd to melt at others' woe"). The instruction is absorbed by Virtue (the "rigid lore / With patience many a year she bore"). Virtue, subdued by Adversity, is enabled to recognize grief ("What sorrow was, thou bad'st her know") and is preserved from desire ("Scared at thy frown terrific, fly / Self-pleasing Folly's idle brood, / Wild Laughter, Noise, and thoughtless Joy, / And leave us leisure to be good"). Adversity, implored to "lay thy chast'ning hand" on her "Suppliant's head" and to appear "Not in thy Gorgon terrors clad, / Nor circled with the vengeful band / (As by the Impious thou art seen)," suggests the threatening form of Adversity seen by those who are not "good." Desire is converted into the antithetical form of horror. The speaker who experiences Adversity's "milder influence," her "philosophic Train," undergoes a transformation in which guilt is changed into the generous emotions of love and forgiveness. Adversity here joins Muse, Contemplation, and Thames as figures authorizing the rejection of desire. At the end of the Eton College ode the reader is reminded that the suffering "all are men." At the end of the "Hymn to Adversity" the speaker asks to be taught "to love and to forgive," to be led to "know myself a Man."
Gray's poems indicate a radical sexual distress. In the "Hymn to Adversity" Gray has arrived at the first clear castrative symbolism in the progress of his imagination (though one might argue that the reduction of humanity to insect life in the "Ode on the Spring" is a significant form of sexual loss), the replacement of Virtue by the poet. The threat of castration is transposed into an acceptance of it. The threatening figure of Adversity is pacified but requires a surrender of sexual identity.
In the "Hymn to Ignorance" Gray returns to Cambridge, invoking its "gothic fanes, and antiquated towers" as he had Eton's "distant spires" and "antique towers." Whereas in the Eton College ode "ignorance [small i ] is bliss," in the "Hymn to Ignorance" Ignorance [large I ] is a "soft salutary power." Ignorance is a maternal presence ("Prostrate with filial reverence I adore") possessed of a "peaceful shade"; its "influence breathed from high / Augments the native darkness of the sky." Ignorance is ambivalently represented as undesirable within the terms of desire ("Thrice hath Hyperion rolled his annual race, / Since weeping I forsook thy fond embrace"). The oedipal actors include mother/muse (Ignorance), father (Hyperion), and the returning son/poet, Gray.
On 15 October 1742 Gray returned to Peterhouse as a fellow-commoner to read for a law degree. After 1742 he wrote poetry only sporadically. He received an LL.B. degree in November 1743. He and Walpole were reconciled in 1745, though the friendship was never again quite as intimate.
When Gray returned to writing poetry, he composed two poems that rebuke desire in different ways. Selima, Walpole's cat in "Ode on the Death of a Favourite Cat, Drowned in a Tub of Gold Fishes" (1748), is tempted beyond "lawful prize" into a watery grave. The "Ode on the Death of a Favourite Cat" is a cautionary tale; its purpose is to deaden desire by revealing its effect on the "Presumptuous Maid!" Selima's desire to apprehend "Two angel forms. / The Genii of the stream," is an investment in death. Implicit in the scene of desire are the unattainability of the object and the abandonment of the desiring figure to her fate: "Eight times emerging from the flood / She mew'd to ev'ry watery god." Selima's fate appears in the concluding stanza as if to Contemplation's sober eye. Her plunge into the goldfish bowl is another vain dream of the desiring self. Selima wishes to possess what is taboo; it requires her engagement with a medium in which she cannot survive. Her fate is a variation on the fate of those who would appropriate that which is beyond their proper sphere. The poem might be read as pertinent to Gray's sense of his poetic vocation: his poetic output was small, and his poems were generally short and often unfinished.
In "A Long Story" (1753), composed in 1750, the Peeress whose judgment the poet fears invites him to dinner instead of rebuking him. Brought before her authority the poet disavows himself:
"A Long Story" involves a flight from the figures of desire, the "heroines" who attempt to lure the poet into polite country pleasures, leaving a note ("a spell") on the table. This self-representation points toward the poet of the "Elegy": the poet who is there heard by the hoary-headed swain, "'Muttering his wayward fancies,'" is here "something. heard to mutter, / 'How in the park beneath an old-tree / '(Without design to hurt the butter, / 'Or any malice to the poultry,). '" The old tree of "A Long Story" is the transplanted "nodding beech" of the "Elegy," under which the poet "'His listless length at noontide would. stretch.'" The poet of "A Long Story" is the parodic form of the poet of the "Elegy." The shift in the "Elegy" from "I" to "thee" is prefigured in "A Long Story" in an unidentified voice which suddenly breaks in to rebuke the speaker for his tedium: "Your Hist'ry whither you are spinning? / Can you do nothing but describe?" "A Long Story" is actually a short one (145 lines) of identity mocked, function abused ("Whither are you spinning?"), and voice lost. What here dominates Gray's imagination is a vision of prophecy reduced to absurdity, of the seer as merely a bothersome miscreant
If it were only for the "Elegy" Gray's reputation would endure, for it is surely the finest elegiac poem of the age and one of the half-dozen or so great English elegies. As was usual with Gray the poem's progress was hesitant and delayed (two distinctly different versions of the poem exist), and its publication was imposed on him when the poem was pirated from privately circulated copies and printed by the Magazine of Magazines. Its publication in 1751 places it more than halfway in Gray's poetic career, between the highly productive year of 1742 and the publication of the two Pindaric odes in 1757.
Almost everyone who reads poetry is familiar with the opening of the poem: "The curfew tolls the knell of parting day, / The lowing herd wind slowly o'er the lea, / The plowman homeward plods his weary way, / And leaves the world to darkness and to me." It echoes lines from John Milton and William Shakespeare (and is echoed later by James Beattie and Wordsworth); it reflects a melancholic evening mood that has probably never found better expression. The eye of the speaker moves along the periphery of vision and returns to its center, the churchyard where "The rude Forefathers of the hamlet sleep." As the legacy of day is the night, the legacy of the past is death, an inheritance of mortality bequeathed equally by the rich and by the poor. Everyone awaits the inevitable hour. Within the poem the brooding churchyard stands as an abiding memento mori, a powerful eschatological symbol appropriately heralded by the "droning" beetle, the "mopeing owl," the "yew-tree's shade." Against such an initial vision, as its contrary, are set the emblems of Christian eschatology: the "incense-breathing Morn," "the swallow," "the cock's shrill clarion," "the echoing horn"--none of which shall ever again rouse the slumberers. The vast negative absolute of death informs the poem, and Gray confronts the omnipresent fact of mortality, letting the confrontation arise implicitly from the opposition of the two major symbols within the poem: the chronicle and the grave, the epitaph and the churchyard.
One of the abiding paradoxes of the poem resides in the idea of satisfactory unfulfillment: village-Hampdens; mute, inglorious Miltons; guiltless Cromwells of the rural life. The paradox is spawned by Gray's vision of human life as dominated by the only inevitability it contains, that of death. Before this inevitability the triumphs of man pass into insignificance, for "The paths of glory," like all paths, "lead but to the grave." Against the grave is posed the chronicle or epitaph, and the latter is of considerable complexity in the poem. It develops through various modalities before it emerges finally as the poet's own epitaph, with which the work concludes. The specific manifestations of the chronicle include the "annals of the poor," the "storied urn," the "boast of heraldry," the "animated bust," the "frail memorial." In each case the objects of remembrance are diminished by the qualifying context: the annals of the poor are "short and simple," the boast of heraldry "awaits. th' inevitable hour," the storied urn and animated bust cannot "Back to its mansion call the fleeting breath," the memorial is "frail." Such images bespeak futility. Yet what emerges as truly valuable is human relationship. Gray's reading of epitaphs is a coming-to-know: he did not know these people as they lived; he knows them by the imaginative re-creation of their lives through a meditation on the surviving memorials.
So, too, the reader is given to understand, will the "kindred Spirit" know the narrator through his own epitaph. If in the end everyone is alone, solitude is qualified by shared mortality, and further qualified by the presence of a kindred sensibility. Mortality is not submitted to some scheme of personal salvation or redemption. The "Elegy" is not in this respect a conventional pastoral elegy; it does not provide the consolation of, say, Milton's Lycidas (1637). Gray's poem suggests that the elegist is himself powerless in the face of death, unable to refer it to a religious belief by which it can be made comprehensible. What are justified are the unrealized lives, of which the poet's life is one example. The "Elegy" is perhaps most of all an exercise in the varieties of feeling: the speaker feels for the unhonored dead and for the honored dead; he imagines particular persons for whom he can feel; he employs the pathetic fallacy to feel for the flower "born to blush unseen"; he feels for "mankind"; and through the "kindred Spirit" he feels for himself. The poem is an exercise in sensibility. The darkness in which the narrator stands is the night of mortality illuminated only by varieties of feeling. This common denominator of sympathy, as everything in the poem evidences, is all that binds man to man, and, along with the fact of death that occasions this sympathy, is the single principle of unity within life perceived by the poet.
The inception of "The Progress of Poesy: A Pindaric Ode " followed directly on the publication of the "Elegy." It presents a further, yet concealed, rendering of the self-image found especially at the end of the "Elegy." "The Progress of Poesy" associates the solitary poet with his mother-muse, the female goddess to whom he owes his capacity to perceive "forms" illuminated by "the Muse's ray," a light that is "unborrow'd of the Sun." Ceres ("Ceres' golden reign") embodies the generative power of nature. "Helicon's harmonious springs" are associated with generation ("The laughing flowers. / Drink life and fragrance as they flow"). The lyre is the "Parent of sweet and solemn-breathing airs." These three elements dominate the opening of the poem. The first ternary closes with Aphrodite ("Cytherea's day"), a figure of generative force mingling the union of water and music ("brisk notes in cadence beating"; "arms sublime, that float upon the air"). She is the reemergent Venus of the "Ode on the Spring ," attended, as was Venus in that poem, by a train of celebrants: "O'er her warm cheek, and rising bosom, move / The bloom of young Desire, and purple light of Love." In the "Ode on the Spring," the "rosy-bosom'd Hours, /. Disclose the long-expected flowers, / And wake the purple year!"
The familiar Etonian demons recur in this poem: "Man's feeble race what Ills await, / Labour, and Penury, the racks of Pain." In the second ternary the recognition of loss rises against the figures of desire, opposing them with "Night, and all her sickly dews." Night, a "mighty Mother" of sorts, will hold sway "Till down the eastern cliffs afar / Hyperion's march they spy, and glitt'ring shafts of war." Hyperion is an idealized figure associated through the "eastern cliffs" with Milton's Raphael, and more vaguely with Christ as he disposes half his might against Satan's legions. But the ode relegates his progress to an indefinite future, to an apocalyptic dawn that will "justify the laws of Jove." Hyperion departs from the poem at the close of the first strophe of the second ternary. Thus the defeat of Night, the graveyard goddess whose "Spectres wan, and Birds of boding cry" are the antithesis to the "rosy-crowned Loves" attending Aphrodite, is deferred.
The "Muse" who appears at this point is a variation on the pastoral-maternal female, one who "deigns to hear the savage Youth repeat / In loose numbers wildly sweet / Their feather-cinctured Chiefs, and dusky Loves." She is a "soft salutary power" ("Hymn to Ignorance"), "form benign" ("Hymn to Adversity").
The oedipal fantasy is played out in pastoral surroundings: "In thy green lap was Nature's Darling [Shakespeare] laid, / What time, where lucid Avon Stray'd, / To Him the mighty Mother did unveil / Her aweful face. " The anticipation of unveiling led the voyeur Milton to ride "sublime / Upon the seraph-wings of Extasy, / The secrets of th' Abyss to spy." Yet the laws of Jove are preserved: the primal scene is never viewed. The Hyperionic march is rendered irrelevant by "Such forms, as glitter in the Muse's ray"; these forms that tease Gray's own "infant eyes," bringing him into proximity to Shakespeare, the "immortal Boy." The "orient hues" that dazzled the child Gray were "unborrow'd of the sun"--another rejection of the sublime poetic (Hyperionic) principle. Between oedipal desire (the desire for the "mighty Mother") and the lonely sublime passion of the middle poet there is no adequate middle ground (though Gray hopes to find one). The "distant way" chosen by the poet at the end of the poem is necessitated by the refusal to be the poet of sublime vision (Milton) and by the impossibility of possessing the mother-muse who appears to the child of nature (Shakespeare). Much of the ode is occupied with the scene of desire--Milton's and Shakespeare's--and is thus concerned, however covertly, with the relation between sexual power and poetic vision. Gray's modest announcement at the end of the poem shows a recognition of his distance from the great figures of English literature and from the power with which their visions were informed: he is "Beneath the Good. but far above the Great"--in any event, alone.
"The Bard: A Pindaric Ode " (1757) is a companion piece to "The Progress of Poesy." It presents another identity, a solitary prophet who can more readily justify the laws of Jove than can any agent in the "The Progress of Poesy." At the beginning of the ode he is "Robed in the sable garb of woe," the insignia of his office. At the end he "plung[es] to endless night," another entrance into darkness. The plunge into the abyss seems to be a wish-fulfillment fantasy; the mighty Mother is darkness itself, the unshaped figure of desire. The poet who strikes "the deep sorrows of his lyre" in "The Bard" produces not the "sweet and solemn-breathing airs" of "The Progress of Poesy" but the harmonies of loss and consolation.
The Eton College ode identifies the progress of human life in terms of absolute separation between youth and age. The "Ode on the Pleasure Arising from Vicissitude," written around 1754-1755 and published in 1775, recreates, through the language of kindredness, the law of succession and cycle: "Still, where rosy Pleasure leads, / See a kindred Grief pursue." "Rosy Pleasure" is joined here to an opposite that follows it in an endless alternation. The "blended form" composed by the two figures unifies the figures of desire and authority in what is apparently Gray's version of the marriage of heaven and hell. The principle of authority (and desire) is found in Vicissitude, a figure who imposes an Adversity-like "chastening":
The ode negates its initial figure of desire, "the golden Morn aloft" who
Morn and April give way to tableaux in which the kindred activities of mourning and consolation are enacted: "Smiles on past Misfortune's brow / Soft Reflection's hand can trace; / And o'er the cheek of Sorrow throw / A melancholy grace." The initial act of wooing becomes another sort of engagement, Grief pursuing rosy Pleasure, Comfort approaching Misery. The "blended form" is a sublimation of the sexual ardor between Morn and April, transformed into a depersonalized aesthetic in which "artful strife" and "strength and harmony" displace the seductive Morn who "With vermeil cheek and whisper soft /. woo's the tardy spring." Courtship is metamorphosed into consolation, and Vicissitude becomes another figure like Contemplation or Adversity, under whose aegis desire is eliminated. Vicissitude, unlike Adversity, is a genderless figure, representing no threatening sexual image The ode revisits another place, as Eton is revisited by the disillusioned speaker in An Ode on a Distant Prospect of Eton College or as Gray returns to Cambridge in the "Hymn to Ignorance." Here the return is to the beginning of the "Elegy," to "darkness" and to the landscape over which the "plowman homeward plods his weary way." All of Gray's poems are poems of progress, journeys in which the challenge lies in discovering something other than the circularity of ends that are constituted of beginnings ("And they that creep, and they that fly, / Shall end where they began"). Gray's mother died on 11 March 1753. On 5 March 1756 he moved from Peterhouse College across the street to Pembroke College, reportedly as a consequence of a prank played on him by some students who, knowing of his fear of fire, raised a false alarm. When the master of Peterhouse, Dr. Law, failed to take Gray's complaint about the prank seriously, Gray "migrated" to Pembroke. When the poet laureate, Colley Cibber, died in 1757, Gray was offered the position; but he declined it. In July 1759 he moved to London to study at the British Museum, which had been opened to the public in January. In December 1761 he returned to Cambridge; except for frequent trips to London, other parts of England, Scotland, and Wales, he remained in Cambridge for the rest of his life.
Poems by Mr. Gray (1768) includes two translations from the Norse. "The Fatal Sisters" and "The Descent of Odin" are poems of prophecy. The first is dominated by what Gray in the preface calls "twelve gigantic figures resembling women" whose purpose is to weave the web of futurity and whose way leads through another field of the dead ("As the paths of fate we tread, / Wading thro' th' ensanguin'd field. " The easily identifiable figure of desire in the early verse has been replaced by vast terrifying forms, "Mista black, terrific Maid, / Sangrida. and Hilda ," "Gondula. and Geira ." Such women appeared first as Contemplation or Adversity. They represent the combined identities of muse-mother-death, the unified form of desire and authority toward which Gray's imagination has been traveling.
"The Descent of Odin" concerns Odin's visit to the underworld--the kingdom of Hela, Goddess of Death--to discover his son Balder's fate; he learns from the prophetess that Hoder will murder Balder and that Vali, the son of Odin and Rinda, will avenge the crime. The "prophetic Maid" is revealed as the "Mother of the giant-brood." Odin wakes her with "runic rhyme; / Thrice pronounc'd, in accents dread." The poem with the maid denying prophetic knowledge to any future "enquirer. /. till substantial Night / Has reassum'd her ancient right." The maid's last oracular utterance is a vision of ultimate closure, when "wrap'd in flames, in ruin hurl'd, / Sinks the fabric of the world."
In July 1768 Gray was made professor of modern history at Cambridge, though he never lectured or published on the subject. The most significant personal event of his last years was a brief, intense friendship with a young Swiss student, Karl Victor von Bonstetten. The friendship was apparently complicated by physical desire on Gray's part, though no sexual relation is believed to have occurred between them. In July 1771 Gray became ill while dining at Pembroke College; a week later, on 30 July, he died. In his Souvenirs (1832) Bonstetten reflected on the poet: "Je crois que Gray n'avait jamais aimé, c'était le mot de l'énigme, il en était résulté une misère de coeur qui faisait contraste avec son imagination, ardente et profond qui, au lieu de faire le bonheur de sa vie, n'en était que le tourment" (I think the key to the mystery is that Gray never loved; the result was a poverty of heart contrasting with his ardent and profound imagination, which, instead of comprising the happiness of his life, was only its torment).
Gray remains an important poet in the context of generally disappointing poets in the second half of the eighteenth century. In this sense he is one of a group, including William Collins. James Macpherson, Thomas Chatterton. William Cowper. Christopher Smart. and Joseph and Thomas Warton, who largely failed to provide English poetry with any especially distinctive period identity and whose achievements were shortly to be overshadowed by the emergence in the 1780s and 1790s of Wordsworth, Coleridge, and the quickly succeeding second generation of Romantic writers.
Three aspects of Gray's prose remain of value to modern students of the later eighteenth century. His extensive correspondence reveals his various interests and displays his intelligence and character in ways that the poetry cannot. Gray was an amateur entomologist, an enthusiastic traveler, and a discerning admirer of the sublime in nature. A well-known passage in his correspondence (16 November 1739) describes his journey to the Grande Chartreuse during his Continental tour: "Not a precipice, not a torrent, not a cliff, but is pregnant with religion and poetry. There are certain scenes that would awe an atheist into belief, without the help of other argument. One need not have a very fantastic imagination to see spirits there at noonday. You have death perpetually before your eyes, only so far removed, as to compose the mind without frightening it." His journal of his tour of the English Lakes was published in The Poems of Mr. Gray (1775); it is the work by him that most favorably influenced Wordsworth and is said to be the best of his prose compositions. Finally, Gray proposed a history of English literature which came to little more than some sketches and a few literary essays revealing his interest in meter, rhyme, unity of poetic effect, and older English poets. With the important exception of the correspondence, the prose remains largely unread today and occupies the sort of place in his oeuvre accorded the Latin compositions in prose and verse that he occasionally produced. Much of his career is marked by an unsettling tendency toward the occasional, the random, and the unsustained; his poetry may be the best indication of the difficulties in writing a new public poetry in the age following Alexander Pope.
— Wallace Jackson, Duke University
A commonplace book, in three volumes, at Pembroke College, Cambridge, contains Thomas Gray's transcripts of many of his poems and transcripts of other of Gray's poems made by William Mason after Gray's death.
Thomas Gray is generally considered the second most important poet of the eighteenth century (following the dominant figure of Alexander Pope) and the most disappointing. It was generally assumed by friends and readers that he was the most talented poet of his generation, but the relatively small and even reluctantly published body of his works has left generations of scholars puzzling over the reasons for his limited production and meditating on the general reclusiveness and timidity that characterized his life. Samuel Johnson was the first of many critics to put forward the view that Gray spoke in two languages, one public and the other private, and that the private language—that of his best-known and most-loved poem, "Elegy Written in a Country Churchyard" (published in 1751 as An Elegy Wrote in a Country Church Yard )—was too seldom heard. William Wordsworth decided in his preface to Lyrical Ballads (1798), using Gray's "Sonnet.
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In 2012, the European Commission made the spillover effects of the arts, culture and the creative industries a subject of its agenda for the first time. The European Research Partnership on Cultural and Creative Spillovers was launched in 2014. It aims to evaluate, in a holistic way, cultural and creative spillovers, which is defined as:
"The process by which activities in the arts, culture and creative industries has a subsequent broader impact on places, society or the economy through the overflow of concepts, ideas, skills, knowledge and different types of capital."
The collaborative research process has included partners from fourteen countries and is
composed of national cultural funding agencies, regional cultural development bodies, foundations, universities and organisations operating Europe-wide. Most of the organisations in
the partnership have a role redistributing public funding through a variety of grants and public
subsidies. The partnership came together through a shared desire to demonstrate the value of public funding for arts and culture and to investigate how we could map the value chains between the arts, culture and the creative industries as well as the wider economy and society. The partnership comprises: the Arts Council of England, the Arts Council (Ireland), Creative England, Creative Scotland, the european centre for creative economy (Germany), the European Cultural Foundation (the Netherlands) and the European Creative Business Network (the Netherlands), with involvement of a number of other institutional and academic partners.
In this 2017 follow up report on the study from 2015 the reader will find case-studies on Finland, Italy, Poland and the Netherlands.
Download the full report and the executive summary here.
Read more and join the discussions at the project website: http://ccspillovers.wikispaces.com/

subset: commoncrawl


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3D Printing and Virtual Reality
Check out our 3D printer or to experiment with virtual reality using our VIVE virtual reality system. Open to all ages!
3D Printing:
Drop in to watch our 3D printer in action and learn more about how it works. Those who attend will also be able to sign up to have an item from our pre-selected menu printed for them. No reservation is necessary for the 3D portion of the event.
VIVE and Oculus Go Virtual Reality:
Whether you've experimented with virtual reality systems or not, here is your chance to try out one of our many games. Fly around the planet and visit distant locations with Google Earth; step into a virtual work world with "Job Simulator;" or solve puzzles as you interact with a cool virtual world with "Retne."
Reserve your place by stopping by a reference desk or calling the library at (415) 485-3321
You have the option of signing-up to use the Vive, or Oculus Go virtual reality systems. Which should you choose?
The Oculus Go may be a good choice for those who haven't experienced VR before and want a simple, fun first experience. With the Go you'll be able to turn your head to see 360-degrees around you, but walking towards something will not bring you any closer to it. In contrast, with the Vive you are able to explore the full digital space that you see. However, it may take you a little bit longer to become comfortable using the Vive system.


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The West Virginia Mountain Highlands is more than mountains – it is a tapestry of diverse geographic regions encompassing an eight-county area known as the Potomac Highland.
A visit to the Mountain Highlands is a natural experience! One million acres of National Forest lands await… with every possible opportunity to explore, hike, camp, bike, fish, or just relax in a wooded retreat.
This region comprises a large area that hugs the eastern edge of the state. It's home to the two highest mountains in the state — Spruce Knob and Snowshoe Mountain. Here you'll find clean, beautiful rivers, plus, some of the most unique geographic wonders on the East coast – Seneca Rocks, Canaan Valley, Dolly Sods, and more!
The Mountain Highlands of West Virginia offers hundreds of miles of mountain streams, many stocked and many catch and release. Spring is the perfect time for trout fishing, and especially fly-fishng. In summer discover our 10 state parks and three state forests, many with full event and program agendas. Two commercial caverns are open for tours.
For the history buff, we cater to you as well. Board any one of our six historic trains April through December. Visit rural historic towns and shop for West Virginia made products. Learn our heritage through arts, dance, and song.
Discover our Civil War history. New this year is our regional Civil War trail initiative. West Virginia was the only state born from the conflict of the Civil War and will celebrate her 150th birthday during the national Civil War Sesquicentennial.
There's no better place than the mountains! Call us toll free for our free Travel Guide and Tour Map: 1-877-WVA-MTNS (982-6867)
The West Virginia Mountain Highlands is a member-based, non-profit organization promoting tourism in the Potomac Highland region of West Virginia.


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Between Long Green and San Juan
In January of 1999, Israel Rosas participated in a Church of the Brethren work camp in the Dominican Republic. A two week project in San Juan de la Maguana, working out of the Iglesia de los Hermanos (Church of the Brethren) there, stretched into four (click here for pictures and travelogue of that experience). He returned excited about what the Lord was doing there, and his enthusiasm was contagious. We began informally discussing the possibility of a "sister church" relationship between that congregation and our own.
The next step came in April of 2000, when we received a challenge. Would we be interested in helping to fund another work camp, this one building an addition on the San Juan meetinghouse to help this congregation further its mission? (The previous work camp there rebuilt homes destroyed in a flood). Special offerings were taken and we sent nearly $4,000 through our denomination.
Mission is more than money, however, especially when we intend to be mutual about it. Being "sister churches" means that we are siblings, not parent and child. We, in this country, are blessed with great affluence. In comparison with San Juan, our community is filled with great wealth. A temptation is to allow this disparity to color any relationship. The Brethren in the Dominican Republic are wisely cautious about looking to U.S. Brethren for finances, thus creating a pattern of dependency. In reality, our sisters and brothers in San Juan are also rich - rich in what really matters. They are filled with a zeal for sharing the good news of Jesus Christ, in both word and deed. The Holy Spirit overflows. We have much to learn. (Take the time to read through the established goals and guidelines for a "sister church" relationship with this congregation).
In the journey toward a mutual relationship, the subsequent step was ours. Looking ahead to our denomination's Annual Conference - right here in Baltimore in 2001 - we wondered if we couldn't host the pastor of the San Juan church and his wife, Miguel and Maria Ogando. Would they be interested? Would they be able to stay after conference and meet us, to preach the following Sunday and fellowship with us?
Through Gerald and Rebecca Baile Crouse (Church of the Brethren mission coordinators for the Dominican Republic at that time), we received word that Miguel and Maria "were thrilled to receive (our) invitation and very gratefully accept it." Flight arrangements were quickly made on our end. The Ogandos flew from Santo Domingo to Philadelphia on June 28th. Annual Conference began on June 30th, and ended on July 4th. This was their third Annual Conference. At one point, Miguel was introduced to the whole delegate body, and shared greetings and blessings. "El vive!" he said in closing. "He (Jesus) lives!" They also participated in a couple insight sessions and a daily Bible study group in Spanish.
The following Sunday (July 8th) was, indeed a special worship, receiving the good news from our Dominican brother and sister. For more on that day, visit "Celebrating and Reviving," a webpage on it with pictures. Miguel teaches English at the local high school, but we still needed our own brother Izzy's help in bridging the language barrier. As it turned out, though, in the Holy Spirit we are connected on a much deeper level. In preparation for the time, we learned the Spanish for a few of the songs in our hymnal, such as "Lord, you have come to the lakeshore," so that we were able to praise God in both languages (and make Miguel and Maria feel welcome).
The Ogandos then left from Philadelphia on July 10th, after 13 days which were filled with various opportunities for contact with other Brethren in the area. However, this was only the beginning of a relationship between us. Beyond this point lay the more formal decision to become sister churches, and what that means for both of us. It was our prayer that, as the 2001 Annual Conference theme stated, God will continue to "Revive us again," both the fellowship here in Long Green, and the congregation in San Juan de la Maguana.
visit the Long Green Valley Church page


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Spira Shower
Price: $13,702 - $16,483
The Spira Shower looks more like an art piece than a shower, with a price tag to match. There are six hydromassage whirlpool nozzles (whatever that means) and teakwood construction, with metal accents and a silk curtain for privacy. This shower only has space for one, so Drake may need to splurge for two and ditch the curtains.


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(Humans) cannot discover new oceans unless they have the courage to lose sight of the shore.'
- André Gide
She lives in the very belly of the beast — a place where conspicuous consumption has been raised to a high art. Where "re-creation" is just another product on the market. Where what you wear says who you are. Where... And yet. And yet. Sara Jennings' conscious decision to radically downsize her life — and pursue an activist's role in the resort town where she was born and raised — well... to me it reveals a side of Whistler culture that doesn't get as much respect as it should.
"Whistler made me who I am," insists the community's "first child." "The way my parents brought me up, the influence of their friends, just the way of life in those days — I mean, there's a story for me in every creek, every trail, every neighbourhood in this valley..." She stops. Sighs. "And I realized after being away from Whistler for a while that I really missed it. I missed being surrounded by mountains. I missed the snow. I missed the pedestrian nature of the village..."
Committed. Engaged. Totally convinced that she's on the right path. No question — Sara Jennings isn't looking to anyone else for inspiration. She's strong and smart and stubborn... and she's not doing it for brownie points or to impress her Whistler-born peers. She is simply doing what she believes she has to do. "I can only lead by example," she says. "I can only show by doing it myself..."
But enough dawdling, let's get on with her story. It's now 1994 and the 18-year old has just left Whistler for university. Convinced at first that she wants to be a sports doctor, she understands after a year that medicine isn't for her. Early childhood education, she realizes, is way more aligned with her principles and interests.
"It happened in a matter of hours," she says of her decision to switch career paths. "There was no real struggle; I just suddenly understood that working with kids is what I really wanted to do..."
Sara didn't waste any time. She immediately enrolled at Capilano College, and set about earning a certificate in early-child education. By 1998 she was working in East Vancouver at a day-care based out of a local community centre. "I was working with three to five-year-olds," she says. "Most of the kids were in foster care and all of them were seeing social workers on a regular basis..." She pauses. Takes a long breath. "I really valued that experience, you know. I'd worked with kids in other jobs — in North Vancouver, Whistler — and the kids were OK. They just didn't need me. But these kids — they needed me! They needed to be loved, hugged... cared for." It was the first time, she says, "that my studies in early child education really made a difference..."


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Bunny Michael is a genderqueer interdisciplinary artist who creates dreamy, femme-centric images that examine spirituality, nature, and how both connect to form an ultimate "higher self." Bunny works primarily in photography, video, music, and performance using their own image to deliver a message of transcendent self-discovery, encouraging viewers and other artists to connect to the non-corporeal aspect of themselves. As an art form Bunny utilizes self-portraiture, doubling their image to fashion parables that examine the relationship between the masculine and feminine, the body and the soul. For example, their music video for their cover of Daddy Yankee's "Gasolina" displayed two of Bunny's personas dancing and floating through a pastel, sensual, otherworldly reality. Recently they have been creating memes that exist on social media platforms that utilize their dual personas, making cheeky commentary on the avatar as higher self. Another persona they've been exploring is called "Khum Princess," an angel/priestess who creates her own, psychologically charged songs separate from Bunny's other music. Themes that tie together all of Bunny's works regardless of medium are vulnerability, spirituality, sexuality, feminine energy, self-image making, and transcending worldly restraints such as gender and capitalism (source: Posture Mag. Click posturemag.com to read an interview with Bunny Michael).
CHECK OUT BUNNY MICHAEL'S INSTAGRAM ACCOUNT FOR MORE ETHERIC DOUBLES: @bunnymichael
This entry was written by Art, Dematerialization, Emancipation, Gender, Persona, Political glam, Queer, transcendence. Leave a comment or view the discussion at the permalink., posted on March 28, 2017 at 12:28 pm, filed under
"White Privilege: Unpacking the Invisible Knapsack" is published in 1989 in Peace and Freedom Magazine (a publication of the Women's International League for Peace and Freedom). The text is written by American feminist and anti-racism activist Peggy McIntosh. She wanted to identify the daily effects of the white privilege in her life. She states: " I have come to see white privilege as an invisible package of unearned assets that I can count on cashing in each day, but about which I was "meant" to remain oblivious. White privilege is like an invisible weightless knapsack of special provisions, maps, passports, codebooks, visas, clothes, tools and blank checks."
Even though 1989 seems a long time ago, the "Invisible Knapsack" is still very much present and alive in Western Society. Anno 2017 there is still a lot of healing needed of white people's blindspots for this deep rooted inequality.
The discussion about #WhitePrivilege seems to have more attention again for the general public. Putting an end to white privilege is part of the radical change that mankind needs to make. It's an important change in the many other changes mankind needs to make. Everything seems to be deteriorating – from ecology to economy. The ruling elites are dysfunctional, and getting more dysfunctional day by day. We need to make an end of these live degrading systems and we have to start with ourselves. We have to wake up. It's time to speak hard truths with love.
Here you can read more background information about the publication and Peggy McIntosh's thoughts behind it.
In this video Paul Mooney Explains what most whites just don't get about racism.
Here you can see Wit Is Ook Een Kleur, a recently launched Dutch documentary about the presence of white privilege in The Netherlands.
Click here for very simple but impressive 47 seconds video about white privilege.
Special thanks to Jasper Griepink who tipped us about Unpacking the Invisible Knapsack.
This entry was written by Building a Win-Win World, Emancipation, transcendence, Various. Leave a comment or view the discussion at the permalink., posted on February 1, 2017 at 1:28 pm, filed under
Climate Guardians is an artistic political act by ClimActs, an Australian theater group. Climate Angels are a group of engaged women, dressed in white with enormous wings, creating breathtaking climate protest. Their use of the angel iconography highlights the vital role of guardianship of our world's precious natural resources. The angelic activists appear at major rallies, backdropping or intercepting political events, and bringing a theatrical and angelic presence to public demonstrations as well as non-violent direct actions to support demands for climate justice.
Click here to visit their website.
This entry was written by Building a Win-Win World, Eco funk, Eco Warriors, Emancipation, Political glam, Sustainability, transcendence. Leave a comment or view the discussion at the permalink., posted on January 19, 2017 at 8:39 am, filed under
Nature's paintings preserved in stone
Pietra paesina, also called 'landscape stone', 'ruin stone', 'ruiniform marble' and 'Florentine marble', is collected for centuries. It's a kind of limestone of which the natural veins of the rock have arranged themselves in shapes of city skylines, landscapes and ruins. The limestone needs to be cut into slabs and polished before it will reveal it's mysterious paintings.
This entry was written by Eco funk, Natural, Other ecstatics, Prints and Patterns, transcendence, Visual ecstasy. Leave a comment or view the discussion at the permalink., posted on October 5, 2016 at 3:59 pm, filed under
Meet Marisa Paryasto, yogini/programmer and ownder of the Instramgram account CryptocodeCG. These are the words she used to introduce herself on her Instagram:
odd / encrypted / electrical eng / asymmetric / jazz / selftaught-yogini / a glitch / rebel antidote / procodecg / yogacg / scarrymo / captain of a spaceship
Yhea.. What to add to that?? Ok… just some background information of some fabulous things she does:
Marisa lives in West Java, Indonesia. Besides the self-initiated yoga classes she gives, she created ProCodeCG, a programming community that organize workshops in order to introduce to children all the basic knowledge to start programming. Marisa describes her yoga practice as "Freestyle and a little bit rebel but inspired by Ashtanga Vinyasa". Check out the selection we made of her freestyle powerrrr:
This entry was written by Lifestyle, Subculture, transcendence. Leave a comment or view the discussion at the permalink., posted on April 29, 2016 at 1:57 pm, filed under
#IntergalacticPride – A peak into the daily life of Liara & Jane <3
A sweet and crispy visual inspiration for the importance of freedom of choice in order to find real love.
Images by N7-CMDR
This entry was written by digital craft, Emancipation, Gender, Lifestyle, Queer, transcendence, XXX. Leave a comment or view the discussion at the permalink., posted on February 10, 2016 at 11:08 am, filed under
Currently, in The Netherlands, it's the time of the national festival of St Nicholas. It's a very old and populair Dutch tradition. Already since more then 500 years St Nicholas is celebrated as a family festivity with focus on the joy of the children. St Nicholas is a wise old saint who is a friend of everyone, especially of the children. He has a team of cheerful servants, they're called Black Pete. It's very possible that, people from far outside the Netherlands, have already heard of them because that's where things start to be weird… Black Pete is generally played by a white person with a black painted face, red painted lips, topped with a black curly wig. Yes this basically blackface make-up, and gives the racist impression of expressing a caricature of a black person.
Even though it might be hard to understand for people outside the Netherlands, but St Nicholas festival is not meant to be racist. All Dutch people love Black Pete and the children see them as their great friend. Yet, in stark contrast with the overall joy of the folkloric tradition, the Black Pete persona brings a lot of controversy and debate in the country. Watch this video for more insights.
The supporters of Black Pete, who don't see the figure as racist, want to honour the Dutch folkloric festival the way it is. For them, Black Pete is an important part of Dutch culture and needs to be honoured. In the contrary, you have people that feel hurt and offended by Black Pete. They find it a racist figure with obvious connotations with the Dutch slave trade. The Black Pete opponents want to keep celebrating St Nicholas but with an updated version of Black Pete, free from its racist features.
Protest voices, especially from Dutch people with a Surinam and Antillean background, raised in the early 80s. Despite their request for a more respectful 'Pete', not much changed. Understandably, since the last couple of years the presence and loudness of the anti-Black-Pete voice is increasing. We as a half Dutch artist duo, believe that the wish to update Black Pete is very rightful, better said… crucial. To be frank, we're ashamed for the Black Pete figure as a representative of Dutch culture.
To celebrate positive change, and to exprebs the excitement that new choices and new customs can bring, we made some sketch collages of contemporary Dream Pete's. With this blog post we want to express our position in the Black Pete debate (we actually really can't believe that this debate is still going on!) and share our strong wish that Black Pete gets a gracious metamorphose that is joyous for everyone, and evidently not hurtful for people with a different background.
Happy Sint Nicholas celebration to ALL people of The Netherlands xxxx
This entry was written by Amsterdam, Folk, Persona, Political glam, transcendence, Trending. Leave a comment or view the discussion at the permalink., posted on December 3, 2015 at 11:53 pm, filed under
Let's talk sex. But not the omnipresent kind of sex that we're getting bombarded with every day. Actually, in this column we would like to pledge that sex deserves even more of our attention then where it's currently screaming for. Though, a different kind of attention, one with an introspective quality.
In our sexuality we express ourselves, our emotions, passions, secret fantasies, playfulness and our most intimate desires. You don't need to be a freudian to recognize that many of our feelings and emotions about ourselves and our relationships are erotic at their core. Sex is one of our most interesting actions that we can play with. Unfortunately for many of us, despite or thanks to today's hypersexual society, our erotic desires are expressed and satisfied at a very basic level. While sex can be a thrill that helps us dissolve our inhibitions and free us from psychological, spiritual and cultural blockades.
That's the kind of sexual power we're going to address in this column, this time especially written for ourselves and for our sisters. Today we, and our fellow Western women, have the freedom to express our sexuality very openly. Yet, it's very obvious that there's still a lot of work to do, a.o. think about the task of dismantling the millstone of the ultra close-minded, unrealistic female beauty ideal that is omnipresent in our lives.
But we want to address a more fun topic, a particular phenomena of female sexuality which is getting ignored in this sexual evolution: the wild, emotional messy and untamed female fountain that we all bare inside. Yes we want to address women's potential to ejaculate repeatedly, without the loss of sexual performance or desire. This wonder almost doesn't play any role in our collective sexual consciousness.
Why, in 2015, female fountains, a.k.a. squirting, are still a semi-mythical, controversial topic? After all, squirting is a natural option that far most of our female bodies are capable of. Though, many of us have not yet explored squirting or are skeptical about it. Some of us don't even know it exists. Many of us regard squirting as a supreme male fantasy, an urban myth or as a fabrication by the porn industry.
Why female ejaculation, except of being one category amongst a jillion other porn categories, is being ignored in our sexy modern lives? While female fountains have been around for ever. Female fluids were getting honored in temples as sacred erotic waters. Our ancient female ancestors let their lotus nectar flow fiercely and us, modern emancipated women, collectively 'forgot' about our sprinkling powers.
In the West, phenomena must be hypothesized before they can be accepted, and female ejaculation still can't be totally explained. Apparently women's sexual anatomy still keeps many mysteries for modern science. Scientists still don't agree where the hot liquid is coming from, hence the controversy. But since when quarrelling scientist have access to our erotic experiments between the sheets?
There must be something else stopping us to soak ourselves and our lovers in our hot lady juice. Why is squirting so controversial? Are untamed female fountains a bad fit to the current conformity of female stereotypes and sexiness?
During love making, is the media's image of sex pre-occupying us, making us worry about our visual performance? Feelings of discomfort with our bodies block sexual energy. In popular culture, natural phenomenas like sweat and body hair are deleted. In real life, natural sweat, sounds and fluids can distract us and cause mental barriers to let our ejaculate flow.
Is it the current ambiance of our sex-driven popular culture where there is lots of sex but little emotion? Because female fountains are very emotional, they spring from a deep level of intimacy and an intense state of arousal. Intimacy with a complete surrender to pleasure, without inhibition, will stimulate a woman and push her over the wet edge. Openness for what may come, self confidence, long during stimulation, intense arousal and direct G-spot stimulation are the key elements for gooshy sex. Here you can find a guide to female ejaculation.
A note for the numerous modern lovers who are still mistaken female fountains with urine: Female ejaculate is not pee, it's a fluid produced by the Skene's gland. Some things take time to sink, centuries B.C., the ancient Greek scientists Hippocrates and Aristoteles, already revealed that female ejaculation is not urine. More of these clever facts about Female fountains you can find in the book written by squiring expert Deborah Sundah: 'Female Ejaculation & The G-spot'.
Since the beginning of the 80s, Sundahl taught many women how to ejaculate. In her sex bible she describes how women are traditionally not encouraged to let go, either emotionally nor physically. She states "to be able to release our juices we have to let our emotions flow in order to, physically and mentally, push ourself over the edge of ecstasy". She believes learning how to ejaculate is liberating in any area of life.
Sundahl's also describes the importance of the G-spot, as the physical center of women's erotic desire. She stimulates her readers to become aware of this organ and, in all details, explains how to activate ones own G-spot.
"The G-spot is not about mind-blowing orgasms, though they are it's luscious by-product. Rather, as we learned from sexologists, G-spot awakening is about discovering that one's erotic body has infinite capacity to express emotions, love and intimacy. Learning the G-spot's secrets is more about awareness than about technique, more about process than about goals, more about relaxation and nourishing oneself than adding another item to one's to-do list."
Female ejaculation should never become the next dogma imposed on women. Certainly women don't need to squirt in order to have an amazing sex life. It's something very personal and depending on your sexual flavor. Though, only already knowing that you bear an inner wet wild women who's able to gush all over the place, is empowering. Or is gushing all over the place not lady like?
Dogmas and stereotypes kill passions. Happily we are growing as people, our culture is getting more and more open minded. Gladly the spectrum of sexuality and gender is opening. New gender roles are blurring the lines of whats considered to be feminine and masculine. Mainstreaming the feminine, strong, wild and messy ejaculations can be an affirmation of sexual liberation and gender equality. Breaking down the female ejaculation taboo is a splashing addition to achieve non-binary gender diversity.
No matter what our sex is, our biological characteristics have anyway much more in common than they are different. Yes ladies, and gentlemen, the addition of more fluidity in our sexuality will be good for all of our genderless souls.
This entry was written by Emancipation, Gender, Natural, Political glam, transcendence, XXX. Leave a comment or view the discussion at the permalink., posted on October 16, 2015 at 11:31 am, filed under
This entry was written by Dematerialization, digital craft, Folk, Internet, transcendence. Leave a comment or view the discussion at the permalink., posted on September 22, 2015 at 8:49 am, filed under
Thank you Tony Bomboni for sharing your method with us!
This entry was written by Dematerialization, Gender, Health freaks, Lifestyle, Natural, Persona, transcendence. Leave a comment or view the discussion at the permalink., posted on March 13, 2015 at 2:58 pm, filed under
This entry was written by Creatures, digital craft, Fashion, Glam Chaos, Persona, stars, transcendence, Uncategorized. Leave a comment or view the discussion at the permalink., posted on February 17, 2015 at 10:49 am, filed under
While crystal browsing we found these timeless VS ephemeral size references on www.elegantcyrstals.com
This entry was written by Natural, transcendence, Various. Leave a comment or view the discussion at the permalink., posted on December 4, 2014 at 7:35 pm, filed under


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Modern wind turbines use complex, cascaded control loops to efficiently control the installation. An important sub-system here is the control system for the rotor blade position.
The compact control systems from Lenord + Bauer have been proven in this demanding application over the last 15 years. They feature a compact design, a wide range of interfaces, and are particularly suited for the temperature and environmental conditions in the nacelles. They are used both for condition monitoring and for the control of the blade angle.
Control system GEL 8251
Lenord, Bauer & Co. GmbH
Dohlenstrasse 32
46145 Oberhausen
Phone +49 208 9963-0
Fax +49 208 676292
Email email@example.com


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Written by Wisconsin Lutheran College student Tyler Wood, who is studying in Italy during J Term with WLC classmates and Dr. Martin Moldenhauer, Associate Professor of English.
Buon Giorno! On Thursday, we adventured through three very interesting places right here in Orvieto. The first was the Orvieto Underground. This is a system of 1,200 caves that run underneath the city. The caves were in existence before medieval times. We visited two caves, number 536 and number 6. The first one was once used for the production of olive oil as well as excavation of materials for buildings, such as houses. The second cave was used as housing for homing pigeons. There was a system carved into the stone that would allow water to run in for them and the pigeons would leave the cave to find food, however they would always return home. They lived in small holes that were dug into walls of the cave. The two caves were used mostly during medieval times.
The second site we visited was the Necropoli del Crocifisso del Tufo, an ancient burial ground of the Etruscan people. The Etruscans lived in the 6th century BC, approximately 2,500 years ago. The system of graves was truly incredible. They are all empty now, so we were able to take a look inside of some of the large, stone structures. They were all taller than any of us, and to enter, there were steps down into the tombs. The tops of the structures are now covered with grass and plants. We also saw many stone tablets that were used as doors to seal the tombs. As Christians, we try to imagine back to the time of Jesus. These tombs were created hundreds of years before Jesus was even born. Seeing these graves was an amazing experience.
The last site we visited was Pozzo della Cava, another series of caves of Orvieto. Because of the Epiphany season, there were several scenes from Jesus' birth set up throughout the caves, including Mary and Joseph with Baby Jesus, the Magi bringing gifts to Jesus, and Jesus being presented after birth. It was interesting to see these stories that we have been learning for most of our lives depicted this way down in a cave.
All three of these sites gave us a great perspective on the history of this town that we are living in for these two weeks. Personally, it has given me a better understanding of Orvieto and the culture of the town. We look forward to sharing much more from this trip including days in Rome, Assisi, and many more in Orvieto. Ciao!


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Beer Before Whiskey
All photos by Keith Allison
In oversimplified terms, whiskey is distilled beer. So it makes sense that a number of new distilleries have been started by people with brewing experience. In New York City, there are several craft brewing success stories but none on quite the scale as Brooklyn Brewery and certainly few others whose origin story includes war zones, forklift jacking, and Mafia strongmen. The brewery, which sits in the heart of what was formerly a burnt-out and derelict neighborhood known as Williamsburg, opened in 1987 after the borough had been devoid of breweries for a decade. At one time, Brooklyn was home to no fewer than 48 breweries, but over the years, that number dwindled. By 1976, there were none.
While the New York brewing industry was busy collapsing with the rest of the city, a foreign correspondent by the name of Steve Hindy was busy covering minor international news like the Iranian Revolution and the assassination of Egyptian president Anwar Sadat. By the time he was getting taken hostage during the Lebanese civil war, a slightly safer job in New York (slightly -- this was New York during the 80s, after all) looked very appealing. Because home brewing (and distilling) flourishes in places where alcohol is illegal, Hindy became interested in making his own beer while in Saudi Arabia. Once in New York, he continues to experiment with home brewing, serving his efforts to friend and neighbors. One of those neighbors was banker Tom Potter. And over those home brews, the two of them began to develop a scheme that became Brooklyn Brewery.
The story of how Brooklyn brewery came to be is told in casual but detailed style, should one chose to tour their Williamsburg facility. And why would one not choose to do that? It's free, and there's a beer hall attached to it! The once shady location now sits across from a posh boutique hotel and just up the street from Smorgasburg, a gathering of some of the city's most in-demand restaurants and food trucks. Tours of the former matzo factory are free (sadly, beer is not) and attract a large but not unmanageable crowd containing tourists, New York locals, and beer enthusiasts. While you sniff hops and grains amid the fermenters, you'll hear the story of how the brewery came to be, including the multiple armed robberies they endured, the theft and thrilling recovery of their only forklift, how they sort-of conned Milton Glaser (creator of the I Love New York logo) into designing their logo, and the day a group of well-dressed "union representatives" dropped by to politely suggest that the brewery might want to find some creative ways to funnel more money to a certain local organization.
The tour doesn't take long, and while there are no free tastings, there is the cavernous beer hall attached to the brewery, serving up Brooklyn Brewery staples, special editions, and every now and then something you can only get there. Brooklyn Brewery is now one of the most successful independent breweries in the country. It's a big, rowdy experience but a lot of fun. You won't walk away having had a nerdy one-on-one with brewmaster Garrett Oliver (most of the brewing actually takes
place in Utica, though a current expansion of the Brooklyn facility looks to expand it to handing half of what's done), but you will get a good
history of the brewery and a lot of great energy from the people.
Ten minutes later, you can be at the whiskey that came after the beer.
In 2012, Tom Potter launched The New York Distilling Company just a stone's throw away from the brewery, in McCarren Park. Though nearby, the distillery seems a world away from the controlled chaos of Brooklyn Brewery. It's smaller and quieter, and where the brewery has a rowdy beer hall attached to it, New York Distilling Company is home to The Shanty, a small but expertly
run bar that serves up fantastic cocktails and occasional live jazz. When I walked in hoping for a tour, co-founder Allen Katz was hanging out at the bar and took us in the back to take a look at the converted warehouse that is home to the company's stills and barrels. Where Brooklyn Brewery sees hundreds of people taking a tour on any given day, there were seven us at New York Distilling -- and two of those people were there with me.
New York Distilling is "not a craft distillery," insisted Katz on our tour. "We're a boutique distillery. To say we're craft means we think the big distillers aren't, and that's just not true." It's a refreshing attitude, to acknowledge how good at their job the major distilleries are, and how much of even the largest distilling operations is hand-done and "craft." What New York Distilling wants to do isn't to duke it out with the big companies. rather, they want to find something the big companies don't do but for which there might be an audience. The distillery's first two products were both gins. Perry's Tot is a "navy strength" gin, named for Commandant Matthew Perry and "navy strength" meaning 57% ABV, the proof at which gunpowder might still be fired should the gin be spilled on it. Dorothy Parker American Gin, named for the Algonquin Round Table regular, uses an unusual blend of botanicals, including elderberries, citrus, cinnamon, and hibiscus. Their newest product, Chief Gowanus New-Netherland Gin, is a collaboration with local spirits historian and bartender David Wondrich. It's another reach back into history, a "Holland gin" where rye whiskey is returned to a pot still with juniper and hops then aged for three months in an oak barrel.
Eh, OK. Gin is all well and good, but I'm a whiskey gent myself. So what about NY Distilling's rye whiskey? Fortunately and unfortunately, they are taking their time with it. Full-size barrels, actual aging -- it's going to be sometime in 2014, at least, before we get to sample that one (though an unaged version of the rye they're distilling is used to make Chief Gowanus).
Until then, you'll just have to deal with a free tour and tasting of the gins. Rough, I know.
79 North 11th Street, Brooklyn
Tel: 718 486 7422
New York Distilling/The Shanty
79 Richardson St., Brooklyn
Mon 6pm-12am; Tue–Fri 6pm-2am; Sat 3pm-2am; Sun 3pm-12am
Tel: 718 878 3579


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Savory Breakfast Nachos Made With Gluten-Free Waffle Wedges
Experts argue about whether breakfast is the most important meal of the day, but I think many of us can agree that it's definitely the most delicious. My younger kids seem to think there are 3 meals: Breakfast, second breakfast, and third breakfast. These 3 meals are sandwiched between approximately 7,898,4654,241,857 daily snack requests, which is why we have a Costco membership.
I made a batch of these savory breakfast nachos because
I needed to clean out the half-eaten packs of waffles in my freezer it's Taco Tuesday. They're an excellent option for meals or snacks and a fun alternative to traditional nachos. You can make the entire recipe in less than 15 minutes, and that's including the time it takes to prepare a batch of bacon.
If 15 minutes seems like a huge time investment when you're half asleep, save time by making your bacon the night before. It tastes best fresh from the oven or skillet, but there's no wrong way to eat bacon.
Make your bacon first if you're not preparing it the night before. I like to pop mine in the oven because it frees up space on my stove.
While your bacon sizzles, saute some onions and jalapeno slices over medium-high heat in a skillet drizzled with olive oil.
Prepare scrambled eggs in a second skillet. Substitute scrambled tofu if you're vegan or have an egg allergy.
Toast 4 waffles until golden brown. Cut each waffle into 4 triangles.
Cover your toasted waffle wedges with scrambled eggs, crumbled bacon, onions, jalapeno wedges, shredded cheddar, and chopped cilantro.
Here's what a single waffle nacho looks like:
Here's a close-up of the pile of breakfast nachos:
You can serve your breakfast nachos like this or jazz them up with avocado slices and fresh salsa.
See that lovely tablecloth? I got that at Target for $5, and so far none of my kids have destroyed it.
Grab a waffle wedge from your pile of breakfast nachos and chow down.
This recipe for breakfast nachos made with waffle wedges is super simple. Seriously, you can't screw this up. If you don't like all of the ingredients used in this gluten-free breakfast recipe, you've got options.
Topping Ideas for Breakfast Nachos
- crumbled sausage
- shredded chicken or turkey
- ham chunks
- black beans
- sauteed mushrooms
- coarsely chopped fried eggs
- scrambled egg whites
- scrambled tofu
- fresh tomato chunks
- green onions
- sour cream
- hot sauce
- green chiles
- lime juice
You can also swap the shredded cheese for melted cream cheese or replace the waffle wedges with pancake chunks. Keep in mind pancakes won't support the weight of heavy nacho toppings as well as waffles do.
Ready to swap cereal and toaster pastries for these savory breakfast nachos?
Here's my printable, Pinnable recipe for savory breakfast nachos made with waffle wedges:
|Prep Time
|2 to 4 people
|7 minutes
|Cook Time
|12 minutes
Creamy avocado wedges, sharp cheddar, crispy bacon, and fluffy eggs are the highlights of these savory breakfast nachos.
- 4 gluten-free waffles, toasted and cut in triangles can sub regular waffles
- 4 large eggs, scrambled
- 6 slices bacon, cooked and crumbled
- 1 jalapeno peppers, deseeded and sliced
- 1 small yellow onion, chopped
- 1/8 cup fresh cilantro leaves, chopped*
- 1 tablespoon olive oil
- 1/2 avocado, sliced
- 2 tablespoons salsa
- Salt and pepper, to taste
- Prepare bacon using your preferred method. Let cool, then crumble into chunks.
- Scramble eggs using your preferred method. If you've never scrambled eggs, you can whip up a basic batch by beating your eggs in a bowl with a dash of milk (non-dairy milk is fine), salt, and pepper, then pouring them into a skillet drizzled with olive oil. Heat your eggs for 3 to 5 minutes over medium heat.
- Saute onions and jalapenos in a skillet over medium-high heat for about 5 minutes.
- Toast 4 waffles until golden brown and semi crispy. Cut each waffle into 4 triangles.
- Top waffle wedges with scrambled eggs, shredded cheese, crumbled bacon, jalapenos, onions, cilantro, avocado slices, and fresh salsa.


text:
Giannini, T.; Lorenzetti, D.; Tommasi, E.; Nisini, B.; de Benedettini, M.; Barlow, M. J.; Clegg, P. E.; Cohen, M.; Liseau, R.; Molinari, S.; Palla, F.; Pezzuto, S.; Saraceno, P.; Smith, H. A.; Spinoglio, L.; Strafella, F. and White, G. J.
PDF (Version of Record)
- Requires a PDF viewer such as GSview, Xpdf or Adobe Acrobat Reader
Download (655kB)
|Google Scholar:
|Look up in Google Scholar
We present the first ISO-LWS observations of the molecular FIR lines in 3 out of a sample of 11 Herbig Ae/Be stars (HAEBE), namely IRAS12496-7650, RCrA and LkHα234. High-J pure rotational CO lines (from Jup = 14 to Jup = 19) have been observed in all the spectra, while two (at 79 μm and 84 μm) and three OH lines (at 71, 79 and 84 μm) have been detected in LkHα234 and RCrA, respectively. For all the sources the molecular emission has been consistently fitted with a Large Velocity Gradient (LVG) model and results as originated in a warm (T ≥ 200 K) and dense (nH2 ≥ 105 cm-3) gas. By comparing the observed cooling ratios with models predictions, we find that the FUV radiation is the most probable responsible for line excitation. Shock mechanism contributions can be reasonably ruled out, especially because of the absence in the spectra of any water vapour line, in contrast with the predictions on the molecular emission coming from warm shocked environments.
|Item Type:
|Conference or Workshop Item
|Copyright Holders:
|1999 European Space Agency
|Extra Information:
|Proceedings of the Conference "The Universe as seen by ISO"
Paris, France, 20-23 October, 1998
ESA SP-427 March 1999
|circumstellar matter; pre-main sequece (Ae/Be); infrared lines; infrared sources
|Academic Unit/School:
|Faculty of Science, Technology, Engineering and Mathematics (STEM) > Physical Sciences
Faculty of Science, Technology, Engineering and Mathematics (STEM)
|Item ID:
|Depositing User:
|G. J. White
|Date Deposited:
|03 May 2012 15:29
|Last Modified:
|12 Dec 2018 19:47
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text:
Download Free Embroidery And Vector Designs
Welcome to DigitEMB freebies page!
Here you can download so many machine embroidery designs and vector designs and the best thing is that they all are free with multiple sizes and file formats, so you can choose any of your desire vector and embroidery designs below. And your comments and suggestions will be highly appreciated.


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FREE Songbook from Debbie and Friends
December 2 2012
Hi Everyone,
In the spirit of giving and making music together, I'd like to offer you a free copy of the sheet music to all 11 Debbie and Friends songs from our first CD, Story Songs and Sing Alongs. Please download the PDF using the widget below.
The songbook contains chords, lyrics and the melodies for our songs, and lots of fun coloring pages.
DebbieFiled under Children's Music, Debbie and Friends, Family Activities, Music, Music Education, lyrics |


text:
The official Bicester Hockey Club app
RSS Feeds are an easy way to keep up-to-date with the Bicester Hockey Club news and match reports. For more information on RSS feeds and how to use them read this article by the BBC
Churchill Road Bicester Oxfordshire OX26 4RS View with Google Maps
This website is part of the Pitchero Hockey network. Create your own free Hockey club website with Pitchero.
Digital advertising by Minute Media
© Pitch Hero Ltd 2008-2019
Pitch Hero Ltd Registered in ENGLAND | WF3 1DR | Company Number - 636 1033


text:
The Fedora Games spin offers a perfect showcase of the best games available in Fedora. If you enjoyed this classic and would like to see other cool games from this amazing series then why not take the time to explore the HAG Pokémon archives ! King Gumball the magic gumball machine has brought Joe's toys to life and they're racing across his kitchen worktops, dining table and games room! He'll help you set up your game play and provide you with your first Pokémon to get the ball rolling.
Some of these are computer simulations while others are simple designs for play and debriefing. Also check out exciting the Best Free Online Games and interesting good free online RPG games blogs I write. You can play the maximum number of cricket shots including the famous Dil-scoop, the Helicopter shot and the Uper-Cut!
These games and others, as they require reflexes and coordination, are generally performed more poorly by intoxicated persons but are unlikely to result in injury because of this; as such the games are popular as drinking games In addition, dedicated drinking games such as quarters and beer pong also involve physical coordination and are popular for similar reasons.
Business games can take a variety of forms, from interactive board games to interactive games involving different props (balls, ropes, hoops, etc.) and different kinds of activities. We work closely together with game developers and our in-house game studio to always bring you the latest free online games. Creating Common Ground is a discussion of how to get started with children who are not yet talking and often move away, ignore you, or protest when you try to play. Games such as hide-and-seek or tag do not utilise any obvious tool; rather, their interactivity is defined by the environment. For more information on Xbox 360 accessories and Kinect, and games requiring those accessories, are not compatible with Xbox One consoles. I forgot to mention that playing in the dirt or doing anything for hours outside is a lesson in biology.
It's true, Pokémon3D does remind me of Minecraft because of the cool pixelated style but that is tpart of the charm of it. You can look around freely like all 3D games but just like real, official Pokemon games you can only move about straight forward, straight back, straight to the sides.Tags: games, online
Theme Design & Developed By Buywptemplate


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Overview: This tutorial covers installing a Windows XP storage driver by using the DOS/TBOS version of
TBOSDT from a bootable USB flash drive containing all files required to install the driver. The USB drive boots using TBOS, which is a small operating system from
TeraByte Unlimited included in the TeraByte OS Deployment Tool Suite (TBOSDTS).
While scripting is powerful and flexible, TeraByte plans on
providing an interactive wizard in the first quarter of 2009 for
those individuals users who don't understand or need scripting.
Starting Point: A typical scenario for using the procedures below would come about when
an existing Windows installation (for which an image exists) needs to be restored on a system where the
storage controller is not compatible with storage driver used on the original system. Such conditions
could occur when the motherboard or entire system has been replaced. Because the target system has a different
mass storage controller (for example, a SATA controller rather than an IDE controller), the restored image
will not boot because it lacks the correct driver. This is where TBOSDT comes in.
The starting point for the procedures outlined below will be an image of a Windows XP partition that has been
restored to the boot drive (HD0) of the target system. Since the driver for the new hard drive controller has
not yet been installed, the Windows partition will not boot on the target system.
When restoring the Windows image, you should ensure that the restored partition is set active, and that the standard MBR code has been installed. When restoring a single partition with any of the TeraByte Unlimited image products, the Set Active and Write Standard MBR Code restore options can be used to ensure those conditions. They are not needed nor available when restoring an entire drive.
This tutorial will use the specific example of installing the driver for the Intel SATA AHCI Controller on a restored image of Windows XP (this is the driver most users require for Windows XP to run on a new SATA system. To locate that driver, see the Creating a Windows XP Slipstreamed Disc using nLite tutorial). In addition to this tutorial, please refer to Application Example #2 near the end of the TBOSDT manual (tbosdt.pdf), where you will find a description of this overall process.
TeraByte OS Deployment Tool Suite (TBOSDTS)
Storage drivers for the new system (.INF, .CAT, .SYS file types)
The target system must support booting from a USB drive
Starting with the downloaded TBOSDTS distribution file (tbosdts_en.zip), extract the contents to a convenient location,
such as a folder on the desktop. Note that the actual TBOSDTS programs and support files will need to be extracted from
tbosdts.zip, which is a secondary zip file contained inside of tbosdts_en.zip.
This file requires a password to unzip,
and that can be found in the readme.txt file inside of tbosdts_en.zip. Once extracted, you should have a folder
(typically named tbosdts), with the following contents:
In this step, there is a choice of creating the boot disk on the USB flash drive in "Partition" mode, "Floppy" mode,
or "Normal" mode. All systems capable of booting from a USB drive should work with at least one of these modes, but some
may not work with all three of them. This situation is BIOS dependent, and is why more than one mode is offered.
The characteristics of the three modes can be summarized as follows:
|Formatted Size
|BIOS Emulation Type
|Floppy diskette size (1.44MiB). Space for driver files is approximately 600KiB
|Full size of USB flash drive.
|Full size of USB flash drive.
|Hard Drive.
(may shift internal HD0 to HD1)
On the "Select target" screen, select the USB flash drive, and
then select Normal, Floppy, or Partition mode under USB Mode. We'll select the
Partition option here as it is the most compatible option.
Click Finish to create the boot disk
In My Computer open the drive letter corresponding to the USB flash drive. In some cases (depending on the previous format of the flash drive) you may need to safely remove and then reinsert the flash drive before the contents of the drive can be viewed in Windows. The contents of the USB flash drive should now be as shown below. The file tbosdt.exe is the DOS/TBOS version of TBOSDT:
The files listed in the required files section above must now be copied to the USB flash drive. These can be located as follows:
drvins_1.run and drvins_2.run: Located in the tbosdts\scripts folder
tbosdtw.exe (Windows version): Located in the tbosdts\win folder. This file is named tbosdtw to differentiate it from the DOS/TBOS version already on the boot disk.
iaahci.inf, iaahci.cat, iastor.sys: These are the specific driver files needed to install the Intel SATA driver used in this example. These files will be named differently for other drivers.
When all of the above files have been copied to the boot disk, the contents should be as shown below. Note again that tbosdt.exe is the DOS/TBOS version of TBOSDT, and tbosdtw.exe is the Windows version of TBOSDT:
To boot from the USB flash drive, you will typically need to enter the BIOS setup and change the boot order so that the
system will boot from the USB drive. Some systems may also provide a key to press during boot, which will bring up a menu
of devices to boot from. If so, you can select the USB flash drive from that menu, rather than entering BIOS setup.
If the flash drive does not boot, and you know the BIOS settings are correct, return to Step 2 and try a different mode.
If the boot is successful, it should leave you at the TBOS Command Interpreter prompt. From there, you can launch TBOSDT.EXE to determine/verify the hard drive number and partition ID for the Windows drive/partition. To do that, type TBOSDT and press enter.
Once at the TBOSDT Command Prompt run the commands: list hd 0and list hd 1
Those two commands will list the partitions on BIOS drives HD0 and HD1 respectively. Observe which drive is the internal drive (the Windows drive), based on the partition(s) it contains. In most cases, the Windows drive will be HD1 when the system is booted from the USB flash drive created using the Partition mode, and will be HD0 otherwise. However, this should always be verified, and not assumed.
A typical output for a drive with one primary partition will look similar to the following:
Name Size Typ ID File System ---------------- ---------- --- ------ ------------------ WinXP 17602MB Pri (01) HPFS/NTFS
The line above is showing a drive with one primary NTFS partition of approximately 17 GiB, and a partition ID of 01. Make a note of the hard drive number and partition ID for the Windows partition, they will be used in Step 6 when editing the drvins_1.run script. On a drive with just one primary partition (as this example is assuming), the ID will be 01, but could be a different value with other partition layouts.
When finished, type 'exit' and press <enter> to quit TBOSDT. This will return you to the TBOS
command prompt.
For my example below I found the Windows partition is on HD 1 with the ID of 02 by looking at the Size and File System:
Edit the drvins_1.run file by typing 'ezedit drvins_1.run' at the TBOS command prompt.
Once the file is open make the following changes:
The file should look like the following:
Edit the drvins_2.run file (assumes the editor is still open from editing drvins_1.run above)
The file should look like the following:
From the TBOS command prompt, run the command 'tbosdt drvins_1.run' to execute the Stage 1 script.
Observe the output of the script as it executes, and watch for any error messages. Common causes for errors include:
The script must run without errors before the target partition can be expected to boot successfully.
When finished, type 'exit' to exit the command prompt. This will cause TBOS to prompt for a reboot by pressing <Enter>.
Before proceeding to Step 8, change the BIOS boot order back to what it was before so Windows will boot. If you selected the USB drive from a menu during boot (rather than entering BIOS setup), this should not be necessary.
Once the Stage 1 script has executed successfully in Step 7, it should now be possible to boot from the target partition. The following sequence of steps is recommended:


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In my post yesterday I introduced #1to31, which is a simple concept that I have developed to help both myself and others with their blog writing. I have noticed in my discussions on #blogchat that sometimes people struggle to get their thoughts out into basic posts. On some days I have found this to be the case for myself as well. I often write from the place of personal experience and tell stories. These posts work well, however I would like to be able to increase the type and variety of posts that I write. That's where #1to31 comes in. I would love you to be part of it as well!
How #1to31 works:
- #1to31 posts are simply collections of ideas, strategies, suggestions, tips, links or other interesting items. The date that they are posted on corresponds to the number of items included in the post. For example, today it is February 6, 2012. As such this post has 6 main points to it.
- When you share your post online, you include the #1to31 hashtag in the headline; so that similar style posts can be easily found online and via Twitter.
- That is pretty much it! You can write about whatever areas you are passionate about. The intention is simply to give you a quick framework that you can build a post from.
6 reasons why #1to31 will help you & your blog writing
- On any given day if you have an idea about what to write – but are unsure where to start; you can simply begin to put your thoughts down quickly and easily – knowing up front how many key points you need to make on that day. Having such a framework will help you to become clearer and more focused in your writing.
- You can save the more complex topics for the higher numbered dates. For example….maybe you have a lot of tips or strategies to offer on something. You can do those kinds of posts later in the month; say the 25th! That way you can include many more tips, ideas or links.
- The more of us who participate in #1to31, the more we can share our experiences related to writing posts using a format such as this. By talking and sharing, we can learn from one another.
- The sky is the limit. You can use #1to31 no matter what your blog is about. It is about giving you a fun and friendly way to build out your blog posts.
- Blogging is all about community. Those who use #1to31 can help one another out by posting comments, perhaps guest blogging on one another's sites or sharing links to the posts that are developed via the various social networks. Remember, what goes around comes around! By helping fellow bloggers, you will grow your own site and online community at the same time.
- #1to31 posts can be written as often as you like. Perhaps you want to run a series for a whole month by writing daily posts. On the other hand, maybe you just use the #1to31 framework when you are finding it difficult to get your thoughts in order. You decide what works best for you!
That is it! I encourage you to jump in and write a #1to31 post this week! Once you have it posted, please leave a link to it in the comments section below. Let's get going and have some fun with all of this!


text: This Premier Horse and Hobby farm is a family's dream come true. It has been a featured hobby and horse farm in Farm and Ranch Living Magazine. The property boasts a 4 stall luxury barn and tack room. Additionally there resides a 2 bedroom guest home above a spacious 3 car shop. Beautiful rolling hills views, with nearby babbling streams and berries. Orchard and Vineyard on property. Trees across private street included with property.