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Container / Location
Minutes of the First Methodist Episcopal Church of Fairville. (Part I)Contains minutes of annual meetings of male members of the church to elect trustees (October 8, 1842-January 1927, no meeting in 1905) which also include some financial deliberations and accounts. One item of note is a festival held on February 9, 1870 to liquidate the church debt. A subscription list occurs on
October 10, 1875.
Minutes (Part II)The minutes record the election of trustees and the financial condition of the church. Items of import include references to the construction of the church, and the Certificate of Election of Trustees to incorporate the church on February 19, 1836. A list of voting members is entered on October 1842.
©2016 Division of Rare & Manuscript Collections


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Matthew Robins - Spanish Guitarist
This professional guitar player is available to play weddings and functions all over Scotland, and is also happy to travel to parts of England to perform. He is 2 x 'National Guitarist of the Year Finalist' (Guitarist magazine) and online Finalist of 'International Guitar Idol' (Lick library) with over 20 years of experience performing live.
He can play Spanish, classical, and flamenco guitar styles and is also available to sing popular songs accompanied by his guitar playing, with an ever expanding repertoire of over 300 songs. He can learn a special vocal song for Wedding ceremonies to add a personal touch to your special day. The option of some vocal songs as well as Spanish Classical guitar music makes this guitar player a very versatile choice for any live music performance."
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Matthew Robins - Spanish Guitarist Repertoire
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Matthew Robins - Spanish Guitarist Feedback
"We were both very happy with the guitarist and wouldn't hesitate to recommend him or book him again." Danny Ashton, July 2015
"Dear Geoff - the guitarist was super! As predicted, we didnt get to enjoy his performance as everyone else did due to being pulled from 1 place to another, but we caught some of his playing and he did a fantastic job on "Candy". And what a top guy too! We were gutted we didnt get to hear him more. But have managed to get a few clips from people. He was super professional, prompt and fab as a guitarist!" Lisa-Marie Heaney August 2012
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Disney Store to Release Limited Edition Alice Through the Looking Glass Dolls
By Official Disney Store Blogger, May 17, 2016 12:26 PM
Inspired by Alice's return to Underland in Disney's live action film Alice Through the Looking Glass, Disney Store is excited to announce Limited Edition Alice Through the Looking Glass dolls, available in stores May 30 and on DisneyStore.com May 31. Each Limited Edition doll is finely detailed and presented in a scenic display with stand for a lasting keepsake and includes a Certificate of Authenticity.
Alice's bold ensemble includes a sumptuous Chinese-style outfit with a tunic featuring printed artwork with embroidered details along with embroidered pleated pants.
Iracebeth the Red Queen will claim the throne of your collection as her skirt is crafted from loops of ribbon and shimmering golden detailing accenting her elaborately embroidered pants and shirt.
And available only on DisneyStore.com, Alice and the Mad Hatter make a fanciful pair with unique outfits inspired by the movie including intricate embroidered details on each doll.


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Product Overview
MOBEX F series stationary welding fume filters are designed for effective separation of welding fumes. The devices are mainly used in the metal industry for individual and multi-user workstation extraction. For individual welding stations, there is a direct connection option using a hose. A pipe system for a maximum of four extraction points turns the newly designed devices into a central extraction system for machines or manual workstations. The MOBEX F series is based on a new housing concept with a patent-pending fold system. Its stable plastic sandwich panels make for low-noise operation.
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Our Customer
Heinen's Grocery Store first fashioned plans to refashion many of its 19 neighborhood locations nearly five years ago. As efforts progressed, so did the grocer's interest in the latest energy-efficient innovations for commercial buildings, particularly LED lighting.
"We were always re-lamping," said Bill Wells, director of store planning, regarding some Heinen's locations. "In the aisles we used a pendant-mounted HID fixture that was fine for many years. The thing was, half the lamps died before their rated life, while others lived well beyond it."
In four stores, Wells first opted for a T5 solution, making Heinen's Grocery Store an early adopter of the highly efficient fluorescent technology. In the center ceiling, overtop of main aisles, 350-watt HID fixtures were converted to single lamp high output (HO) T5 arrangements.
"Our ceilings are pretty high, around 16 to 18 feet. With HID you have to generate a lot of light at the source to get it to the floor. And there's glare—almost a haze," said Wells. "We brought the new T5 fixtures down several feet, which helped to hit the bottom shelves, and it gave us a good, even light on all the product surfaces. Overall it was much better than HID.
"But we were still hoping for an LED solution."
Our Solution
At last, at Heinen's Grocery Store in Twinsburg, Wells' patience was rewarded with an LED fixture that promised to leave replacement lamps in the past. Leff Electric, a long-trusted electrical supply distributor, presented him with GE's new Lumination™ IS Series LED Luminaire, a product of GE ecomagination℠.
"GE jumped ahead with this suspended linear fixture—my first reaction was 'wow!'" Wells said. "It's cool and cutting edge. In fact, we were about to go with another option until Leff said to us, 'Hold on, GE has something we really think will work for you.'
"The price was right, the product fit our needs, and we knew GE would stand behind its commitment, so we decided to go with the Lumination LED fixture. GE also presented different lighting designs and helped determine the final layout. And still, you just don't know what you're getting into until you install it, so having Leff there to see that everything went smoothly was a benefit.
"The first time I looked at the aisles versus those that didn't have the light—it was a double wow!"
Results & Benefits
Unlike traditional fluorescent lamps, Lumination IS Series luminaires provide an indirect light source for a more sophisticated appearance. The suspended LED fixtures offer long 65,000-hour life that will help slash the grocer's annual re-lamping costs, and both 1'x4' and 1'x8' models snap together to create long continuous runs above aisles.
Moving ahead, Heinen's Grocery Store will evaluate additional LED lighting options from GE including Albeo™ high bay fixtures to add "punch" in its produce departments. Already, GE's Evolve™ LED Area Lights have been installed in one store parking lot and soon will be added to a warehouse location as well.
As for Wells, he believes Heinen's Grocery Store has found its answer.
"If I can cut my electric cost and my maintenance cost, who wouldn't do that? It just makes good business sense.
"LED got rid of lamps—now we have assets."


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Who's the Boss Game #2898 : The Amazing Race< Back to the game list
This game is moderated by Emma2662. Please read the rules and contact the moderator with any questions or concerns about this game.Voting / Memo Discussion
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Memo #4 from the Boss
One more round to find me
Psych Question: What do u think my name is


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Pat drives the bus in Opening Night Show as director Fred Jackson gets surrounded by Beth Baker, Kim Pennell, and Jennifer Elrod.
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W. H. Auden:
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Auden wrote his prose so that he would be able to write his poems, and the benefits of writing prose were both financial and intellectual. In a letter written from Italy in 1955, he explained: "The winter months are those in which I earn enough dollars to allow me to live here in the summer and devote myself to the unprofitable occupation of writing poetry." During his winters in New York, punctuated by lecture tours and visiting professorships in American college towns, he wrote the commissioned essays and reviews that paid for his summers in Ischia. No matter what the nominal subject of those essays might be, he used them as exercises in which he explored whatever moral, intellectual, literary, or prosodic issues concerned him most in the poems he was writing or planning. During the late 1940s and early 1950s he wrote a sequence of poems largely about history, "Horae Canonicae", and another sequence largely about nature, "Bucolics". He developed the structure of ideas that holds them together by writing essays and reviews on the theme indicated by the title of one of them: "Nature, History and Poetry".
Auden enjoyed deflating romantic images of inspired poets driven only by their genius. He made a point of praising the bourgeois virtues—directly in his essays, indirectly in poems such as "Under Sirius", "Cattivo Tempo", "Sext", and "Mountains". He also made a point of practicing those virtues. After agreeing to write an introduction or essay or review, he typically finished the job weeks or months ahead of his deadline. For an anthology of English poetry and a collection of Elizabethan verse and music he used original texts rather than later reprints, and was impatient with collaborators who were less responsible and punctual than he was. As a public lecturer he gave value for money with his lucid and substantial talks. During the early 1950s he finally outgrew his intermittent temptation to pose before academic audiences as a severe philosopher, and his prose style achieved the urbane, inclusive ease that it maintained for the rest of his career.
Before this, during Auden's first years in America from 1939 to around 1947, his work and thought had focused on lonely inward crises and existential choices of the kind he wrote about in his longer poems from "New Year Letter" in 1940 through The Age of Anxiety in 1944–46. In the later 1940s he began to seek a less narrow and intense approach to experience, and explored ways of thinking that were more social and collective, and more aware of the common world of the body. In the early 1940s he had found the structure of his thought in the work of Søren Kierkegaard. In 1955, while still acknowledging his debt to Kierkegaard, he pointed toward "what seems to be his great limitation, a limitation which characterizes Protestantism generally. A planetary visitor could read through the whole of his voluminous works without discovering that human beings are not ghosts but have bodies of flesh and blood."
Auden first visited Italy in 1948. For the next ten years he settled into a routine of summers in a rented house in Ischia and winters in an apartment in New York. He countered the urgent and severe Protestantism of his thought in the earlier 1940s with what he half-seriously called a "counter-Reformationary" Catholicism. His poem "In Praise of Limestone," written in 1948, was an emphatic hymn of praise to the human body and the Mediterranean landscapes in which it was most at home. During the next few years he wrote sympathetically about the differences between Italian and northern European societies and cultures, especially about the lucid fatalism of Giovanni Verga's fiction and the operas based on Verga's stories. Also in 1948 he resumed his earlier practice of collaboration with other writers and artists by inviting Chester Kallman to join him in writing the libretto for Igor Stravinsky's opera The Rake's Progress.
In the summer of 1948 he was invited by the University of Virginia to deliver the 1949 Page-Barbour Lectures, an endowed annual series that required the lecturer to publish his lectures as a book. (T. S. Eliot's Page-Barbour lectures for 1933 were published as After Strange Gods.)* Auden chose for his subject the romantic and nineteenth-century image of the sea, and the contrary image of isolation, the desert, illustrated by examples from Wordsworth to Rimbaud. He titled the series (and the resulting book) The Enchafèd Flood: The Romantic Iconography of the Sea, after a fragment from Othello: "I never did like molestation view/ On the enchafèd flood." The underlying theme of his lectures was the myth of the heroic artist as a solitary voyager in the realm of consciousness, a potentially redemptive figure who finds new territories of experience that he reveals to an audience too timidly bourgeois to make such explorations for themselves. Auden had repeatedly been tempted by this myth in earlier years; his lectures served as a final exorcism of it.
The Enchafèd Flood is a backward-looking book, both in its implicit renunciations and in its explicit themes. Auden's survey of literary images of the sea and the desert arranges in systematic form the imagery of "The Sea and the Mirror", the long poem he wrote in 1942–44. All the sentences in the book are new, but the content restates much that Auden had written in essays and reviews earlier in the 1940s, notably his Kierkegaardian account of aesthetic, ethical, and religious authority and his readings of Don Quixote as a religious hero and of Melville's Ishmael as an explorer of possibility. The last pages of the book turn away from all that: "We live in a new age," he wrote, and his phrase refers both to public culture and to his private interests. This new age is one in which
the necessity of dogma is once more recognised, not as the contradiction of reason and feeling but as their ground and foundation, in which the heroic image is not the nomad wanderer through the desert or over the ocean, but the less exciting figure of the builder, who renews the ruined walls of the city. . . . We are less likely to be tempted by solitude into Promethean pride: we are far more likely to become cowards in the face of the tyrant who would compel us to lie in the service of the False City. It is not madness we need to flee but prostitution.
These new temptations became a recurring theme. Later in 1949 he contrasted the situation of nineteenth-century poets and that of his contemporaries: "The former were either admired or left alone; the latter are suspect, and the campaign to control them by bribes or threats is likely to intensify." He now began to write systematically about the ways in which poetry allowed itself to be tempted by these bribes and threats and the ways in which it might learn to resist them.
At the center of his thinking was his idea of history, a word he began using in 1949 in a special idiosyncratic sense. History, as he described it, was the realm of unique, voluntary, irreversible events that occur in linear time. Nature, in contrast, was the realm of recurring, involuntary, reversible events that occur in cyclical time. Human experience occurs in both these realms. Sexual desire is historical to the degree that it focuses on a unique person to the exclusion of all others, and natural to the degree that the instincts that drive it could equally be satisfied by almost anyone else.
The moral point of the distinction between nature and history was that public life, especially in a world increasingly dominated by the machine, tends to treat human beings in statistical and generalizing ways, as if they were predictable elements of the realm of nature. The impersonal power of government or the machine operates in the realm of nature, not history, and the reason that modern governments distrust the arts is that the arts are products of personal, historical choices. A work of art, no matter how much it owes to an anonymous cultural climate or literary tradition, bears witness to the historical realm of individual choices.
In 1951, when Auden was helping to prepare The Rake's Progress for its première, he applied these ideas in a series of essays on music. Music was the purest expression of "irreversible historicity" and of all that historicity implies about freedom and self-determination. "Every high C accurately struck utterly demolishes the theory that we are the irresponsible puppets of fate or chance." Auden's interest in music had always been inseparable from his curiosity about historical changes in theme and style. He and Kallman had adopted an eighteenth-century style for the libretto of The Rake's Progress; in 1952 they wrote another libretto in an even more archaic Tudor style, Delia, or A Masque of Night (which Stravinsky declined to set, having been introduced to the twelve-tone scale whose enthusiasts had declared it the style of the future). In 1953 Auden began collaborating with an early-music group, the New York Pro Musica, founded by Noah Greenberg, and at some of their concerts read the Tudor verses that the group then sang. These concerts issued in an anthology of words and music, An Elizabethan Song Book, with an introduction by Auden and Kallman and Greenberg's musical transcriptions.
For Auden, in many essays and reviews from the early 1950s, the great prophet of individual history was Sigmund Freud. Freud's greatness, Auden wrote, did not depend on the validity or cohesiveness of his theories—whose revolutionary significance Freud himself often failed to understand. "In fact, if every one of his theories should turn out to be false, Freud would still tower up as the genius who perceived that psychological events are not natural events but historical and that, therefore, psychology as distinct from neurology, must be based on the pre-suppositions and methodology, not of the biologist but of the historian."
Another name for individual historicity was the human face, the visible sign of uniqueness that was never exactly the same from one moment to the next, but was always a sign for the same individual person. In 1950 Auden wrote a poem, "Numbers and Faces", about the madness of those who prefer the statistical, anonymous world of numbers to the personal world of faces. The title and much of the content derived from a book written in 1919 by the Austrian thinker Rudolf Kassner, Zahl und Gesicht, which became central to Auden's thinking around 1950, although he seems to have encountered the book a few years earlier. (As a phrase, Kassner's title means quantity and quality; as separate words, die Zahl means number and das Gesicht means face or physiognomy.) As Kassner's "face" corresponded to Auden's "history", so Kassner's "number" corresponded to Auden's "nature".
Kassner used the term "Physiognomik" for his whole intellectual and moral enterprise, in which he contrasted, on one hand, unique individuality, finite human flesh, truth as something to be witnessed or exemplified, and, on the other, collective identity, indifferent fate, and truth as something impersonal that can be taught like a method. For Kassner this was the contrast between the Christian and classical worldviews, and Auden's poem "The Shield of Achilles" in 1952 portrayed a modern world of statistical impersonality shaped by the same worldview that shaped the fated cruelties of the Iliad.
Faces and persons are characterized by their uniqueness as themselves; they are not sets of more or less widely distributed qualities such as beauty, strength, intelligence, or wit. Only a person has a physiognomy; a set of qualities has none. The classical gods have qualities such as shrewdness or strength; the Christian God has a face. The distinction between persons and qualities is a theme that pervades Auden's poems in the early 1950s, and he spelled out the distinction in a review of George Santayana, who, he suggested, sometimes lost sight of the difference:
The natural human, or at least masculine, tendency, both in love and friendship, is to be attracted by qualities rather than persons. We like people not for what they are in themselves but because they are beautiful or rich or amusing, so if they lose their looks or their money or their wit, we lose our interest. . . .
This is perhaps a generous reading of Socrates' report in the Symposium of what Diotima had told him about love; Auden privately referred to Plato as "a man of genius who's always wrong"—a view that emerged more visibly in Auden's later work.
To the degree that the modern artist resists the faceless impersonality of the machine, he is right to do so, but if his resistance is merely nostalgic, he may embrace the error that he hopes to escape. Auden borrowed from Henry Adams's Mont-Saint-Michel and Chartres the distinction between the Dynamo and the Virgin, between the natural world of involuntary recurrent events and the historical world of voluntary unique events; but, Auden wrote, for Adams himself, and for many who shared Adams's nostalgia, the Virgin was not the source and protector of individual lives but another name for the anonymous and impersonal nature-goddess. As Auden wrote in his poem "Nocturne" around 1951, this goddess was not the unique historical Mary but the cyclical lunar Venus, "Whose majesty is but the mask / That hides a faceless dynamo." And in a paragraph published in 1962 but probably first written in the early 1950s:
Henry Adams thought that Venus and the Virgin of Chartres were the same persons. Actually, Venus is the Dynamo in disguise, a symbol for an impersonal natural force, and Adams' nostalgic preference for Chartres to Chicago was nothing but aestheticism; he thought the disguise was prettier than the reality, but it was the Dynamo he worshiped, not the Virgin.
Starting from the idea of historical uniqueness, Auden developed an elaborate vocabulary for different kinds of social order and for the analogous kinds of formal order that give shape to poems. Unique persons create different kinds of social order from those generated by impersonal forces. Historical individuals, Auden wrote, join into communities united by their shared voluntary love of something; a community is historical because it has no bureaucratic impersonal structure. Communities tend to create societies that can carry out their purposes; societies are natural, not historical, because they have a bureaucratic structure in which individual members have roles distinct from their unique personalities. A group of music-lovers is a community but its love accomplishes nothing; a string quartet is a society that puts into effect the community's love.
A crowd, unlike a society or community, is a mere plurality of things that happen to be together. "The subject matter of poetry", Auden wrote in 1949, "is a crowd of past historic occasions of feeling", some portion of which the poet hopes to convert into a community; but the poem in which that community is embodied is a society, something that the poet must assume will remain unchanged and eternal once it is written. Crowds of feelings are not especially dangerous; but in the real world the extreme version of the crowd was the Public, that faceless purposeless mass that anyone can join when one is no one in particular.
The Public has always existed, but one effect of the mass media is to make it easier than ever to be faceless and impersonal. The culture of celebrity is one result of the growth of the Public: "the public instinctively worships not great men of action or thought but actors, individuals who by profession are not themselves." The moral consequences are all too clear: "The public, therefore, can be persuaded to do or believe anything by those who know how to manage it. It will subscribe thousands of dollars to a cancer research fund or massacre Jews with equal readiness, not because it wants to do either, but because it has no alternative game to suggest."
Auden had included sweeping historical summaries in his poems and prose from the start of his career, and since 1946 he had borrowed the Swiss-American historian Eugen Rosenstock-Huessy's outline of the past thousand years as a series of revolutions against local and sectarian authority. In 1949 he wrote the introductions to a five-volume anthology, Poets of the English Language, which he was editing for the Viking Portable Library in collaboration with an American professor, Norman Holmes Pearson. The introductions took the form of a history of English poetry that was also a compressed history of the revolutionary changes in literary, psychological, and political presuppositions over five centuries. Auden's four-part poem "Memorial for the City", written around the same time, retold much of this history in allusive verse. Also around this time, Auden began writing the sequence "Horae Canonicae", in which the events of a single Good Friday echo the historical events from birth to death, from the rise to the fall of a civilization, and from the Creation to the Apocalypse.
In 1951 Auden published Nones, one of the mostly quinquennial volumes of verse in which he collected his recent shorter poems. The book took its title from the central poem in "Horae Canonicae" (he had at this point finished only two of the seven poems in the sequence). Auden tended to organize his collections of shorter poems and volumes of longer poems with numerological precision, and the exact center of Nones was the historical survey in "Memorial for the City".
Historical intelligence, in Auden's criticism and reviews, was analogous to moral intelligence. His review of Isaiah Berlin's The Hedgehog and the Fox, a book built on the distinction between those whose historical understanding is based on a unified vision and those who perceive multiple purposes and ends, proposed a deeper, more morally unsettling distinction between two kinds of contemporary intellect. Borrowing from Alice in Wonderland— Auden wrote repeatedly about the moral seriousness of Lewis Carroll's fantasies—he distinguished between tough-minded Alices, who have nerves and courage but are tempted to imagine themselves the Queen of Heaven, and the weak-minded Mabels, increasingly common in intellectual life, who adopt "a grotesquely tough, grotesquely 'realist' attitude" as a mask over their weakness and terror.
Auden's exasperation at Albert Camus's well-meant confusions in The Stranger (in a review titled "Fog in the Mediterranean") was prompted largely by Camus' idea of history in which the only significant events occurred in France and revolutionary changes elsewhere were ignored. His pleasure in J.R.R. Tolkien's The Lord of the Rings arose largely from its historical imagination. "If a feigned history is to seem real," Auden said in a broadcast about Tolkien's trilogy, "it must be shown as the joint product of individual character and circumstances, neither, that is, as the operation of a few great men nor as the inevitable result of the play of impersonal forces. The present must have an intelligible relation to the past, neither inevitable nor arbitrary, and the future must appear open; that is, characters in this history may make guesses about what will happen which will turn out to be correct, but, in general, the outcome of their actions will be different from what they either hope or fear." Auden especially praised Tolkien's invention of the many plausible and varied languages and verse-forms that were essential to his invented history. Tolkien, in effect, had written an imaginary version of Auden's historical accounts of English metre in his Poets of the English Language and his lengthy, detailed, and politely devastating review of the historical account in Rhythm and Tempo, by the musicologist Curt Sachs.
Some of the most vexing literary questions that Auden was obliged to confront during the 1940s and 1950s were raised by the case of Ezra Pound. In 1946, after Pound was charged with high treason for his broadcasts from Italy during the Second World War, Auden's American publisher, Bennett Cerf at Random House, announced that Pound's work would be dropped from an anthology of American poetry. Auden severed relations with Random House until Cerf reversed this policy: "Begin by banning his poems not because you object to them but because you object to him, and you will end, as the Nazis did, by slaughtering his wife and children." Auden's view had nothing to do with his opinion of Pound's poems; "I do not care for them myself particularly," he told Cerf. He again acted against his literary opinions in 1948 when he defended the award of the first Bollingen Prize to Pound's Cantos by a committee of which he himself had been a member. (He seems to have preferred William Carlos Williams for the prize, but finally voted with the majority for Pound.) In the next few years Auden found occasions to praise Pound, not for his poems, but for the knowledge of literary history through which he introduced English poetry to styles and techniques that had not been available to it before: "it might be said of his translation of The Seafarer that its effect was to make the spondee respectable in English verse".
Auden focused on revolutionary changes whenever he wrote about large-scale history, but he refused the temptation to think of himself and his art as revolutionary, or to think of his own era as a unique moment of crisis when the moral and aesthetic concerns of calmer eras must be suspended or abandoned. "Revolutionary changes in sensibility or style are rare", he wrote at the start of The Enchafèd Flood; he cited only the twelfth-century conception of "amor ", the sixteenth-century abandonment of allegory as a common literary genre, and the eighteenth-century rise of Romanticism. Elsewhere, he emphasized that the current artistic climate was invented by an earlier generation of revolutionaries, not by himself and his contemporaries, about whom he made an elaborate show of modesty. He listed the birth years of great modernists from W. B. Yeats (1865) to T. S. Eliot (1888), the youngest of them almost twenty years older than himself, and observed:
These are the figures whom we still think of as the creators and masters of the "modern style": none of them seems old-fashioned. . . . It is clear, then, that so far as the arts are concerned we are not . . . living at the beginning of a new era but in the middle of one. Poets of my generation and of the next, therefore, are in the position, whether we like it or not, of being colonisers rather than explorers. It would be as wrong-headed for us to attempt to make a radical break with the style of our immediate predecessors as it was right for them so to break with their Victorian elders.
This restates the argument at the end of The Enchafèd Flood about the contemporary hero as no longer the romantic nomad but the builder who renews the city walls. Auden's prose leaves mostly unsaid the claim he made in many of his poems: that, for better or worse, the builder and colonizer is more densely engaged in moral complexities and emotional depths than the nomadic explorer, that his work is less spectacular but more profound. He makes no claim that the builder-poet is more virtuous or pure than the lonely explorer; instead, he acknowledges that the builder is more deeply implicated in social and political guilt. The builder who "renews the ruined walls of the city" in The Enchafèd Flood is the citizen-poet of "Vespers" (part of the "Horae Canonicae" sequence) who admits complicity in the injustice that sustains any civilization, even the mildest: "For without a cement of blood (it must be human, it must be innocent) no secular wall will safely stand."
Auden wrote the history of his own career, his development as a colonizer and builder, largely in indirect terms, by clarifying his differences with his great poetic predecessors, first Yeats, then Eliot. Both poets embodied temptations that Auden had overcome only after years of struggle. Yeats was the model for political and oratorical poetry, such as "Spain" and "September 1, 1939", that Auden was now ashamed to have written. In the early 1940s he wrote that Yeats's poetry was "lacking in seriousness, which, of course, has nothing to do with solemnity": Yeats's passionate engagement with recurring moments of strong feeling, and his temptation to treat art as a religious ritual, protected him from any serious risk of failure. Auden made no claim to have risked that kind of failure by writing poems that were concerned as much with the truths of history as with the timeless order of poetry, but he knew that he had written greater poems than Yeats's by having done so.
T. S. Eliot offered the subtler temptation to withdraw into the lonely vision of a superior intellect, and Auden had half-yielded to that temptation while reacting against those offered by Yeats. He overcame this temptation by the late 1940s, and during the next few years he found occasions to point out, with the greatest possible courtesy, Eliot's imaginative failings. As an editor at Faber & Faber, Eliot had accepted Auden's first book for publication when Auden was twenty-three, and throughout the 1930s Auden spoke and wrote about Eliot with reverent gratitude. When Auden returned to the Anglican Communion in 1940, he identified his religious views as being close to Eliot's, and echoed Eliot's "Ash-Wednesday" and "Burnt Norton" in the poetry he wrote after his conversion.
Auden soon realized that the focus of his religion was the worldly commandment to love one's neighbor as oneself—something very different from Eliot's unworldly, idealizing religion of a still point and a rose-garden never entered. By writing "In Praise of Limestone" in 1948 he made clear to himself the differences between his own religious emphasis on the sacred importance of the body and Eliot's revulsion from the body's sordidness. When Eliot's Notes towards the Definition of Culture was published a few months later, Auden reviewed it for the New Yorker, where he treated the book partly as a deliberate joke against liberal pieties—a polite way of dismissing most of Eliot's arguments—and partly as a pharisaic misreading of history in which Eliot credited a privileged social class with the transmission of culture that had in fact been transmitted by the Church. "The value of Mr Eliot's book is not the conclusions he reaches, most of which are debatable, but the questions he raises."
In 1951, reviewing Eliot's Poetry and Drama, Auden questioned Eliot's competence as a prosodist and hinted at a lack of imagination in his use of Broadway and West End conventions in his poetic drama. Auden spelled out the moral and theological implications of this lack when he reviewed Eliot's Complete Poems and Plays two years later. He again pointed to this lack in Eliot's plays and offered a slightly disingenuous apology for it:
If in The Family Reunion and The Cocktail Party, one hears an occasional discordant snobbish note, I believe that this is not a matter of sensibility but of technique. While concentrating upon the problem of how to write dramatic verse which shall not be "Little Theatre" and arty, Mr Eliot has postponed the problem of dramatic convention, i.e. he has simply taken on unchanged the conventions of English "High" Comedy that have existed from Congreve down to Noel Coward, under which the decor and the main characters are aristocratic. So long as the dramatic subject is one of the various worldly self-affirmations, like love between the sexes, and the moral values implied are social, the convention is perfectly satisfactory; wealth and good-breeding are quite adequate symbols for gifts and virtues. But when the theme becomes one of spiritual election, of the radical gulf between the Christian faith and all worldly values, the symbolism breaks down. I am absolutely certain that Mr Eliot did not intend us to think [in The Family Reunion] that Harry is called and not John because John is stupid, or [in The Cocktail Party] that Celia is called and not Lavinia because she is of a higher social class, but that is exactly what the comedy convention he is using is bound to suggest.
A few months later, in a review of Eliot's Selected Essays, Auden dismissed Eliot's "efforts to be the Matthew Arnold of our time, to diagnose and prescribe for the ills of modern civilization, his defense of dogmatic and organized Christianity against Liberal Protestantism and the Higher Thought". Eliot was not at fault, he suggested, for his failure to influence anyone who did not already share his views: the fault lay in the difficulty of the problems involved. The complexity of the questions "demands an investigation on a scale larger than that of the occasional essay which is all Mr Eliot has had the time, and, probably, the ambition to write." In Eliot's essays on liberal humanism, "I cannot help feeling that . . . Mr Eliot is flogging a horse which not only is dead but was never alive" and that Eliot avoids more-difficult problems because "such a job would take a long time and Mr Eliot has other and, for lovers of poetry, better things to do." Later the same year, Auden returned to Eliot's imaginative failings in a parenthetical remark on the difficulty of writing nature poetry: "A writer today may believe, if he is a Christian like T. S. Eliot or Graham Greene, that the temporal world is an analogue of the eternal . . . but it is very difficult for him to imagine what he believes, to portray, for instance a temporal relationship like marriage as anything but sordid and corrupting."*
Auden's theology was more social than solitary, and its social vision was more concerned with equality than with hierarchy. In 1950 he wrote a systematic theological statement in the form of a lecture for a conference at the Yale Divinity School which he later published in the learned Anglican journal Theology as "The Things Which Are Caesar's." It closed with these remarks on "the besetting temptations for the Christian layman in relation to the evils of the historical order":
Laziness acknowledges the relation of the present to the past but ignores its relation to the future; impatience acknowledges its relation to the future but ignores its relation to the past; neither the lazy nor the impatient man, that is, accepts the present instant in its full reality and so cannot love his neighbour completely.
During these years Auden worked increasingly at the social tasks of literature: editing anthologies, judging competitions, introducing younger or forgotten writers. He continued to edit the Yale Series of Younger Poets, a job he had begun in 1946. At first his work on the series had been desultory and not entirely successful. The series was intended partly to provide young poets with a starting point for a career, but the first poet whom Auden chose for the series had died some years earlier. His next two choices were poets whose work tended toward rhapsodic nonsense; conceivably he chose them out of a sense of obligation to find poets entirely unlike himself. (Both were associated with a San Francisco–based group of poets who called themselves Activists; the name referred to the nervous energy of their style and had no political significance.)
In 1949 the head of the Yale University Press hinted repeatedly that Auden might prefer to resign from the series, but Auden ignored the hints and became more assertive and confident in his editorship. Having accepted the least bad of the two or three manuscripts that survived the Press's preliminary screening in 1948, he now rejected all the manuscripts submitted in 1949. Starting in 1950, he chose poets who had learned much of their craft by reading and imitating Auden himself, but who proved to have enough individuality to diverge from his style in their later work. Auden's three earliest choices were largely forgotten; of his eight later choices, seven (one died young) went on to distinguished, productive careers. Auden's introductions to each book focused on the details of the young poet's work in the context of his own current concerns. In 1950 he prefaced Adrienne Cecile Rich's poems with reflections on revolutionary changes in literature. In 1951 his foreword to W. S. Merwin's poems considered the ways in which poems combine unique and recurring experiences. In 1952 he introduced Edgar Bogardus's poems with thoughts on whether the writing of poetry can be taught (a theme developed in detail a few years later in his fantasy of a "training school for poets"). In 1953 he prefaced Daniel G. Hoffman's poems with thoughts about nature and the machine. In 1955 (he again made no selection in 1954) he prefaced John Ashbery's poems with questions about the difficulty of translating a private mythology into publicly available verse.
In 1951 he began a dozen years of collaboration with Jacques Barzun and Lionel Trilling as editors of two subscription book clubs, first The Readers' Subscription, later The Mid-Century Book Society. The editors jointly chose the titles that would be offered to subscribers and divided among themselves the task of writing brief reviews of their selections for a monthly newsletter. After first refusing, Auden let himself be persuaded by Barzun, whose company he enjoyed and whose learning and enthusiasm he admired. With Trilling he was always cordial, but he seems to have been put off by Trilling's humorlessness, and he said privately that Trilling did not like literature. Auden's reviews for The Readers' Subscription newsletter The Griffin covered social and political subjects that other magazines might not have assigned to a poet, and gave him a chance to write about previously published books that continued to interest him. The Readers' Subscription was conceived and managed by a former student of Barzun and Trilling at Columbia, Gilman Kraft, who had already begun a predatory career in publishing and whose sharp practices led to the editors' joint angry resignation in 1959; Auden was clear-sighted enough to foresee the crisis when Barzun and Trilling refused to hear anything against someone who had studied at their feet.
In his early forties (he was born in 1907) Auden had the status of an elder statesman, invited to speak at solemn conferences and symposia. He seems to have shored up his courage at such events by adopting a style intended to dispel suspicions that poets were frivolous by nature. The lectures he wrote for The Enchafèd Flood in 1949 were compressed, allusive, and partly written in the philosophical shorthand of postwar secular existentialism. Auden had long since tried to avoid obscurity in his poems, but he was still pursuing it in his academic prose. During a visit to Mount Holyoke for a two-lecture series in 1950 he wrote to Kallman: "The first lecture was last night and the most severe I have ever given—a cross between Whitehead and Heidegger— but my Dickens-Firbank one will be gentler." All his later lectures were gentler than his severe one at Mount Holyoke, partly because he felt increasingly comfortable in his role of public sage while he taught himself to speak moral truths in a diffident, sometimes comic manner that achieved authority by refusing to claim it.
Auden's severe lecture at Mount Holyoke reused some of the densely philosophical pensées he had written in 1949 as reflections on poetry for a tribute to Saint-John Perse. Their layout and manner echoed those of Paul Valéry's notebooks (for which Auden wrote an introduction in 1955), which in turn echoed the pensées of Pascal. Because Auden's 1949 essay said nothing about Saint-John Perse, it was omitted from the tribute, but he expanded it into a new version, retaining the title "Nature, History and Poetry", and gave it to his friend Fr. William J. Lynch, the editor of Thought, a quarterly devoted largely to Roman Catholic theological studies, published by Fordham University, a Jesuit institution. The essay appeared in Thought in 1950, followed at two-year intervals by two further essays, "Notes on the Comic" and "Balaam and the Ass: The Master-Servant Relationship in Literature", each less severe than the last. A few traces of Auden's academic manner survived in "Notes on the Comic" but it was absent from "Balaam and the Ass", which included material from Auden's "gentler" lecture on Dickens and Firbank in 1950.
"Notes on the Comic" and "Balaam and the Ass" are serious manifestos against high seriousness. Each finds in low characters and comic situations expressions of the greatest moral truths. "Notes on the Comic", after considering inside-out umbrellas, sexual jokes, banality, Spoonerisms, puns, parody, flyting, satire, Twelfth Night, Charley's Aunt, and Der Rosenkavalier, ends with a section headed "Falstaff, or the Comic Presentation of the State of Grace". It concludes: "In his own way, Falstaff is, like Don Quixote, the Knight of the Doleful Countenance, the Suffering Servant who sacrifices his life for the sake of others." "Balaam and the Ass" pointedly ignores the economic and political relation of the master-servant relation in real life, and considers instead its literary expressions as instances of mutual love and voluntary commitment. The essay explores a dozen varieties of the master-servant relation from Shakespeare's plays, Mozart's operas, Don Quixote, and the inner relations among different aspects of a single person, illustrated by a brief comic dialogue about someone whose foot is stepped on in a train. The final section analyses the master-servant relations in Around the World in Eighty Days and P. G. Wodehouse's novels, ending with this comment on an exchange between Bertie Wooster and Jeeves: "So speaks comically—and in what other mode than the comic could it on earth truthfully speak?—the voice of Agapé, of Holy Love."
In 1939 Auden had renounced the politically engaged role that he had earlier both embraced and rejected—often in the same poem or essay—but his public reputation was still that of a politically minded radical writer rather than that of an ethically and religiously minded liberal one. When Auden wrote for left-leaning magazines in the 1940s and 1950s, he tended to provide a mild disruption of political orthodoxies. In 1950 the editors of Partisan Review worried in print over the new interest in religion that they observed among their intellectual contemporaries; Auden was one of about thirty writers who responded to the editors' invitation to comment, and his remarks focused on the editors' coarse misunderstanding of religion itself. A few months later, reviewing a biography of Oscar Wilde for Partisan Review, he dismissed the anarchist author's account of Wilde as a political thinker and social victim:
Nothing is clearer in the history of the three trials than his unconscious desire that the truth should come out. This desire was not caused by guilt in the conventional sense but by the wish to be loved as he really was. One suspects that his secret day-dream was of a verdict of guilty being brought in whereupon Judge, Jury and public would rise to their feet, crown him with flowers and say: "We ought, of course, to send you to gaol, Mr Wilde, but we all love you so much that in this case we are delighted to make an exception."
The review ends by praising The Importance of Being Earnest in much the same terms Auden used when praising Falstaff and Jeeves as examples of holy love: "Wilde, like anyone who has been exposed to the culture of Christendom, knew, however unconsciously, that pleasure and happiness are distinct, and that happiness does not depend upon power but upon love". The subtitle of the review, "St Oscar, the Homintern Martyr", was meant to annoy Auden's acquaintances who thought of homosexuality in terms of its outcast social status rather than as a variety of love with the same kinds of temptations and rewards as any other. (The Homintern, an echo of the Comintern, was the term used among Auden's circle to refer to homosexual chauvinists.)
In the farther-left weekly pages of the Nation, around the same time, Auden praised Tocqueville as a "counter-revolutionary", one who defends the just causes of a revolution better than the revolutionaries themselves can do:
De Tocqueville stands out as one of the noblest examples of an attitude which may be called the Counter-Revolution. This must not be confused with Reaction, which refuses to recognize the just element in the Revolution and wishes to regard it as a simple rebellion. The Counter-Revolutionary has no wish to return to the condition which preceded the outbreak of revolution; he wishes rather to save the revolution from failure through the inevitable over-emphasis and over-simplification of the revolutionary party.
This states in political terms the argument that Auden made elsewhere about revolutionaries and colonizers in the arts. Auden concluded his review of Tocqueville with a variation on the theme of nature and history:
The central issue of the world revolution at present in progress is the right of every human body to the food, light, housing, medical attention, and so forth necessary for health. . . . The body knows nothing of freedom, only of necessities, and these are the same for all bodies. Hence the tendency of the revolutionary party in concentrating on this one goal to deny all liberty and all minority rights. In so far as we are bodies, we are or ought to be revolutionaries; in so far, however, as we are also souls and minds, we are or ought to be counter-revolutionaries . . .
Auden endorsed the counter-revolutionary position in a long essay on Sydney Smith (apparently an early version of his introduction to a selection from Smith that finally appeared in 1956) in which he defined Smith's politics in these terms:
Sydney Smith is a perfect expression of the Whig mentality, of that English form of Liberalism which has always perplexed and sometimes enraged Continental observers both on the political Right and on the political Left. European liberalism, which has normally been anti-clerical, republican, and materialist, finds it bewildering that social reform in England should owe so much to religion—that the British Labour Party, for example, should be so closely associated with the Evangelical movement, and the increasing concern with juvenile delinquency and other cultural problems of urbanisation with Anglo-Catholicism . . .
In "The Things Which Are Caesar's" Auden had cited Sydney Smith's advice, "Trust in God and take short views", as a motto against impatience and laziness in relation to history. He made the same point in his essay on Smith in terms of social justice: "Both his character which accepted the duty of the moment and then tried to get the most fun out of it, and his practical experience of the problems of the poor, made him an ideal person for attacking injustice."
One common form of laziness and impatience in twentieth-century literary culture was contempt for the bourgeois. Auden's defense of Smith's Whiggism was one version of his defense of the bourgeois, as in a review of Dostoyevsky's travel diaries:
Poor Bourgeois! No other social class has ever caught it so hot in literature. To begin with, nearly all writers have come from it . . . It is only natural that writers should attack most violently the faults of which they have first-hand experience from childhood on. And then, to look at, the bourgeois is, it must be admitted, an unattractive object. He is a windbag, he worries about the future and what his neighbors are saying, he doesn't know how to wear clothes, he is either too fat or too thin. Even his virtues of industry and prudence are dull. . . .
Auden refused partisan, ethnic, and ideological loyalties in the morals and politics that he derived from his sense of historical uniqueness and the universality of the body. He knew that he had been helped toward his adult understanding of these matters by the bourgeois values that he had rebelled against as an adolescent.
One step toward this mature understanding had been Auden's renunciation, during his first years in America, of the political loyalties that he had ambivalently adopted in the 1930s. Soon after he arrived in New York he began to praise Henry James as an heroic example of an artist who never wavered in his service to his art, and whose elaborate style was the moral instrument through which James examined the finest details of nuance and scruple. Then, around 1948, Auden learned from the newly published Notebooks of Henry James that this style was not the instrument with which James had organized the subtleties of his fiction but the means by which he thought and wrote about everything. James had not limited his aestheticism to his art, where it belonged, but extended it into his life. As Auden told his secretary and scholarly assistant Alan Ansen: "the Notebooks show that he was writing like that all the time. And I find that a very suspect attitude for an artist."
James now became one of Auden's illustrations of the ways in which writers can evade responsibilities by not noticing that they exist. He wrote in a review of Keats's letters:
Dedicated artists are liable to suffer from two complaints, a humorless over-earnest attitude toward art, and a lack of ordinary social responsibility, a feeling that what they are doing is so important that it is the duty of others to support them. Reading Rilke's letters or the Journal of Henry James, for example, there are times when their tone of hushed reverence before the artistic mystery becomes insufferable and one would like to give them a good shaking; similarly, the incessant harping on money in the correspondence of Baudelaire or Wagner provokes in the most sympathetic admirer the reaction of a sound bourgeois—"Why doesn't he go and look for a job?"
In 1946, in an introduction to a reprint of James's The American Scene, Auden had written at length about the differences between American and European writers. He resumed this theme in 1949 when the Jewish immigrant writer Anzia Yezierska pestered him into writing an introduction to her memoir Red Ribbon on a White Horse. Yezierska's career had included a sudden rise to fame, a disastrous summons to Hollywood, and an episode when she perhaps had been John Dewey's lover; she now hoped Auden would write a lyrical celebration of her genius, and was loudly horrified to read his sober analysis of the temptations faced by writers and immigrants in America. (Auden placated her by agreeing to wholesale cuts, which are restored in this edition.)
In later essays he used Oliver Twist and Huckleberry Finn as exemplars of the moral and emotional differences between Europeans and Americans. Europeans, he wrote, believe in some form of unchanging natural law that can be codified and explained by professionals, whereas Americans find it hard "to believe that there is anything in human nature that will not change" and so refuse to grant authority to any professional clerisy. Huckleberry Finn's decision to take Jim into safety "is a pure act of moral improvisation", based on no general law and providing him with no template for future actions; Americans tend never to rely on general principles in art or morals. Auden had noted in his introduction to The American Scene that American writers tended to be utterly unlike each other in ways that the writers of any European country were not; now he understood this variety in terms of America's moral improvisation, its refusal of precedent and professionalism.
In 1953 T. S. Eliot commissioned Auden to compile a Faber Book of Modern American Verse. "What a way to make enemies", Auden wrote in a letter to Norman Holmes Pearson, although his choices seem to have been evenhanded enough to satisfy everyone except Laura Riding, who for years had refused permission to reprint anything she had written. Auden's selection of eighty-one poets began with Edwin Arlington Robinson and Edgar Lee Masters (both born in 1869) and ended with Robert Horan (one of his early selections for the Yale Series of Younger Poets) and Anthony Hecht, both born in 1922; Auden excluded anyone younger than thirty at the time he began compiling the book. The poetic styles represented in the book ranged from the formal elegance of Yvor Winters through the comic doggerel of Ogden Nash to the laconic rhapsodies of Robert Duncan; the only noteworthy style that was absent was the unreadable sub-Poundian avant-garde that emerged in the 1920s. Auden gave nine or more pages to Robert Frost, Vachel Lindsay, Wallace Stevens, William Carlos Williams, Ezra Pound, Marianne Moore, and Allen Tate; his generosity to Stevens, Pound, and Tate was perhaps more diplomatic than committed, but he genuinely admired the others.
His introduction praised American poetry for its openness and curiosity (qualities exemplified by his own selection) despite individual poets' tendency toward a narrowness of tone:
There is much in Tennyson that Longfellow would never have dared to write, for the peculiar American mixture of Puritan conscience and democratic licence can foster in some cases a genteel horror of the coarse for which no Englishman has felt the need. On the other hand Longfellow had a curiosity about the whole of European literature compared with which Tennyson, concerned only with the poetry of his own land and the classical authors on whom he was educated, seems provincial.
After The Enchafèd Flood Auden wrote lengthy essays and series of connected essays, but he did not publish another separate book of prose until The Dyer's Hand in 1962. Much of that book was made up of material from Auden's lectures during his five-year term as Professor of Poetry at Oxford that began in 1956; much of the rest was rewritten from essays, lectures, and pensées written in the late 1940s and early 1950s, not all of which had been published at the time. Auden had been planning for some years to put together a book based on this material. An editorial note in the Fordham University quarterly Thought reported in 1952 that Auden was working on "a commentary on many things called Thinks". Perhaps around 1954 he wrote out a list of nine titles of essays that might be included in such a book, some already published, some delivered as lectures, some perhaps never written. The first item was "Hic et Ille", a title that did not appear in print until 1956, but which was probably his original title for a set of notes and aphorisms published only in a French translation in 1952 under the title "De Droite et de Gauche". Other items on the list matched more or less closely the titles of published works: "Nature, History and Poetry", "Notes on the Comic", and "Notes on Opera". Others corresponded to lectures that Auden gave on his annual speaking tours starting in 1950: "Dingley Dell and the Fleet" and "The Hero" (titled in the lecture hall "The Hero in Modern Poetry"). Two others, "Pothooks and Hangers" and "The Word and the Tribe", seem to have used (or were intended to use) extracts and notes from his reviews and pensées ("pothooks and hangers" refers to the ill-formed letters of a scrawled handwriting; Eliot had paraphrased Mallarmé on the "language of the tribe").
Another title on the list was "The Dyer's Hand" (a phrase from Shakespeare's sonnet 111). Auden used this title for a series of three broadcast lectures in 1955 that brought together many recurring themes from the past half-dozen years. The first of these lectures modified his earlier contrast of nature and history by juxtaposing two ideal, imaginary figures, the Poet and the Historian, who exist in uneasy tension in almost all real poets of the past nineteen hundred years. The contrast between them summarizes the moral and literary dilemmas that Auden had been exploring throughout his recent work.
The Poet, he explained, is that aspect of every real poet whichcelebrates power, beauty, cleverness, wisdom, and all other gifts of fate. He is interested in visible deeds, not invisible choices, because the characters in his poems can never be anything other than what they are. He charms his audience into forgetting themselves in their fascination with the timeless, imaginary world evoked by his poems. He is fascinated by the magical properties of numbers. The Historian, in contrast, is interested in the way in which his characters become themselves when they could have become something else; he does not distinguish between the gifted and the ungifted but between "those who are faithful to the True Voice, however difficult its commands or promises, and so become what they ought to become; and those who, through indifference or through believing the Lying Voices, which may be more plausible than the True, are unfaithful and fail to fulfil their proper destiny." His audience believes his stories not because they become unaware of anything else but "because they recognise in what they hear something which they know to be true about themselves." The Historian is indifferent to all numbers except One, the only number that to him is real.
These imaginary figures collaborated in the making of almost all of Auden's poems, but one or the other took charge of each individual poem. The Poet seems to have written "Precious Five", which ends by acknowledging "that singular command / I do not understand /Bless what there is for being "; in the same year, 1950, the Historian seems to have written "The Chimeras", which ends in a different kind of acknowledgement about the historical failure of those who voluntarily shed their personal selves: "It is good that they are but not that they are thus." In his essays and lectures throughout the 1950s Auden tended to adopt the voice of either the Poet or the Historian, the first when he wanted to emphasize art's indifference to politics and morals, the second when he wanted to emphasize art's ability to clarify moral dilemmas without pretending to solve them.
Auden gathered the shorter poems he had written from 1951 through 1954 in The Shield of Achilles, which appeared in 1955. The book opens with the sequence of seven "Bucolics"; then a group of shorter poems, many of them variations on the theme of personal speech and its relation to impersonal performance and personal choice; then the full sequence of "Horae Canonicae" including the two poems already printed in Nones. Almost all the poems Auden wrote in 1955 were meditations on history: "Makers of History", "The Old Man's Road", "The Epigoni", and "Homage to Clio". The last of these (which gave its name to Auden's next collection of poems, published in 1960), was a lightly disguised hymn to the Virgin as the source and defender of historical uniqueness, and the poem deliberately combined Protestant and Roman Catholic theology.
Auden's published prose expressed personal commitments and alluded to personal feelings, but was seldom autobiographical in any explicit way. Auden was especially reticent in his prose in the 1940s, although at times he hid personal secrets where an attentive and sympathetic reader might find them. In 1948, for example, he wrote a poem titled "A Household" (first published in Nones in 1951), about a successful businessman and his harridan mother and crybaby son, with no hint of any deeper meaning. Perhaps a few months later, he began his New Yorker review of Eliot's Notes towards the Definition of Culture with the conceit that "Like most important writers, Mr T. S. Eliot is not a single figure but a household". That household, he continued, had three permanent residents: the archdeacon, a violent passionate grandmother, and a boy who plays practical jokes. Without this oblique clue that the real subject of Auden's "A Household" was another, unnamed poet, similarly imagined as a household of three persons from three generations, the poem's autobiographical code could never have been deciphered.
Then, in the early 1950s, Auden began writing about his past in a less indirect way, but also in a way that treated his experiences as generic to his class rather than unique to himself. A review-essay in 1952, "Our Italy," begins with reminiscences of his contemporaries' attitudes toward different European cultures. Three years later, his review of Leslie Fiedler's An End to Innocence, "Authority in America", explored the motives and nuances of his and his friends' politics in the 1930s.
In 1955 Auden wrote his first extended autobiographical prose since 1940 as a contribution to Modern Canterbury Pilgrims, a book of twenty-three essays by converts to the Anglican Communion. It opened by stating the connection between Christianity and individual history: "The Christian doctrine of a personal God implies that the relation of every human being to Him is unique and historical, so that any individual who discusses the Faith is compelled to begin with autobiography." The essay weaves together a personal interpretation of Christian doctrines and a history of Auden's changing attitudes toward them. After losing his childhood faith based on magical rituals, he went through a period of indifference, until, in his thirties, he discovered an adult faith that combined Protestant doctrines of man as "a spirit, a conscious person endowed with free will," who has "a unique 'existential' relation to God" and Catholic doctrines that "stress the physical reality of the flesh into which the Word was made." The closing paragraph sidesteps the problem of choosing between these two sets of doctrines: "Into the question of why I should have returned to Canterbury instead of proceeding to Rome, I have no wish to go in print. The scandal of Christian disunity is too serious." The unwritten answer to this question seems to have had something to do with his understanding of Anglicanism as a unique combination of Catholicism and Protestantism, his memory of the Anglo-Catholicism of his childhood, and his continuing sense that the most dangerous temptations of his age were the temptations to accept authority.
Around the same time, Auden wrote a seriously comic counterpart to this essay in the form of a questionnaire—to which he supplied his own answers—on the nature of one's private image of Eden; he published it in the magazine of the prep school he had attended in his teens. The title of the questionnaire was a fragment from the Purgatorio: "Qui è l'uom' felice" ("here man is happy"); its double subtitle was "Everyman in His Eden: A Psychological Parlour-Game for a Wet Sunday Afternoon". The questionnaire asked, "In your Eden what is its . . .", followed by a list of twenty-six items, including landscape, climate, methods of lighting and heating, forms of public entertainment, and much else. Auden's answers resembled the account he gave of his private Eden in "Vespers"; to his final question, "Any feature, important to you, not covered by your answers to the preceding questions", his answer was "Censored."
In August 1955, not long after writing these two pieces, he received a letter from Enid Starkie, whose biography of Rimbaud he had reviewed in 1939 but whom he seems never to have met, asking whether he would agree to be nominated for the chair of Professor of Poetry at Oxford, the only professorship chosen by an election in which all Oxford M.A.'s were eligible to vote. The winner would be obliged to give three lectures during each of the five years of his term. Auden at first refused. His American citizenship, he said, would prevent his election either on statutory or political grounds; and he could not afford to give up his winters writing for money in New York in order to be in Oxford during all three academic terms. Starkie persisted, and in November Auden finally agreed to be nominated for the election scheduled for February 1956, which he won by a small margin. His mixed feelings about his victory, and about his inaugural lecture scheduled for June 1956, prompted him to find new ways of speaking to an audience, and new ways of both hiding and revealing.
File created: 9/27/2007
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text:
ELYRIA — With a big second half and nearly flawless foul shooting, Elyria battled its way into a Division I district final Wednesday night.
After a first half in which they led by only a point, the Pioneers dominated the final 16 minutes in a 45-32 victory over Amherst. They made 15 of 18 foul shots for the game, including eight straight in the fourth quarter.
Junior Jocelyn Spraggins made eight straight free throws in the second half, six in the final eight minutes.
The victory sends Elyria (16-8) into a district final against Magnificat at 2:30 p.m. Saturday in Elyria Catholic's Coliseum. Mags advanced with a victory over Avon in Wednesday night's second game. It will be the Pioneers' first district final appearance since 2009.
Wednesday's game marked the end of a remarkable turnaround season for the Comets, who won only six games last year. They bowed out this year with an 18-6 record.
Spraggins, whose defense and inside offensive moves propelled the Pioneers, finished with a game-high 16 points. Reaching a district final was exciting for Elyria.
"This means a lot to us," Spraggins said. "We've been working hard in practice, doing our thing. Our coach said give him one more win and we'll go to the finals. The team really wanted to go, and that's what got us pumped up. I really wanted to get the win for the team. This team is like my family and I owe it to them."
Elyria coach Mike Walsh was glad to get a big win so close to home.
"Obviously, we play in a conference where we don't play (locally) very much," he said. "Nobody gets to see us, but everybody always says, 'You guys must be good because you play a good schedule.' But the last couple years, we've come over here and not played well.
"But it was fun to go against Johnny (Rositano, Amherst coach)," said Walsh, who has faced Rositano as Elyria's boys and girls coach for years. "It was exciting for me to have another chance to go against him. We're about even. He's won a couple in a row and I've won a couple in a row. It's just been a battle since we were 6 years old playing minor league baseball."
Amherst stayed close in the first half, with 6-foot-2 sophomore Brooke Wallace scoring seven points, five in the second quarter. Elyria led 17-16 after two periods, with the Pioneers' Mary Jones scoring five points and Sybil Roseboro and Spraggins adding four apiece.
Morgan Dziak, Amherst's 5-7 sharpshooter, kept the Comets in contention with three 3-pointers in the fourth quarter. Dziak finished with four of Amherst's five threes. She scored a team-high 12 points.
"In the Lorain High game, we got doubled up on the boards but made shots that offset that," Rositano said of the sectional final. "Today, we got doubled up on the boards and didn't make shots. It wasn't a lack of effort. Elyria got after us a little bit and took us out of our offense.
"We haven't seen overall quickness like we saw tonight. I thought their quickness bothered us and we never got into the flow offensively. Give Elyria credit. They have athleticism and they disrupted us a little offensively."
Elyria 45, Amherst 32
AMHERST (32): Sheridan Champe 0-0-0, Hannah Brosky 0-0-0, Morgan Dziak 4-0-12, Brianna Shagovac 4-1-9, Taylor Gibson 0-0-0, Mallory Sliman 0-0-0, Sydney Failing 1-0-3, Megan Salisbury 0-0-0, Gabrielle Basinski 0-0-0, Brianna Crapo 0-0-0, Brooke Wallace 3-2-8, Sara Elliot 0-0-0. Totals 12-3-32.
ELYRIA (45): Sybil Roseboro 3-2-8, Shayla Middlebrooks 0-0-0, Mary Jones 2-2-6, Jocelyn Spraggins 4-8-16, Alexis Roseboro 1-3-5, Alex Middlebrooks 4-0-8, Sierra White 0-0-0, Mariah Johnson 1-0-2. Totals 15-15-45.
Amherst 7 9 5 11 — 32
Elyria 9 8 10 18 — 45
Three-point goals: Amherst 5-20 (Dziak 4, Failing); Elyria 0-9. Field goals: Amherst 12-54 (22 percent); Elyria 15-55 (27 percent). Free throws: Amherst 3-8 (38 percent); Elyria 15-18 (83 percent). Rebounds: Amherst 28, Elyria 45. Turnovers: Amherst 11, Elyria 15.
Contact Bob Daniels at 329-7135 or email@example.com.


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[lastfm link_type="artist_info"]Sammy Hagar[/lastfm], a part-time Hawaiian resident, recently made a donation to help make the lives of Maui senior citizens a little bit easier.
[photogallerylink id=58318 align=right]
Na Hoaloha, or Neighbors Helping Neighbors, is a Maui-based non-profit organization that recruits local volunteers to donate their time in visiting the elderly, transporting them, and provide caregiving.
The Red Rocker did his part, making a $5000 donation.
"There are people that need immediate help. I'm a grassroots guy. The day I write the check, the next day I want to have someone benefit from it."
Na Hoaloha's Mission Statement is simple:
"Our Mission is to provide compassionate care for seniors to enable them to remain in their homes and independent for as long as possible."
Executive Director Gerri Shapiro was more than pleased with the rock n' roll donation, and will put it to immediate use.
"Neighbors Helping Neighbors will put these funds to immediate use helping seniors to remain in their homes and independent and to enhance the quality of their lives."
Don't you just love a feel-good story?


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Ellen Hall has not received any gifts yet
Hi Ellen, welcome to The Panacea Community!
We are so happy to have you a part of this wonderful community. This is a safe, fun, and inspirational networking site to support you on your journey of life. The first thing we recommend you do is invite your friends to join you here, as well as look into the tribes, events, and blogs for fun new gatherings happening in the community. Additionally please take a moment to read our community ground rules to bring you up to speed about some of the guidelines here. If you have any questions, feel free to reach out anytime.
With sincere appreciation,
Luz Crane
Community Support Director
Have you registered for your free month of Panacea Life School yet? Have a look, this is an incredible new curriculum for the spiritual seeker of life.


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A town council has had to put its council tax precept up by almost nine per cent – after a grant cut by Central Beds.
Biggleswade Town Council is increasing the precept by 8.93 per cent from April after Central Beds Council decided not to pass on its Council Tax Support Grant to town and parish councils.
The precept will be £667,502 for the 2014/15 tax year, with the rise equating to an extra 18.43 pence per week for a Band D property.
A Band D home council tax bill will now amount to £117.27 a year.
After the precept figure was passed unanimously at a Biggleswade Town Council meeting on Tuesday, councillors agreed that the rise was one they were implementing reluctantly.
Councillor Bernard Briars said: "It is a great shame that despite advice to the contrary from the government, Central Beds Council has decided to keep the grant funds to itself and not pass any of the money on to town and parish councils as it did previously.
"It means we have no choice but to raise our precept."
Councillor Madeline Russell agreed but said that the rise will offer the council more independence.
She said: "At a time when principal councils seem to be quite reliant on central government for funding it is sad that the support grant is not being shared.
"But decisions like this do mean that we are acting independently as a council and that we are levying tax which we will be deciding how to spend, making us directly accountable to the town that we serve."
The move follows Sandy Town Council's decision to also raise its precept from April.
At a meeting earlier this month Sandy mayor Councillor Susan Sutton said: "We had hoped to set a precept with a modest increase but we have had to make up for this 10 per cent reduction in our income imposed on us from above.
"CBC leaves us no choice but to make a larger increase.
"We are a small organisation with limited resources and our scope for making further savings is very restricted."


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State YAM Chairs 2017Karen Maninno and Kristy Lopez
New Jersey leads the nation in its Youth Art Month celebrations! Get involved in your county exhibits and advocate for the arts in our schools! View the county lists below to learn how to get involved. Check back if your county information is not listed yet, or contact your county's YAM chair with questions.
Kathy Nichols, Chair: Lisa Confora, Chair:
Exhibit: March 9th-March 29th
Location: Noyes Art Garage of Stockton University, 2200 Fairmont Avenue, Atlantic City, NJ
Reception: Saturday, March 18, 11:30am-1pm
Genecie Camacho, Chair:
Jennifer O'Brien, Co-Chair:
Exhibit: March 13th-March 27th
Location: Bergen County Plaza Offices, 1st Floor Lobby/Conference Room, One Bergen County Plaza, Hackensack, NJ
Reception: Thursday, March 16, 2017 4:30-6pm
Ellen Hargrove, Chair: Beth Nice, Chair:
Exhibit: March 1st-March 18th
Location: WIlliam G. Rohrer Library, 15 MacArthur Blvd. Haddon Township, NJ
Reception: Saturday, March 18th, 2017 1:00pm-3:00pm
Dr. Anne Marie Pai, Chair:
Exhibit: February 25 - March 10, 2017 (take down after 6:30pm)
Location: Greater Bridgeton Family Success Center, 155 Spruce Street, Bridgeton, NJ
Reception: Friday, March 3, 2017 6:30pm-7:30pm
Cathy Kondreck, Chair
Exhibit: March 1st - March 20th
Location: Essex County Hall of Records, 465 Martin Luther King Jr. Blvd, Newark, NJ
Reception: Monday, March 20, 2017 at noon
Mira Septimus, Chair:Maria Araceli Francisco, Chair:
Exhibit: March 17th to March 27th
Location: Liberty Science Center, 222 Jersey City Blvd, Jersey City
Reception: Sunday, March 26th, 2017
Barbara Weinstein, Chair:
Jennifer Stafford, Co-Chair: j
Exhibit: TBD
Location: Hunterdon Health and Wellness Center, Clinton, NJ
Reception: TBD
Tamika Diaz, Chair: Lora Durr, Chair:
Exhibit: March 9th - April 27th
Location: Artworks Trenton, 19 Everett Alley, Trenton NJ (http://artworkstrenton.org/)
Reception: Saturday, March 11th, 2017 2:00pm-4:00pm
Susan Catrone and Kristen Barth, Chairs:
Exhibit: March 12th - March 18th
Location: Middlesex County College, Student Gallery in the College Center, 2600 Woodbridge Ave, Edison
Reception: Saturday, March 18, 2017 12:00pm-2:00pm
Alison Wallace, Chair: Colleen Ford, Chair:
Exhibit: TBD
Location: CVA Gallery Brookdale Community College, 765 Newman Springs Road, Lincroft, NJ
Reception: March 25th, 2017 from 12:00-3:00pm
Maura Boucher, Chair:
Exhibit: February 20th- March 11th
Location: County College of Morris, 214 Center Grove Road, Randolph, NJ
Reception: Saturday, March 11th, 2017 10:00am-12:00pm
Stephanie Kitzmiller, Chair: firstname.lastname@example.com
Exhibit: March 1st - March 29th
Location: Ocean County Library - Brick Branch, 301 Chambers Bridge Road, Brick, NJ
Reception: Wednesday, March 29th, 2017 at 7:00pm
Julie Chrobak, Chair: firstname.lastname@example.com
Exhibit: March 18th - March 30th
Location: Louis Bay 2nd Library, 345 Lafayette Ave, Hawthorne, NJ
Reception: Thursday, March 30th, 2017 6:00-8:00pm
Lisa Conklin, Chair: Susan Bivona, Chair:
The Somerset YAM teacher website is: https://sites.google.com/site/somersetyouthartmonth/
Exhibit: Exhibit 1 (K-5) March 6-12th; Exhibit 2 (6-12) March 14-19th
Location: The Center for Contemporary Art (CCA), 2020 Burnt Mills Road, Bedminster, NJ
Reception: Exhibit 1 (K-5) Reception March 12th 2-3:30pm; Exhibit 2 (6-12) Reception March 19th 2-3:30pm
Kate Del Vecchio, Chair:
Elizabeth Wassel, Chair: email@example.com or
Exhibit: TBD
Location: Sussex County Arts and Heritage Council Gallery
Reception: TBD
Carrie Russoniello, Chair:
Charlotte Banks, Co-Chair:
Joanna Netta, Co-Chair:
The Union County YAM teacher website is:
Exhibit: March 1 - March 24
Location: The Plaza @ Elizabethtown Gas Company/Liberty Hall Center, 1085 Morris Ave., Union, NJ
Reception: Friday, March 24, 2017 from 5:00pm - 7:00pm
WARREN (see Hunterdon & Warren above)
Barb Weinstein, Chair:
Exhibit, Location, Reception - see above Hunterdon & Warren


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The Frequency is the solo project from Trans Am drummer Sebastian Thomson.
If ever there was a band that lost its way, it was Trans Am. In the mid-90s, these guys were the toast of the post-rock scene-- even though more often than not they actually did rock. Futureworld and The Surveillance were concentrated, nasty albums that sang straight to your machine soul. By the 00s, though, Trans Am LPs became sprawling refuges for labored irony. If anyone can actually remember a thing about the second half of Red Line, I'd be surprised, and Trans Am have only gone downhill from there. Therefore, it only makes sense that the band's members might be itching to try something new, and drummer Sebastian Thomson is the first to head out on his own-- although exactly how new his work as The Frequency actually is to him is open for debate.
For one thing, outside of Thomson's omnipresent (and often unremarkable) vocals there's not a whole lot of difference between the dark, buzzing vibe of this album and the late work of Trans Am. There is an absolute ton of sawtoothed synth on this record, and it's heaped on top of an absolute ton of Kraftwerk-styled synth patterns and lockstep beats-- both live and programmed. Thomson's singing give the album more of a focal point than most recent Trans Am fare, but he's frequently found well inside the mix, and often there's little melodic contour for his competent everyman voice to follow. Often, his unaffected voice simply doesn't sound at home in this songs-- I never thought I'd ever have to say "needs more vocoder," but here we are.
Bur this album does have plenty going for it. Thomson is a killer drummer but he's not showy, and at the heart of every song lies a solid rhythmic foundation. What Thomson does best is evil synth pop, and the songs that follow that road are usually pretty great, from opener "You're the Perfect Size" to the Computer World strut of "One Chance" and "Zapatos Blancos". "Erasing Myself" is less synth-oriented, but it carries the same feel and has some of the album's best vocals-- double tracking does wonders to liven up Thomson's delivery. "Own Me" adds almost jangly guitars to an itchy synth groove. It's the album's brightest moment, and one of its best tracks. If the LP were focused solely on this type of material, Thomson would have a pretty handsome record; as it is, he succumbs to his band's tendency to pile on subpar material, and he really loses his footing on the album's more rock-oriented numbers-- check the overripe guitar leads on "Moonburn" or the boring, sludgy slog of "Forgot", with its weakly shouted vocals and non-melody.
So, unfortunately, The Frequency doesn't seem to be a step toward regaining Trans Am's sense of pinpoint focus-- even if it is both stronger than that band's recent releases and contains its share of highlights. There are certainly worse traits for a musician to have than not knowing when to stop, but in this case it's the difference between a good album and a merely fair one.


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Texas A&M ranked last in the nation last season in passing defense and the hope is that a change to the 4-2-5 alignment will combat the plethora of spread offenses in the Big 12 conference.
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2453 Brianna Drive
A location in Hampton
Commute to Downtown Stockbridge
Almost all errands require a car.
About your score
2453 Brianna Drive has a Walk Score of 18 out of 100. This location is a Car-Dependent neighborhood so almost all errands require a car.
Explore how far you can travel by car, bus, bike and foot from 2453 Brianna Drive.
Bus lines:
800 Lovejoy-Justice Center
0.2 mi


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Here is what we have come up with:
Siena: Dinner Reservations at Cane e Gato
Lunch Reservations at "Common Table " at Avignonesi
Dinner Reservations at Ai Quattro Venti
Lunch at Ciacci Piccolomini d' aragona (as part of tasting)
Dinner at Poggio Antico
San Gimignano
Lunch at Il Trovatore
Dinner at Cum Quibus
Chianti Region
Dinner at either "La Bottega de 30" or at Badia a Coltibuono
Any thoughts? Especially in Chianti as that is particularly troubling us. Anything we should avoid at all costs, or even help as affirm our decisions. Thanks!


text: So this is my first blog ever, and i have been warned by some people if i don't keep up i am going to get it, so we'll see! I just want to say that I think everyone is a little stressed out right now... oh wait, nope, its just me! Just kidding but for all yall girls who got accepted to A&M Congrats and ILOVEYOU!!! Hopefully I will find out before march if i got in or not. That has been a big thing on my mind lately. I hope everyone had an awesome weekend i heard brook and JB's weekend was pretty eventful with the toliet paper and all. Sounds like fun girls. Also I want to wish Courtni good luck this week... she is beautiful and I hope she wins Homecoming Queen! If you don't win Court, you are still awesome to me and I love u!! (but no worries, you will win!!). Well this was fun, I hope everyone has a good time sleeping in tomorrow or whatever yall do! I love everyone!!


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BERLIN — The German economy, which has been a bastion while its neighbors have buckled one by one under debt, showed signs of strain Wednesday and raised fears across world financial markets that Europe is far from containing its crisis.
An auction of bonds by the German government flopped, generating some of the weakest demand in a decade. And investors who buy German bonds on the open market demanded higher yields, a sign of concern about Germany's finances.
Compounding the problems for Europe, France received another warning that it might be stripped of its top-notch credit rating, and borrowing costs for Italy neared dangerous levels.
German Chancellor Angela Merkel and the head of the European Union clashed openly over one proposed solution to the European crisis — common bonds issued by all 17 nations that use the euro currency.
A European bond could promote stability in the markets. But Merkel said it would not solve "structural flaws" with the euro, and, in a testy exchange, an EU official said Merkel was trying to cut off the debate before it could even start.
While European leaders bickered and the bond market fretted, investors sold stocks all over the world. In New York, the Dow Jones Industrial Average lost 236 points, more than 2 percent. Stock markets across Europe finished more than 1 percent lower.
"If Germany can't sell bonds, what is the rest of Europe going to do?" asked Benjamin Reitzes, an analyst at BMO Capital Markets.
The debt crisis in Europe has already forced Greece, Portugal and Ireland to accept international bailouts, and it has threatened Italy and Spain, which have much bigger economies.
But Germany had weathered the storm. It has the largest economy in Europe, with $3.3 trillion of output last year, or about 20 percent of the EU economy. It is vital to any continent-wide solution, both as a source of strength and as a source of cash.
Germany had hoped to raise $8.1 billion by selling bonds, but it sold only $5.9 billion, one of the worst showings since the adoption of the euro in 1999.
German officials cited a record-low offered yield and a nervous market for the auction's failure, but investors took it as a warning that the crisis might threaten the rock-solid German economy.
Greece, meanwhile, took a step forward in avoiding bankruptcy after the conservative party leader pledged to back the conditions attached to a new financial aid package.


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N. S. M., Shariff and T. A., Musa and K., Omar and A. A., Khairul (2009) Research facility of GPS network-based real-time kinematic positioning system in ISKANDAR Malaysia. In: Proceeding of 2009 East Asia Hydrographic Symposium & Exhibition (EAHSE), 2009, The Legend Hotel, Kuala Lumpur.
In equatorial region, severe atmospheric delays occur frequently which leads to difficulties in the ambiguity resolution process and thus affects the accuracy of RTK positioning. The idea of N-RTK system which is to reduce distance-dependent errors, enable high accuracy RTK positioning to be achieved over large area. Hence, the N-RTK system has become popular to be implemented by various agencies and universities. A research-based facility of GPS N- RTK positioning system namely ISKANDARnet has been established by UTM-GNSS and Geodynamics Research Group. ISKANDARnet has been set up with adequately inter-stations distance to assist ambiguity resolution. The data quality of each station is essentially checked by analysing multipath vulnerability. Moreover, generation of real-time network corrections and stability of communication link for inter-stations are monitored to ensure the accessibility of the system. Findings of this study are expected to robust research activities and support the development region of ISKANDAR Malaysia.
|Item Type:
|Conference or Workshop Item (Paper)
|Uncontrolled Keywords:
|global positioning system, network-based
|Q Science > Q Science (General)
|Geoinformation Science And Engineering (Formerly known)
|ID Code:
|Deposited By:
|Mrs Liza Porijo
|Deposited On:
|06 Oct 2011 09:58
|Last Modified:
|07 Oct 2011 01:03
Repository Staff Only: item control page


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One inmate dies in riots at Jordanian jail
Jordan's security forces stormed a Jordanian prison Thursday to quell a riot, after prisoners held two police officers, Al-Jazeera satellite network reported.
One prisoner was killed in the clashes while 15 police and 20 inmates were injured, the government said. A security official confirmed there had been an "incident" at Qafqafa prison. One of the prisoners, Abed Shihadeh al-Tahawi, told Al-Jazeera by cell phone that the prisoners were holding two police officers.
Al-Tahawi is serving three years in jail for plotting strikes against the American and Israeli embassies in Jordan in 2004. Al-Jazeera said Qafqafa prison holds 34 Islamist prisoners. The prison, near Irbid, about 50 miles north of Amman, is one of six in Jordan.
Clashes lasted several hours before police regained "total control" of the prison, a government sources conveyed.
A few weeks ago, captives rioted at three Jordanian prisons, but the 14-hour standoff ended without major bloodshed.


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Environmental responsibilities and accountability are being taken increasingly seriously by companies in industries across the UK. Control Valve Solutions, an Aberdeen based company that supplies, services and repairs valves primarily for the oil and gas industry, has proven its commitment to these issues by certifying to the internationally recognised ISO 14001 standard.
The young company, established in March 2009, has continually strived for excellence since its inception, and has already successfully achieved ISO 9001, the quality management standard and more recently ISO 14001, the environmental management standard.
Control Valve Solutions wanted its business operations to be to the highest possible standards, to ensure their own principles were being met and to help them stand alongside the top companies in the UK. Key objectives from certification were:
- To ensure robust and extensive environmental processes
- To meet requirements of many large players within their industry
- To demonstrate their commitment to environmental issues, in particular integrating the new Waste (Scotland) Regulations for 2012 and improving policies on the separation and collection of waste in order to reduce waste to landfill
Why certify to ISO 14001?
John Beavers, Safety, Health & Environmental Manager comments "We wanted to make our business a more environmentally friendly, cleaner and safer place to work. The main benefit was to see the company operating in a fully professional and transparent manner, with our employees knowing they work for a company who care about their safety and welfare, and truly care about the environment".
"The very nature of our business is to deliver valves and associated equipment within very tight deadlines, and we wanted to embrace a system that did not compromise our level of service but did demonstrate our duty of care".
Why ISOQAR?
Back in 2009 when Control Valve Solutions started thinking about certification they employed an independent consultant who suggested ISOQAR. Having investigated their options they decided to proceed, citing the good fit and understanding of ISOQAR with their business. They achieved certification to ISO 9001 in April 2010 and then in June 2011 started the ISO 14001 process, gaining certification in September 2012, just 58 days after moving to their new flagship site.
Mick Beavers, Managing Director comments: "After looking into our options we decided ISOQAR were right for us. Having spoken to contacts in our industry we knew they had a good reputation and we were very pleased with our decision to work with them".
"It was important for us to certify with a UKAS accredited certification body – we wanted the knowledge and assurance that our chosen certifier was itself achieving the high standards that we were aspiring to. Certification is something that our customers are increasingly requiring, and being certified with ISOQAR absolutely meets their requirements".
How did they implement their environmental management system?
"Full training was given to all staff to ensure there was a complete understanding of how the environmental management system had been integrated into our own system 'CVS Manager'. We provided a combination of presentations and literature specially prepared for each individual, according to their specific needs. Any training needs are addressed during an annual performance review".
Nikki Samme, Group Head of Marketing for Alcumus, commented: "One of the many benefits of ISO 14001 certification is the management and reduction of costs through control of waste. A key factor in Control Valve Solutions' commitment is to uphold their core value proposition: to supply services to the highest standard of quality whilst keeping costs low".
By implementing ISO 14001, Control Valve Solutions has a framework that allows it to consistently control its significant impact on the environment, ensure compliance with environmental legislation and continually improve its business operations, as well as show its commitment to corporate responsibility.


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Heidi Montag Flips When Spencer Flirts
Heidi "I'm Voting For John McCain" Montag got in quite a tizzy on last night's episode of The Hills. She and her "girls" (you can tell they're her friends by the stab wound scars in their backs) were enjoying a friendly "girls night out" at Hollywood's S Bar when she spotted her exish-boyfriend flirting with a group of girls up at the bar. She held it together at the club, but this is how she felt inside.
"They're taking shots?" she asked co-star/pretend friend Audrina Patridge three times in a row, clearly confusing the brunette who looked as perplexed as if Heidi were asking her what the capital of Nebraska was or how to use a hammer. The girl can barely chew her gum and sit still at the same time through the use of deep and focused concentration, much less try and maintain a conversation. By the way, Audrina would like you to know she's voting for Tickle Me Elmo for president.
Also, did you know Heidi raps?
Photos: BauerGriffinOnline.com