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Abutsu c. 1222 -1283
(Also known as Abutsu-Ni; Abutsu the Nun; Ankamon-in Shijo; Ankamon-in Echizen; Ankamon-in Uemon Suke) Japanese poet and prose writer.
Abutsu is best known for Izayoi Nikki (c. 1279; Diary of the Waning Moon), which exemplifies the classic diary style of the Kamakura period (1185-1333), and Utatane (c. 1240; Fitful Slumbers), which records her distress after being rejected by her married lover. As the mother of Reizei Tamesuke (1263-1328) and the champion of his inheritance claim, Abutsu became a celebrated public figure, and Izayoi Nikki has long been a popular minor classic in Japan. For her own work and for founding the Reizei school of poetry, she is considered one of the most important female Japanese poets of her time.
Biographical Information
Abutsu's birth name is unknown, and nothing is known for certain of the circumstances of her earliest years or of her parents. It is believed that, upon the death of her father, her mother married Taira no Norishige, who governed the provinces of Sado and Totomi. Norishige adopted Abutsu and she became a respected poet at a young age. She began court service while possibly in her teens, serving as a lady-in-waiting to the princess Kuniko (1209-1283), who is also known as the Empress Ankamon-in: hence Abutsu's court designations. Abutsu bore three children while employed at court. Her expertise in Genji Monogatari studies led to her being hired sometime after 1251 by the most important poetic family at court, the family of Fujiwara Tameie (1198-1275), to make a copy of The Tale of the Genji. She became romantically involved with Tameie and eventually married him and bore him two sons, the elder of whom was Tamesuke. Abutsu became a Buddhist nun upon Tameie's death in 1275, and this is the source of her common name, Abutsu-Ni, or Abutsu the Nun. At once she became embroiled in an inheritance battle between Tamesuke and Tameie's eldest son, Tameuji (1222-1286). At stake was land, property, and, most importantly, poetic legitimacy and prestige. Abutsu decided to argue her son's case before the military court of the shogun, and departed Kyoto on the difficult journey to the shogunal capital at Kamakura in about 1279. The Izayoi Nikki was written on her journey to Kamakura as well as during her long stay there while awaiting a ruling. In order to carry on the poetic tradition which she felt was her son's to advance, Abutsu founded the Reizei poetry school in his honor. She is thought to have died in Kamakura in 1283.
Major Works
Abutsu's first major work was Utatane, which describes her painful emotional state at the end of her love affair with a man of noble rank. Most of the first part of Utatane deals with her feelings of loss and rejection, while the second part, which begins with Abutsu chopping off her hair, describes her journey on foot to join a distant Budhist nunnery. Abutsu wrote many poems and more than eight hundred are extant. Tameie compiled an imperial anthology entitled Shokukokin Wakashu (1265; Collection of Ancient and Modern Japanese Poetry Continued) and included three poems by Abutsu. Forty-five other poems by Abutsu are found in various other imperial anthologies. A student of the Reizei school, Fujiwara Nagakiyo, compiled a private anthology entitled Fubokusho (1308-10), which contains fifty-nine of her works. One hundred poems by Abutsu are included in Ankamon-in Shijo Hyakushu (c. fourteenth century) and more than five hundred in Ankamon-in Shijo Gohyakushu (also c. fourteenth century). Abutsu's most famous work is Izayoi Nikki, a loosely organized travel diary that relates her reasons for going to Kamakura, describes sights and scenes of the two-week journey, and records correspondence and poetic exchanges. Some critics believe that Abutsu wrote it as a poetry model book, perhaps to pass on to her children. Its final section is comprised of a long poem in a style popular in the eighth century. Izayoi Nikki contains 116 poems, of which eighty-six are by Abutsu herself. Abutsu also produced two letters of some renown, although their exact dates of composition are unknown: Yoru no Tsuru (The Night Crane), which is a short treatise on poetics addressed to Tamesuke, and Menoto no Fumi, abridged as Niwa no Oshie (Garden Instructions), addressed to her daughter, Ki Naisha.
Critical Reception
Izayoi Nikki is generally not considered a first-rate literary piece in itself, and is most often criticized for its lack of focus. Jin'ichi Konishi points out, however, that the work benefits immensely when its context—an old woman undertaking a long and hazardous trip to represent her son's interests in a legal battle—is understood. Konishi explains that most of its intended audience did indeed know the context of Izayoi Nikki, as attested to by its popularity since high medieval times. Among critics the consensus is that the work is important more for historical reasons than for its intrinsic literary merit. Although Izayoi Nikki has long been considered Abutsu's major work, recent reassessment of Utatane indicates that this work, written while she was in her teens, will ultimately be recognized as her greatest achievement. John R. Wallace finds the "intensely self-reflective quality" of Utatane particularly unusual and noteworthy and finds the text fresh even today. Donald Keene writes "Utatane is an extraordinarily moving work, one of the finest examples of the Japanese diary, in every way superior to [Abutsu's] more celebrated Izayoi Nikki."
Principal Works
Utatane (prose and poetry) c. 1240
Izayoi Nikki (prose and poetry) c. 1279
*Izayoi Nikki [Diary of the Waning Moon] (translated by Edwin O. Reischauer) 1951
†Utatane: Fitful Slumbers (translated by John R. Wallace) 1988
‡Izayoi Nikki [Journal of the Sixteenth-Night Moon] (translated by Helen Craig McCullough) 1990
*In Translations from Early Japanese Literature, edited by Edwin O. Reischauer and Joseph K. Yamagawa.
†In Monumenta Nipponica, Vol. 43, No. 4.
‡In Classical Japanese Prose: An Anthology, edited by Helen Craig McCullough.
Edwin O. Reischauer (essay date 1947)
SOURCE: An introduction to The Izayoi Nikki, in Translations from Early Japanese Literature, Harvard University Press, 1951, pp. 3-51.
[In the following excerpt, first published in 1947, Reischauer places the Izayoi Nikki in historical context by examining trends in Japanese literature during the late classic and early feudal periods.]
The Izayoi nikki (The Diary of the Waning Moon) is not a truly great piece of literature even in the original Japanese. My literal translation of it most certainly has not added to its literary merit, but neither has it robbed it of any great literary worth, simply because there is not much in the original Japanese to be lost.
Having admitted that the Izayoi nikki is not a masterpiece of world literature, I must now point out that there are many reasons why it is both an interesting and important work worthy of detailed study. One reason is its long popularity among the Japanese. It is usually considered a minor classic suitable for use as a school text, and today it certainly is one of the five or six most widely read works of the Kamakura period (1185-1333). Another reason is its value as an excellent example of some of the literary trends of the time, such as the decline of the archaistic prose style associated with the old court aristocracy and the increasing imitativeness and formalism of poetry. Indeed, the hundred-odd poems of the Izayoi nikki, though not among the best in Japanese literature, afford an excellent insight into the heart, or rather mind, of the medieval Japanese poet and into the nature and some of the weaknesses of Japanese poetry in general. Still another reason why this text is of interest both to the student of literature and the historian is the author herself, "the nun Abutsu" (Abutsu-ni). Despite the largely imitative quality of her writing, she stands out as a great personality. As the last famous woman writer before the late nineteenth century, she marks the end of an epoch in Japanese literature and social history; as the wife of one of Japan's best known poets, Fujiwara Tameie (1198-1275), and as the progenitor of one of the greatest hereditary schools of poets of medieval times, she is a significant figure in the history of Japanese poetry. Lastly, the historical incident around which the Izayoi nikki centers throws much light on the institutions and mores of early feudal Japan.
If the Izayoi nikki is to be regarded not as a timeless masterpiece but merely as an interesting example of broad literary and cultural trends, it is necessary, before undertaking a study of it, to have some understanding of the literature of the late classic and early feudal periods in Japan. Unfortunately, Aston's pioneer work, A History of Japanese Literature, still remains, fifty years after its first publication in 1898, the only serious history of Japanese literature in English.1 Reflecting the rudimentary level of Japanese literary criticism of that day, it is neither a clear interpretation of the development of Japanese literature nor a repository of accurate information. I am forced, therefore, before proceeding with a study of my text, to sketch briefly the major trends in Japanese literature from the eleventh to the fourteenth century, so that the Izayoi nikki can be properly evaluated and viewed in its true perspective. I hope that my own inadequacy for this task will help spur others on to undertake the writing of a satisfactory history of Japanese literature and thus fill in one of the most serious gaps in our understanding of the civilization of the Far East.
The period from the eighth to the early eleventh century can be called the classic age of Japanese literature. This period saw the first flowering of Japanese civilization, following the heavy cultural borrowings from China during the seventh, eighth, and early ninth centuries. During this period the prestige of all things Chinese remained so great that more emphasis was placed on writing in Chinese than in Japanese. Despite this primary concern with Chinese, however, the Japanese court aristocrats, both men and women, produced a prodigious number of poems in Japanese. Some members of the nobility, particularly the court ladies, who were less skilled in writing Chinese and less ashamed of writing Japanese than their menfolk, produced Japan's first great prose literature in the tenth and early eleventh centuries.
This classic age saw the compilation of the two greatest collections of Japanese poetry, the Man'yōshū (Collection of Ten Thousand Leaves), completed some time after 759, and the Kokinshū (Collection of Ancient and Modern Times), completed in 905. During the first two decades of the eleventh century appeared two of Japan's greatest prose masterpieces, the Tale of Genji (Genji monogatari) by Lady Murasaki Shikibu and the Pillow Book (Makura no sōshi) by Lady Sei Shōnagon.
The classic literature of Japan was the undisputed monopoly of a small court aristocracy. It was written by members of this group about themselves, their lives, and their thoughts, and in all probability it was read almost exclusively by the same small educated class. The court aristocracy was a privileged class, living in comparative luxury and indolence, and the literature it produced clearly mirrors the life and interests natural to such a class. Despite a carefully nurtured and savored sense of poetic melancholy, the poets and authors of this age had a strong hedonistic zest for life—a desire to enjoy the experiences and emotions of life to the fullest, to drain the last emotional draught from each scene of nature, each amatory encounter, and all the arts and diversions of court life. There was correspondingly little interest in the more fundamental problems of life, in philosophy or religion, except insofar as religious ceremonies served as diversions or opportunities for display.
Notwithstanding the prestige of the Chinese language at this time and the usual attempt on the part of most courtiers to do their serious writing in that language, Japanese literature of the classic age was largely free from Chinese loan words. In sharp contrast to most prose writing of later ages, it was relatively pure Japanese both in structure and vocabulary.
The classic age of Japanese literature coincides roughly with the period when Japan was controlled by the imperial court at Kyōto, first under the leadership of Emperors, and later under that of Regents (Sesshō) and Chancellors (Kampaku) belonging to the all-powerful Fujiwara family. The eleventh century saw the start of profound political and economic changes, as actual control of the nation began to pass from the weakening grasp of the court aristocracy to the hands of a more vigorous and much larger class of provincial gentry. This group had a double role as stewards of the local estates and manors and as warriors responsible for the preservation of order in each community. Eventually, during the second half of the twelfth and early thirteenth centuries, a dominant clique of provincial warriors created a nation-wide feudal political system, the Kamakura Shōgunate (1185-1333).
As the old order began to crumble and the new took its place, there appeared a growing spirit of pessimism, particularly in court circles, and a rising interest in Buddhism, not merely as an elegant diversion, but as a means of salvation from a corrupt world. This growing interest in religion culminated in the late twelfth and early thirteenth centuries in a great religious awakening and in the founding of new Buddhist sects, which have ever since been the dominant sects of Japanese Buddhism.
With such great social and spiritual upheavals during these centuries, it was inevitable that the classic literature of Japan should undergo great changes. With the political and economic decline of the court nobility, the literature which this class was producing became progressively less creative and increasingly imitative and sterile. At the same time, new literary forms appeared which were more expressive of the growing popular concern with religion and the interest of the rising warrior class. Thus, this period is characterized by the parallel and sometimes mingling flow of two dissimilar currents—one the placid but dwindling flow of the old court literature, the other the fresher, growing current of newer literary forms better able to express the spirit of a new age dominated politically by the warrior class and spiritually by the new Buddhism.
As an indirect result of the political and economic decline of the Kyōto court, the knowledge of Chinese on the part of the court aristocracy gradually declined. As it became increasingly difficult for Japanese to write correct Chinese, they sometimes resorted to a mixed Chinese-Japanese style, which might be described as Chinese written with the aid (or obscuration) of Japanese grammar. Such a style is found in the Konjaku monogatari (Tales of Modern and Ancient Times), a collection of Buddhist and other stories from India, China, and Japan, which is traditionally attributed, somewhat gratuitously, to Minamoto Takakuni (1004-1077). By the thirteenth century a new type of Japanese prose had developed from this style, which, while largely Japanese in grammar and structure, used a vocabulary rich in borrowed Chinese words or Sino-Buddhist terms.
The decline of Chinese learning in Japan also resulted in a lessening of the prejudice on the part of men against writing prose in Japanese. Men gradually came to take the lead in Japanese prose literature in the eleventh and twelfth centuries, and by the latter part of the thirteenth century the woman writer had become a rarity. There continued to be women poets, but few attained any great prominence after the thirteenth century, and, as mentioned above, Abutsu, who died not long after completing the Izayoi nikki in 1280, was the last famous woman prose writer before the late nineteenth century.
Another result of the decline of the Kyōto court and the rise of new political institutions was the growing interest in the recent past, which was looked back upon with nostalgia by those who regretted the passing of the old and also with curiosity by those who wished to explain the present. This can be seen, on the one hand, in the increasing imitativeness and traditionalism of the older literary forms and, on the other hand, in the popularity of historical subjects in the newer literary forms. This interest in history ranks with the new emphasis on Buddhism and the warrior class as one of the outstanding features of Japanese literature of early feudal times.
Still another result of the decline of the Kyōto court, the rise of the provincial warrior class, and the appearance of a new interest in Buddhism was the spread of literature to other classes besides the court aristocracy. Gradually members of the warrior class and monks from all classes began to join the court nobles as important figures in the literary world. By the late fourteenth century literary leadership had definitely passed from the courtiers to other groups.
Among the various literary forms popular in the late classic and early feudal period, it was poetry, particularly the thirty-one syllable tanka, which remained truest to the classic pattern. In fact, it was conservative to the point of imitativeness, though the Japanese poets, particularly those of this time, felt no shame in this. On the contrary, they delighted in recalling by allusion or quotation some earlier poem to which they would give a new interpretation or some unexpected twist. Drawing inspiration from the Kokinshū, and later also from the Man'yōshū, the court aristocracy, now joined by monks and warriors, continued century after century to compose their tanka and to collect the best of them in periodic imperial anthologies, based on the pattern of the Kokinshū, which is the first of the anthologies of Japanese poetry compiled on imperial order. In all, twenty-one imperial anthologies were compiled, nine during the century and a half of the Kamakura period alone. The last was completed in 1439.2 In addition, there appeared some private anthologies, as well as scores of private collections of individual poets, attesting to the assiduousness if not the genius of the poets of the time.
The poets of the latter part of the twelfth century and early thirteenth century, particularly the monk Saigyō (1118-1190), the courtier Fujiwara Toshinari (or Shunzei) (1114-1204), and the lattera's son Sadaie (or Teika) (1162-1241), are credited with having brought not only new techniques but also new freshness to the old art of composing tanka. The Shinkokinshū (New Collection of Ancient and Modern Times), an imperial anthology compiled by Sadaie and four other courtiers during the first decade of the thirteenth century, contains many poems by these three men and their contemporaries and is usually considered to be the most important of the twenty imperial anthologies which followed the Kokinshū.
As the thirteenth century progressed, however, poetry became even more imitative and artificial than before. One factor in this growing sterility and formality was the development of hereditary lines of poets, claiming to possess the only true tradition. Poetry, like the other arts practiced in feudal Japan, became a sort of feudal right, maintained as far as possible within a single hereditary line by the transmission of a secret tradition. The most important of these hereditary lines sprang from Sadaie's son, Tameie, the husband of Abutsu. The three schools into which his descendants were divided dominated the poetic field during the next two or three centuries and helped to stifle what remaining creative spirit there may have been. At first the transmission was from father to son in these schools, but in the fourteenth and fifteenth centuries the leading protagonists of these schools were usually non-related disciples, more often than not, monks.
The ending of the imperial anthologies in the fifteenth century was perhaps as much due to the loss of interest in a sterile poetic form as to the political and economic decline of the imperial court. But the art of tanka writing never did die out in Japan. It is still practiced by thousands of Japanese and is officially recognized in the annual imperial poetry competition. However, during the fourteenth and fifteenth centuries popular interest began to shift from it to other poetic forms. There were the popular songs and chants which played a part in the development of the great medieval dramatic form, the Nō Drama. There was also the poetic diversion of renga ("chain poems"), in which different poets composed alternating seventeen- and fourteen-syllable strophes, each taking as its point of departure the immediately preceding strophe. The composition of renga gradually developed into something more than a diversion and in time became the most highly regarded of all poetic skills. It flourished particularly under the great renga poet, the monk Sōgi (1421-1502), and it in turn gave birth to the seventeen-syllable haiku,3 which, in the hands of the haiku master, Bashō (1644-1694), was to become the great poetic form of the seventeenth century.
The romantic novel was another decidedly conservative literary form. The long romantic novels of the late eleventh, twelfth, and thirteenth centuries were usually quite self-consciously archaistic in subject matter and in style. In both these regards, they clearly showed the influence of the Tale of Genji and sometimes of earlier novels of the tenth century. For the most part they adhered closely to the native Japanese vocabulary and grammar of the early eleventh century, although in the novels of the thirteenth century there is sometimes a somewhat greater admixture of newer grammatical forms and words of Chinese and Buddhist origin. Plots frequently were nothing more than new adaptations of old themes and concerned the lives and loves of court nobles of an earlier age. With these markedly archaistic characteristics, it is small wonder that the romantic novels of this period displayed a sharp decline in creative imagination, which in turn no doubt accounted for a rapid loss of popular interest in this type of literature.
Among the better known romantic novels of this time, the one which most closely followed the pattern of the Genji monogatari was perhaps the Sagoromo monogatari, probably dating from the second half of the eleventh century or the early twelfth century. The Hamamatsu chūnagon monogatari, which probably dates from the middle of the eleventh century and may have been the work of a lady known to history simply as "the daughter of Sugawara Takasue" (b. 1008), followed the precedent of the Utsubo monogatari (dating from about 970) in taking its hero to China. The Sumiyoshi monogatari, which dates from some time before the year 1271, following the theme of the Ochikubo monogatari of the second half of the tenth century, centers around the trials and loves of a persecuted step-daugher. The most original and most noteworthy of the late novels is the Tsutsumi chūnagon monogatari, attributed to the eleventh, twelfth, or thirteenth centuries by different authorities. This work, breaking with the tradition of the long romantic novel, is made up of ten independent chapters which are scenes from life rather than stories. The approach is fresh, and the subject matter in some cases is novel. Some enthusiasts have even called the ten chapters of the Tsutsumi chūnagon monogatari Japan's firts short sotries.
The archaistic romantic novel did not survive the thirteenth century as an important literary form. Long before this, the historical novel, the military novel, and collections of short historical and Buddhist stories had supplanted it in popular appeal. During the later feudal period, a new literary form, usually called the Otogi-zōshi, proved to be the most popular story form among the people at large. The Otogi-zōshi were short and often fantastic adventure stories, sometimes more in the nature of fairy tales than realistic stories. They were an important literary form from the fourteenth until the seventeenth centuries, and, in a closely parallel and often almost identical form called Kōwakamai,4 were recited or chanted during the fifteenth and sixteenth centuries. The Otogi-zōshi and Kōwakamai in their somewhat archaistic grammar and vocabulary may have harked back to the romantic novel, but in subject matter they derived more closely from the historical and military novels and still more from the collections of historical and Buddhist stories.
The historical novel5 first appeared during the eleventh century as an outgrowth of the classic romantic novel. Like the collections of historical and Buddhist stories, it was perhaps a natural literary expression of an age of change which viewed with nostalgia the glories of a departed day. The two earliest and most famous of the historical novels are the Eiga monogatari (Tale of Splendor) and the Ōkagami (The Great Mirror). Both were at least in large part written during the eleventh century, and both, while treating of court history from the latter half of the ninth century until the eleventh, center their attention on Michinaga (966-1027),6 the most glorious and renowned of all the heads of the Fujiwara family. The Eiga monogatari, which ends with the year 1092, is arranged chronologically, while the Ōkagami, which goes only as far as 1025, follows the pattern of Chinese histories in its division into imperial annals and biographies of courtiers. In their imaginative detail and their emphasis on court ceremonies, incidents of court life, and poetic exchanges, both works show the strong influence of the old romantic novels, though in vocabulary they diverge from the novels in their use of Chinese and Buddhist terms.
The author of the Ōkagami puts his story into the mouths of two aged men, one 190 years old and the other 180, with occasional comments by a younger man representing the judgment of the contemporary age. This device, as well as the name of the book, was imitated in a series of later historical novels which sought to continue the Ōkagami or supplement it. These were the Imakagami (The Mirror of Nowadays), continuing the story from 1025 to 1170, the Mizu-kagami (The Water Mirror), dating probably from the latter part of the twelfth century and telling the history of Japan from its mythological beginnings through the first half of the ninth century, and the Masu-kagami (The Clear Mirror),7 covering the period 1180-1333.
Collections of historical and Buddhist stories8 represent another literary form which paralleled the historical novel in its emphasis on the past and in the history of its development. The first collection of this type not written in pure Chinese, and at the same time the largest and most famous, is the Konjaku monogatari, already mentioned as a good example of the mixed Chinese-Japanese style of the eleventh century and, thus, one of the ancestors of the normal written style of the Kamakura period. As was frequently the case in such collections, many of the stories in the Konjaku monogatari are about Buddhist subjects. A distinctive feature of this particular collection is that, of the total number of thirty-one scrolls into which it is divided, five each are devoted to stories from India and China.
There were many later collections of a similar nature, recounting famous stories drawn from the history and the cultural traditions of the Far East. Some centered largely on Buddhist themes, others on literary stories, particularly incidents capped by some courtier's apt Chinese poem or tanka. Two of the later collections might be singled out for specific mention. One is the Uji shūi monogatari (Tales Gleaned at Uji) of the late twelfth or early thirteenth century, which added a strong moralistic note to its stories. The other is the Jikkinshō (The Miscellany of the Ten Maxims) of 1252, which fittingly illustrates the spirit of a strongly Buddhist age by grouping its stories under ten moral principles drawn from Buddhism. All of these collections of historical and Buddhist tales are either in a mixed Chinese-Japanese style or else in Japanese loaded with Chinese and Buddhist words.
Perhaps the most distinctive literary form of the Kamakura period was the military novel.9 This was clearly an outgrowth of the historical novel. At the same time, in its heavy admixture of Chinese words, it showed the direct influence of contemporary histories and accounts of wars written in Chinese, and, in its organization into a series of incidents, each with its own title, it showed the influence of the collections of historical and Buddhist stories. The military novels of the Kamakura period were vigorous in style. Telling as they did of the life and wars of the newly-risen warrior class, they enjoyed great popularity throughout the feudal period. For the most part they took as their central theme the wars between the Minamoto and Taira clans during the second half of the twelfth century.
The greatest of the military novels, the Heike monogatari (Tale of the Taira Clan), written early in the thirteenth century, covers the years 1132 to 1213 but dwells especially on the collapse of the Taira clan during the years 1177 to 1185. Its great popularity in medieval times is attested to by the fact that it was commonly chanted by traveling minstrels. Two shorter works, the Hōgen monogatari and the Heiji monogatari, tell respectively of the wars of the Hōgen and Heiji periods, which occurred in 1156 and 1159-1160. Very similar in style and organization, these two works may be by a single hand. Scholars are not yet agreed as to the dates of their composition, some placing them before and some after the Heike monogatari. The Gempei seisui ki (Record of the Rise and Fall of the Minamoto and Taira Clans), dating from about the middle of the thirteenth century, covers much the same material as the Heike monogatari, and the Taiheiki (Record of the Great Peace) recounts the political history and battles between the years 1318 and 1367.
There remain for discussion various intimate writings such as diaries,10 travel accounts,11 and personal miscellanies or jottings.12 The literary trends within this category were as diverse as the elements of which it was constituted. The court lady's diary, which had been so important a literary form during the classic age, remained essentially conservative and imitative both in content and style. After the Sarashina nikki (Sarashina Diary), written in 1059-1060 by the daughter of Sugawara Takasue, mentioned above as the reputed authoress of the Hamamatsu chūnagon monogatari, there were few diaries of any great literary merit or renown. The Izayoi nikki stands out as the only famous later work of this type, and it might be better classed as a travel account or, as we shall see, as a purely poetical work.
Besides the Izayoi nikki, the only well-known travel accounts of this period are the Kaidōki (Record of the Sea Road) of 1223 and the Tōkan kikō (Eastern Barrier Travel Account) of 1242, which, like Abutsu's more famous work, tell of trips from Kyōto, the old imperial capital, to Kamakura, the new feudal capital. Both, in the usual style of travel accounts, are highly poetic, but they are less archaistic than the Izayoi nikki and make more use of words of Chinese and Buddhist origin.13
There are only two famous personal miscellanies or jottings dating from this period, but both are regarded as masterpieces of Japanese literature. One is the Hōki (Record of a Ten Foot Square [Hut]), usually accepted as a work written early in the thirteenth century by Kamo Chōmei (1153-1216). The other is the Tsurezuregusa (Grasses of Ennui) written by Yoshida Kenkō (or Kaneyoshi) (1283-1350), probably some time between 1324 and 1331. The two authors have points of striking similarity with each other. Both were born in priestly Shintō families in Kyōto; both became Buddhist monks and recluses; both were among the greatest poets of their day. Their two works, however, are quite dissimilar. The Hōjōki is a very short philosophic account of Chōmei's retirement from the world. The Tsurezuregusa is a much longer work and a true miscellany in the style of the Pillow Book of Lady Sei Shōnagon. The Hōjōki and Tsurezuregusa are alike in that they show the pervading spirit of Buddhist pessimism of the period and are written in a style which is neither over-archaistic nor too heavily burdened with Chinese and Buddhist terms. The Tsurezuregusa has a unique position in the history of Japanese literature as perhaps the last great work belonging to the classic stream of literature.
This brief outline of the major trends in Japanese literature during the late classic and early feudal periods may help to resolve the apparent inconsistency of my evaluation of the Izayoi nikki as an important text but not a great piece of literature. As the last famous work by a woman, as the best known diary or travel account in Japanese written between the twelfth and sixteenth centuries, and as one of the five or six most read works of the Kamakura period, the Izayoi nikki has an important place in Japanese literature, though this place is not that of a great example of creative writing. Archaistic in style, imitative in concept, and formalized in expression, it is only the echo of a great literature.
The reader, however, should be reminded that this judgment is contradicted by the long and continued popularity of the Izayoi nikki among Japanese. This is attested to by the early printing of the book and the many modern commentaries upon it. No very early manuscripts are known, but the Izayoi nikki was printed as early as 1659 and again in 1689, and a great commentary on it was published together with the text in 1824. Since 1885 further commentaries have come out in rapid succession, no less than fifteen appearing within the subsequent fifty years, and the text of the Izayoi nikki has been printed again and again in modern collections of Japanese literature.14
Such intensive study of the Izayoi nikki would seem to indicate much greater literary merit than I have suggested. However, it should be borne in mind that many of the recent commentaries on the Izayoi nikki have been occasioned by its common use in schools and not by any spontaneous demand on the part of readers. More significant perhaps are the views of Japanese students of literature. For the most part they seem reserved in their comments on the literary merit of the Izayoi nikki. Tsugita15 calls the prose graceful and concise and sometimes vividly beautiful, though he admits that it is poor in artistic effect and that the poems are not particularly distinguished. Fujimura emphasizes the intense mother-love Abutsu displays as the most interesting feature of the Izayoi nikki. Ichimura calls it a beautiful work of high literary merit which combines harmoniously an expository style with an emotional approach, but he finds the poems remarkable only for Abutsu's skill in making plays on words and in giving a new twist to old poems, though he feels that Abutsu was perhaps the most faithful transmitter of Sadaie's poetic heritage. Sano points out that the prose, though only incidental to the poetry, is better than the poems, which he finds too cluttered up with verbal tricks and obscure because of their dependence on earlier poems for understanding. However, he makes clear that Abutsu's poetic weak points were those of her day, and he admits that her prose, too, is sometimes lacking in clarity. Kazamaki, while pointing out that the judgment of time has been that the Izayoi nikki is great literature, states that in parts it is monotonous and even fatiguing, showing how much the diary style of the classic age had decayed by the thirteenth century. He feels that, despite the obvious sincerity and intensity of the emotions Abutsu expresses, the chief literary value of the Izayoi nikki lies in its poems and its chief interest in what it teaches us of the poetry of the time.
The Izayoi nikki, though commonly called a diary or a travel account, is neither, except in a most limited sense. It falls into four distinct parts. The first is a short introduction telling why Abutsu made her trip from Kyōto to Kamakura and of her parting from her children, with the poems she exchanged with them on that occasion. The second part tells of her trip, which lasted from the sixteenth day to the twenty-ninth day of the tenth moon of 1277. It is a day-by-day account in diary style, though it would be safe to conclude from the vagueness of parts of this section that it was not written down in this form until after her trip had been completed. The description of her trip is limited to the briefest of notices concerning the places she lodged each night and some of the chief sights along the way, usually in connection with, or as an introduction to, one of the fifty-five tanka which stud this part of the text. The third section makes no pretense of being a diary. It tells of Abutsu's correspondence, while she was in Kamakura, with her friends and relatives in Kyōto, and quotes many of the poems exchanged in these letters. The last poem in this section was composed presumably in the early autumn of 1278, but the writing of the section was clearly completed some time later, for her final words are, "Later many poems from the capital piled up. I shall write them down another time."
The fourth and last section has no organic relationship with the rest of the work. It is a chōka (or nagauta), that is, a "long poem" as opposed to a tanka or "short poem." It consists of 151 alternating five- and seven-syllable verses, with the last two of seven syllables, followed by a tanka, which, as the last element of a chōka, is called a hanka and serves as a sort of summary, supplement, or keynote for the rest of the poem. The chōka recites again the reasons for her presence in Kamakura, thus repeating some of the material of the first section. Her reference in this poem to "the advent of the spring of the fourth year" indicates that it was not written until the spring of 1280, over a year later than any other part of the text. This chōka has not been highly regarded by Japanese critics. Even Ichimura feels that it has no great literary value, and Sano calls it simply tedious. But it is of interest as a rather unusual poetic work for the thirteenth century. The chōka had had its day in the time of the Man'yōshū, and from the tenth century on was a poetic form little esteemed and only infrequently employed.
It is not known when the Izayoi nikki first was given its present title, which can be translated as Diary of the Waning Moon. This title is really applicable only to the second section, which is in diary style and concerns her trip from Kyōto to Kamakura, made in the second half of the tenth moon. The night of the sixteenth day of the moon and that day itself had the poetic name of Izayoi or sometimes Isayoi, which literally means "tardy" or "faltering" and had specific reference to the fact that this was the beginning of the waning of the moon. Not only was the sixteenth the day Abutsu started her trip, but in the introductory section she even indulges in the conceit that she had set forth, "enticed by the waning moon (izayou tsuki)." Later she quotes a poem from one of her correspondents, suggesting, with reference to the day of her departure, that "the waning moon that rose that night" would be for her correspondent "a memento" of Abutsu. To this Abutsu makes the poetic response that she trusts "in the future when it will come around again—the waning moon." The title was probably inspired by these three references and by the diary style of the second section.
From the brief description of the make-up of the Izayoi nikki given above, it can be seen why it cannot be called a true travel account or diary. Only one of its four parts, constituting slightly over a third of the whole text, bears any resemblance to either, and then only superficially. Actually even this section is more a selection of tanka written during her trip, arranged chronologically and bound together with brief comments describing the circumstances under which each poem was composed. Kazamaki has put forth the thoroughly plausible thesis that this section is in reality a sort of textbook or poetry model book written by Abutsu for the benefit of her sons to show them how poems on the famous sights of the Tōkaidō, the "Eastern Sea Road" between Kyōto and the Kamakura region, should be composed. He points out that forty-nine of the fifty-five poems in this section are on places about which famous poems had been composed in the past and that, of the fifty-one place names mentioned in this part of Abutsu's text, thirty-five figure in her poems and several of the others are indirectly connected with them. This theory is supported by a statement Abutsu makes in the third section where, commenting upon some poems sent her by one of her sons, she says, "They seem to have been composed on the basis of the diary of my trip down here, which I had sent them." Kazamaki goes on to suggest that the third part, with its twenty-six poems by Abutsu and twenty-four sent her by her correspondents, is likewise simply a poetry model book for her sons, showing how poetic exchanges by letter were to be written. All this seems reasonable enough in view of Abutsu's obvious concern over the poetic education of her sons and of the transmission of the correct tradition to them.
Whether or not one accepts Kazamaki's theory that the Izayoi nikki was written merely as a poetry model book, there can be no doubt that it is entirely dominated by its poetic element. The 116 tanka, eighty-six by Abutsu herself, together with the concluding chōka make up almost half of the total text, and the prose parts are clearly nothing more than introductions, either to the work itself, or to the individual poems. The prose has the merit of being simple and, for the most part, clear, but it tends to be monotonous both because of its restricted archaistic vocabulary and because of its staccato style, which is probably the result of the many simple introductory statements.
One returns inevitably to the poems and to what Abutsu says, or rather implies, about poetry as the heart of the Izayoi nikki. One of its chief values is as a sort of unconscious commentary on poetic trends of the Kamakura period. Abutsu's attitude toward the art of poetry as the exclusive hereditary property of her husband's family and her determination that the correct tradition, and the perquisites which accompanied it, should be passed on to her sons rather than to her stepsons, show how emphasis on tradition and belief in hereditary right were taking the place of genius in the field of poetry. Her tendency to compose poems on themes traditionally accepted as proper poetic subjects and even to compose her poems in imitation of, or at least with reference to, some famous poem of the past shows how far imitativeness and traditionalism had supplanted inspiration. Her reliance on literary allusions, on timeworn clichés, and on verbal tricks in the nature of puns show how far formalism had taken the place of real emotion in the composition of poetry.
The poems of the Izayoi nikki, while not regarded as among the finest of Japanese poetry, have their value for the insight they give into Japanese poetry in general. Japanese poetry in the original is at best not easy for the foreigner to comprehend or appreciate. In translation it is usually even more obscure, and whatever emotions it arouses, whether of appreciation or otherwise, are often more the result of the work of the translator than of the original poet. Japanese poetry is highly elliptical and suggestive. For the most part, understanding depends on the reader's ability to picture to himself a scene only suggested by one of its elements and to sense an emotion merely hinted at by some symbol. Often the context is necessary for this. In the past, compilers of anthologies usually recognized this fact by prefacing each poem with a brief explanatory note.
The interest of a Japanese poem depends as much on the way an idea is expressed as on the idea itself. It depends upon an apt metaphor, a clever figure of speech, or an unusual sequence of ideas. In the more formalistic type of poetry represented by Abutsu's poems, there is far too much reliance on word-plays in the nature of puns; but, good or bad, a full understanding of this type of poetry requires a comprehension of these verbal tricks. Similarly, appreciation of the imitative poetry of the time also depends on the reader's ability to recognize literary allusions and new turns given to old concepts and phrases.
With all this necessary to the understanding and appreciation of a Japanese poem, it is not hard to see why the usual translation falls so far short of expressing all that is in the original. It may suggest the scene and sometimes it may correctly express the mood, but only rarely can it do both and at the same time give an idea of the pun or neat turn of phrase which has made the original something more than the flat, dull statement it appears to be in translation. In this connection, the poems of the Izayoi nikki are particularly illuminating for the student of Japanese poetry, for the prose sections afford the context needed for an understanding of the scene described and the emotion expressed, while Abutsu's concentration on the more obvious sort of verbal tricks makes this aspect of her poetry reasonably apparent. Her pervading mood is made amply clear throughout the Izayoi nikki, and most of the poems are accompanied by short explanations of exactly what she saw or what happened to occasion each specific poetic expression of her feelings. The context, however, usually does not help with either the literary allusions or the plays on words. The former I have pointed out, whenever necessary, in footnotes; the latter I have attempted to indicate by literal and sometimes double translations as well as by footnotes.
What I have called verbal tricks or plays on words fall into three major categories. One is the fixed epithet or "pillow-word" (makura kotoba), originally a descriptive term, often become almost meaningless, which is traditionally prefixed to a name or word or even to the first element in a name or word.16 These I have translated as literally as possible to preserve the flavor of the original and have explained in footnotes.
The second type of plays on words is the engo or verbal association. An engo is a word used in one part of a poem with one specific meaning, but carrying with it an overtone because of its common association in a different meaning with a word or phrase in another part of the poem. For instance, if one were to say, "The sight of the woodland creature recalled to me the image of one once dear to me," the word "dear" would be the engo, being associated in a different meaning, "deer," with the phrase "woodland creature" and suggesting in this second meaning something more about the character or appearance of the loved one. I have pointed out the more obvious engo in notes.
The third type of word-play is the kakekotoba (or), usually translated as "pivot-word."17 This consists of a word or phrase which in whole or in part has two distinct meanings in the poem, one in association with the preceding clause or phrase and the other in association with the succeeding clause or phrase. In other words, it serves as a pivot between two clauses or phrases which overlap on this single word or phrase which has two meanings. An example in English would be, "As far as one could see (i.e., sea) and sky were all the eye did meet."… Our example…would be, "As far as one could {see / sea} and sky were all the eye did meet."
In addition to these three well-recognized types of plays on words, there are many other less clearly defined puns and double-entendres in the poems of the Izayoi nikki. Where appropriate, I have handled these by double translations, as in the case of the pivot-words, and have pointed others out in notes.
The importance of the sequence of ideas, and therefore of the sequence of words and phrases, poses a particularly difficult problem for the translator. All those who have attempted to render Japanese into English know how the English translation constantly reverses the order of words, phrases, and clauses of the original Japanese. But a Japanese poem in reversed word order is in no way the same poem or even an approximation of it. On the other hand, some reversal of words and phrases is absolutely necessary if the translation is to be comprehensible. Faced with this dilemma, I have divided each tanka into two halves and have given these two halves in their original order while changing the sequence of words and phrases within each half as demanded by English grammar. This division of the tanka is in conformity with its nature. The thirty-one syllables of the tanka are divided into five verses of the following syllabic pattern: 5-7-5-7-7. The five verses normally fall into two groups, the first three verses and the last two, as follows: 5-7-5—7-7. I have followed this method of division both in the two-line English translation and in the transliteration of the Japanese text. For the sake of...
(The entire section is 18377 words.)
Donald Keene (essay date 1985)
SOURCE: "Diaries of the Kamakura Period," in Japan Quarterly, Vol. 32, No. 3, July-September, 1985, pp. 281-89.
[In the following essay, Keene examines two diaries: the Kaidoki, written by an unknown author, and Abutsu's Utatane, which he finds superior to her more celebrated Izayoi Nikki.]
The travel diaries of the Japanese medieval period most often had their origins in the writers' desire to visit places that were either of a specifically sacred character or were familiar because of frequent mentions in poetry. A special reason for travel during the Kamakura period was the presence of the government in...
(The entire section is 5249 words.)
John R. Wallace (essay date 1988)
SOURCE: "Fitful Slumbers: Nun Abutsu's Utatane," in Monumenta Nipponica, Vol. 43, No. 4, Winter, 1988, pp. 391-416.
[In the following essay, Wallace provides an introduction to Utatane, discussing its sources, authorship, style, and date of composition.]
Utatane, Fitful Slumbers, is a short prose work written in the Kamakura period by the nun Abutsu, d. 1283, best known for her association with the poet Fujiwara Tameie, 1198-1275, and her travel diary Izayoi Nikki Diary of the Waning Moon. This diary recorded her journey to Kamakura in 1227 to place before the shogunate her case regarding the rightful heirship of Tamesuke,...
(The entire section is 3345 words.)
Robert N. Huey (essay date 1989)
SOURCE: "Tamekane's Life: The First Rise and Fall," in Kyōgoku Tamekane: Poetry and Politics in Late Kamakura Japan, Stanford University Press, 1989, pp. 19-40.
[In the following excerpt, Huey discusses Abutsu's position in the conflicts between Tameie's heirs.]
To some degree Tamekane's problems were not of his own creation but repercussions of events that occurred a half-century earlier, in the days of his great-grandfather and grandfather. Tamekane's great-grandfather was the illustrious Fujiwara Teika, recognized as a poetic genius in his lifetime and practically deified by succeeding generations. His grandfather was Teika's only legitimate son,...
(The entire section is 8830 words.)
Steven D. Carter (essay date 1989)
SOURCE: "Nun Abutsu," in Waiting for the Wind: Thirty-Six Poets of Japan's Late Medieval Age, translated by Steven D. Carter, Columbia University Press, 1989, pp. 78-79.
[In the following excerpt, Carter provides a biographical sketch of Abutsu and assesses her overall literary importance.]
As is the case with so many women of her time, the precise background of the court lady now known as the Nun Abutsu is obscure. Documents indicate that she was raised by one Taira no Norishige, a low-ranking courtier of the provincial governor class. We also know that she served in her teens as a lady-in-waiting to Ex-Empress (an honorary title) Ankamon'in, whence she herself...
(The entire section is 513 words.)
Jin' ichi Konishi (essay date 1991)
SOURCE: "Retrospection in Japanese Prose Literature," in A History of Japanese Literature, Volume Three: The High Middle Ages, translated by Aileen Gatten and Mark Harbison, edited by Earl Miner, Princeton University Press, 1991, 284-96.
[In the following excerpt, Konishi explains that much of the reputation of the Izayoi Nikki stems from its external circumstances, not the intrinsic merit of the text.]
… Isayoi Nikki is a record of Abutsu's journey to the shogunal seat in Kamakura to respond to a series of lawsuits challenging her son Tamesuke's inheritance (see ch. 8). The author does not, however, write of legal matters or of her anxieties over...
(The entire section is 824 words.)
Further Reading
Brower, Robert H. "Abutsu-Ni." In Kodansha Encyclopedia of Japan, pp. 5-6. Tokyo and New York: Kodansha, 1983.
Discusses Abutsu's efforts to help her son, Reizei Tamesuke, to gain his inheritance, and the impact this had on the history of Japanese poetry.
Hulvey, S. Yumiko. "Abutsu-Ni." In Japanese Women Writers: A Bio-Critical Sourcebook, pp. 3-8. Westport, Conn.: Greenwood Press, 1994.
Deems Utatane unconventional for focusing on its narrator's "unrestrained passion."
(The entire section is 69 words.)


text:
...with tasteful vegetarian dishes from India and around the globe,served with Love...
Wednesday, 2 March 2011
A surprise in the mailbox.....
Later we found out that the surprise was the Sukham Ayu book to one luncky winner!!!Even in my wildest dreams I did not expect to win.Then one day Srivalli sent me a mail to check her post. I was thrilled and I really had no words to express my joy.
Yes, I won!!!!!
Pratibha and Jigyasa contacted me immediately and today I received my copy of the book autographed by the authors themselves.
Thanks a lot Srivalli , Jigyasa and Prathiba..
Take a look at their website- Pritya, where they have posted the roundup of ICC challenge and I really love the way they have captured the essence of what the ICC members had to say about the recipe...
This is one book that I will treasure for ever :).This book has a lot of recipes with my favorite ingredients and now I have a lot of ways to use the kokum I got for the Gujarati dal .
I really look forward to cooking more Ayurvedic recipes from the book and I will definitely be sharing them on my blog.
22 comments:
congrats PJ.. enjoy the book!ReplyDelete
Thanks Smitha :)ReplyDelete
HI PJReplyDelete
Thanks Nive :)ReplyDelete
Congratulations :))ReplyDelete
Congrats P.J!!!!ReplyDelete
Congrats.... well deserved one.. enjoy...ReplyDelete
Hi, congratulations on winning a wonderful book, looking forward to some exotic recipes soon.ReplyDelete
congrats :)ReplyDelete
Congrats PJ,u truly deserve it..hope to see many delicious dishes from this wonderful cookbook..ReplyDelete
Congrats PJ..ReplyDelete
Congratulation PJ.. Enjoy it..ReplyDelete
Devi,Kurinji,Reva,Ms.chitchat,Ila,Divya,Divya ,Priya,Panchpakwan,Saras thanks a bunch :)ReplyDelete
Congrats PJ..I am so glad you won!..:)ReplyDelete
Congrats dear on winning the book....!!!ReplyDelete
Thanks Srivalli and Prathiba :)ReplyDelete
congrats dear,..;-)ReplyDelete
Congrats PJ!Enjoy the book!ReplyDelete
Congrats PJ once again :)ReplyDelete
Congrats PJ you deserve it dear.enjoy the book.ReplyDelete
Thanks Priyanka, Archana, Priya and Padma Rekha :)ReplyDelete
Hi Folks,Thanks for taking your time to visit my blog.I would love to hear from you.If you have any questions/comments please leave a message/mail and I will surely get back to you...

subset: commoncrawl


text:
Rochelle wrote: That and Nancy Sinatra
Cool! One of my music projects is going to be covering Some Velvet Morning by Nancy Sinatra and Lee Hazlewood. It's going to be an interesting rendition
...but there not really my cup of tea...
Hazrat wrote:I did a bag workout to Racetraitor once...
The Haunted(all)
In Flames(all)
At the Gates(all)
Megadeth(need I remind any of "Countdown to Extinction"?)
Shadows Fall
Lamb of God
Pete wrote:I said:...but there not really my cup of tea...
Hmm, I sound really English don't I
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Photo Gallery: 2013 January Highlights 2/4/2013
Previous Gallery: Columbia vs. Harvard (Feb. 10,... Next Gallery: 2012 December Highlights
426 640 Senior center Mark Cisco earned Ivy League Co-Player of the Week honors on Jan. 21 after posting 18 points and nine rebounds at Cornell on Jan. 19. 207267554 Columbia University Athletics/Gene Boyars426 640 Columbia opened up Ivy League play with a rousing 67-58 victory at Cornell on Jan. 19. The Lions' faithful gave men's basketball a rousing welcome home on Jan. 26, packing a sold-out crowd of 2,583 into Levien Gym. 207267571 Columbia University Athletics/Gene Boyars426 640 Columbia put together a three meet win streak in the month highlighted by a Uris pool record breaking 800 Free Relay exhibition on Jan. 26. 207549647 Columbia University Athletics/Gene Boyars426 640 Micah Rembrandt has lead the diving core this month winning both the one-meter and three-meter dive events against Bucknell and Cornell. 207183978 Columbia University Athletics/Mike McLaughlin426 640 Columbia went 3-0 in the month of January while setting seven pool records. The win over Brown earned them a No. 23 ranking in the weekley Collegeswimming.com poll. 207551752 Columbia University Athletics/Gene Boyars426 640 Senior captain Katie Meili continued to have a stellar season. She broke two individual pool records in the month and was a member of two relay pool records. 207341733 Columbia University Athletics/Gene Boyars
426 640 Marvellous Iheukwumere captured three first-place finishes in two meets to start the indoor season. She posted wins in the 200m(24.90) and 60m(7.60) at the Ivy League tri-meet against Dartmouth & Yale and 200m(24.29) at the Metropolitan Champions 206358642 Columbia University Athletics/Steven Ryan640 399 Women's Track & Field won the Metropolitan Championships for the second consecutive year at The Armory. 207133702 Tony DeSabato426 640 Wrestling won three matches during January, including a pair of victories during a California road trip. The Lions knocked off Cal Poly and San Francisco State on the road before downing American in the first match of the season in University Gym. 207440520 Randy Martin426 640 Josh Houldsworth highlighted the individual accomplishments of the Lions, winning all six of his bouts in January. 207572459 Columbia University Athletics/Gene Boyars426 640 Columbia notched its first three wins of the season during the month of January. Kate Calihan led the Lions with a 6-2 record filling multiple spots in the middle of the ladder for Columbia. 207653134 Columbia University Athletics/Gene Boyars
426 640 Senior Brittany Simmons led the entire Ivy League in steals throughout January (2.5 per game) 206200283 Columbia University Athletics/Herold Roy426 640 Mark Feigen picked up two wins to open the indoor season in the Ivy League tri-meet. He won the 1000m (2:27.00) and helped win the 4x800m relay. 205525388 Columbia University Athletics/Mike McLaughlin426 640 Women earned a No. 3 national ranking (highest ranking since 2008), while the men checked in at No. 7 in the CollegeFencing360.com National Coaches Poll 207549924 Columbia University Athletics/Gene Boyars426 640 Jackie Dubrovich was named National Rookie of the Week by CollegeFencing360.com and the January Student-Athlete of the Month at Columbia 207645816 Columbia University Athletics/Gene Boyars


text:
Rodeo for youngsters
The Gerry Rodeo has been selected by the Professional Rodeo Cowboys Association as one of only 13 rodeos nationwide to host a free PRCA Championship Rodeo Camp scheduled for Saturday, April 20, from 9 a.m. until 3 p.m.
The camp is open at no cost to anyone eight years old and older, and its purpose is to promote the sport of rodeo through education and recruitment of young people who may become the next generation of rodeo stars. The event will provide a fun rodeo-related experience through both classroom and arena participation with instruction by professional rodeo cowboys.
The curriculum includes an introduction to the rough stock events with an emphasis on fundamentals, chute procedures, livestock safety, injury prevention and fitness and nutrition.
The camps are geared for beginning youth and for cowboys just starting out who want to learn about the fundamentals from PRCA champions.
A special highlight of the camp will be the appearance of Miss Rodeo New York, Lexi Buckheit, and Miss Teen Rodeo New York, AshLee Lattner, who are traveling the state as, "role models of integrity, good will, and leadership to promote the western way of life, professional rodeo and the great State of New York."
These two ambassadors of rodeo will also be in attendance at the 69th annual PRCA rodeo in Gerry, scheduled for July 31-Aug. 3. Their website can be found at www.missrodeonewyork.org/.
The day's activities will begin at the Gerry Fire Hall, located near the stoplight in Gerry, and will then move to the rodeo arena. A free lunch will be provided for participants. The camp will be held regardless of the weather.
Pre-registration is required and forms are available at the PRCA website or by visiting the Gerry Rodeo website at www.gerryrodeo.org and clicking on the 'Free Rodeo Camp' page. The registration needs to be completed by April 10. Additional information is available by email at email@example.com or by calling Julie Jutten at 719-528-4729.
Rodeo chairman Tom Atwell says the committee is excited about being selected since this is one of only two such camps held east of the Mississippi. He adds, "Evidently our 69 consecutive years of producing a top-notch rodeo has earned us national recognition."


text:
Born in Oklahoma in 1937, Joe Goode moved to California to study at the Chouinard Art Institute in the early 1960s. He became a central figure in the Californian Pop Art scene, and was included in the seminal exhibition New paintings of common objects in 1962. Goode worked at Gemini GEL to create a variety of prints.
His English still life series from 1967, involving a glass and spoon in various positions, explores the Pop notion of the everyday.
Emilie Owens
Read more...
Further information will be added to this site as the National Gallery proceeds with its research and documentation.
Last updated January 2017
Last updated January 2017


text:
Rocky Acres music fest this weekend
Rocky Acres Farm presents its third annual music festival, Aug. 21-23. Friday, Aug. 21, 6-10 p.m. Band contest. Adults $10. Saturday, Aug. 22, 11 a.m.-8 p.m. Bluegrass music, car show, horse shoe contest. Adults $15.
Sunday, Aug. 23, 11 a.m.-5 p.m. Country music. Adults $10.
Camping free with weekend pass, $35. Limited number of camping tickets available. Children 12 and under free. Food and craft vendors. Free children's activities Saturday and Sunday. To purchase tickets, send check or money order to Rocky Acres Farm, 109 Chace Hill Road, Sterling, MA 01564, call 978-365-3891 or visit rockyacresfarmfestival. com. Tickets available at the entrance gate.


text:
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Originally posted by: bruno leclerc
In OnCtlColor function, I would like to know if the ctrl is readonly or not. How can I do ? GetWindowLong with ES_READONLY seems to not work.
Originally posted by: kaleem
How To Change a any color of message window in vb6Reply
Originally posted by: Guth
How can i modify the background color of a CCeCommandBar control (gray==>white) ?
Originally posted by: mkubo
Your instruction works well for dialogs without property sheets and property pages. How can I change the colors of the property sheet and property page tabs? Thanks so much!
Originally posted by: jhansi
how to change the dialog box color from dialog box itself(by clicking the button)
Originally posted by: Habib Ahmed
dialog bk color technique
Originally posted by: Girija
In advance, thank u.
I have a dialog displaying various items and I want to provide the facility to add new items by asking for the new item name in a different dialog and also a provision for allowing the selecting an image for that item and add these as new item along with the selected object to the first dialog.
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Originally posted by: Allan
Can anyone tell my how to change the color in a C++ program without turning it into a GUI interface. Is this even possible? Any help would be greatly appreciated.Reply
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text:
Speculations are growing who could succeed Reform Party chairman Andrus Ansip, especially after his statement made last week that he was not going to seek another term as prime minister, writes Eesti Päevaleht.
Although Ansip himself is downplaying the speculations, saying that the current government has three more years, it is clear that the party is already looking towards the next general elections to be held in the spring 2015.
According to analysts, however, Ansip is unlikely to step down as head of Reform Party in 2013 since the party does not want to create parallel power structures and is determined that the party's chairman must also be the prime minister.
Also Ansip himself has said that he is ready to continue as head of government until the next general elections.
This means that the most likely time when Ansip could give up chairmanship to his successor is end of 2014 that leaves sufficient time for the new chairman to prove that he or she has leadership and prime ministerial qualities.
There are three scenarios for choosing a successor for Ansip. According to the first but most unlikely scenario, Ansip could be replaced in 2013 when the party's general assembly meets in May to elect the new board and extend the chairman's powers.
It's been four years since Aripaev wrote about suspicions that Rain Rosimannus, the chief ideologist of the Reform Party may have been closely involved in the sale of the attractive Arsenal property in North Tallinn district by the then coalition of Reform Party and IRL.COMMENTS (1)
Dutch design and marketing expert Peter Kentie who developed his own brand identity justestonishing.com for Estonia writes that the new brand identity toolbox prepared by Enterprise Estonia lacks fun and warmth and is hard to remember.
On Friday, Enterprise Estonia unveiled the new national brand identity that has already deeply divided the nation.
Aripaev writes that 2016 was a record year for the Estonian mergers & acquisitions market, with Estonia accounting for half of top ten M&A transactions in the Baltic states.
Newsweek writes today that in July 2016 the Estonian Information Board (EIB), the foreign intelligence service of Estonia, conducted surveillance of a meeting between a Donald Trump associate and a pro-Putin member of Russian parliament at a building in Eastern Europe maintained by Rossotrudnichestvo, an agency under the Russian Ministry of Foreign Affairs that is charged with administering language, education and support programs for civilians.
According to the Estonian Foreign Ministry, media reports from this week saying that UN has reclassified the Baltic states Lithuania, Latvia, and Estonia as part of Northern Europe and no longer as part of Eastern Europe are neither new nor accurate. COMMENTS (3)
Reform Party has elected Hanno Pevkur to be the party's new chairman.
The fact several large construction companies in Estonia are having problems is no proof that the local construction market is in crisis, says Eero Viik, head of the construction division of Swedbank, Estonia's biggest lender.
US president-elect Donald Trump who is about to take office is unlikely to aggravate tensions between Russia and the Baltic States when he moves into the White House, Estonian MP Marko Mihkelson said in an interview to Sky News.COMMENTS (5)
According to the report published in The Shetland Times, the Scottish government has offered Estonia support during the upcoming EU presidency in conducting fisheries negotiations.
Aripaev writes that about twenty trade union members of the Estonian branch of the Scandinavian banking group Nordea will picket the Nordea headquarters in Stockholm on Saturday.
Multiple flights have been diverted or delayed in Riga Airport because of the blizzard and strong crosswinds this morning.
Vygintas Šapokas, CEO of Maxima Estonia, says in an interview in Aripaev that Maxima's biggest challenge for the upcoming year is again related to the scarcity of personnel as the issues with labor force will never cease to exist.
On behalf of everyone here in BBN and Äripäev, I would like to wish to all of you a Merry Christmas.
Swedish electronics manufacturer Ericsson plans to lay off 3,000 workers in Sweden, a fifth of its workforce in the country.
According to Swedish media, new taxes planned by the Swedish government could force Scandinavian banks to move up to 16,000 jobs to Baltic states.COMMENTS (1)
Russia will halt export of oil products via Baltic ports by 2018, according to Nikolay Tokarev, CEO of Russian oil pipeline company Transneft.COMMENTS (3)
The Estonian government is planning to expropriate land from about 600 private landowners for building Rail Baltic railway line.COMMENTS (1)
Aripaev writes that Estonian-owned GoGroup which had a very strong year in 2015 recently underwent major changes in its ownership when the former majority shareholder Marcel Vichmann stepped aside and Tiit Pruuli who had been a minority shareholders became the majority shareholder.
Estonian property investment firm EfTEN and KanAm Grund Kapitalverwaltungsgesellschaft mbH announced that EfTEN has acquired the Domina Shopping Center from KanAm.
State-owned Port of Tallinn handled 10.7 million tons of freight in six months which is 11 percent less than a year earlier, announced the company.
Nortal Group shareholders bought back 50% of Group shares from Enterprise Investors and LHV Pension Funds, regaining full ownership of the company. Simultaneously Nortal is expanding its shareholder base among employees.COMMENTS (1)
Aripaev writes in its editorial that the good news from last week was that the parliament adopted amendments which should make e-residency more accessible to foreigners.
Aripaev writes that the hope of the Estonian government is to collect more money into budget by increasing fuel excise duties is backfiring because more and more vehicle owners are filling up in Latvia.
Commenting the report of the National Audit Office which claimed that the government rushed its decisions on national carrier Estonian Air, former PM and current vice president of the European Commission Andrus Ansip said that he is convinced that the government did the right thing at the time when it decided to aid Estonian Air.COMMENTS (1)
Aripaev writes that more and more Latvians are choosing Estonia and in particular Southern Estonia as place of employment, mainly because of higher wages.COMMENTS (4)
Raul Kirjanen, owner of Graanul Invest, writes in Aripaev that he wants to praise the government for not rushing to borrow cheaply.
Aripaev writes that the proposals made by Justice Minister Urmas Reinsalu on amending the commercial code in a way that would ease requirements on e-residents may turn Estonia into another offshore country just like Panama.COMMENTS (1)
Aripaev writes that the actual costs that Estonia is spending on its e-residency poject and benefits are hard to estimated.COMMENTS (1)


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Dental problems are one of the more common issues dogs face, and owners need to be aware of this, as the clinical signs of dental disease in dogs are often not obvious. VCA Animal Hospitals reports that close to 80 percent of dogs over the age of three have issues with their teeth, but many pet owners are unaware of these problems.
In fact, periodontitis, also known as periodontal disease, is the most common disease in dogs. This disease commonly affects the supporting tissues around the teeth. These tissues become inflamed and infected from the presence of bacteria and plaque and over time, the gums may recede to the point that the tooth loosens and falls out.
Preventing this painful disease is as simple as instituting a dental care plan for your dog, which includes brushing your dog's teeth every day to prevent tartar build-up. However, it is absolutely imperative that a pet owner never uses human toothpaste, as the chief ingredient in this could be toxic to dogs. A veterinarian can recommend a special pet toothpaste that will be non-toxic and safe for a canine to swallow. In addition to at-home care, dogs should get a dental checkup with their vet every year to keep their teeth and gums as healthy as possible.


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>Runner's World - My Event Ratings>
In short: Just superb - excellent organisation and atmosphereIn full: Second time I've completed this and it impressed once again. The tented area is really good for the family and the level of support from the marshals and spectators really is exceptional. The course is undulating enough to be challenging without being overly difficult for those, like me, who are definitely in the amateur camp. Date of review: October 9, 2012
In short: Superb organisation and great courseIn full: Very scenic course with plenty of variety to keep you interested. Seemed to be more water stops than last year and the marshalling and volunteers really were excellent. Mildly challenging which is good and great atmosphere at the end - really well done to Paul and everyone else at kpevents.Date of review: May 6, 2012
In short: Should have been so much better - will be back as marshals and volunteers stuck with itIn full: Overall this would have been a very good route and there were plenty of very brave and welcome marshalls and supporters out. The decision to cancel the full marathon was no doubt well informed but I didn't hear as I was at the middle to back of the start line (this was really poor of the organisers). I ended up running a decent marathon pace but if I'd have know it was going to be a half, I've had set my pace targets higher and finished a happier bunny. No doubt I'll be back and hopefully the organisers can take on board all of the words of encouragement and learn from the experience of yesterday.Date of review: April 30, 2012
In short: Great organisation with a very scenic route. In full: Worked well for me as this was not so small that you ended up running on your own but not so big that the logistics were troublesome. I stayed at the holiday inn express at the racecourse which helped and appreciated the use of the showers at the race course. Really can't fault any of the organisation - maybe water with a sports cap would have been good but not a big point. Reallybwell done to the organisers !Date of review: October 11, 2011
In short: Aside from some really quite small niggles this was an excellent race. In full: The start was a bit odd but really didn't make any difference. Marshalling was excellent and the course itself was well planned out. It was a little tougher than I had expected but that was no bad thing and the run down at the end was very welcome. The timing chip used was good and the organisers did well to get the results posted quickly. Overall, very impressed. Date of review: May 4, 2011
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any nba-ers out there? this has been touted as the best free agency class the nba (national basketball association) has ever seen. with lebron james (arguably the best player on the planet right now), chris bosh, dwayne wade, carlos boozer, lee, stoudamire, and the like all waiting for a payday that will mold the future of the nba for years to come.
being biased, i think the chicago bulls have a lot to offer. with a talented young core in (allstar) derek rose, joakim noah and luol deng to build around. plenty of cash available under the salary cap.
but there are the miami heat...who, if they resign dwayne wade, can be attractive too (south beach? are you kidding me). the cleveland cavaliers are hoping to resign lebron, but the fact that he is waithing till after his basketball camp in akron, oh, makes me believe he is leaving. the new jersey nets have a future in a couple of budding young stars, tons of money under the cap, and a future move to brooklyn in a couple of years. the new york knicks? sigh. i don't know...i can't even watch espn anymore talk about it because everything said and done at that network is so easst coast biased that it makes me ill.
any thoughts? where are the stars going to end up?


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Tuesday, August 19, 2008
Ben Nye Haul
I wanted to show you a haul from about two weekends ago. I didn't have a chance to post it till now but I'm still excited! Unfortunately I haven't been able to try all the products yet but I will soon.
Everything in my haul is from Ben Nye. For those of you who aren't familiar, Ben Nye is a theatrical makeup brand that makeup artists have been using for years! The color pigmentation, foundations, and special products are absolutely amazing for both theatrical and conventional makeup. For those who know about it, Ben Nye is what's up! I've been wanting to get into this brand for a while. So many have done reviews on the Lumiere Eyeshadow Palette. For some reason I actually had self-restraint and convinced myself that I had enough eyeshadows to forego the palette.
But now i've made up for it and purchased a bunch of Ben Nye products from a local theatrical shop here in Atlanta.
Look at all the bright, pretty colors! :)
This is my entire haul...I spent about $100 for twenty items. Not too shabby! Especially compared with brands like MAC.
Here are the Magicolor creme pencils. They were only $3.50 each (very comparable price to drugstore brands) and the colors are super vibrant! I got 8 of them...pretty much all the colors they had, lol. In my head I can picture doing fun face and body drawings using all these colors. From L to R: bright orange, misty violet, lime green, violet, yellow, kelly green, tuquoise, and blue.
Next we have the Creme Colors. The red color is actually a Creme Rouge aka blush, but to me they're all the same. When I saw them I was immediately reminded of MAC's creme colour bases. They go on very pigmented and creamy. The only difference is that these are much cheaper--only $4 each! I'll definitely use these as eyeshadow bases (with UDPP underneath though because they're super creamy). I can also see myself doing some face and body painting with these colors. I'm excited about finally finding a yellow base! L to R: gecko green, bright pink, red, vivid violet, and yellow.
Here we have the Lip Colour pencils and Lip Glosses. I picked out colors which I though were wearable so I could add them to the kit. The lip pencils were $8 each but they're about 2 inches longer than my normal MAC pencils...a lot more product! I got the pencils in Vino (a dark wine color) and Caramel Rose (an awesome nude lip liner...I actually like this color better on me than MAC's stripdown liner that I usually wear). Next I got lip glosses in Nude and Champagne for $6 each. I like how it's a gloss in a pot because I can scoop out the product using a palette knife. Usually I struggle getting the product out of the tube when using them on my clients. This is because I don't use the actual applicator (for sanitation purposes). Instead, I usually transfer the gloss from the wand to the palette and it usually takes a few trys to get enough product. Hence, the reason I like pots, lol. I think the nude color looks very similar to Viva Glam V lipstick-my fav! The champagne color adds a subtle gold glow. The lipgloss reminds me of the consistency of MAC's slimshines. Love them!
Here we have a new mixing palette. I love how this palette is larger than my Graftobian Steel palettes. That means less cleaning and more surface area. The product is plastic with a really smooth surface that wipes clean with a baby wipe. I think it was about $10.
I also picked up the Ben Nye Concealer wheel for about $20. There were two concealer wheels to choose from. One was slightly lighter and the other slighty darker. I asked one of the workers for help in deciding between the two. I told him I was a conventional makeup artist and needed to know which one he suggested for regular concealing. He told me that I should go with the lighter ones if I'm working with models because models are usually lighter. I was like WTF!?! My boyfriend was with me and I looked over to see if he caught that comment and he definitely did, lol. That was definitely ignorance at its best. I mean come on, we're also in Atlanta...lol. Needless to say, I picked up the darker concealer wheel! In terms of the consistency, the cream is very thick...which makes sense since it's a concealer wheel for theatre makeup. I would use this for heavier coverage.
I also picked up two cake eye liners in black and dark brown for $5 each. They are the consistency of a powder eyeshadow. I've never tried a powder liner before. I dampened an angle brush slightly and then tried to apply the black eyeshadow. I was a little disappointed...not sure if i'm doing something wrong but it didn't give me the vibrancy I wanted. I'll try again...any suggestions guys? Maybe try it dry? Use a mixing medium?
Here are the swatches of all the colors. Super colorful right? The little lines on the left are the pencils, on the right are the creme colours, and then underneath you can see the glosses and the lip liners. I'm super excited to try them out! Unfortunately they've sat a bit untouched since I've been testing out a product line for a company that wanted me to review. I'll post some looks using these soon!
Till next time, Ciao Bellas!
23 comments:
- Wes said...
Niiiiice!! AND cheap.... lol
- August 19, 2008 at 10:00 AM
- Askmewhats said...
oh my goodness sis! those are lovely bold colors! I can imagine you using them on those wild looks!!! I'm sure it'll go really well!!! A couple of Philippine blogger friends have bought the Ben Nye palette, probably from a friend or relative who bought it for them from US....everyone's raving about it!!! Great buy sis! love the swatches!
- August 19, 2008 at 10:46 AM
- Nic Nic said...
nice Ben Nye haul, ive heard many raves on this brand!!
- August 19, 2008 at 10:59 AM
- Brown Girl Gumbo said...
Very vibrant colors! I've never heard of it.I'm going to ask my cousin who's a makeup artist if she's ever used this brand before.
- August 19, 2008 at 11:05 AM
- ilurvemakeup said...
*makeupgasm* BEN FRIGGIN' NYE!!! Hell yeah sis loved reading this haul!
- August 19, 2008 at 11:10 AM
- Sharon Rose said...
Wow a great haul, very well done!!
- August 19, 2008 at 11:32 AM
- MakeupByRenRen said...
wes: yes cheap is good! he he
askmewhats: hey hon, i know i would of gotten that palette but i didn't see it at the store, lol...i'm excited about these bright colors though :)
nic nic: me too! i finally get my hands on it!
brown girl gumbo: oh please...and ask her what she thinks and let me know.
lurve: i know right! lol u crack me up
sharon rose: thanks! i can't wait to play with it :)
- August 19, 2008 at 11:34 AM
- yummy411 said...
great posts! glad you found your BN supplier lol...
okay you are gonna make me try the lip pencils and gloss. when i tried stripdown and oak if i remember correctly, they never felt just right to me.. too much gray in them maybe? dunno.
on the cake liner-- i bought one in cobalt blue and i wasn't a huge fan of the outcome either... so.. maybe it's not their best product? i didn't try it with any glycerin yet.. so maybe we'll keep experimenting.
i need that concealer wheel also. slvrlips has it too. i want to try have it now since i'm so neurotic about my dark circles lol.
- August 19, 2008 at 11:35 AM
- CULTURE CREATORS said...
Great buy!
- August 19, 2008 at 12:23 PM
- Fei said...
Well that was a stupid comment the SA made. lol. Do a review on the concealer! I don't do bold looks, but the color wheel appeals to me.
- August 19, 2008 at 1:15 PM
- Tracy said...
Great haul! I've been wanting to try out Ben Nye. There's even a store right down the street that sells their products.
- August 19, 2008 at 1:45 PM
- May Nguyen said...
I am so jealouse!!!!! Did u get them online?
- August 19, 2008 at 5:36 PM
- royalmocha said...
wow,i love ur haul!! too bad Ben Nye is not avail here in La Islas Filipinas. Mind if il link ur blog?
- August 19, 2008 at 7:54 PM
- alien man?! said...
You have been tagged! It's your turn ;)
- August 20, 2008 at 4:37 AM
- Beauty is Androgynous said...
This gal I perform with in this band uses ben nye. She just so happens to do a lot of theater as well and every time we're done with a gig, i'm sweating bullets!! and she doesn't look like she's sweating at all!
she says it's all the miracle of ben nye.
i need to get my hands on some of that concealer.
- August 20, 2008 at 4:52 AM
- Yellow Fever said...
i can't believe that guy said models are usually lighter! i work mostly on darker models which i LOVE-they have gorgeous warm skin and no undereye circles!
- August 20, 2008 at 4:24 PM
- Bliss said...
OOooo im so jealous, i haven't bought any Ben Nye makeup, but you bought such nice goodies, the colours so vibrant.
- August 20, 2008 at 9:51 PM
- Lydia said...
Nice! Those colors look so pretty and bright!
- August 24, 2008 at 9:27 PM
- The Caramel Goddess said...
I live in Atlanta. Can you tell me the name of the store?
- October 3, 2008 at 7:44 PM
- BrownEyeBandet said...
I also live in Atlanta, can you tell me where the shop is located? I'd love to purchase a few things.
- October 8, 2008 at 4:26 PM
- chamichams said...
I went to makeup school and my teacher gave us a tip regarding foundation. Some foundation can look ashy on someone. To reduce the "ashyness" just add some ben nye cream color in yellow (which you bought). It works wonders! Most of us can be considered yellow under tone. Hope you'll find this helpful
- January 18, 2009 at 7:20 AM
- akrondesign said...
Hi RenRen - Thank-you for your review! If any of your readers are looking to purchase Ben Nye makeup online, they can buy from www.buybennye.com
- August 7, 2009 at 11:06 AM
- Gabby said...
For the cake liner I heard using an eyeliner sealer like from Mudusa makeup and slowly adding the amount you need creates a vibrant and long lasting liner
- October 6, 2010 at 11:20 AM


text: The holidays bring both the best and worst out of people. On one hand the spirit of the season causes unparalleled acts of charity, and on the other, criminal-minded opportunists look for any excuse to take advantage. So in the spirit of taking, we offer our list of the top 5 most shoplifted items this holiday season. …Read More →


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Make hunting safety a tradition
A week from today firearm deer season begins in Michigan. For most Delta County hunters, the preparations for deer season are already well underway.
Hunting is a tradition in the U.P. – something that is treasured from generation to generation. It is something worth preserving.
Often, though, the annual hunt ends in tragedy when someone is killed or injured in a hunting accident. Delta County has not been immune from these tragedies over the years. Hunter safety classes have had a big part in reducing hunting accidents, and those lessons learned should be at the forefront of everyone's mind this time of year.
Before heading out to camp this year, take a minute to think about safety. Here's some points to consider:
– Treat every firearm as if it is loaded.
– Always point the muzzle in a safe direction.
– Be certain of your target, and what's beyond it, before firing. Know the identifying features of the game you hunt. Make sure you have an adequate backstop; don't shoot at a flat, hard surface or water.
– Keep your finger outside the trigger guard and off the trigger until ready to shoot.
– Don't run, jump or climb with a loaded firearm. Unload a firearm before you climb a fence or tree, or jump a ditch. Pull a firearm toward you by the butt, not the muzzle.
– Avoid alcoholic beverages before or during hunting. Also avoid mind- or behavior-altering medicines or drugs.
– All firearm deer hunters on any land during daylight hunting hours must wear a hat, cap, vest, jacket, rainwear or other outer garment of "hunter orange" visible from all sides. All hunters, including archers, must comply during gun season.
– Camouflage hunter orange is legal, provided 50 percent of the surface area is solid hunter orange. (Exceptions: waterfowl, crow and wild turkey hunters, and bow hunters for deer during bow season).
– Always let someone know where you are hunting and when you plan on returning. This information helps conservation officers and others locate you if you get lost.
– Carry your cellphone into the woods. Remember to turn your ringer off or set your phone to vibrate rather than ring. Your cellphone emits a signal that can help rescuers locate you when you are lost. If you have a smartphone, go to the settings and enable your GPS to help searchers find you if you get lost. Make sure before you leave for the woods each day that your phone is fully charged. If you have a smartphone, download a compass and flashlight app – there are many versions of these apps that are free to download in the iPhone App Store or on Google Play for Android.
This common sense advice can prevent hunting accidents and save lives. They are truly words to live by.


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Diwali SMS
Christmas SMS
New Year SMS
Valentine Day SMS
Holi SMS
Good Night SMS
New Year SMS
Iss naye saal yehi hai dua hamari, rahe roshan yeh zindagi tumhari.Naye saal mein bhi raho khush tum,isse badi kya kamna Karen hum.Happy New Year!!
Unnati Aapke Charno mein Sada Safalta Chumein Nave saal ki Nayi Kaamna Kabhi na apko Bhule Happy New Year!!
Har sal kuch deke jata hai, Har naya sal kuch leke aata hai.toh chalo is sal kuch acha kar dikhao.happy new year
Aao milkar Karen yeh faisala, ki naya saal ho itna sunehra, jiski chandni door kare pichle saal ka Andhera. Naye Saal Ki Hardik Shubh kamnaye.
Let New Year guide you to the path of great happiness, may you see only witness success and reach new heights of victory. Happy New Year
Thank You for your awesome company this year. Hope to see more of you and your warm friendship in 2015. Happy New Year!
This New Year I promised myself to send New Year SMS to all my loved ones and wish them a prospering New Year and bright future. So here's a small token of my love for you and your family. Happy New Y
Just like new dawn brings new possibilities, let this New Year be full of fulfilled dreams and hopes. Just wish to send love to your family and friends with this Happy New Year SMS.
Hope this New Year shines as brightly on your dreams and wishes, as Sun shines after a cloudless night. Happy New Year
Sunehri Dhoop Barsaat ke baad thori si hansi her baat ke baad,usi tarah ho mubarak aap ko naya saal, purane saal k baad..


text:
Course: Main Course
Products: Outdoor Gas Grills
For other great grilling recipes, visit our Everyday Good Thinking Blog.
Serves: 4
Nutrition Facts:
Serving size: 1/4 of a recipe (8.8 ounces).
Percent daily values based on the Reference Daily Intake (RDI) for a 2000 calorie diet.
Nutrition information calculated from recipe ingredients.
Amount Per Serving
Calories 252.29
Calories From Fat (42%) 106.77
% Daily Value
Total Fat 11.9g 18%
Saturated Fat 2.51g 13%
Cholesterol 82.68mg 28%
Sodium 978.92mg 41%
Potassium 686.68mg 20%
Total Carbohydrates 8.97g 3%
Fiber 0.61g 2%
Sugar 5.65g
Protein 25.54g 51%


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by Anton Shilov
Microsoft Corp. on Monday announced Kin, a new line of Windows phone designed specifically for people who are actively navigating their social lives. Kin is designed to be the ultimate social experience that blends the phone, online services and the PC with breakthrough new experiences called the Loop, Spot and Studio.
Kin has a simple interface, which is designed to help people publish the magazine of their life by making the people and stuff they love the focus rather than menus and icons. The hardware design was developed in partnership with Sharp to create a new kind of social phone. There are two models called Kin One and Kin Two. Both phones feature a touch screen and slide-out keyboard. Kin One is small and compact, making it a perfect fit for a pocket and to operate with one hand. Kin Two has a larger screen and keyboard, in addition to more memory, a higher resolution camera, and the ability to record high-definition video. The 5MP and 8MP cameras in One and Two, respectively, are designed for use in low light with image stabilization and a bright LumiLED flash.
The home screen of the phone is called the Kin Loop, which is always up to date and always on, showing all the things happening in someone's social world. Kin automatically brings together feeds from leading Microsoft and third-party services such as Facebook, MySpace and Twitter all in one place, making it easier to stay connected. Customers can also select their favorite people, and Kin will automatically prioritize their status updates, messages, feeds and photos.
Another feature, the Kin Spot is a new way for people to share what's going on in their world. It lets them focus first on the people and stuff they want to share rather than the specific application they want to use. Videos, photos, text messages, Web pages, location and status updates are shared by simply dragging them to a single place on the phone called the Spot. Once all the people and content are in the Spot to share, the consumer can choose how to share, and start broadcasting.
Kin Studio is a phone online. Almost everything created on the phone is available in the cloud from any Web browser. Photos and videos are freed from the confines of the phone and presented in an online visual timeline so they are easy to view and share. The KinStudio automatically backs up texts, call history, photos, videos and contacts, and populates a personalized digital journal so it's easy to go back in time to relive a crazy weekend or recent birthday. And the Kin Studio gives customers tons of storage to keep all those photos, videos, contacts and texts so they'll never run out of space on their phone and lose a memory.
Kin will be the first Windows Phone to feature a Zune experience – including music, video, FM radio and podcast playback. With a Zune Pass subscription, customers using Zune software on their PC can listen to millions of songs from Zune Marketplace on their Kin while on the go, or load their personal collection. KIN also has other features customers want in a phone including a rich browser with the ability to share pieces of the Web, local and Web search by Bing, and an RSS feed reader to pull down information on people and stories from the Web.
Kin will be exclusively available from Verizon Wireless in the U.S. beginning in May and from Vodafone this autumn in Germany, Italy, Spain and the United Kingdom. Microsoft did not announce pricing of Kin smartphones.


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Darold Goettig
TRACY – Services for Darold D. Goettig, 80, of Tracy will be at 2 p.m. Tuesday at the Tracy Area Funeral Home. Visitation will be one hour prior to services. A private family burial will take place at a later date in the Walnut Grove Cemetery. Stephens Funeral Service – Tracy Area Funeral Home is assisting the family with arrangements.