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|Randall Leeds <randall.le...@gmail.com>
|Re: Debugging 302/Unauthorized error
|Fri, 01 Jul 2011 21:51:19 GMT
On Thu, Jun 23, 2011 at 11:01, Jens Alfke <email@example.com> wrote: > > On Jun 23, 2011, at 8:26 AM, Martin Hewitt wrote: > > 7. Attempt a PUT of a design doc: > > curl -i -X PUT -d > "{\"one\":\"two\"}" http://testuser:firstname.lastname@example.com:5984/testuser_database/_design/test/ > > 8. I get an error response: > HTTP/1.1 302 Moved Temporarily > Server: CouchDB/1.2.0a1075588 (Erlang OTP/R14B) > Location: http://127.0.0.1:5984/_utils/session.html?return=%2Fmartin_test%2F_design%2Ftest&reason=Name%20or%20password%20is%20incorrect. > > Slightly off-topic to the original question … but this seems like an > inappropriate server response from an HTTP and API standpoint. > 1. The client is sending credentials using HTTP auth (basic or digest). If > the credentials are invalid the correct response is a 401 Unauthorized, not > a redirect. The reasoning was that this response makes Futon much more friendly rather than relying on the browser's login dialogues. With "Accept: application/json" I think CouchDB does respond with a 401. > 2. The URL being redirected to is part of the Futon admin UI. This might be > appropriate for an end-user interacting through a browser, but not for an > app. An app can use the content-type negotiation to receive the 401 and do its own behavior (redirect, show dialog, etc). Since JSON is the only official interface to CouchDB it's debatable that CouchDB should be doing anything other than a 400 for this request ;). > 3. The _utils directory isn't present in all CouchDB installations; e.g. > mobile installs, so this redirect might go to a missing page. I think you still have a valid point. If Futon were making every request with XMLHTTPRequest it could handle a 401 in its own beautiful way without CouchDB's coddling. Perhaps this problem can go away with Futon2 which uses Sammyjs? Hopefully, others on the list know more about this issue than I do and will correct me if I'm wrong.
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Snowboarding Forum - Snowboard Enthusiast Forums (http://www.snowboardingforum.com/forum.php)
- Snowboarding General Chat (http://www.snowboardingforum.com/snowboarding-general-chat/)
- - I found this worth reading (http://www.snowboardingforum.com/snowboarding-general-chat/51502-i-found-worth-reading.html)
I found this worth reading
And I thought you guys might too. We all know that YoBeat isn't known for it's seriousness. Well, shit just got serious for a minute. This is a well written interview of a man more people should probably know about. YoBeat: Making Fun of Snowboarding Since 1997 » A Hump Day History Lesson with Brad Steward Enjoy. :)
Awesome article dude. Love his description of Jake Burton. Also, "if you want to know what's happening next year in skiing look at last year's snowboard catalogs". priceless
so true, snowboarding made skiing what it is today, period. In the mid 80's at Mt BAKER, it was rare to see skiers ride powder, then Craig Kelly, Carter Turk, and a handful of locals started tearing up the frequent thigh deep stuff. I remember a time when skiers used ask us " why do you guys grab your boards when your in the air, you have bindings ?", now look who's grabbing their ski's, not to mention twin tips, wider ski's, rocker etc
I'm glad that someone else found it entertaining besides me. I guess if it was a video instead of written, it'd be more poular with the kids. :rolleyes:
Cool article. I think he makes a couple great points:
1.) The Burton narrative on the origins of snowboarding is not the only history out there. No, I'm not bashing Burton and I won't bash Burton. I rode their boards for years, starting in the late 80's. I still use many of their products, and got into the sport emulating their pro riders(Craig Kelly RIP!) and respect Jake Burton for what he built. Yet, as I've aged I've come to really appreciate that so many others had a major impact on the birth of snowboarding. Many I'm just learning about, like Brad Stewart!
2.) Snowboarding needs to get its soul back in a way (my opinion, not Brad's). It has become media events and celebrities. I'm not knocking the success, I love seeing how much this sport has grown. Yet, to borrow the Harley Davidson example Brad uses - where is that hand wave? Where is that sense of brother/sisterhood amongst riders? That gut-level "we are different and together" vibe that used to exist? Maybe because we've moved so far past the early skier/snowboarder hostility that we no longer have that common bond?
Anyway, thanks for sharing this. I really enjoyed it.
This article was great, learned some new things about the support, and it was kind of inspirational too!
Really enjoyed the points on Burton as well.
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Oct 3, 2011
Jennifer Lopez, Through Her Company Nuyorican Productions, and Believe Entertainment Group Team with AOL and Cambio on New Youth Digital Series 'Tiger Beat Entertainment'
Original Series 'You've Got' Reaches 100 Million Video Views
New York, NY, October 3, 2011 – AOL Inc. (NYSE: AOL) today announced its new video slate delivering a wide variety of original programming on one of the largest- and fastest-growing online video platforms – increasing UVs 86% year over year* and ranking No. 1 in key industry categories, including tech, autos, travel, fashion, food and home**. During Advertising Week 2011, AOL is sharing its new slate of original programming spanning more than 15Web series appealing to multiple audiences and advertising categories. Each program will be programmed and distributed across AOL Huffington Post Media Group sites, providing marketers an opportunity to align their brand messages with distinct target audiences. In addition, marketers can extend their reach by accessing AOL's library of more than 300,000 curated premium videos.
"We are pleased to announce a slate of programming that shows our innovative approach to video," said Ran Harnevo, Senior Vice President of AOL Video. "It provides one of the best platforms on the Web to connect advertisers with premium content at scale. We've built a video ecosystem supported by our data and insights into what excites viewers, combined with a deep understanding of what they share and discuss online. Our focus is on producing programs that consumers want and creating an impactful nexus among advertisers, marketers and target audiences."
AOL has a proven track record of developing successful video franchises across its owned-and-operated properties, including You've Got,a one-minute daily series on AOL.com spotlighting notables from President Barack Obama to Kevin Bacon to Paula Abdul. Since its November 2010 launch, the series has garnered 100 million video views***.
The success of AOL's video franchises includes AOL Music's recently relaunched music series Sessions, which attracted 3 million streams in August 2011, growing 48% over the prior month and 208% year over year***. AOL Video is one of the top-10 video platforms on the Web with 43.9 million unique viewers and 403.6 million U.S. streams per month**.
The new slate underscores AOL Video's comprehensive video offering, from content creation and distribution to monetization. Some of the series are live today, and AOL will roll out the remaining series over the next several months. Many of the shows are produced in-house by the AOL Studios team in AOL's state-of-the-art HD studios in Los Angeles and New York.
"A big part of our editorial mission is telling stories that deeply engage our users and spark conversations – both on our sites and across the social Web. This is especially true of our video offerings," said Roy Sekoff, founding editor of the Huffington Post Media Group. "By featuring addictive personalities and stories that stick, we're creating video that a wide range of users watch, talk about and share."
AOL also announced plans to collaborate with Jennifer Lopez, her company Nuyorican Productions, and Believe Entertainment Group to launch a new digital video series, "Tiger Beat Entertainment," an all-new entertainment news and lifestyle show for teens and young adults. The series will be distributed through and in partnership with AOL and its teen-and-young adult platform Cambio and will be produced at Cambio's Hollywood studio.
"We're thrilled to work with AOL on this project to reach teens and young adults in a differentiated way. This partnership demonstrates the power of using the Web, social media and entertainment to engage our audience and positively influence their large circles of friends," said William H. Masterson III and Dan Goodman, Co-Founders, Believe Entertainment Group.
Highlights of the slate include:
- Little Women, Big Cars: From bake sales and soccer games to gossip and divorce, four moms navigate the comedy and drama of suburban life. Starring Ed Begley Jr., Antonio Sabato, Jr., Julie Warner and Kristy Swanson. Produced by Vuguru.
- A Supermodel Stole My Husband:A lighthearted makeover show in which a frustrated wife enlists an adored supermodel to help transform her husband. Produced by AOL Studios.Heidi Klum on AOL:A guide to fabulous living for everyday women, including fashion, beauty, parenting, lifestyle, fitness and nutrition. Produced by Full Picture.
- Jocks & Jills:Sports show meets The View in a fresh and funny sports talk show hosted by a rotating panel of diverse celebrity guests. Produced by Flavor Unit Productions.
- Lost in Translation:Reality series following a hip-hop DJ and famous 'Nuyorican,' as she attempts to learn Spanish, learn to cook, date and reclaim her Puerto Rican heritage. Produced by Flavor Unit Productions.
- Fearless Living: Based on her best-selling book On Becoming Fearless, Arianna Huffington looks at the many aspects of living a fearless life – from motherhood and parenting to beauty and health to navigating the workplace to friendship, relationships and aging gracefully. Produced by AOL Studios.
- The Tanning Effect: Steve Stoute, best-selling author of The Tanning of America, interviews entertainment icons and pop-culture thought leaders including Jay-Z and Pharrell Williams; the series is sponsored by State Farm. Produced by AOL Studios.
- Sessions: Original, exclusive performances with hitmakers such as Alicia Keysand Adele. Produced by AOL Studios.
- Unscripted:Celebrity co-stars interview each other – with users' burning questions. Past talent includes Justin Timberlake, Jennifer Aniston, Robert Pattinson and Adam Sandler. Produced by AOL Studios.
- You've Got:Everyday, everyone from Barack Obama to Kevin Bacon to Paula Abdul tells the world what 'You've Got.' Produced by AOL Studios.
- AutoBlog – The List:Hosts who consider themselves true automotive aficionados must tackle crazy car challenges from 'The List,' created by Autoblog's expert editors. Produced by AOL Studios.
- The Interface: Exclusive performances from breaking artists, including the best up-and-coming artists such as Mumford and Sons, Rogue Wave, Manchester Orchestra and The National. Produced by AOL Studios.
- MMA Hour: Get up close and personal with the celebrities of the MMA Fighting world, from the Web's best MMA Fighting resource. Produced by AOL Studios.
- The Engadget Show: Industry leaders and tech luminaries take the stage in front of one of the largest audiences of tech enthusiasts. Produced by AOL Studios.
Teens & Young Adults
- CliffsNotes Films: Short, animated, irreverent versions of literary classics, produced by Mark Burnett, Coalition Films and AOL Studios and Executive produced by Josh Faure-Brac. Columbia Pictures' film Anonymous (in theaters October 28th) is the exclusive sponsor of the first six episodes.
- AIM High: TV broadcast-quality action series following Nick Green as he juggles high school with being a secret government agent. Starring Jackson Rathbone from Twilight and Aimee Teegarden from Friday Night Lights. Produced by Warner Bros.
To learn more about AOL Video, visit http://advertising.aol.com/platforms/video; to learn more about AOL's full presence at Advertising Week, visit http://advertising.aol.com.
*August 2011 comScore Video Metrix
**June 2011 comScore Video Metrix, based on Content Type Videos
***August 2011 Omniture SityCatalyst
About AOL
AOL Inc. (NYSE: AOL) is a premier global media company with a suite of brands and products serving consumers, advertisers and publishers worldwide. The AOL Huffington Post Media Group is a leading source of news, opinion, entertainment, community and digital information comprising a wide range of destination websites, including AOL.com, The Huffington Post, TechCrunch, Moviefone, Engadget, Patch, AOL Music, StyleList and MapQuest. The AOL Advertising.com Group includes Advertising.com, ADTECH, Pictela, Video (inclusive of AOL Video, goviral and 5min Media), Content Solutions and Sponsored Listings and serves a combined content and advertising market at scale through video, brand advertising, content and ad serving. AOL is focused on engaging consumers and providing online advertising services and solutions on both AOL Huffington Post Media Group destination websites and third-party websites, in addition to serving consumer platforms including AOL Mail, AIM, about.me, and mobile experiences. AOL also operates one of the largest Internet subscription access services in the U.S., which serves as another distribution channel for its consumer subscription products, such as AOL TechGuru and Computer Checkup.
Media Contacts:
Caroline Campbell
AOL Corporate Communications
LaToya Drake
AOL Corporate Communications


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[Date Index]
[Thread Index]
[Author Index]
Re: No StringCompare in Mathematica?
Steven T. Hatton wrote:
> I wanted to sort a list of XMLElements based on the text in the third
> descendent of the element type used to form the list. In order to set up
> the comparison predicate, I had to(?) form a list of the two candidate
> strings and compare it to the sorted version of itself. The sort was
> fairly slow in executing. I would like to have simply done s1 < s2, but
> Mathematica doesn't appear to support that. Is there a way to get that
> functionality more simply than what I described?
I am not totally clear what you are asking here, but if you want to
compare strings, try OrderedQ, for example:
David Bailey


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The Matrix is coming, And you're going in. Forever. Goodbye universe. Hello universe.
|Alcibiades (OP)
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Technology can and will be used to enslave you.
Don't worry, you will love it we promise!
Affordable and desireable, that's our promise to you ;)
You know i'm just being truthful.
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Cohutta Fishing Company
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Ships Free
This package includes three tapers: 10, 12 and 14 gauge. Each taper has a black and white swirl design. Great for stretching! Acrylic.
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Comments about Spencer's 10, 12 and 14 Gauge Swirl Stretcher Taper 3 Pack:
hey are so cool
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Have a dog that can't hold its licker? Or has mastered the art of giving a terrific tongue lashing? Here's its chance be crowned Valley of the Sun's K9 Kissing King or Queen and win valuable prizes!
National pet lifestyle expert Top Dog Eileen Proctor is bringing the "In Search of America's Smoochiest Pooch" road tour to Phoenix on Saturday, 4/20 at the Phoenix Pet Expo at the University of Phoenix Stadium between 10am – 6pm. $5 entry fee includes photo, $5 voucher toward PetzLife oral care products, and donation to local rescue group.


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Ask about Salesforce products, pricing, implementation, or anything else — our highly trained reps are standing by, ready to help.


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Andrew Sleeman Photographer
StavroulaModel Female Melbourne, Victoria, Australia
My Website: Stavroula AlysandratosMy MM URL: http://www.modelmayhem.com/stavroula
Mayhem # 1375220
About MeMy name is Stavroula Alysandratos and I am of Greek and Australian heritage. I was born and raised in Australia and at the age of 25, currently reside in Melbourne, Vic.
I hold a very positive outlook on life, and I am highly appreciative of all the blessings that I gain in my life. I thrive to have a good time, and yet still be professional to ensure the client is getting what they are after as a model, host, spokesperson and presenter. I love making people laugh and enjoy every experience. I am not a stereotypical glamour model; I love cars and motorbikes and enjoy working on them also.
Photo shoot's that i am involved with are booked only after we thoroughly discuss and all parties accept the shoot concept, date, time, location and length of shoot.
Please forward concept images to me via email to give me an idea of what type of shoot you're trying to achieve. Shoots should be booked at least a week or two in advance so I can prepare for the shoot. I will give at least 72h notice if for whatever reason i am urgently unable to attend.
During the shoot, communication/feedback/suggestion/guidance is important for the success of the shoot. The finished product is very important for my folio and also to ensure the client is getting quality shots.
After the shoot, I understand everyone is busy so i generally allow 2-4 weeks to obtain edited images. I do appreciate if 3 photos can be chosen from each look, so that i can also have preference of which to publish personally.
If you would like to collaborate with me, please contact me via my website, as it is linked to my personal email www.stavroula-alysandratos.com and fill in the form so that i can respond promptly. Please be specific with your request in your message, by including a website or detailed information regarding your request so that i can reply accordingly.
Thank you & I look forward to working with you! <3
Have you worked with Stavroula? Add Credits for Stavroula! >>
Credit NotesMM#410670- Natalie V Photography--> Fantastic Photographer, Great direction!
MM#685552- Peter Kelly Photography--> Great Ideas, Amazing Photographer, Awsome direction!
MM#1367648- Nick Thorley Photography--> Fun to work with, Great Photographer!
MM#492796- BlackCatsAngel Designs--> Awsome fun to work with, Great make up, Very professional.
MM#1190832- Little Owl Photography--> Amazing photographer, fantastic direction, great ideas.
MM#756569- JCZC Photography--> Fantastic Directions, Great photographer, fantastic angles & Lighting knowledge, Fun to work with!
MM#1343988- Hannah Make up--> Fantastic to work with, Amazing make up, great ideas!
MM#815175- Nadia Foti Clothing Designer--> Fantastic peices, great personality, lots of fun to work with.
Andrew Sleeman Photographer
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William Aung Photographer
Kieran McNamara Photographer
Jason Paparoulas Photographer
UPTO300mm Photographer
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And here I am on my Boat....Much better times.
This is a discussion on What the FRICK does everyone look like?(Non Pic posts subject to pruning) within the Member Show-Off & Photography forums, part of the Community - Meet other Enthusiasts category; And here I am on my Boat....Much better times....
And here I am on my Boat....Much better times.
me and my honeyboobear
your friendly, neighborhood subaru girl
abbigale : 06 impreza wrx tr: cobb stage II
just for kicks, this is my little brother...he's nine and he is constantly doing pushups and sit-ups.
and pullups too!
im the kid on the right about to jump out of a plane
If at first you don't succeed, skydiving isn't for you.
me and my new little rug rat
Bugeye Mafia Member #177
New England F4
VF43'd by Wicked Innovation
one of my guys brough his camara out a few days ago and got this one...
-The J 𒂼𒄄
"Driving most supercars is like trying to manhandle a cow up a back staircase. . . This is like smearing honey into Keira Knightly" -JC
viewmorepics.myspace.com/index.cfm?fuseaction=viewImage&friendID=65340265&a lbumID=2571857&imageID=42332140
"if you want peace, prepare for war", latin proverb and common sense
"Why do penguins take smoke breaks?"
Contributing before we have to rename this thread!
I'm trying a test and linking them from Facebook, so let me know if you can't see them!
Sparring Muay Thai at the Thai New Years Festival
Pad work with Master Sammy
Sparring another boy
It was hilarious because everyone was chanting my name and yelling "Girl Power" and booing the boys I had to fight!
Heather | 2002 WRX | Stage 2
ScoobyDMCtt | Official Bodyguard #2 for the Bugeye Mafia
TastesLikeAwesome | @Subiestar
Have not been here long but here is me and 2 of my 3 hound dogs
and my girls
The "toys" 1973 rx2, 1990 super charged rx7, 1994 4runner, 2004 wrx, 2004 rx8
heres a few pics just so you get an idea of who i am lol
my thinking pose:
drunk on my 21st back in may lmao:
no words for this one:
and back when i had a band, god i miss playing shows:
bugeye maffia member #304 l http://www.flickr.com/photos/joe_fonseca/
what the heck happened to this thread?
"Never Launched"
Dougie - Founder, 250,000 mile club
-5,000 posts
Have a super blurry phone pic of me enjoying my other favorite thing to do
wish it was 'winter' time again
your friendly, neighborhood subaru girl
abbigale : 06 impreza wrx tr: cobb stage II


text:
Follow Harriet on Twitter
About Harriet
- The Poetry Foundation's blog for poetry and related news.
- More about Harriet
- Contributors
- Archive
For my last post as a Harriet blogger, I wanted to give a shout-out to what makes it work for me. I could say the earth, spirit, guidance, love, chi, or justice— I can see all these as names for what I understand as the goddess, an immanent (not transcendent) spiritual principle, who gets me out of bed in the morning and keeps me reading, writing, loving, and thinking about poems. At first I wasn't sure how, whether, or why to write this post, because it is not a comfortable subject. There are many stigmas attached to any kind of spirituality now, and pagan/earth/goddess-centered perspectives are particularly invisible (years ago at AWP, Renee Olander, Lucinda Roy, Tim Seibles, and I did a riotously-well-attended panel on the poetry of earth-centered spirituality at which everyone lamented that gatherings and collections of contemporary spiritual poetry routinely include only poets of the Judeo-Christian-Islamic line, and Buddhists.) But to me, there is a special connection between poetry and the goddess, and many wonderful thread comments here lately have made me feel comfortable "coming out" in a spiritual sense. So here is my farewell post, my shout-out to the idea or reality of the goddess, whatever your preference, in some of her many forms.
Years ago, I wrote the following story about the Muse:
. . .How did I come to think, as a young child who wanted to be a poet, that I had no Muse? The story rides on the kind of convoluted misunderstandings to which children are prone, yet in another sense its logic is impeccable. As far as I can reconstruct it, my reasoning used to go like this:
1. "A woman who concerns herself with poetry should . . . be a silent Muse and inspire the poets by her womanly presence," wrote Robert Graves. I read this famous statement often enough, stated directly or indirectly, to absorb the idea that not only must Muses of course be female, but, more importantly for me, females must, presumably, be Muses.
2. Men, at least the men in my childhood Bible, Oscar Williams' Immortal Poems of the English Language, address poems to women Muses. And they also address poems to women whose sexuality they desire or fear or admire. Therefore, according to my reasoning, male poets must have a heterosexual relationship with their Muses akin to the one they have with those other women who appear in their poems, Stella or Laura or Julia or Chloris or the Coy Mistress.
3. And therefore, the Muse must be a heterosexual, man-identified woman. Why should she be interested in women poets then? As feminist critics Gilbert and Gubar finally put it, years later, "is the pen a metaphorical penis?" No wonder the Muse was always hanging around male poets!
After I grew up and realized the Muse was still with me, I tried to find out more about this part of me that gave me poetry. The obvious turnabout was to look for a male muse. In Jungian therapy I uncovered my animus. Growing and writing and learning, I found the male side of myself, had long conversations with him, grew to love him. But though eventually I found him in many good forms—characters in my dreams, the wise man, Pan, the Green Man—he wasn't where my poetic inspiration came from, but felt far from the place that is called, in Kundalini, "the empty-womb space where creation occurs."
Inspired in part by my parents' shared interest in the Goddess (they both took a class with the wonderful scholar Merlin Stone in the 1980s), by the Goddess movement in San Franciso where I was living, and by my interests in anthropology and feminism, I began to muse about and write poems about various goddesses, including Spider Woman, Aphrodite, Inanna, Coatlique, and others, for my book Eve. I forgot about the Muse for a while. . . until one day when I was reading The Muse Strikes Back, Katherine McAlpine and Gail White's anthology of the poems women have written in response to male poets over the centuries. There suddenly I found her shimmering among all those challenges to the male appropriation of creative literary power. I found the Muse in the seam that links the voices and the answering voices of Meleager and H.D., Homer and Margaret Atwood, John Donne and Mary Holtby, Jonathan Swift and Louise Bogan. I could hear how fundamentally the halves of those dialogues were linked, and it was at last utterly clear to me that the same force had been inspiring the women and the men through all those centuries. The Muse's voice is strong in the women's poems. I recognize her tone.
Harriet commenter Terreson tells me that legend says Sappho was walking on the beach when Orpheus' severed head washed up near her—still singing, inspiring her to be a poet and found her school. They sang to the same Muse. I've been calling her the Goddess. To paraphrase Ntozake Shange, "I found the Muse in myself. And I loved Her fiercely."
But not only is my Muse my Goddess; my Goddess is my Muse. I began to understand this when I wrote he title essay to The Body of Poetry. Living with, and meditating on, the idea of the Goddess as immanent spriritual force brought together ideas I thought had been separate, from sentimentism to the postmodern poetess to metrical diversity to multiformalism (and just last week, in an interview with Tom Cable for the Robert Fitzgerald Award ceremony at the West Chester Poetry Conference, I understood how the metrical code is part of the same overall approach). Still, though, the spiritual aspect of my Goddess occupied one part of me, while my Muse, even though I thought of her in a similar way, was confined to artistic realms. It is only very recently—perhaps only tonight, as I write this final post for Harriet— that I realize that the truth is more demanding. My Goddess is my Muse, there's no hiding from her, and she wants me to write poems.
As it turns out, the earliest poems ever known to have been written down were about the goddess Inanna, by her priestess Enheduanna. Diane Wolkstein collected these poems and assembled them into a remarkable epic story, Inanna: Queen of Heaven and Earth (the basis for Alice Notley's epic The Descent of Inanna.) Reading this book feels like standing in the Museum of Heraklion in Crete (home of the famed Ring of Minos, as far as I know the only place on earth where one can be surrounded by many rooms of artifacts not created under patriarchy, or matriarchy for that matter, but under the system of female-led equal partnership between the sexes that Riane Eisler in her book The Chalice and the Blade calls gylandry. It is mind-blowingly different, in terms of gender dynamics and entire outlook, than anything created in the West in the last four thousand years. One of my favorite passages from the epic is the wildly erotic love dialogue between Inanna and her husband Dumuzi (scroll down a bit to get to the good parts).
It may seem that there is not much blatantly goddess-oriented poetry in the world, but because the goddess's nature is not to transcend the world but to inhabit it, actually the goddess has a way of appearing everywhere in poetry. Like the sound of a meter with which one has been unfamiliar until recently, she may be hard to recognize at first, and you may think she's not there, but once you get to know her and get in the habit of noticing, you'll find her everywhere and in all kinds of poets. Hopkins' "Binsey Poplars," Crane's "Proem," Spenser, and early Yeats are infused with it, not to mention many ancient poets, and mystical and rhapsodic poets of all traditions from Rumi to Elytis.
And the goddess can be found everywhere nowadays, from the candles section of Wal-Mart to the remarkable hints pages of Women's World magazine at the supermarket. I have been meeting with a group started by some young mothers in my neighborhood, one of a huge growing worldwide movement based on Sharon McCarlane's book The Grandmothers Speak. What strikes me about this group is that it is not explicitly pagan or goddess-worshipping or shamanic in the sense of the various groups and people I've learned from for decades now. Instead, this new movement is extraordinarily simple, inclusive of any spiritual or healing path, so that one woman shares a peace pipe ceremony in which she was initiated by Native American elders, another talks about herbs, another about new ideas of Jesus, another about Mayan prophecy, another about minerals, and yet all of them are on some level talking about the Goddess in the simplest way: as female energy. The Grandmothers message for July says,
"We, the Great Council of the Grandmothers, are calling you to work with us in order to return your planet to balance. We are calling women to step into the power of the great yin and we are calling men to support them as they do this. All life on earth will benefit from the work we will do together. . .We have told you many times that for the world to return to balance, women must lead. It can be no other way. The earth must once be filled again with the energy of yin that is presently dangerously depleted. And to this end we have come to empower women and confirm men."
Married to an environmentalist, I think about the current state of the planet often. A fundamental shift is taking place, very quickly, in the way all of us think about our earth and other people and creatures. This can lead to backlash and fear, but the overall movement is unmistakable. The arc of history is long, but it bends towards justice. In spiritual terms, we can see the movement towards self-determination and civil rights, on the part of all creatures and people, as the goddess in action: the honoring of immanent power. How could poetry not reflect all of this? The next time I go to the Grandmothers Speak group, I will talk about the Muse.
PS I am looking forward to a trip into wolf-dens with a biologist in Montana this fall to begin a poetry project about wolves (an animal long associated with the goddess). Wolves are under attack and you can help them here. Thank you dear Harrietteers for a wonderful visit here!
Comments (37)
sunshine of the yin to be, glimmers on the shore….
thanx for a cool blog annie!
I, too rise awake
and sleep in the arms
of the Goddess by all her ten thousand names
I have an in-dwelling tribe of Muses
all of them women
they are as unruly
as the sirenic crone
in whom they dwell
Women poets who envy male poets their muses miss the point.
Muses are NOT women who inspire male poets, and if painters or philosophers have depicted muses that way, or if male poets throughout history have spoken of their 'woman, their muse,' this is nothing more that artistic color, philosophical flourish, or simple biographical fact, and has nothing to do with poetry, per se.
Surely in this scientific age, we can put away such tomfoolery!
As Poe says in "The Philosophy of Composition," poets find it advantageous to pretend they compose from a "fine frenzy" of inspiration, since this idea deflects sober judgment, and there is nothing your average poet fears more than sober judgment! Almost every poet feels they are not worthy in some way. Here is why a scientific poet like Poe is resented: "Hey! Don't encourage scientific judgment in poetry audiences! Jeez, our job is difficult enough!" Magic is more successful if the audiences don't understand the tricks, and poets are like magicians, or seducers (same deal) or salesmen (same deal): "Mr. Poe! Kindly don't reveal every little aspect of what I'm selling, thanks." I'm sure you've heard it many times before, "That's not how you wrote the 'Raven!'" For the salesmen, the less information out there, the better.
So this 'Muse idea' is nothing more than a coloring of this 'fine frenzy of inspiration' idea, an Argument the poet uses, in many guises, all the time, to convince audiences that Something Big or Something Important or Something Beyond Their Control or Something Grounded in Real Experience is shaping their product; such advertising may be a preface to a ballad, a manifesto to a song, an essay to a rhapsody, or a criticism (old or New) to a modernism, but it's all the same thing, and poets who make a great show of arguing for poems, or for poetry, should always be viewed with suspicion.
If the great poets like Homer, Virgil, Dante, Milton, and Shakespeare have invoked the Muse, the Muse is not some female 'waiting in the wings' but is the very 'speaking' of the poem itself, the embodiment of the poem, the poem itself—and, in this dynamic, nothing more than a self-consciousness without substance or form—only a childish mind would think the muse really exists 'as a muse.' When Virgil says, "Muse, relate…" the speech is being asked to speak, and, when the poet is as good as Virgil—'she' does.
Even as somebody too deeply entangled with Jesus and Yahweh ever to fully extricate myself, Annie, I'm with you on much of what you say. Reading your post I thought at once of this poem from my last book, Spoken among the Trees.
Some Things of This World
Hemlock Ravine filled with beeches
slate deerflies ferns spicebush
two big battered red maples lean
like a couple married 60 years
40 of them happy
Horsefly whose life work is to chase walkers
off the bridge
The perfect web could be a target
or a trail marker but notice
the genius pulsing at its center
There are ghosts older than the wisest tree
quicker than the shyest bird
more remote than the last leaf on the highest limb
closer than the shoots pushing brave and bedraggled
from a root in the middle of the trail
How many intricate tons of matter
raised up by sunlight into sunlight
how many more breathing and working in the dirt
Lilies tread water
dreaming of boats
deerfly bites my left arm
bullfrog dives
just off the trail
where the white sun was firing a young beech
I saw you
Perhaps one of these days, we won't see ourselves as having stereotypically "male" or "female" aspects, but merely human ones. We tend to associate assertion, action, and power with being male. It just now strikes me that Jung's interpretation, although revolutionary in its time and unquestioningly helpful, falls in line with these stereotypical attributions of gender to action/behavior. I think women can own their power, as the saying goes, without attributing it to the province of masculinity–just as men can identify with their nurturing and creative impulses without ascribing those to femininity. Everyone has both creative and destructive impulses in different combinations at different moments. It's all in how we use them.
sub "unquestionably" for "unquestioningly," sorry–too fast on the trigger!
I want to draw the attention of readers to Sarojini Sahoo's blog SENSE & SENSUALITY , where the Indian feminist writer has described in detail about these Goddessess of different cultures in her blog Mythical Sexual Politics on March 24 .2009. This can be viewed at http://sarojinisahoo.blogspot.com/2009/03/ishtar-goddess-of-love-and-war-in.html
The above article can also be as reade from her regular column at Indian AGE I a printed journal from India) , in its July 2009 issue. This can also be read from the pdf file at http://www.indianage.net/catalogue/catalogue.pdf
Readers may find a compatibility in ideas of Sarojini and Annie.
The muse does speak to me, Tom, and it's not unusual for poets to hear their poems come in inner voices. Have you read Julian Jaynes, or Judith Weissman's book Of Two Minds? I wouldn't be surprised if Millay, whom you appreciate so much, hadn't l heard the muse literally as an inner voice as well—"Renascence," for one, certainly has that quality.
It's not a matter of envy, btw, but of recognizing that, in my case (I'm not speaking for anyone else, mind) the goddess and the muse are one–and it makes me happy to think so many male poets I admire were honoring the goddess in the guise of the muse, sometimes without even knowing it…
I've never pretended not to have a childish mind in some ways (I think it's safe to admit that, now that I'm two decades out of my PhD and have won a scholarly award). I consider it a poetic asset.
I notice that when Christopher Hitchens and the other current crop of atheists knock religion it's usually not for its apparent silliness (who would bother) but for its ill effects, the pain and torture and exile and genocide it causes. Paganism and goddess religion are not interested in converts and don't bother anyone, so it's probably not worth insulting them. There are plenty of other religions that could use some criticism if you're in that mood.
(and if you have aspirations as a poet, which I think you do, it might be wise not to refer to the muse as "some female" (-:
There are ghosts older than the wisest tree
quicker than the shyest bird
and the last three stanzas..
Thank you Jeff.
Very true, Robin. I agree. Jung's breakthrough was in recognizing that everyone has all of these aspects. Females in our society are conditioned to make some of these qualities more conscious than others, and males to make the opposite set of qualities more conscious. But a balanced person makes all their qualities conscious.
Jung's gender stereotyping re the unconscious has often been criticized, including often by me over many years. For some reason now things are somewhat changed for me, and these images now have become more like doorways for me than like walls. Still, I totally understand how you could find them restrictive.
"unquestioningly" seems quite accurate as well. and illuminating ( :
Oh, I definitely knock religion for its silliness…
Jagadish, thanks for this link. Sahoo's blog is important, and this paragraph is very useful for this conversation and for poetic thinking in general:
Paul Veyne writes: "Myth is truthful, but figuratively so. It is not historical truth mixed with lies; it is a high philosophical teaching that is entirely true, on the condition that, instead of taking it literally, one sees in it an allegory."
Is literal-mindedness of much use to poetry?
But the shadow was vague, and formless, and indefinite, and was the shadow neither of man nor God — neither God of Greece, nor God of Chaldæa, nor any Egyptian God. And the shadow rested upon the brazen doorway, and under the arch of the entablature of the door, and moved not, nor spoke any word, but there became stationary and remained. And the door whereupon the shadow rested was, if I remember aright, over against the feet of the young Zoilus enshrouded. But we, the seven there assembled, having seen the shadow as it came out from among the draperies, dared not steadily behold it, but cast down our eyes, and gazed continually into the depths of the mirror of ebony. And at length I, Oinos, speaking some low words, demanded of the shadow its dwelling and its appellation. And the shadow answered, "I am SHADOW, and my dwelling is near to the Catacombs of Ptolemais, and hard by those dim plains of Helusion which border upon the foul Charonian canal." And then did we, the seven, start from our seats in horror, and stand trembling, and shuddering, and aghast: for the tones in the voice of the shadow were not the tones of any one being, but of a multitude of beings, and, varying in their cadences from syllable to syllable, fell duskily upon our ears in the well remembered and familiar accents of many thousand departed friends.
Good on you, Annie Finch. I think you just crossed your own Rubicon. I admire that.
Speaking as a Goddess worshipper also, don't you find the world richer, more in-formed and from the inside out, immanent as you say? Speaking as a poet also don't you find the same?
The Muse as a projection works to draw attention from our small-minded scientific brain where all we survey is under the illusion of control. For similar reasons Jack Spicer insisted that poetry comes from Outside and compared the poet to a radio receiving messages from outer space.
I think I'm picking up something on Jack Spicer's radio–some static…but…I can make out a voice…
If we ascend an ordinary mountain and look around us from its summit, we behold a landscape stretching, say forty miles, in every direction; forming a circle two hundred and fifty miles in circumference; and including an area of five thousand square miles. The extent of such a prospect, on account of the successiveness with which its portions necessarily present themselves to view, can be only very feebly and very partially appreciated; yet the entire panorama would comprehend no more than one forty-thousandth part of the mere surface of our globe. Were this panorama, then, to be succeeded, after the lapse of an hour, by another of equal extent; this again by a third, after the lapse of another hour; this again by a fourth, after lapse of another hour — and so on, until the scenery of the whole Earth were exhausted; and were we to be engaged in examining these various panoramas for twelve hours of every day; we should nevertheless, be nine years and forty-eight days in completing the general survey.
But if the mere surface of the Earth eludes the grasp of the imagination, what are we to think of its cubical contents? It embraces a mass of matter equal in weight to at least two sextillions, two hundred quintillions of tons. Let us suppose it in a state of quiescence; and now let us endeavor to conceive a mechanical force sufficient to set it in motion! Not the strength of all the myriads of beings whom we may conclude to inhabit the planetary worlds of our system, not the combined physical strength of all these beings — even admitting all to be more powerful than man — would avail to stir the ponderous mass a single inch from its position.
What are we to understand, then, of the force which, under similar circumstances, would be required to move the largest of our planets, Jupiter? This is eighty-six thousand miles in diameter, and would include within its surface more than a thousand orbs of the magnitude of our own. Yet this stupendous body is actually flying around the Sun at the rate of twenty-nine thousand miles an hour. The thought of such a phenomenon cannot well be said to startle the mind; it palsies and appalls it. Not unfrequently we task our imagination in picturing the capacities of an angel. Let us fancy such a being at a distance of some hundred miles from Jupiter, a close eye-witness of this planet as it speeds on its annual revolution. Now can we, I demand, fashion for ourselves any conception so distinct of this ideal being's spiritual exaltation, as that involved in the supposition that, even by this immeasurable mass of matter whirled immediately before her eyes, with a velocity so unutterable, she — an angel — angelic though she be — is not at once struck into nothingness and overwhelmed?
Put down the scissors, very slowly, Tom. Take your fingers out of the glue-pot. You can stop cutting and pasting now.
When I see a couple of kids
And guess he's fucking her and she's
Taking pills or wearing a diaphragm,
I know this is paradise
Everyone old has dreamed of all their lives—
Bonds and gestures pushed to one side
Like an outdated combine harvester,
And everyone young going down the long slide
To happiness, endlessly. I wonder if
Anyone looked at me, forty years back,
And thought, That'll be the life;
No God any more, or sweating in the dark
About hell and that, or having to hide
What you think of the priest. He
And his lot will all go down the long slide
Like free bloody birds. And immediately
Rather than words comes the thought of high windows:
The sun-comprehending glass,
And beyond it, the deep blue air, that shows
Nothing, and is nowhere, and is endless.
Philip Larkin
I guess what I worry about, Martin, is that the search for an epiphanic structure, as you call it, may distract us from the things a particular poem does that no other poem has ever done before. Indeed, the search for any sort of pre-ordained structure can stack the deck against the particularity of a poem, and force the poem to participate in a game with a conclusion that's rigged.
Like "High Windows," how easy it would be to describe what happens at the end of this odd, quirky poem as an "epiphany"—whereas it's so much richer if the poem can be allowed to conjure up its own, private critical apparatus to suit it's intimate dynamics. It would be like calling High Windows a "mystical vision," which would make poor Philip Larkin turn in his grave, of course. "This poem's a mystical vision, class," and that's so good and such a relief for the class that it turns away from its much more urgent, more visceral concern with the pills and the diaphragm, and it forgets what matters. Or for more mature students, the terrifying image of the "outdated combine harvester," for example. Or for readers that are reading the poem because their life depends upon it what the final image actually describes–which is not easy, because it doesn't go to heaven or make any escape. It just doesn't.
In all the posts above, which I have read several times now, I still see no real interest in what this particular poem, The Fish, actually does. When I say the fish is not a gamefish or a trophy, I still haven't mentioned the fact that the fish didn't even fight. It's just hanging there over the side "a grunting weight." Horrible, a grunting weight (some of those grouper type fish do grunt, though of course that isn't what the image has to mean).
So what's the victory? Why the rainbow? Why the release? And above all, what's the feeling?
Indeed, I would say that if this poem is an example of "epiphanic structure," then you're quite right, Martin, it is a failure—and I can understand why it wasn't a comfortable poem for you to teach in class. It just wouldn't work that way.
But what if you remove the label and with it the expectation, does that free it up? Does it allow you to consider other dimensions and mechanisms that you might not have had the critical space for before?
Same with High Windows.
And this is a good argument too, because I have no idea really whether I'm right or wrong. The point is the poem is expanding, that it's still fresh—even for those of us who have known it for 30 years!
You know, Martin, I think one of the problems with the whole concept of "epiphany" is that it did come from Joyce, who of course employed it in a very particular way and always with great tact and delicacy. Araby, for example—my God, what's that about? Or even the Portrait epiphany–which if you'd just read all the critical hoopla and not the passage itself would probably come as a terrible disappointment when you did!
So it's Joyce's term, and is most useful in terms of his particular art.
Perhaps it should be made to carry a warning label!
'The muse as a projection' – yes, I guess so. But so many poets have described it otherwise – think of the Romantics' Aeolian harp; Blake's admission about his poems, 'Tho' I call them mine, I know that they are not mine'; Lawrence's 'Not I, but the wind that blows through me'; Spicer… I like to think they knew what they were talking about.
My pot of glue is my muse. My pot of glue works to (wait a minute) "draw attention from my small-minded scientific brain where all I survey is under the illusion of control."
Have you ever tried to control a pot of glue? It can't be done.
Look, I'm going to glue Jack Spicer to the wall…
And I got glue on myself!
And now my pants, which are quite glue-y, are receiving messages from outer space…
Don't worry about me, John!
I'm fine.
Been thinking on this more, Annie. Isn't it Jung, who saw all archtypes, mythos, dreams,even whispers–as aspects of self? Does it matter more if she be internal or external? In such a sense, honoring the wings, as you've written of them, of instinct and consciousness, lets the inner muse lift off to fly us, fly for us, perform for us. I love the notion of muse, in the sense that she becomes a concrete-ization, a manifesting of many layers of consciousness–see through layers, even transparent, and still present for the creative need. And, that she may remain a whisper. Or a shout. Then again, I suddenly remember a Frieda Lawrence title, "Not I But the Wind."
& still musing in it,
ah, sorry to appear to merely repeat your mention of Lawrence, Tim, I just saw that; though,Frieda used that phrase as title to her own 1934 (fictionalized) memoir–& it takes on a different meaning, for all the (her) reasons.
Margo Berdeshevsky, I read your latest post earlier. An hour or so ago it brought to mind a couple of stories the Irish Nationalist, Maud Gonne, tells in her autobiography, "In the Service of the Queen." She explains the title of her book in an early, short chapter called "I Saw The Queen." She was returning to Dublin from Mayo by train where she had faught to stave off a famine in the countryside. This is what she said she saw:
"Tired but glowing I looked out the window of the train at the dark bog land where now only the tiny lakes gleamed in the fading light. Then I saw a tall beautiful woman with dark hair blown on the wind and I knew it was Cathleen ni Houlihan. She was crossing the bog towards the hills, springing from stone to stone over the treacherous surface,and the little white stones shone, marking a path behind her, then faded into the darkness. I heard a voice say: 'You are one of the little stones on which the feet of the Queen have rested on her way to Freedom.' The sadness of the night took hold of me and I cried; it seemed so lonely just to be one of those little stones left behind on the path.
"Being old now and not triumphant I know the blessedness of having been 'one of those little stones' on the path to Freedom."
She also tells the story about a "beautiful dark woman with the sorrowful eyes" she had seen since childhood. The woman would occasionally visit her at night, bending over her bed. She knew the woman belonged to the borderland between the living and the dead. And so she decided once to start evoking the woman as means for working her (political) will. But the more she evoked her the stronger and happier the woman became until finally there was a clash of wills between them and Gonne decided to banish her. A third story she tells of a mysterious woman coming to a village in which the inhabitants are being evicted en masse. The woman brings with her good luck and Gonne and others are able to reverse the evictions. She calls the woman "the woman of the Sidhe."
The fun part of all this is that, while Gonne was slightly interested in the occult, would follow Willie Yeats' lead and knew some of the people involved in the Order of the Golden Dawn, she was a very pragmatic, hard-headed, no nonsense political activist and intriguer whose driving passion was Irish Nationalism and the pull down of the British Empire. (The British even suspected her of being a spy working against them during WW 1, the likelihood of which is reasonably high.)
Muse? Goddess? A psychologically interiorized situation? Anyway, the women were real enough for Maud Gonne.
Terreson, these are wonderful tellings. Thank you. And they bring another culture's goddess to mind: in the Hawaiian lands, the goddess of all that pertains to fire in the mythos of the Pacific, Pele, is often seeing on dark roads, accompanied by a small white dog. Sometimes the woman is a hag with ashen coils of hair, sometimes she is a powerful beauty. Sometimes she stops cars. Sometimes she saves one house in the path of a new volcanic flow and lets its neighbor burn. It's said she keeps her family, her believers safe…and inspires chants,to this day.
And your re-telling of Maud Gonne's little stones to freedom, (o, lovely, lovely–that brings a real shiver to me. To be "one little stone"on a such a path is worth more to me than a sky of July 4th invocations!Even as I'm trying to reconsider freedom in Joel Brouwer's neighboring Harriet post.) Am I rambling? Forgive me.
Your post also brings me to another Hawaiian telling.(I lived in those islands once, long enough to learn its visions.) The last reigning queen there, Liliu'o'kalani, imprisoned in her own palace by desirous-for-land American business men– told her people to "eat stones." In other words, it was the land that would feed them. Not greed.
This queen is both role model and muse for young activists, there. Pele is protectress and muse for her believers. In my much shorter post above, I was only pausing to see that it matters less to me if the inspiration is "real" or interior, or exterior.We are wealthy for each presence, each inspiration, yes? The wind would be so empty, maybe, without them.
I suspect Yeats was a counter-spy for the British Empire in his insistent wooing of Gonne (and later her daughter!); after all, Ford Madox Ford, the leader of the reactionary-modernist ring which included Yeats, Pound, American-turned-Brit TS Eliot, the Agrarian, 'Old South' defenders/Fugitives/New Critics who included the crackpot Robert Graves (and friends British Empire warrior TE Lawrence and 'doors of perception' occultist Aldous Huxley) who were so anxious to hate the Irish-American Poe, worked for the British War Propaganda Office. Gonne was serious about Irish politics; the occultist Yeats was more into the Irish as sprites and fairies.
Well, Margo Berdeshevsky, thanks for more than returning the favor. I suspect these stories, always unverifiable in a delightful sort of way, are world wide. Sort of like the mysterious appearance of the many Black Madonnas in 12th C European cathedrals. And you are right. The provenance of the experience or vision matters much less than the experience itself. All musers and children know as much, right?
By the way, at the expense of cross-pollinating blogs, you just answered your own Jeffers quandry: "In other words, it was the land that would feed them. Not greed." This was Jeffers belief too. This and that humanistic solipsism, as he called it, was the greatest danger to the planet. I know a historian who once told me that, in America, the only freedom left is the choice of which brand names to buy. I suspect Jeffers, were he living today, would come to much the same.
Yes, I see how the threads are braiding, Terreson. (Maybe a muse is to blame. She may like such images as stone & fire & hunger & ash; I do. ) And I do see how Jeffers would stand with the eaters of stone rather than the merchants or merchandizers. But the rest of that poem still rankles without hope. Meet you in the other cave, perhaps, eventually.
Sorry you're retiring from Harriet Blog. I'll miss you. I read blogs for specific authors far more than for the content and as I've not found anyone who compels me here, I'll probably not read this blog regularly any more.
I read Harriet for just the opposite reason, because nobody compels me. There's such a rich variety of voices, viewpoints, and vocations I'm thrilled every visit, and even though I don't know anybody in the circle, and have never been near any of the places, I feel right at home.
I will miss Annie Finch as well, Ellen, but I will miss you too. Because don't worry, I noticed!
Larkin my arse, but what a way to go, collapsing in the bog with your gob pressed against the hot pipes and then your last words to one of the three women you're juggling, *shred the diaries.*
Before i go onto the Muse proper, i feel a need to give the full background to it, in the tradition i centre my theatrics in, otherwise the full of it is lost and i cannot honestly proceed gettiong on the wick of others.
What is the Muse but Memory of a great tradition, Finnegas and Finn McCool speaking what's what vis a vis poetry per se, as in the meaning of *éces* – which the modern Irish word for poetry, éigse* routes to.
Éces is an Old Irish word which the word *poetry* as we understand it today doesn't really capture. In the most basic of sense it means the nuts and bolts of knowledge.
Mnemosyne, the original Greek muse, the etymology rooting to house of moon, its essential meaning: Memory.
Her pool in Hades was the opposite of Lethe, which was the pool/river of forgetfulness the dead drank from so they would not remember their past life when being re-incarnated.
The Orphic Mystery rites had initiates drink from Mnemosyne's pool so they would acquire omniscience and instead of being re-born, go onto the Elysian Fields, which Hesiod in Works and Days refers to as the Isles of the Blessed, far to the west and which in Celtic Mythology are Tír na nÓg, (land of the ever young) the most popular of several Celtic otherworlds in which all is fab – another one called the Isle of Happy is where happiness is found, similar to Avalon.
The poetic Tradition of Gaelic poetry, is called *on coimgne* – which Kuno Meyer translated as *historical knowlege*. Meyer was an early 20C Celticist who, along with Rudolph Thurneyson, Osborn Bergin, D.A. Binchy (uncle of Maeve) and others, first translated Gaelic manuscript and were part of the Dublin milleau of Yeats and his cronies.
On Coimgne breaks down into 350 tales, 250 primary and 100 secondary. Secondary ones were never written down and only learned from grade four cano (whelp) up to seven ollamh (poetry professor), passed from lip to ear.
A list of 187 primary tales in 16 genres appear on folio 189b of the 12C Book of Leinster: Do nemthigud filed, a translation of which is here Of the Qualifications of a Poet.
Destructions (9), and Preyings (11), and Courtships (14), and Battles (9), and Caves (11), and Navigations (7), and Tragedies (13), and Feats (17) and Sieges (9) and Adventures (14) and Elopements (12) and Massacres (38) and Eruptions (2) and Visions (7) and Expeditions (4), and Marches (13).
The maxim following this primer reads: "(s)he is no poet who does not synchronize and harmonize on coimgne" the great knowledge.
Which brings us to the Muse in Gaelic poetry.
The otherworldly omphalos, the wet muse of Irish myth, is known by a variety of names: the Well of Segais, Sidhe Nechtan and Connla's Well.
The mythology surrounding the well states it is a still-pool source of the Boyne river, and informs us how only Nechtan and his three cupbearers were allowed in the vicinity of the well, to perform magical rites, walking round it clockwise and no doubt muttering holy mumbo jumbo to invoke a supreme intelligence they hoped would deal favourably with their wants and wishes.
One day Nechtan's wife Boand (who gave her name to the river Boyne) broke the taboo or *geisa* of not going near the well, and walked round it counter-clockwise, causing it to erupt in fury and bring the river Boyne into being, whilst scattering Boand's limb and body parts in places whose toponyms etymologically route to her name and are recorded in another body of lore the poet need learn to qualify, the Dindsenchas.
The dindsenchas are 176 poems and prose commentaries which recount how places got their name. The 23 stanza poem of the dindsenchas which tells how the Boyne got hers, is at the link.
The well is surrounded by nine hazel trees, and each nut contains total poetic wisdom, and these nuts are known as *the nuts of knowledge* — cnó coill hEolas which (according the Cauldron of Poesy:
"…cast themselves in great quantities like a ram's fleece upon the ridges of the Boyne, moving against the stream swifter than racehorses driven in the middle-month on the magnificent day every seven years.
Unlike the fruit on the Tree of Knowledge in the Garden of Eden, there is no sense of the forbidden about them, (indeed they are greatly prized if highly elusive) and the short-cut way to get instantly cleverer than one's rivals and dispense with the 12 difficult years of hard graft in the bardic curriculum, is to catch a Salmon of Knowledge who has fed on the nuts in the well and eat it, thereby ingesting the full of poetic wisdom seciond hand. The earliest name for the Salmon of wisodm/knowledge is eo fis and the modern name is bradán feasa.
A Fionn mac Cumhaill (Finn son of Cumhaill) tale encapsulates this poetic of getting it all at once by eating the Salmon of Knowledge, which appears in the body of lore known as The Boyood Deeds of Finn McCool, found in the Fenian Cycle of Irish myth and which there is some debate as to the era the tales where set in, but in the centuries around the time of Christ, and these started getting written down in the 7C.
There are four cycles in Irish myth, the other three being:
2 – Mythological Cycle – detailing the pagan invasion mythology and featuring a cast
from six races of gods who fight amongst themselves for control of the island.
3 – Historical Cycle – cycle of kings detailing tales of legendary kings
4 – Ulster Cycle set ion the time of king Conchobar mac Nessa, in the time Pliny was writing around the time of Christ and detailing the adventures and battles of of the Uliad and their hero Cúchulainn, with ther rivals in Connacht, led by Maeve and the prime tale being Táin Bó Cúailnge – cattle raid of Cooley.
Finn McCool is the name of a person whose birth-name was Demne: (finn means *fair, bright, shining* and with a positive charge on fair) a poet-warrior who was the last chief of the fianna in Irish mythology. The fianna were independant aristocratic bands of young men who lived outside of society and were called upon by various petty kings in times of war to fight their battles amongst themselves, and who went raiding across the sea for thralls and spoil.
Finn's father Cumhaill, was also a chief of the fianna, killed by his rival for the leadership, Goll mac Morna (goll meaning one eyed, which came about his fight with Cool senior). The fight came about because Cool had abducted Muireann Muncháem ("beautiful neck") the daughter of Kildare druid Tadg mac Nuadat (Tadg son of Nuada), who appealed to High King Conn Cétchathach ("Con of the Hundred Battles") who outlawed mister Cool and gave his rivals the perfect excuse to do away with him.
ha ha ha ha ha
But Muireann was already pregnant by Cool by the time they got her back, and her father didn't want to know after this, so baby Finn — who, remember, at this time was known by his birth name of Demne – was put into the care of his father's sister, the druidess Bodhmall, and her female warrior companion Liath Luachra, who raised him in the forests of the Slieve Bloom Mountains in Offally and Laois (pron. leesh)
He got the nick-name of Finn in childhood by some boys seeing him swim in the river, because of his pale hair glinting in the sun.
He was brought up trained in the art of warriorship and druidry, andas a youth, entered the service of a number of local kings in the midlands incognito, but such was his skill his true identity was always discovered and he was sent packing because it was too politically sensitive for a minor king to be having the son of Cool in his camp.
At the age of 15, he fell into with Finn Éces, or Finnegas the druid, who had his nemeton (druidic grove) by the banks of the river Boyne, where he had set up hoping to catch a Salmon of Knowledge, and took Finn in as his pupil, teaching him in the poetic craft.
Finnegas is obviously a cipher for bright, good, positive (finn) knowledge Finn Éces, and Finnegas had been told a prophesy, that though he would indeed catch one of the fabled Salmon of Knowledge, but alas he Finnegas would not get to profit intellectually and magically from the nuts of knowledge the fish had feasted on at Segias, as another person, someone called Fionn, would instead.
Now, this tale already has two people called Finn, one of whom is going by a nom de plume and with a real name of Demne and Finn Éces being the original name of Finnegas.
One day after seven yrs waiting by the bank and practicing druidry whilst also instructing his pupil Demne, (seven years being the time it took to enter the ollamh zone) Finnegas caught the fabled fish and naturally, remembering the prophecy – that not he but a person called Finn would get his mind altered by it, recieving the source of all poetry — Finnegas would have no doubt had a look around, checking that no likely candidtae was about for the fish to fall into their hands. Giving the fish to Demne he told him to cook it, but on no account eat any of it, not even a crumb, as the deal was s/he who had the first taste, got the poetic gift all at once.
Demne/Finn was cooking it, and some fish fat accidently splashed onto his thumb, and instinctively sticking it in his mouth, the knowledge from the nuts of wisdom, instantly infused him and when Finnegas came back to the cooking area, could tell straight away by the look on Finn's face, what had happened.
So before i go to part two and talk about the muse of Segais in real terms, that's the background we need know, in all seriousess, if we are to be a proper bore others moan about for hogging the binary data bits in cyberville mohn..
I do believe that we all have, as Socrates did, our "little voices" or daimons. Mine happens to be
cynical, most of the time.
A prophet once remarked that the wind blows where it will and you hear the sound, but can't tell where it comes from or where it goes… And so is everyone who is born of the wind.
Poets are born of the wind, I think.
Enjoyed the blog, Annie! See you back at Wom-Po.
Posted in Uncategorized on Tuesday, June 30th, 2009 by Annie Finch.


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Articles containing the brand: Kingly Mask
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Kingly Mask, Monomania & Converse Remake
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Monomania & Converse vs. Uniqlo & Body Line
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Drummer Joey Covington remembered by Valley residents
PALM SPRINGS, Calif. - In a video from 1970, Joey Covington hammers away on the drums with Jefferson Airplane. Just one of several bands that Covington contributed to throughout his career.
Keith McCormick is a friend from the valley who helps to put on the Marilyn Monroe Concert series at her statue. He tells us, "In the late 60s early 70s he was Jefferson Starship, Jefferson Airplane, Hot Tuna. He had hits with all those bands and boy does he have some gold records."
Covington helped write several hit songs with Jefferson Airplane and Starship before eventually landing in Palm Springs to retire.
McCormick says, "He was a very gentle individual and boy did he have stories. He could relive stories from the 70s and the 80s, he knew everybody in the music industry and they all appreciated his talent."
The illustrious drummer was still writing music, recently handing off his last song to be recorded by some local friends and artists.
Joann Carey is one of those friends, now waiting to record his last tune. She tells us, "He called Stormin' Norman and I down to Sammy G's and there was a contract with a song. His last song and it was dedicated, devoted to his dad. And it was about him growing up and how proud his dad was of him."
Joey agreed to play a free gig for a Marilyn Monroe celebration in Palm Springs last Saturday, a rare public performance which would end up being his last.
McCormick continues, "This was a great gig for him. The audience were on their feet, it was really stunning to see and when he came off stage signing autographs he just looked at me. He said Keith, this is like back in the old days when I was a big celeb."
Covington died after his car went into a wall Tuesday night but, something about the crash doesn't add up. There were no skid marks at the scene of the accident and no visible tire tracks in the loose sand filling the 30 or so feet between the curb and the wall.
McCormick describes his reaction, "I was devastated when I heard it on the news this morning and you know I went outside, looked and saw there was no real marks so I think he probably had a stroke or a heart attack because he made no effort what so ever to correct the car on that bend."
Flowers and drum sticks now mark the site of the crash where friends, family, and rock and roll suffered the loss of a great man.
A friend who wished to remain nameless stopped by to placed drum sticks at his grave. As he got in his car to drive away he says, "Very sad day. You know what, I have tears in my eyes. That man will be missed, he really will." He also suggested a mural be painted on the wall of Joey riding off on a Jefferson Airplane.
It still will take several weeks before the exact cause of the crash and Convington's death is determined.


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What You Can Do To Prepare For Hurricane Sandy
10/29/12 12:08PM By Jane Lindholm, Sage Van Wing
| Download MP3
Preparations have been underway for the last few days in anticipation of Hurricane Sandy's damaging arrival. Up and down the Eastern Seaboard this weekend, people stocked up on batteries, food, and water. In some areas, homes and shops were boarded up. And many states have been evacuating residents from low-lying coastal areas.
States of emergency have already been declared in Vermont, New York, and Massachusetts. New Hampshire governor John Lynch has put 100 National Guard troops on alert. And officials in Quebec are warning people who live near the St. Lawrence that the river could see flooding tonight and tomorrow.
Larry Crist is the Regional Executive Director for the Vermont and New Hampshire Valley Red Cross. He spoke with Vermont Edition about what people can you do to make sure that they're prepared, and what to do while the storm is underway.


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Chelsea travel to Romania to face Steaua Bucharest as they look to improve on their forgetful start to the Champions League. The Blues lost their opening match at home to Basle 2-1.
It was a surprising result and if Chelsea want to avoid a repeat of last season, where they finished third in their group, dropping into the Europa League, they'll need to get a win in Romania. The other side in the group is Schalke and they will provide a tougher test than either Steaua or Basle.
Therefore Chelsea need to ensure that they at least avoid defeat away from home and in order to learn more about the Blues' opponents we spoke to Romanian football expert and scout, Radu Baicu.
Danger Man
Steaua have had some terrific players over the years but at the moment their squad is lacking in true quality having sold some of their star players over the summer. Baicu says that he is concerned about which of Steaua's attackers will step-up on Tuesday.
"Steaua failed to strengthen adequately with their transfer activity this summer. The club sold last season's top scorer, Rusescu, and of the three supporting players that were used with very good results last season, the right winger Adrian Popa is out of form, Alexandru Chipciu is injured and left winger Cristian Tanase doesn't influence the game as much as he could."
Key players
None of Steaua's squad will immediately appear familiar to fans in England although defender Vlad Chiriches joined Tottenham from Steaua over the summer.
Baicu says: "Although Romania's national team has been mediocre in the past decade, maybe there are some players that fans of international football are still familiar with, with goalkeeper Tatarusanu, central midfielders Pintilii and Bourceanu - nicknamed Romania's Gattuso - and wingers Tanase and Popa (above) getting regular call-ups from Victor Piturca. Oh, and let's not forget that Steaua met Chelsea in the Europa League last season, so the Blues ' players will remember the team well."
Laurentiu Reghecampf – the right man for the job
Since May 2012 Steaua's manager has been Laurentiu Reghecampf who himself is a former player of the Bucharest club and has done a great job since taking over. Like many clubs in Eastern Europe Steaua normally dominate in their domestic division and their only real challenge comes when they participate in European competitions, this is something that Reghecampf has done well.
Baicu says: "The players reached fitness levels that transformed their Liga 1 games, there's fair competition for places, ambition to perform even against the weakest opponent and guts to have a go at stronger adversaries on the European stage. The team has style, confidence and it's all down to this 38-year-old who managed to gain not only the players' respect, but also the trust of one of the most difficult club owners in the world."
A weaker team than last year...
Last season Steaua won the game in Romania 1-0 before losing 3-1 in England but the problem for them now is that they've lost two players who were key in their narrow aggregate loss. Chelsea are a different team as well, Jose Mourinho is back and they've added some new faces to the squad. In addition to this they aren't playing at the end of a tough season and Radu thinks there are a number of areas where Steaua are weak.
"Considering that the team's strength was the ability to interpret different game plans as a unit, at high pace and with a direct aim at goal, I'd say that comparing to last season, Steaua not only failed to compensate the departure of its regular goalscorer, but also several important pieces of that puzzle. Last season there was extra value in each part of the team. The back four had Vlad Chiriches, sold to Tottenham for the biggest transfer fee [£8.5m] ever received by a Romanian club. In midfield there was Alex Chipciu, who is waiting to come-back after a bad injury, while upfront there was Rusescu, now playing for FC Seville.
"Steaua refused to spend part of the money to add quality during the summer and, another reason to worry, failed to address the situation of several other key players who think they've achieved all they can in Romania and dream about moves abroad, which lead to inconsistent performances. I'm thinking mainly about the left-back, Iasmin Latovlevici, but also about Tatarusanu, so there's a lack of striking force and a defence prone to costly errors."
Recent form
No team has won Romania's top division more times than Steaua (24) but their triumph in last season's competition was their first since 2006. They've started their campaign to reclaim their title well, sitting top of the division after seven matches but Radu points out that the domestic matches provide only so much competition.
"Steaua are not in the best moment of form and I wonder about the players' morale after the heavy defeat against Schalke. I think they went to Gelsenkirchen too confident about their chances and that's why they saw the defeat as a terrible result. The scoreline was harsh, considering that the German club was easily kept at bay and found the route to victory only thanks to an incredible mistake from Polish centre-back Lukasz Szukala. At the moment, the Romanian League and Cup rarely test a team like Steaua in order to see the real state of the team. Let's just say that a week ago the Bucharest side announced the intention to record the biggest win ever in the Romanian Cup against an amateur team, but instead of scoring 13 or more, managed to find the net only four times."
Predicted line-up
4-2-3-1 and Reghecampf will go for Tatarusanu in goal. The back four, from right to left:
Georgevski, Szukala, Gardos, Latovlevici
Pintilii - Bourceanu
Popa, Stanciu, Tanase
Radu Baicu runs Scouting Romania (http://scoutingromania.com/about/)
- More about:
- Chelsea F.c.
- UEFA Champions League


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Tennessee DT Daniel McCullers: The NFL remains a big man's game in the trenches, which is why scouts are buzzing about McCullers after watching him work this week. The 6-foot-8, 351-pounder has surprised observers with his energy, stamina and conditioning as the monster in the middle.
McCullers has been an immovable object in the heart of the South team defense, exhibiting impressive strength and power taking on double teams at the point of attack. He has also impressed scouts with his ability to run and chase to the perimeter on outside runs. While McCullers is simply a pocket pusher as a pass rusher, the fact that he can own the middle of the line of scrimmage and clog up passing lanes with his length makes him an intriguing candidate as a nose tackle.
Vikings.com writer Mike Wobschall is high on McCullers:
1-gap penetrator or dynamic run-stuffer? I'm "thumbs up" on Tenn. DT Daniel McCullers but some aren't. He had a great week at Senior Bowl.-- Mike Wobschall (@wobby) January 24, 2014


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Turn its frown upside down: fill it with gifts
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The Hearty Affair from Ferns N Petals is a sure-shot way to propose to your love. This heart shaped Chocolate Cake will convey your message of love in the most romantic way. Embellished with beautiful chocolate flowers and fruits, this cake can successfully do your job.
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Glocks have polygonal rifling, which doesn't work as well for most folks, when using lead bullets. The aftermarket barrels have conventional rifling and are recommended. Also, you will need a heavier recoil spring to shoot the hot, heavy loads.
Personally, I cannot see an advantage to having a 10mm that converts to .45 ACP. The 10mm is an excellent performer as a hunting round or self defense round, depending on how you set it up and what ammo you use. I love .45's, but can't imagine that I would downgrade from a 10mm to it, when the 10mm is such a fine chambering.


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I have four for sale. All guns have original factory boxes manuals and all paperwork. All prices include shipping from myself to your FFL. Please be sure your FFL will receive from a non FFL holder. I will only ship to states that allow guns and magazines allowed by your local law. I will send more pics to any serious party that wants more emailed to them. All payments are to be US postal money order. Any questions please feel free to post questions here or email me at email@example.com and I'll gladly answer any questions. Thanks for looking.
First up Kimber Eclipse Custom II full size 1911. I will include original Kimber magazine and 1 Chip McCormick shooting star magazine. Gun does have one small idiot scratch. The night sights still burn very bright. This gun has never had a failure to fire or to extract. It shoots great. Price $780.00
Second Sig Sauer P226r in .40 S&W factory night sights and nitron finish. This gun came with 2 13rd magazines but I will include a third factory original 13 rd magazine for 3 13rd mags total. This gun was bought in February brand new and has had 915 rds through it with zero problems. Price $680.00
Third Sig Sauer P229 in 9mm. Gun has bright night sights and functions PERFECT. This gun came originally with 2 10rd mags but I will ship with 2 factory 13rd magazines.
Fourth H&K P7 PSP in 9mm. This P7 comes with one magazine hard box, not cardboard box, manual, brush. I also have 4 additional magazines for this gun. These magazines are perfect. Price for the gun and 4 additional mags for total of 5 mags is $850.00. If the purchaser only wants gun with 1 magazine price is $650.00.
Purchaser of this gun has first right to buy 4 additional mags. If buyer does not want additional 4 mags than and only than will I sell them for $200.00 total. Or individually for $65.00 a piece shipped on my dime.
Sorry for not being able to post more than 5 pics but if anybody who is serious needs better or more pics please let me know and I will accomodate.
Thanks again for looking. Aaron


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Between May 19th and 24th, thousands of people flock to the RHS Chelsea Flower Show to see some of the most beautiful flowers and garden designs in the world.
But what happens to all the flowers and displays once the final visitors have gone home? We take a look at some of the ways the exhibits live on after Chelsea.


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Evans Selected to Participate in Dunk Contest at NCAA Final Four
March 25, 2009
GREEN BAY, Wis. - Green Bay senior forward Terry Evans (St. Louis, Mo.) has been selected to participate in the Vegas.com Slam Dunk Championship as part of Final Four weekend in Detroit.
The 21st Annual State Farm College Slam Dunk and Three Point Championships will be held at the Palace of Auburn Hills on Thursday, April 2 beginning at 6:30 p.m. (CT). It will air on ESPN from 8-10 p.m. (CT), following the National Invitation Tournament's championship game.
A total of eight participants will compete in the dunk contest. Other confirmed entrants include Central Florida's Jermaine Taylor, New Mexico's Tony Danridge, Charlotte's Charlie Coley and Toledo's Tyrone Kent.
This past season, Evans became the Horizon League's first four-time All-Defensive Team honoree and helped lead the Phoenix to a 22-11 record, which included a second-place finish in the Horizon League. Evans leaves Green Bay as the school record holder in games played (131), steals (237) and blocked shots (132). In addition, he finished his career with 1,099 points, which ranks 19th on the school's all-time list, and is third in career rebounds (766).
Last year, Sonny Weems of Arkansas claimed the event's title. Other past participants include Tony Allen (Oklahoma State, 2004), J.R. Giddens (New Mexico, 2008), Darvin Ham (Texas Tech, 1996), Dahntay Jones (Duke, 2003), Felipe Lopez (St. John's, 1998) and Ruben Patterson (Cincinnati, 1998).


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It is a truth universally acknowledged that behind most Wall Street scandals is an embarrassing instant message or email. And so when a bank isn't retaining its messages correctly, regulators pounce. The Financial Industry Regulatory Authority (FINRA), the financial industry's self-regulator, dinged Barclays for $3.75 million for "systemic failures to preserve electronic records and certain emails and instant messages in the manner required for a period of at least 10 years."
While Barclays retained much of the data it was required to — like records of orders and trades — the FINRA order says that it failed to do so in the right format, namely, "write once read many," or WORM, which means that once a record of an order or trade is made, it can't then be altered. This is a standard set by the Securities and Exchange Commission to ensure the reliability of business records used for supervision and to ensure regulatory compliance. FINRA said that Barclays' failure to format its archived data this way was "widespread and included all of the firm's business areas" and made it so the bank was "unable to determine whether all of its electronic books and records were maintained in an unaltered condition."
FINRA said that for three years, from May 2007 to May 2010, Barclays also failed to properly archive some attachments in emails sent through the Bloomberg messaging system, from October 2008 to May 2010, missed 3.3 million Bloomberg instant messages, which "adversely impacted Barclays's ability to respond to request for electronic communications in regulatory and civil matters."
In the consent order, FINRA says that Barclays, as a firm, has about 2.8 million electronic communications per day, 500,000 of which are emails through Bloomberg and 20,000 are instant messages. The FINRA order says that Barclays' failure to properly archive some of its emails and instant messages was not deliberate, but instead the result of a technical issue with transferring messages from an external served hosted by Bloomberg to a central repository used by Barclays.
"Ensuring the integrity, accuracy and accessibility of electronic books and records is essential to a firm's ability to meet its compliance obligations," said Brad Bennett, FINRA's enforcement chief.
Barclays neither admitted nor denied FINRA's charges.
Barclays is a perfect example of how instant message and email archives can provide a roadmap for regulators in ferreting out and punishing misconduct.
Barclays was the first bank caught up in the scandal over fixing LIBOR, an interest rate used to price over $300 trillion worth of financial products, from mortgages to complex derivatives. Last summer, a group of regulators fined the British bank $451 million for falsifying the submissions used to calculate the rate, which is an average of what rates banks say they could borrow at in a range of time periods.
At the heart of the investigation, which led to billions of dollars worth of settlements with several other banks, were emails and instant messages sent by traders to the employees responsible for making LIBOR submissions. Many of the most blatant ones became legendary in the long history of traders saying things they shouldn't in a recordable form — like one message from an outside trader thanking a Barclays employee for a lower LIBOR submission: "Dude. I owe you big time! Come over one day after work and I'm opening a bottle of Bollinger."
According to the Commodities Futures Trading Commission, Barclays manipulated LIBOR and other reference rates from early 2005 through mid 2009. The scandal would eventually force then CEO Robert Diamond from this job, as well as chairman Marcus Agius and other executives.
The FINRA order covers Barclays investment bank, Barclays Capital, which in the U.S. is largely the remnants of Lehman Brothers investment banking business that Barclays bought out of bankruptcy following its collapse in 2008. Most of the embarrassing emails and instant messages in the LIBOR scandal were went between 2005 and 2007.
A Barclays Capital representative declined to comment.
Many large banks have faced massive fines and even criminal charges thanks to their employees documenting misdeeds in Bloomberg instant messages and emails. Two of the traders behind JPMorgan's 2012 $6 billion trading loss in 2012, the so-called London Whale, were indicted on fraud charges for allegedly hiding the extent of their losses. Much of the evidence in the charges were culled from instant messages. JPMorgan would later pay $920 million to settle with several regulators over the loss and its subsequent reporting to its own board of directors.
In November, JPMorgan chairman and CEO Jamie Dimon told employees, according to Bloomberg News, "Don't exaggerate, don't ruminate, don't bullshit" in instant messages and emails. Several banks have gone so far to ban their employees from using chat rooms used by traders from several banks due to a wide-ranging investigation into possible manipulation of currency markets.
Read more: http://buzzfeed.com/matthewzeitlin/barclays-dinged-375-million-for-failing-to-retain-instant-me