text:
Marvell's Now1 Shankar Raman John Rogers, "Oliver Cromwell & Charles the First"
(after a painting by Paul Delaroche)
Alice and Through the Looking-Glass involve a category of very special things: events, pure events. When I say "Alice becomes larger," I mean that she becomes larger than she was. By the same token, however, she becomes smaller than she is now. Certainly, she is not bigger and smaller at the same time. She is larger now; she was smaller before. But it is at the same moment that one becomes larger than one was and smaller than one becomes. This is the simultaneity of a becoming whose characteristic is to elude the present.2
1. Andrew Marvell's complex panegyric celebrating Cromwell's return from Ireland begins with the fateful moment of decision, even if it is not immediately clear to whom the decision belongs (or upon whom it is thrust):
The forward youth that would appear
Must now forsake his muses dear,
Nor in the shadows sing
His numbers languishing.
'Tis time to leave the books in dust,
And oil the unused armour's rust:
Removing from the wall
The corslet of the hall.3 (lines 1-8)
If the subsequent line -- "So restless Cromwell could not cease" -- identifies the "forward youth" with the man who might be king, the poem initially suggests (as commentators have noted) a different identification: with the poet who now steps out from the shadows, the private and hidden spaces of love poetry and book-filled study, abandoning his erstwhile muses to enter a public space.4 And this entry is likened to military dressing and engagement. To don the "corslet of the hall" is to take up an armour that not only resides in or decorates the public space but belongs to it, standing metonymically for the kind of engagement that "must now" be undertaken by both Cromwell and poet. Reading the "So" of line nine as "thus" or "in such a manner" sets the seal on the implied alignment between the poet's imperative in the present and the political restlessness that drove Cromwell from the "inglorious arts of peace" to "adventurous war" (lines 10-11). Alternatively, reading the "So" as "therefore" aligns the precocious Cromwell more closely with the "forward" youth, construing the litany of his achievements that follow as exempla, instantiations in the past of the kinds of decision that now, in the historical present, stand before the man again (and by extension face the poet who would appear to record them).
2. One effect of the imperative to decide -- weighing on both Cromwell and the poet -- is to draw into sharp relief the peculiar status of the "now," the present moment whose pressure opens the poem. Gilles Deleuze's remarks on Alice (quoted as my epigraph) may well apply to the Cromwell of Marvell's Horatian Ode. The characteristic double-edgedness of Marvell's tone ensures -- if the range of critical commentary on the poem serves as a guide -- that Cromwell, too, becomes at the same moment both larger and smaller. And this paradox of his becoming seems integrally related to the ambiguities of the present, to tensions conveyed by the complexities of the poem's "now."
3. David Norbrook's acute reading of the Ode captures some of the energies released by the word. He points out that the initial "now" surprisingly leads without pause into the past of Cromwell's actions and their consequences. "Readers may well think they have strayed into the wrong poem, until at line 73 they return to the initial 'now,' the present tense traditionally deemed appropriate for ceremonial poetry."5 And even the delayed return to the present of the Irish conquest from which Cromwell is triumphantly returning turns out to be a brief halt indeed, since the poem immediately leaps "forward" to the future, to prophesize about European victories. The Ode yet again "reverts to a 'now'" in line 105, but this final turn to the word is, Norbrook argues, "not ceremonial but persuasive, the immediate urgency of the war with the Scots" that is yet to come. The pressure of this future campaign retroactively shapes the decision with which the poem began, turning it into "a Machiavellian injunction to decisive action, to seize the occasione" (257).6
4. Norbrook offers his reading of the Horatian Ode as a corrective to those that assimilate Marvell's Commonwealth poetic oeuvre with his writings during the Protectorate and beyond, as well as to those that see in the poem a royalist nostalgia (especially in the contrast between Cromwell's "prosaic ruthlessness" (245) and the scene of Charles' execution).7 Tying the poem more tightly to "the very specific dilemmas of public poets under the Commonwealth" (243), Norbrook insists that there are sufficient grounds to read the Ode's depiction of Cromwell straight, namely, as a glorification in tune with what many other contemporary writers were saying and doing. Certainly, the poem is laden with irony but, Norbrook argues, the irony is directed less at the central figure than at the King himself, since it exposes "the hollowness of the royalist satire of Cromwell by placing [the King] at the centre of his [that is, Cromwell's] triumphal ode" (251). The Ode's paradoxes do not reflect, then, a Marvell divided between royalist nostalgia and the brute reality of a militaristic republicanism; rather, its Cromwell "straddles the divide" between two forms of republicanism, balancing "the highly moralistic language of civic humanism" against "the more self-consciously 'scientific' language of those who defended the regicide by an appeal to practical necessity" (263). Consequently, its understanding of the eponymous hero is "less ironic than carefully analytic, exploring the complexities of agency" (265).8
5. There is much of value in this careful analysis, but the reading is vitiated by a simplification that violates Norbrook's own salutary injunction that we not ascribe "consistency" to Marvell's Commonwealth verse "at the cost of losing the passionate energy of these poems" (244). While he shows the inconsistency in Marvell's political positions across a number of poems in this period, he nonetheless implicitly attributes an internal political consistency to each poem itself.9 In fact, his interpretation of the Horatian Ode preserves the "critical paradigm" of an opposition between "royalist civility" and "republican violence" that the poem invites and indeed helped create (249): the difference is simply that this opposition is read not as evidence of Marvell's royalist nostalgia but as critique of that nostalgia. For Norbrook, the internal tensions of the poem arise rather from within the republican camp to which Marvell is firmly assigned. But even granting this, it still remains unclear from Norbrook's intricate discussion of Marvell's affiliations during the Commonwealth years whether the alleged adherence in the Ode to the republican cause in general -- regardless of its particular stripe -- was quite so assured and stable. Whatever Marvell's own beliefs may have been, the reception of these poems by contemporary readers doesn't unequivocally indicate his identification in their eyes with republicanism.10
6. In short, even if we accept Norbrook's reading of Marvell's attempts to negotiate internal differences in the republican camp during the Commonwealth years, we need not thereby refuse Marvell the slightest whiff of royalist nostalgia. And we certainly need not deny it on some of the grounds that Norbrook provides as a substitute: "it was possible [for contemporary republican writers] to acknowledge the elements of beauty in pre-war courtly culture." Marvell's portrait of the king's demise goes beyond the poem's putative association of "courtly elegance" with "a certain evasion of difficult realities" (266).11 My purpose here, however, is not to return to the hoary question of whether or not the poem evinces royalist sympathies; rather, I raise the problem anew only to indicate its undecideability on some level, and to suggest that such an undecideability in a poem whose focus is on the very moment of decision cannot be (entirely) accidental.12
7. Moreover, the suspension of decision within the Ode seems to be fundamentally caught up in what I wish to call the poem's untimeliness, one expression of which we have seen in the forwardness and backwardness of its "now." Marvell's peculiar -- in its root sense of "belonging to a person" (OED) -- untimeliness itself constitutes a distinctive response to a surrounding and constitutive cultural untimeliness that pervades his present, dividing the now from itself. This dimension is one that Norbrook clearly sees -- even if his readings sometimes drift away from that insight -- when he speaks of "the uncertain position of contemporaries for whom the political horizon was bafflingly open and the meanings of new political formation were constantly uncertain" (15).
8. The words of two such contemporaries cited by Norbrook may help bring home the untimeliness of that mid-century "now." A 1641 speech by George, Lord Digby offers diametrically opposed images of the state of the nation:
Take into your view Gentlemen, a State in a state of the greatest quiet and security that can be fancied, not only enjoying the calmest peace itself, but to improve and secure its happy condition, all the rest of the world at the same time in Tempest, in Combustions, in uncomposable Wars . . . A King that had in his own time given all the Rights and Liberties of his Subjects a more clear and ample confirmation freely and graciously, than any of his Predecessors (when the people had them at advantage) extortedly, I mean in the Petition of Right.
This is one Map of England, Mr Speaker, A man Sir, that should present unto you now, a Kingdom, groaning under that supreme Law, which Salus populi periclitata would enact. The Liberty, the property of the Subject fundamentally subverted, ravished away by the violence of a pretended necessity; a triple Crown shaken with distempers; men of the best Conscience ready to fly into the wilderness for Religion. Would not one swear that this were the Antipodes to other; and yet let me tell you Mr. Speaker, this is a Map of England too, and both at the same time true.13
This acute sense of a present and a world that has doubled upon itself, the negative image superimposed upon the positive -- indeed, often without seconding Digby's view of which might be which -- generates in turn a different untimeliness. The pressure of an uncertain future palpable in the present frequently opens up an apocalyptic sense of virtually unfettered possibility.14 The radical Kentish lawyer Sir Cheney Culpeper, for instance, writes in 1644 to Samuel Hartlib that
though this present age have so much reverence to our own or ancestors' wisdom as every thing . . . if new to us . . . finds as yet a difficult passage in men's thoughts; yet from the three years' liberty which men have taken of ransacking and tousing [i.e., handling roughly] those starched up and unjointed postures (wherein our ancestors left us like so many images without motion but from without) I cannot but conceive we shall by degrees (having first freed ourselves from a slavish reverence of some few men or books) try every spirit and that as well in rational as spiritual things.15
As Norbrook succinctly puts it, Culpeper's words communicate the sense of "living in a time of sudden acceleration, when changes he might have hoped to see in a distant future suddenly seemed plausible" (18).16 But even on the Parliamentarian side, hope alternated, Blair Worden notes, with "panic and despair." One member of Parliament "committed suicide on the first anniversary of the king's execution, 30 January 1650; another died the following month after depression about the regicide; a third found himself 'full of melancholy and apprehensions of death'; Lord General Fairfax was said to be 'melancholy mad'; and the army officers wondered whether God had turned against them."17
9. Against the background of this experiential uncertainty, then, of a world divided between horror and hope, let us examine more closely the Ode's temporal movements. As we have seen, the "now" of the opening lines takes us first into the past, recounting from "the dark backward and abysm of time" (to borrow Prospero's memorable phrase) a "forward" progression that begins with Cromwell's "adventurous war" (line 11) and culminates in his toppling the monarch: "And Caesar's head at last / Did through his laurels blast" (lines 23-24).18 The next section of the poem in effect recapitulates this already completed narrative more concretely: as the story of the man who leaves "his private gardens" (line 29) of repose to create the conditions that result, at the poem's very centre, in Charles' "try[ing]" "the axe's edge" (line 60). To the extent that a 'now' may be said to inhabit this history, it occurs in a present tense that takes a very different form from what (initially) seemed the very specific now of the poem's opening lines. Thus, the poet tells us that '''Tis madness to resist or blame / The force of angry heaven's flame" (lines 25-26), and amplifies upon this sentiment a little further on:
Though justice against fate complain,
And plead the ancient rights in vain:
But those do hold or break
As men are strong or weak.
Nature, that hateth emptiness,
Allows of penetration less:
And therefore must make room
Where greater spirits come. (Lines 37-42)
What is evoked in these instances via the present tense is an iron necessity, expressed as the "force" of natural law -- nature abhors a vacuum and tolerates even less the attempt of two bodies to occupy the same space -- and testified to by an inexorable logic ("therefore"). In other words, the present tense seems used here for something akin to a cosmic present, the universal Now that underwrites and supports all specific nows. Instead of a singular moment of decision we face laws before which all decision-making must, like Charles his head, bow.19
10. This movement brings us to the verge of the Ode's second "now," a temporal marker affixed to the specific occasion the poem ostensibly celebrates, that of Cromwell's return from Ireland: "And now the Irish are ashamed / To see themselves in one year tamed" (lines 73-74; emphasis mine). But bridging the gap between the moment of Charles' decapitation and this present one demands a complex temporal manoeuvre. It involves re-writing the present moment as the fulfilment of a prophecy symbolised by the head of the king. Likening the king's head to the "bleeding head" encountered at the founding of the temple of Jupiter Capitolum, the poem transfers the prophetic implications of that discovery to this moment that marks the founding of the English Republic ("And yet in that the State / Foresaw its happy fate"). Going back to the future of an earlier republic licenses the return to now, representing the present of the Republic as an instantiation of a futurity buried deep in the past. We might note, too, a further irony the future held in store -- one not yet available to Marvell though perhaps nonetheless glimpsed by him: that the Republic was fated eventually to turn into an Empire.
11. From the "now" of Cromwell's return, the Ode hereafter reverses its strategy. If the opening of the poem led to past conditions that make possible the present, this now leads instead to the future, as a repetition of the present in which Cromwell "to the Commons' feet presents / A kingdom, for his first year's rents" (lines 85-86). What is to come first takes the form of an open future, expressed as the general promise of victories to be won:
A Caesar, he, ere long to Gaul
To Italy an Hannibal,
And to all states not free
Shall climacteric be. [Lines 101-4]
And then we are offered a more specific form, the immediate campaign against the Scots, where we encounter the third and final "now" of the Ode: "The Pict no shelter now shall find / Within his parti-coloured mind" (lines 105-6; emphasis mine).
12. While this section of the Ode broadly looks forward in time to victories to come, its directedness to the future does not, however, take an entirely linear form. Embedded within it is the famous image of Cromwell as the falcon circling back from his kill to perch on the green bough to which he has been "lured" by the falconer. How "sure" (line 96) the falcon will remain "still in the Republic's hand" (line 82) may perhaps be in some doubt,20 but the urgency of action against the recalcitrant -- and now frightened -- Scots allows the poem to end by merging the immediate present of a renewed campaign with the cosmic present that Cromwell, "the Wars' and Fortune's son" (line 113), embodies. Thus the "now" of line 105 draws close to the permanent condition of natural law, evoked again in the poem's famous closing couplet: "The same arts that did gain / A power, must it maintain" (lines 119-120). Indeed, the collapsing of particular and universal present tenses retroactively colours the moment of decision with which the Ode had opened. As Norbrook puts it, "[t]he stress on natural laws retrospectively raises questions about the 'Must' of line 2: what at first sounded like a moral imperative turns out to be no more than an impersonal necessity" (265).
13. If nothing else, close attention to the Ode's chronological sequence brings out an inherent untimeliness, expressed in how the poem repeatedly puts chronology under pressure. There are, no doubt, domains of time we can identify; pasts, presents and futures can be laid out in their succession. Equally, however, the poem works against such ordering, repeatedly effecting temporal swerves that resist the demands of chronology even as they seem to uphold its necessity. This necessity ultimately takes the form, as we have seen, of an order imposed by natural law: the "must" of maintaining a power by the same arts that gained it. But even here one cannot entirely avoid sensing an internal resistance to nature's law of succession (be it of time or lineage). This resistance becomes evident in the circularity lying just below the surface of the poem's concluding lines. In that the final couplet specifies the reasons why Cromwell must "still keep [his] sword erect," the "arts" would appear to be those associated with wielding the weapon: thus, "it" is also a kind of power that "maintains" the "arts" that gain a power which they must then maintain.21
14. In short, far from being the inevitable shape of temporality, chronological time -- and more particularly, the forward impetus of necessity -- seems instead a fraught and unstable construct. Let us therefore explore the possibility that chronological time in the poem appears as the surface effect of a different kind or understanding of temporality, one more attuned to time's divagations and their consequences. To establish this alternative model, I draw on Gilles Deleuze's reconstruction of Stoic temporality in The Logic of Sense. For there is also a "now" pertaining to moments of decision and action that encompasses the poem as a whole. This "living present," in Deleuze's words, "is the temporal extension which accompanies the act, expresses and measures the action of the agent and the passion of the patient."22 We experience a comparable sense of time as an ongoing action, for instance, in the description of Cromwell as a bolt of lightning "breaking the clouds where it was nursed," "burning through the air" to destroy palaces and temples until he "Caesar's head at last / Did through his laurels blast" (see lines 13-24). While these events are doubtless located in the past, the verbal form of present participles ("burning," "breaking") nonetheless conveys the sense of an extended present, of an ongoing activity. The conflation of the chronological place of these events with their continuing participation in an extended present is powerfully captured by the fact that Marvell expresses the past through the auxiliary (as in "did . . . divide" or "did . . . blast") rather than through the verb denoting the act -- and indeed through an auxiliary that stresses the very fact of action, the doing. Nor is this mode of temporality restricted to an agent such as Cromwell: Deleuze's description of the "living present" stresses that it is equally in such a now that bodies patiently suffer their fates, receiving upon themselves the actions of other bodies. Marvell's image of Charles confirms this insight, as he "with his keener eye, / The axe's edge did try" (lines 59-60). (The interchange between activity and passivity, agent and patient, is a recurring feature of the Horatian Ode, and one to which I shall return shortly.)
15. Nevertheless, despite its different emphasis, the logic of an enveloping present of bodies and actions does not deny past and future. Rather than conceiving time as the successive dimensions of past, present and future, Stoic temporality offers instead "two simultaneous readings of time."
[T]ime must grasped twice, in two complementary though mutually exclusive fashions. First, it must be grasped entirely as the living present in which bodies act and are acted upon. Second, it must be grasped entirely as an entity infinitely divisible into past and future, and into the incorporeal effects which result from bodies, their actions and their passions.23
I have dwelt thus far on the first of these modalities. But the consequences of Charles' decapitation reveal, too, the second fundamental form of Stoic temporality operative in the Ode: a time of effects. Reconsider in this light the prophecy that succeeds the "memorable hour / Which first assured the forced power" (lines 65-66):
So when they did design
The Capitol's first line,
A bleeding head where they begun,
Did fright the architects to run;
And yet in that the State
Foresaw its happy fate. (Lines 67-72)
Elizabeth Story Donno's notes to the poem point out that the adjective "bleeding" is original to Marvell's telling of the story -- as is the architects' fright at seeing the head. In Livy's account, the excavators turn up "a man's head, face and all, whole and sound: which sight . . . plainly foretold that [Rome] should be the chief castle of the empire and the capital place of the whole world."24 For Livy, the wholeness and soundness of the head, and the visibility of the face are crucial to the prophetic conclusion: these characteristics directly signify Rome's "capital" position in the world. In Marvell, however, the grammatical structure does not posit a necessary connection between the condition of the found object and the State it foretells. It is rather the parallel with Livy's story that underpins the foretelling: just as finding a head foretold Rome's centrality, so in another head we foresee the fate of our State. Undoubtedly, the blood (and the architects' fright) does possess a direct signifying function as well -- and, if anything, such a connection casts doubt on the "happiness" of the future State. I shall return to that irony later, but for the moment I wish to attend to the structural logic of Marvell's lines. Marvell's distinctive reworking of the legend correlates two associative chains, one completed in the past, the other indicating the future. In the past, one head is linked to a particular state of affairs that has already come to pass (the centrality of the Roman republic). In turn, assimilating one head to another motivates an analogy with that past, allowing the "living present" of Charles' decapitation to be linked to a future state of affairs (the happy fate of the English State). As a consequence, the moment of Charles' execution finds itself internally divided by past and by future; it functions as an intermediate moment that enables the (known) effects of a past to be projected onto the (desired) effects of what is yet to come. On the one hand, then, we meet a living present -- of bodies, actions, and states of affairs -- which, in Deleuze's words, "exists in time and gathers together or absorbs the past and future." But there is also a time of events and effects such that "the past and the future inhere in time and divide each present infinitely."25
16. In the "now" of bodies and states of affairs, the lightning that is Cromwell burns the air, destroys palaces and temples. In this present, too, the eye tries the axe's edge, the head bows upon a bed. But the incorporeal now of effects -- while depending upon these collisions among bodies -- reveals a different mode of the temporal. A now repeatedly divided by past and future, it expresses a dynamic of transformation, of pure becoming. The name "Cromwell" in the Ode belongs above all to this latter time: it indicates the "event" of Cromwell with which the poem contends. If Cromwell -- like the Alice of my epigraph -- simultaneously appears both larger and smaller, pulling at the same time towards past and future, this paradox fundamentally derives from the Ode's concern with him as event, as a "becoming whose characteristic is to elude the present."26 A particularly neat instance of this dynamic may be found in the poem's description of Cromwell's transformation from private individual to force of nature:
And, if we would speak true,
Much to the man is due,
Who, from his private gardens, where
He lived reserved and austere,
As if his highest plot
To plant the bergamot,
Could by industrious valour climb
To ruin the great work of time,
And cast the kingdoms old
Into another mould. (Lines 27-36)
Lauding Cromwell's "climb" through which "kingdoms old" are cast "into another mould" raises the "private" man, makes him larger than he was. Cromwell's industry outdoes even the labour that time has performed (its "great work"), and in the process he becomes the "greater spirit" facing whom even "Nature . . . must make room" (see lines 41-44).27 But at the same time the cited lines convey the contrary sense that the speaker is somehow forced by circumstances into praising the man: "And, if we would speak true / Much to the man is due." This impression is compounded by the truly dazzling description of the earlier Cromwell as a man whose "highest plot" was "to plant the bergamot":28 the gap between the two heights reduces him as well (as does the near oxymoronic phrase "industrious valour"). Neither position proves to be stable, for the speaker's reluctance also produces the opposite effect. While the praise is oddly grudging, the effect of Cromwell's transformation becomes all the more powerful precisely because it seems extracted against the speaker's will. And yet, the remarked-upon distance between the Cromwell who "plots" to plant herbs and the one who weaves plots "of such a scope / That Charles himself might chase / To Carisbrooke's narrow case" (lines 50-52) does not thereby disappear entirely. Rather the conjunction reduces Cromwell to mere man -- albeit a heroic one, as the "deepest scars" (line 46) received on the battlefield signal29 -- even as it elevates him to the level of fate itself.30
17. And, of course, the trajectory of Cromwell's becoming is necessarily paralleled by an inverse transformation: king becoming thing (to borrow the rhyme that became ubiquitous in the period).31 The depiction of Charles "bow[ing] his comely head / Down, as upon a bed" (lines 63-64) captures that "memorable" instant (line 65) when the king is brutally exposed as less than even mere body, his corporeal wholeness severed by the descent of the axe's edge. Yet here, too, paradoxes abound, indicated by the peculiar reversal of active and passive. For though the king represents, on the one hand, the very epitome of patience in that his body suffers the event, the description lends him, on the other hand, a remarkable, if ambiguous, degree of activity, turning the inevitability of the action into something akin to choice: "He nothing common did or mean / Upon that memorable scene" (lines 57-58). The active verb "did" makes this an act, and this transformation of "helpless" king (line 62) to "royal actor" (line 53) is further emphasised by his refusal to call upon the gods, his "try[ing]" the axe's edge, and finally even by his "bow[ing]" his head. All these moments are characteristically double-edged: to act is to do but is also to play a part inscribed for you. To lay one's head down is to act, but also to submit. The almost invisible shift of "down" from an adverb associated with Charles' action to an adjective attached to an object, the "bed" upon which he lays his head, offers furthermore a particularly powerful instance of one of Marvell's defining traits, aptly described by Geoffrey Hartman as "the unapparent movement from the metaphoric to the literal."32
18. If Charles becomes, then, most active at the lowest point of sufferance, Cromwell conversely becomes most passive at the highest point of achievement. As commentators have often noted, Cromwell's activity often seems ambiguously suspended between his own doing and his agency on the behalf of a higher power: "But through adventurous war / Urged his active star" (lines 11-12).33 While (grammatically) it is Cromwell who (actively) "urges" his star, it is nonetheless his ascendant star that is described as "active." Similarly, the word "adventurous" evokes both the activity of venturing forth and the risky dependence on chance, on the contingent outcome of his "restlessness."
19. With these temporal paradoxes in mind, it is instructive to place Marvell's Ode alongside a near-contemporary text, Thomas Hobbes' 1651 Leviathan, which develops a bifurcated relationship to time and history that may be seen, if not as identical, at least as an equivalent to Marvell's. The comparison points to a set of shared concerns, even as it locates significant differences that bespeak their distinctive responses to those concerns. In his superb reading of Leviathan, J. G. A. Pocock uncovers a fundamental distinction between "philosophy and history as two modes of knowledge,"34 with only the former capable of yielding certainty. Hobbes' epistemology demands a strict separation of logical from temporal consequence. As Pocock describes it, "we can escape from the flux [of history], and enter a world of scientific certainties, if we abandon our insistence on thinking diachronically and, instead of seeking to argue from moment to moment, occurrence to occurrence, reason from premise to consequence" (156). In terms of how the Ode represents Cromwell, logical consequence corresponds to the synchronic notion of an encompassing living present in which bodies act on bodies, one state of affairs connects with another. An obvious instance in the Ode of such a universal "now" is the moment when Marvell avails himself of the language of science: "Nature that hateth emptiness, / Allows of penetration less: / And therefore must make room / Where greater spirits come" (lines 39-42). But even beyond the recourse to natural laws, Marvell expresses this dimension of temporality through poem's use of the trappings of logical argument. The Ode repeatedly takes the form of moving from premise to consequence -- evidenced, for instance, in the "So" of lines 9, 67 and 89, which derive a conclusion based on a parallel with an anterior fact. Such judgements may operate diachronically in that they connect one moment in the past to other occurrences in the present and future -- and, indeed, "So" also functions as a temporal connective. But what they formally insist upon, above all, is connecting those events as premise to conclusion. To cite the famous line from Marvell's later far and less ambiguous celebration of Cromwell, "The First Anniversary of the Government under his Highness the Lord Protector": "[i]f these the times, then this must be the man" (line 144).35
20. The time of history in Hobbes, by contrast, approximates what I have identified as the time of effects in Marvell's Ode, where the now is repeatedly divided by past and future. "The present," says Hobbes,
only has a being in nature; things past have a being in the memory only; but things to come have no being at all, the future being but a fiction of the mind, applying the sequels of actions past to the actions that are present, which with most certainty is done by him that has the most experience, but not with certainty enough. And though it be called prudence when the event answereth our expectation, yet in its own nature it is but presumption. . . . As prudence is a presumption of the future, contracted from the experience of time past, so there is a presumption of things past, taken from other things, not future but past also. For he that hath seen by what courses and degrees a flourishing state hath first come into civil war and then to ruin, upon the sight of the ruins of any other state will guess the like war and the like courses have been there also. But this conjecture hath the same uncertainty almost with the conjecture of the future, both being grounded only upon experience.36
What Hobbes stresses here are the limits of experience, which, as he elsewhere puts it, "concludeth nothing universally." The "now" of existence is internally divided for Hobbes via two in-existents, two unrealities: the memory of the past and the presumption of the future. Prudence in the form of internalised experience (either directly or indirectly remembered) offers us more or less probable knowledge but only on the condition of an essential uncertainty ("in its own nature"). We have already observed that such an uncertainty is fundamental to Marvell's Horatian Ode. It appears in the suspension of decision that opens the poem as well as in its ambiguous attribution of activity and passivity. Even at the poem's centre, reservations hedge the prophetic conclusions concerning the State, bespeaking an anxiety concerning possible outcomes. Despite Marvell's citing Livy's story as a harbinger of the "happy fate" lying in store for the State, the bleeding head (and the architects' fright at encountering it) also point directly to a different possible future. After all, the Ode seems to envision past, present, and future in terms of a perpetual state of war that extends from Cromwell's burning through the air, to his return from a brutal conquest of Ireland, to the promise of yet more battles to come: time has a colour, and it is red.37 It is surely no coincidence that both Marvell and Hobbes underscore contingency and the impossibility of certain knowledge when they speak of the fate of a State undergoing or emerging from a civil war, an intestine battle that has rendered loyalties and predictions of loyalties -- and thereby the future itself -- utterly unstable. "Things to come," as Hobbes insists, "have no being at all."
21. And yet, even if the future doesn't "exist in time," it does, Deleuze suggests, "inhere in time."38 For such instability is precisely the point. In eluding the present of existence, pure becoming -- the dimension of the event -- has as its correlate the radical contingency of the outcome, the radical undecideability that attends such transformation. What will come of Cromwell's unforeseen intervention is still unknown. And insofar as the poet shadows Cromwell in his spatial and temporal restlessness, moving relentlessly like the figure he describes over times and places, his own moment of decision partakes, too, of a constitutive uncertainty. Countering the hopeful reading that Livy permits, it thus remains a possibility -- perhaps even a probability -- that the architects' fright at the bleeding head they uncover will itself prove prophetic, that the State to come will not escape the nightmare of its inception.
22. The domain of the prophetic opens a further connection between Marvell and Hobbes, though ultimately one that will signal their divergence. For the Hobbesian frame opposing scientific or philosophical knowledge to the probabilistic realm of historical knowledge is itself enframed by a different, eschatological route to certainty: faith and belief in prophecy. Unlike the synchronic nature of certain knowledge, this mode of knowing is for Hobbes fundamentally diachronic, since it rests, first, upon the acts God has performed, "including acts of revelation to prophets, at various points in time"; and, second, upon the words through which we have knowledge of his acts, words that have been revealed to prophets at specific moments in time, and "are subsequently transmitted through tracts of time by the authority, religious or civil, on which the prophets and their words are taken to be authentically God's" (159-60). Against the institutionalisation of salvation through the Church, Hobbes holds up faith in Christ's promise to return in the future: "salvation came through this expectation and not through Christ's real presence in the immediate now of the sacramental union; but it followed both that salvation could only come about in time and that Christ himself was seen as operating diachronically" (178).
23. In this sense, Hobbes draws the process of salvation into the historical time of effects.39 He reinscribes certainty in the uncertain domain of human experience in terms of the eschatological belief in God's word: by saying that he will come again, God commits himself to his coming again. And it is this saying, that is, the commitment of divine power through the word, that has been diachronically preserved and in which we therefore believe with absolute certainty. Marvell's own parallel investment in drawing eschatology into the embrace of historical time has been amply indicated by a number of critics (and most exhaustively by Margarita Stocker). Indeed, as we have seen, in addition to the explicit prophecy generated by Charles' execution, the Horatian Ode engages this "temporalization of salvation" through its apparent identification of Cromwell with the eschaton, heralding the Second Coming.
24. Nevertheless, it is precisely here that Marvell parts company with Hobbes. In the final analysis, Hobbes is willing to cede the determination of the promised future to the sovereign, (even though such a future implies a different mode of knowledge from the rational contract whereby the sovereign attained his own authority). As Pocock puts it, with the emergence of a Christian society, "the task of deciding what words were to be believed, what writings regarded as canonical and what authors and doctors considered authentic, now ceased to be performed by unincorporated opinion and fell instead to the civil sovereign; faith itself, always a decision, became a public act, only to be performed by one whose authority rested on neither opinion nor faith" (190). By contrast, the Ode refuses to confer on Cromwell (yet) the power of sovereign decision, but rather holds onto him as the merely possible or potential sign of an eschatological promise. This may seem close to a Hobbesian eschatology for which "[t]he present is . . . a time of remembering past prophecies and expecting the future they will foretell" (169). But there remains a crucial difference between Hobbes and Marvell regarding the very nature of expectation, of what is entailed by human faith in the promise of a kingdom to come.
25. There is hope, of course, no end of hope -- but (perhaps) not for us. As Hartman suggests, hope "has in it a tragic or ironic flaw by which it defeats its own expectation by anticipation."40 While the Ode doubtless evokes the eschaton, it does so only as a formal structure whose "contents" our time-bound judgements cannot decipher. We can never know until it has actually happened whether what is happening is in fact the fulfilment of what was promised us. Consequently, the Ode recalls a promise about whose historical realisation we can never claim definitive knowledge.41 In his becoming, the poem's Cromwell points to, marks the space of, that promise, but he cannot be its instantiation -- and neither, for that matter, can the dead King be taken unequivocally as signalling its non-fulfilment.
26. Marvell's attitude here does not necessarily imply either a proto-republican ethos or a royalist nostalgia -- though it can arguably be read (by us) in either form. That may well be the decision we face, but it is not necessarily the decision the poem offers us. Can one not then speak instead of a complex conjunction of despair and hope, a coincidentia oppositorum whose primary symptom is undecideability? For thus it is that the Ode's thoroughly multivalent portrait of the king's dying grace hovers between a horror at the "armed bands" that "did clap their bloody hands" (lines 55-56), and the (desired) anticipation of a State that nonetheless sees its "happy fate" foreseen in the bleeding head of the dead king.
27. The undecideability at the very heart of decision-making contributes to the image of Marvell as the detached poet whose interest is primarily analytic. But, as my reading has suggested, the poem's untimeliness opens up a different possibility: that Marvell's putative detachment may itself be the only mode in which he can express his fundamental entanglement in an untimely historical moment. In a luminous reading of "The Garden" and the Mower poems, Hartman persuasively argues that
hope may deny too quickly this world for the world beyond, and despair, in Marvell, is really a greater form of hope. . . . He evokes . . . less a ladder or a progress than a precarious dialectic which sets ultimate hope catastrophically against hope in nature.42
This may ultimately prove too strong an assertion for the Horatian Ode, but it behooves us nonetheless to recognise that the "forced" (line 66) representation of Cromwell's force, the pragmatic acknowledgement of the necessity of the arts of power, rests upon a temporal caesura that is especially resonant at this historical juncture. Of the critics who have written on this poem, Worden sees the intricate balance of Marvell's "now" most clearly: "A world has been lost: the world will go on. . . . Poised between past and future, framing a historic present, the Horatian Ode records . . . the fundamental shift in English civilization that, when every reservation has been made, the middle of the seventeenth century brought about."43 Marvell gives shape to a cleft between temporalities -- between a time of bodies and a time of effects -- out of which a future will emerge: tantalising in its possibility, seductive in its promise, but charged with the "tragic or ironic" flaw that can, in a moment, reverse hope into despair. The Horatian Ode waits upon what will show itself. What will show itself may well turn out to be a monster. Only time will tell.
Go to Jonathan Gil Harris' response. Send EMC your comments on this essay. Go to this issue's index. Go to The Electronic Seminar. Notes
1 I am grateful to Diana Henderson and Stephen Tapscott for their suggestions and comments. I wish also to acknowledge Jonathan Reinharth, an undergraduate student of mine, whose seminar essay triggered my interest in the topic of Marvell's attitude to time -- though my argument follows a very different path from his.
2 Gilles Deleuze, The Logic of Sense (New York: Columbia University Press, 1990), 1.
3 Andrew Marvell, "An Horatian Ode on Cromwell's Return from Ireland," in Elizabeth Story Donno (ed.), Andrew Marvell: The Complete Poems (Harmondsworth, England: Penguin Books, 1976), 55. All subsequent citations of Marvell's poems will refer to this edition.
4 For instance, see Margarita Stocker's description of the poem's opening: "From these shadows war invites him [the poet] to 'appear,' to take part in the lighted arena of public events." Apocalyptic Marvell: The Second Coming in Seventeenth Century Poetry (Brighton, Sussex: The Harvester Press, 1986), 74.
5 David Norbrook, Writing the English Republic: Poetry, Rhetoric and Politics, 1627-1660 (Cambridge: Cambridge University Press, 1999), 256. All subsequent citations will be indicated by page number in the body of this essay. Despite my differences with Norbrook's argument at various points, my reading of Marvell remains indebted to his rich and exhaustive analysis of the period and the literature it produced.
6 Joseph Mazzeo makes an analogous point in "Cromwell as Machiavellian Prince in Marvell's 'An Horatian Ode'," Journal of the History of Ideas 21 (1960), 1-17. This Machiavellian impulse may be fruitfully compared to a parallel instance in "To his Coy Mistress," where the consequences of refusal -- "The grave's a fine and private place, / But none, I think, do there embrace" (lines 31-32) -- motivate the demand to seize the "now": "Now, therefore, while the youthful glue / Sits on thy skin like morning dew / . . . / Now let us sport while me may; / And now, like amorous birds of prey, / Rather at once our time devour" (line 32ff; emphases mine).
7 Against the former, Norbrook emphasises specific differences within the language of republicanism throughout the period -- in the words of his book's introduction, '''Republicanism' was not a fixed identity" (18). Against the latter, he purports to show that the poem's nostalgia is not for royalism in any form but instead "calls for and embodies a 'recovery' of lost political and rhetorical energies in the spirit of a group of republican writers around Milton" (250).
8 In this, Norbrook partly echoes Chernaik, for whom both the Horatian Ode and 'Upon Appleton House' "are works of historical analysis, seeking not to inculcate a particular attitude, but to present a problem in all its complexity, to indicate the choices facing men at a given historical moment." See Warren L. Chernaik, The Poet's Time: Politics and Religion in the Work of Andrew Marvell (Cambridge: Cambridge University Press, 1983), 13. Norbrook would deny, however, that this attitude implies that the Ode is politically uncommitted -- on the contrary, the analytical serves the ends of persuasion.
9 Blair Worden elegantly captures the difficulty of categorising Marvell: "in 1650, Marvell was twenty-nine. To simplify, he was a Royalist before that year, and a Cromwellian and then a Whig after it. Marvell, as always, resists such simplification." See "Marvell, Cromwell, and the Horatian Ode," in Kevin Sharpe & Steven N. Zwicker (eds.), Politics of Discourse: The Literature and History of Seventeenth-Century England (Berkeley: University of California Press, 1987), 150. Although my reading of the Ode follows a very different path from Worden's, I find his interpretation closest to mine in its general sense of the poem and of Marvell's sensibility.
10 While acknowledging that the question of Marvell's political allegiance in this period is subject to "considerable uncertainty," Stocker suggests that "it is thought probable that by 1648 or 1649 Marvell was moving in London literary circles that would have been largely royalist in sympathy" -- a probability supported for her by the arguably royalist leanings of two 1648 poems, 'To his Noble Friend Mr Richard Lovelace' and the elegy upon Lord Francis Villiers' death. In: Apocalyptic Marvell, 6. That Marvell's Horatian Ode was, as Norbrook tells us, "linked" in the Restoration "above all with his other poems to Cromwell, turning him into the court poet of a pseudo-king" does not seem to me simply a consequence of his "covering his tracks" with remarkable success. Nor does it seem obvious that this affiliation would unambiguously aid his subsequent canonisation as the poet of "the monarchical liberty of 1688 rather than the republican liberty of 1649" (243). It seems as likely that there was enough "in" his poems of this period and later -- and especially when read alongside the vicious satire on Tom May's turn to the republican side -- to indicate that Marvell's speech acts in this period may be (self-consciously) inconsistent not only across the poems, but within each poem itself, creating lines of flight that can be arrested at different points in the political spectrum.
11 Compare Chernaik, who sees this portrait as "Marvell's tribute to the doomed civilization, whose values find their clearest expression in defeat. An aristocrat may be defined as one who knows how to die gracefully." In: The Poet's Time, 16.
12 Though perhaps even to put it thus is to prejudge the issue since what is at stake (as we shall see) is in part the question of contingency, of the accident.
13 The Speeches of the Lord Digby (London, 1641), 14-15. Cited in Norbrook, Writing the English Republic, 69-70. I have modernised the spelling.
14 The anticipated event of the Apocalypse becomes, for Margarita Stocker, the magic key to unlock all of Marvell's writings, and indeed the period as a whole. This leads to the sweeping assertion that "[b]y the 1640s, the decade of the Civil War, the majority of Englishmen might be described as chiliasts. Revelation, the biblical book of the war against Antichrist, was regarded as a textbook for contemporary events and politics." See Stocker, Apocalyptic Marvell, 2. Such expansiveness virtually empties the idea of chiliasm of content. Fortunately, one can make space for a toned-down claim to capture both the widespread uncertainty prevalent at the time and the experience of major changes in the fabric of English society.
15 M. J. Braddick and Mark Greengrass (eds.), The Letters of Sir Cheney Culpeper, 1641-1657 in Seventeenth-Century Political and Financial Papers, Camden 5th Series VII (1996), 204. Cited in Norbrook, Writing the English Republic, 124. I have modernised the spelling.
16 The shifting political allegiances of individuals from the 1640s through to the Restoration and beyond have been demonstrated by a number of critics, including Norbrook. In Stocker's tongue-in-cheek formulation, "it is difficult to say whether conviction or mere policy provided the dominant motivation for such shifts, but one can say, with certainty, that those who lived through the Civil War were themselves confused by events." See Apocalyptic Marvell, 8.
17 Worden, "Marvell, Cromwell, and the Horatian Ode," 152.
18 Note, too, the odd untimeliness of this comparison between Charles I and Caesar. These lines connect the king's decapitation with the moment marking the fall of the Roman Republic, whereas the later evocation of Charles' "bleeding head" signals the (possible) rise of the English Republic.
19 The most expansive (and one-sided) insistence on this dimension of necessity is Wallace's. He sees "loyalism" -- in the sense of an acquiescence to the sheer fact of power -- as the fundamental moral principle underwriting everything that Marvell composed. See John M. Wallace, Destiny His Choice: The Loyalism of Andrew Marvell (Cambridge: Cambridge University Press, 1968). By contrast, Chernaik emphasises that the Horatian Ode co-ordinates two different aspects: "an amoral Fortune and a Fate indifferent to human ideas of justice," on the one hand, and Christian providence, on the other. See The Poet's Time, 18.
20 Critics have often noted the poem's tenuous balance with regard to the relationship between Cromwell and the Republic he ostensibly serves. For instance, see R. H. Syfret, "Marvell's 'Horatian Ode'," Review of English Studies 12 (1961), 160; and Cleanth Brooks, "Marvell's 'Horatian Ode'," in John Carey (ed.), Andrew Marvell (Harmondsworth: Penguin Books, 1969), 191-2.
21 As Chernaik puts it, "Cromwell's right to power lies only in his possession of it." See The Poet's Time, 22.
22 Deleuze, Logic of Sense, 4.
23 Deleuze, Logic of Sense, 5.
24 Livy, Annals I. 55. 6, tr. Philemon Holland (London, 1600), Elv. Cited from Donno (ed.), Andrew Marvell: The Complete Poems, 240.
25 Deleuze, Logic of Sense, 5.
26 Deleuze, Logic of Sense, 1.
27 Marvell's later celebration of Cromwell as Lord Protector in "The First Anniversary" associates Cromwell's achievements with the great work of time, suggesting the extent to which his political allegiances have firmed in the interim: "'Tis he the force of scattered time contracts, / And in one year the work of ages acts" (lines 13-14).
28 There is a further irony here in that the bergamot pear was apparently traditionally associated with kingship. See W. R. Orwen, "Marvell's bergamot," Notes & Queries (Aug. 1955), 340-41.
29 As Worden suggests, a sceptic's response to Marvell's rhetorical query -- "What field of all the Civil Wars / Where his were not the deepest scars?" -- might well be: None of them.
30 Stocker reads this image of Cromwell as a force of Nature in purely providentialist terms, arguing that Cromwell's role is to prepare the world for the Second Coming. Hence, the later pronouncement in the poem that Cromwell shall "to all States not free / . . . Climacteric be" (lines 103-104) represents for her the climax of Cromwell's function as "an agent of God in world history, who thus 'realises' the peculiar mission of England." See Apocalyptic Marvell, 100. I remain unconvinced that Marvell is quite so convinced here of the inevitability of the Second Coming, let alone of its imminent occurrence.
31 Norbrook claims that the "iconoclastic rhyming of 'king' with 'thing' was to become a favourite verbal tic of republicans" (156), as for instance in George Wither's celebration of the sale of royal estates in his 1649 Carmen Eucharisticon: "We have seen the pride of Kings, / With those much desired things, / Whence their vain ambition springs, / Scorn'd despis'd, and set at nought" (cited in Norbrook, 239). But the rhyme could also serve royalist laments for the fall of the monarchy. Thus, Sir John Denham's 1656 translation of Virgil re-values the rhyme by linking King Priam's death to Charles': "On the cold earth lyes this neglected King, / A headless Carkass, and a nameless Thing" (cited in Norbrook, 310). Even without explicitly using the rhyme, Marvell's Ode skilfully evokes and balances both possibilities.
32 Geoffrey H. Hartman, "Marvell, St. Paul, and the Body of Hope," ELH 31 (2), 188.
33 As Stocker rightly notes, "How much control Cromwell exercises over his own force, and what sort of force it is, remains substantially in question." See Apocalyptic Marvell, 76.
34 J. G. A. Pocock, "Time, History and Eschatology in the thought of Thomas Hobbes," in Politics, Language & Time: Essays on Political Thought and History (Chicago: University of Chicago Press), 158. Subsequent citations indicated by page number in the body of the essay.
35 I should emphasise that my concern here is to locate what we might call a family resemblance between Hobbesian and Marvellian time. Strictly speaking, Hobbes' idea of logical consequence is atemporal -- and precisely its independence from the flux of time guarantees the certainty of knowledge derived by means of logic. By contrast, Marvell's "now" of bodies and states is temporal in that it evokes, as we have seen, an ongoing, extended present. Nevertheless, Marvell's use of logic in the poem suggests a parallel between his position and Hobbes'.
36 Thomas Hobbes, Leviathan, i, 3. As cited in Pocock, "Hobbes," 154-55.
37 No doubt, both Norbrook and Worden are right to point out that Marvell's English contemporaries did not seem particularly upset by Cromwell's butchering the Irish at Drogheda and Wexford in 1649. Nevertheless, there is more than enough evidence to indicate English revulsion at Cromwell's brutal treatment of those ostensibly on his own side in the wake of the Civil War.
38 Deleuze, Logic of Sense, 5.
39 Or, as Pocock phrases it, Hobbes' turn to the certainty of belief in authority amounts to a "radical temporalization of salvation" (186).
40 Hartman, "Body of Hope," 183. Stocker and others often fail to see this complex paradox inhering in the very notion of hope.
41 As Pocock puts it, for Hobbes "[i]t is the time-bound nature of human intelligence which renders it incapable of predicting occurrences and events with any certainty" (156) -- a sentiment also echoed by Marvell in the lines that precede his judgement that Cromwell is the man for these times: "But a thick cloud about that morning lies / And intercepts the beams of mortal eyes, / That 'tis the most which we determine can / If these the times, then this must be the man" ("First Anniversary," lines 141-44). While faith in eschatology offers Hobbes a route out of this dilemma, Marvell's Ode cannot follow him on that path.
42 Hartman, "Body of Hope," 191.
43 Worden, "Marvell, Cromwell, and the Horatian Ode," 178.
Form copyright © 2007 Early Modern Culture. Content copyright © 2007 Shankar Raman.


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We met a family of pretty darn cute Pomeranians during our stay at Sam's Place in Kanchanaburi. The youngest, BeeBo, is competing in this years "Who's the Cutest Pomeranian?" contest. A yearly event showcasing cute Pom's from across the world. A very tough competition to be in and judge as all Pom's are born with that "I'M SO HAPPY YOU JUST CAN'T HELP TO TALK ALL HIGH PITCHED AND FUNNY AT ME" look to them.
BeeBo was kind enough to show us some of his cute techniques that he plans to use to win this years contest, here are just a few of his skills.
Extreme close ups are not a problem
Cute begging technique from afar
And the closer… how can you not love this face?
You get them BeeBo!! But you really has some tough tough competition to go up against… just look at last years winner:

subset: commoncrawl


text: Located within one of the two authentic beguinages of Ghent (therefore within a UNESCO World Heritage site), this terrific little guesthouse is thoroughly recommended. Upon arrival, the wonderful proprietor, Mieke, gave us a run-down on where to go and what to eat whilst in Ghent. Naturally warm and exuding charm, she was a wonderful host over the four nights my... More


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Female dragonflies play dead to avoid sex hawker dragonflies fake their own deaths when faced with overly sexually aggressive males. "In a lot of dragonflies, males try to seize the female with or without consent," Rassim.
Female dragonflies fake sudden death to avoid male advances. Moorland hawker dragonfly. Playing dead is a favoured ploy....
Female dragonflies play dead aggressive males - - flyingWe've sent an email with instructions to create a new password. DO TRY THIS AT HOME. The female then lay motionless on her back. This newest sexual revelation about dragonflies comes via a study in the journal Ecology that was supposed to be about climate change impacts. Join our global celebration of exploration and discovery. Even so, the females can be harassed by males on their way to and from the site. Female moorland hawker dragonflies use the method as a survival tactic.
Odonates is the order of carnivorous insects that includes dragonflies and damselflies. All the females who did not perform the death feint were intercepted by males. Lazy millennials are now attending funerals online. We won't share addresses with third parties. The Undertaker goes straight from WWE to the hospital. Share this: Facebook Twitter Google LinkedIn WhatsApp Email Copy. Female moorland hawker dragonflies use the method as a survival tactic. But over the two summers he spent there, "female dragonflies play dead aggressive males", he noticed unusual behavior among female dragonflies of the erotic massage amazing fremont Aeshna juncea. The male then flew away and the female laid eggs on her own, without any protection—unlike many other dragonfly species, where the male will guard the female. Or use expertkg.info account. Hovering males rely on movement and color to detect females, so they were unable to spot the ones lying frozen on the ground or hidden away in the grass. your email address to get started. Use an account with your email address. Did she fake death to avoid male harassment? The behaviour has been seen in a species of spider the males use it to improve their chances of matingtwo species of robber fly and a type of mantis. The rape of Pepsi Paloma. Gallery: Dazzling Photos of Dew-Covered Insects. Rassim Khelifa from the University of Zurich, Switzerland, witnessed the behaviour for the first time in the moorland hawker dragonfly Aeshna juncea. Send to Email Address.
Female dragonflies play dead aggressive males travel cheap
You tried crossing to the other side of the stream, but he just crossed after you and yelled something about how pretty your wings are. While collecting their larvae in the Swiss Alps, he watched a female crash-dive to the ground while being pursued by a male. Feigning death as a strategy for evading predators is seen in many animals, including dragonflies. It turns out female dragonflies may sympathize. All the females who did not perform the death feint were intercepted by males. Read about dragonflies' strange love habits in National Geographic magazine. When doves and pigeons collide with glass, they leave haunting images behind. So, when stalked by an unwelcome lover or two , she crashes to the ground and plays dead.
Journey easy: Female dragonflies play dead aggressive males
|Female dragonflies play dead aggressive males
|If a female has already laid eggs, this move can damage her reproductive tract. Subscribe me to the. As for how this rare behavior evolved in the Swiss Alps, Khelifa has a clue. The question arose: Did she just trick that male? Once a female dragonfly has mated, all she is interested in doing is laying eggs and getting on with her passionate srating mall dallduration. The male then flew away and the female laid eggs on her own, without any protection—unlike many other dragonfly species, where the male will guard the female.
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By watching peoples response I think 1.8-CVTi sale would remain higher than 1.6-SuperECT and 1.3 Auto
That's great. Do share here.
definitely i willwhich color is urs???someone was saying that Cvti gives slight whistle like sound while accelerating.. Is it so???
Sent from iPhone 6 Plus using Tapatalk
@umair2203. Don't worry, those showroom stickers have long gone.
Just awesome ......... doctor sahib your car needs this now
Gun metallic. Well no such sound in my car, its quieter than the 9th gen civic. Eurostar tires did produce noise, once I changed to Yokohama advan dB, I am surprised at the noise level even at speeds above 160 kph.
Cat eyes and small pot holes sounded like loud THUD inside the cabin, that's when I ditched the euro. Its just ****.
No whistles or anything at all. Just engine vroom when u floor. If u drive normally you won't even hear the engine for once in a day.
getting confused bcoz of sunlight between Gunmetal or Bronze Mica but i think it's Gunmetal
1.6 altis will be least sold .. 1.8cvti and 1.3 auto have big customer base now
Just a little difference of greenish tinge between bronze mica and gun metallic. Mine is the latter.
i m also driving 9th gen and its also fun to drive especially the feeling at gear shifting when accelerator is pressed hard.. some ppl say this is missing in Altis bcoz of Cvti.. what do u say??
To me, ECT auto 1.6 is pointless. If it were 6 speed manual, I guess people would've preferred it due to a greater price difference between 1.8 and 1.6.
Gunmetal is nice color.. even better shade this time as compared to 10th gen Rolla
Yes agreed. No jerks in the transmission which we term as the fun part. But that's the whole point of CVT. Though it does kick when u floor, once the rpm stabilizes, the pull becomes constant. Then again when u let off the pedal and the car stops pulling, u again feel effect of acceleration seizing, then you realize the car was pulling hard and gaining speed.
As for acceleration, zara sa pedal dain to meter ghoom jata hai poora, LOTS and LOTS of lower rpm torque, start from stand sill kicks just like a manual car. City steermatic was sluggish in lower rpm response. Just that when its accelerating, you don't actually feel the thing gaining speed. That's the difference between conventional AT and CVT. I hope you understand what I wrote
compared to 1.3 auto it is better buy bcoz its engine size is reasonable But it has been launched at wrong time.. Year end and many auto buyers of this price range have already booked their vehicles.. Gli auto is pre booked till May..Secondly non filers also prefer Gli auto as they have to pay 60K extra WH Tax for 1.6....
Yeah thanks I had the choice between red wine, bronze and gun metallic. Most of the votes went in favour of gun metallic. Still after booking I changed to bronze but saw an altis in bronze in day light and it was looking dull to me, like a funny color, as if its really dirty.
So I stuck to gun metal.
bhai auto sells better than manual atleast ... 1.6 manual was the worst in terms of sale in last generation .. that is why the discontinued it and continued with auto ....
Still they could've sold it better as 1.6 gli .. drop the lame resistive touch navi and alloys ... keep price around 18.7-18.8 lacs with 1600cc engine .. and it would've hit off good .. with updated engine , altis like fabric seats and key less entry alteast for 1.6 GLI
Even i didnt like Bronze Mica in daylight.. Looked Over.. Also i think this color will lose attraction and demand soon
70% bookings were with non filers, at the time I booked. So you can easily guess. It is better buy but there is XLi auto as well, jo GLi nahe le raha wo altis kia lay ga. I was also up for GLi but u know that falling in love with altis happened. lol.
Han ji I agree on this... I just thought may be the youth would prefer 1.6 manual as they termed it a "beast" in the last model.
This is a better idea though, 1.3L Xli auto and manual, Gli should have been 1.3 manual and 1.6 auto. That would have been a hit for sure. That touch is VERY ugly in 1.6 altis.
Hehe.. Thanks... I am a bit reluctant at the moment to get any major stuff changed in the car. I am planning projector headlights from Thai, maybe I will go for the buttons as well. I think the clock spring will be different in Grande and hardtop.


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Network of Assessment Directors:
- Disseminating information about assessment and assessment–related activities
- Sharing resources and strategies
- Learning together on key topics related to assessment and student data
- Surfacing and discussing issues and strategies regarding our work
- Advocating for best practices in the area of assessment and the use of student data
Highly Capable Special Interest Group (HiCapSIG):
The purpose of this group is to support the work of district Highly Capable Program coordinators/directors in Washington State. Leadership for this group has transferred to Dr. LaWanda Smith at Puget Sound ESD. She can be contacted at email@example.com or at 425-917-7861.


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Skeptical Inquirer
Subscribe | Order One Issue | Subscribe (Digital)
Skeptical Inquirer is the official journal of the Committee for Skeptical Inquiry. It is published by the Center for Inquiry in association with the Committee for Skeptical Inquiry. Six times per year Skeptical Inquirer publishes critical scientific evaluations of all manner of controversial and extraordinary claims, including but not limited to paranormal and fringe-science matters, and informed discussion of all relevant issues. In addition to news, articles, book reviews, and investigations on a wide variety of topics, Skeptical Inquirer has a stellar stable of regular columnists including Joe Nickell ("Investigative Files"), Massimo Polidoro ("Notes on a Strange World"), Massimo Pigluicci ("Thinking About Science"), Robert Sheaffer ("Psychic Vibrations"), and SI managing editor Benjamin Radford's reader-driven ("The Skeptical Inquiree"). Yale University neurologist Steven Novella, M.D., founder of the New England Skeptical Society and executive editor of the Science-Based Medicine blog, contributes a new "The Science of Medicine" column, and contributing editor Kenneth W. Krause adds a regular science column, "ScienceWatch."
The Science Literacy Paradox
by Matt Nisbet
Volume 40.5, September/October 2016
The Science of Science Communication
Why really smart people are often the most biased in their opinions…
Stem Cell Research: Still Embattled after All These Years
by Raymond Barglow and Margret Schaefer
Volume 41.1, January/February 2017
Had stem-cell research received the political support that it merits, it would probably have arrived by now at effective treatments for a number of severe chronic diseases.
Fate: Inventing Reasons for the Things That Happen
by Stuart Vyse
Volume 40.5, September/October 2016
Online Extra
You might guess there wouldn't be much psychological research on belief in fate, destiny, or purpose, but you'd be wrong.
Our Conspiracy-Generating Brains
by Steven Caldwell Brown
Volume 40.5, September/October 2016
Brotherton argues that conspiracy theories, ultimately, are stories not unlike those we have been telling each other throughout the ages.
Does Astrology Need to Be True? A Thirty-Year Update
by Geoffrey Dean
Volume 40.4, July/August 2016
Thirty years ago, although dozens of tests had been mostly negative, astrologers said critics had ignored serious astrology. Now there are hundreds of tests, some of them even heroic. Has anything changed?
A Skeptical Response to Science Denial
by John Cook
Volume 40.4, July/August 2016
Science denial has a corrosive effect on deli- cately understood scientific concepts, and it is getting worse. But science itself holds an answer.
Artistic Provocations from Skeptical Inquirers: An Exhibit
by Massimo Pigliucci
Volume 40.4, July/August 2016
Special Report
The question of the relationship between art and science remains fascinating and open.
Two Artists Combine Art, Science, and Skepticism
by Russ Dobler
Volume 40.4, July/August 2016
Special Report
"Much of my work has been about what we see, what we don't see, and what we think we see"
Jesse James's 'Haunts': Legends, History, and Forensic Science
by Joe Nickell
Volume 40.4, July/August 2016
Investigative Files
Before trying to explain something, first be sure that it really occurred.
The 'Phoenix Lights' Become an 'Incident'
by Robert Sheaffer
Volume 40.4, July/August 2016
Psychic Vibrations
Until now, the Phoenix Lights were simply that: they were just lights in the sky, skeptics and proponents could agree.


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1 item from 2009
6 March 2009 8:02 AM, PST | Cinemaretro.com | See recent CinemaRetro news »
The Anthology Film Archives in New York City is presenting the films of actor Rip Torn between March 5- 15. Screenings include titles rarely seen on the big screen including Beach Red, Sweet Bird of Youth, Payday, Coming Apart and Tropic of Cancer.The festival is most welcome, as it puts the spotlight on one of the most interesting actors working today. Our only gripe: the schedule doesn't include the Man From U.N.C.L.E. feature film One Spy Too Many in which Torn became one of the great villains of the medium with his portrayal of Alexander the Greater, a man who plans to conquer the world through breaking each ot The Ten Commandments in turn.
Here is the text of the press release from Anthology Film Archives:
A ubiquitous but under-appreciated presence on screen for nearly five decades, Rip Torn is one of American cinema's great talents, »
- email@example.com (Cinema Retro)
1 item from 2009
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Domestic Policy
Page contents
Bush Team Resists Tax on Oil ProfiteeringOctober 28, 2005 00:00 Even though the oil companies saw another record profit quarter, even though Americans were forced to pay nearly one hour of minimum-wage work per gallon of gas, George Bush has ruled out any tax increase on oil companies to help pay for mounting national debt that now totals tens of thousands of dollars per US citizen.
California Initiatives DOAOctober 28, 2005 00:00 Despite refusing to appear with President Bush during a visit to the state last week, California governor Arnold Schwarzenegger is watching the implosion of his attempt to use ballot initiatives to drive California politics.
The Price of War and Tax Cuts: Student Aid and Child SupportOctober 27, 2005 00:00 The House and Senate Republicans are considering massive spending cuts that include cuts to student loan programs and to the enforcement of child support programs across state lines. At the same time, these same Republicans are refusing to put a moratorium on President Bush's tax cuts. 'Ouch' for the little guy.
New Fed Boss May Worsen US Economic StraitsOctober 27, 2005 00:00 Ben Bernake, who in the past has made claims that the US government can print as much money as it wants with impunity, could actually worsen the US economic situation by playing into the high-spending-high-debt policies of George Bush.
Bush Reinstating Davis-Bacon ActOctober 26, 2005 00:00 President Bush appears to be bowing to political pressure from his own party and is reinstating the Davis-Bacon Act as of Nov. 8. Bush suspended the Act, which requires government contractors to pay the prevailing wage in a region, after Katrina.
Bernanke Picked to Succeed GreenspanOctober 25, 2005 00:00 President Bush has picked advisor Ben Bernanke to succeed Alan Greenspan as head of the private Federal Reserve Bank. Bernanke is not expected to greatly change the course of the Fed.
Gun Shield Law to go to PresidentOctober 20, 2005 00:00 The House approved sending a gun manufacturer shield law to the President. Bush has indicated that he will approve the bill designed to prevent wrongful death lawsuits against gun companies.
New Calls for Immigrant-Worker PlanOctober 18, 2005 00:00 The Bush administration is renewing calls for a guest worker plan, part of the administrations plans to homogenize North America. The plan will contribute to falling real-dollar-value wages in the US.
Poor Children in Rural Texas Suffering from ObesityOctober 10, 2005 00:00 Poor families in rural Texas can't affort health insurance or clothes, but can afford high-sugar, high-fat fast foods. A generation of Texas children is suffering from obesity and related health problems as a result.
Republican Senators Rebuke White House by Spearheading Torture RegulationsOctober 06, 2005 00:00 The Senate passed an ammendment to a military appropriations bill on a vote of 90-9 that would require that all foreign prisoners held by the US be subject to the same treatment demanded in the US Army manual. The White House has strongly opposed the measure.
More Poor Could Be Hurt By KatrinaOctober 06, 2005 00:00 Republicans in Congress are contemplating cuts to foodstamp and conservation programs to help pay for the hurricane Katrina recovery effort. Democrats and some moderate Republicans are fighting the cuts.
Norton Discusses Petroleum Outages in GulfOctober 05, 2005 00:00 Hurricane Rita damaged a significant number of oil rigs in the Gulf of Mexico, halting a majority of the oil and gas production in the region. According to a separate NPR quote this morning, Norton stated that this may be a good opportunity to explore other sources of oil and gas. Think ANWR. How about other sources of energy?
Support our site... Buy a bumper sticker! - Monday, June 15, 2009


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Sandy Winborn is an accomplished watercolor artist. She studied her craft at Augustana College and the University of Iowa. Not only is her work available at the studio located at her bed and breakfast, it is often seen in exhibits and art fairs throughout the midwest. Sandy's works include an illustrated children's book, a variety of prints, and many commissioned paintings.
Refresh yourself and experience Winborn's world of watercolor. You will notice the intimacy between the gardener and one's garden in her lush paintings as well as the whimsy of her celebrated "Alphabet". Below is a small sampling of her work.


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Lucy the Elephant joined in the ALS Ice Bucket Challenge on Wednesday in Margate.
The landmark elephant was sprayed with cold water after being challenged by Rich Helfant, executive director of the Save Lucy Committee.
As of Thursday, the ALS Association's Ice Bucket Challenge has raised $94.3 million since July 29 and spread information about ALS, commonly known as Lou Gehrig's disease, to millions of Facebook and Twitter users, according to a report in the San Jose Mercury News. The association raised $2.6 million during the same period last year.


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For more information about Marilyn and Parker or if you would like to meet them in their foster home, please submit an online adoption inquiry form or call Joan at 651-705-6264.
Hello, I'm Marilyn. I'm a sweet, shy girl looking for a home with my best friend Parker. I was living on a farm where Parker and I were being fed by a kind elderly man. Parker loves being petted. I'm coming along, I just need some patience and understanding.
We both have Feline Leukemia Virus (FeLV), not to be confused with cancer. We know the name can be misleading. We're healthy and can have long, happy lives with a loving indoor home to keep our immune systems strong.
Come visit us in our foster home. We'd love to meet you.
To learn more, please submit an online adoption inquiry form or call Joan at 651-705-6264.
Our combined adoption fee is $220.
Thank You!
Your message has been sent to Feline Rescue, Inc..
You'll receive a copy, too, at to help you keep track of which pets you've inquired about, and which shelters and rescues you've emailed.
NOTE: Some shelters have physical locations you can visit; some of these shelters may only have pets for a limited time, so please do not wait for a reply—just go visit the shelter! Other organizations are rescue groups run by busy volunteers who may take a while to reply. You can find information about the shelter or rescue group caring for this pet, and their adoption procedures, on the pet's details page on Adopt-a-Pet.com.


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All of these and more went up in the ozebaby shop tonight. Blogger didn't want to play nice tonight so you will have to check out the links to see pics. This was my last big restock before Christmas. I cannot believe I am going to say this, but I am really looking forward to packing away the sewing machine come January and having a month off.
I am sure by the time February comes around I will be itching to sew again, but at present I am tired, hot and just want to lie down somewhere nice and peaceful, watch some old Christmas shows and eat some Christmas pudding ice cream.


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We stayed in Marrakesh for 3 days and it was our first time in Morocco, so glad that we decided to stay at this Riad! I would recommend that you request for transportation from the airport to the Riad. Since the Riad is located in...More
Getting you more information on this room
Getting you more information on this room
"Rooms closer to the first floor are naturally much cooler. Sometimes really cold at night - which is great..."


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1.18 acres in Mohave County, Arizona
Nice level building lot in Golden Valley. Water and power available. Can get water allocations for property and will need meter. Quiet rural area. Horses and livestock allowed. Just east of paved Estrella Rd. Minutes from the Colorado River, fishing and boating. 2 hours from Las Vegas. Centrally located between Kingman AZ and Laughlin NV / Bullhead City AZ. Good roads. Easy access.
Highway 68 to Estrella. Go south on Estrella to Redwall. Turn left to Concho, then right to property.
Tax Data (Show Tax Data)
Tax data is not available for this listing.
Contact the Seller for more information.
Contact Seller
Fill out this form to contact Seller about this property
Dianne Ronnow
Keller Williams Arizona Living Realty
2501 Stockton Hill RD Ste 108 Kingman AZ 86401
Kingman, AZ 86401
Other Land for Sale in Mohave County
NOTE: The information contained herein is provided as general information only and has been obtained from sources deemed reliable. It is provided without any guaranty, warranty or representation, expressed or implied, made by Lands of America, or any related entity, as to the accuracy or completeness of the information. The information is presented subject to errors, omissions, change of price or conditions, prior sale or withdrawal without notice. Prospective purchasers should make their own investigations, projections and conclusions concerning the information.


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Question about Dryers
Posted by rlratz on
It sounds like the drum bearings are seizing up preventing the drum from rolling easily, and when the motor runs, it can't pull the drum belt around the drum that won't turn, so starts squealing and burning the belt.
You need to lubricate/replace the drum bearings, and replace the belt.
Posted on Jan 29, 2009
SOURCE: I have freestanding Series 8 dishwasher. Lately during the filling cycle water hammer is occurring. How can this be resolved
a 6ya expert can help you resolve that issue over the phone in a minute or two.
best thing about this new service is that you are never placed on hold and get to talk to real repairmen in the US.
the service is completely free and covers almost anything you can think of (from cars to computers, handyman, and even drones).
click here to download the app (for users in the US for now) and get all the help you need.
Posted on Jan 02, 2017
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Jurjen Bertens
Meer ideeën van Jurjen
Madeleine Andronic, Christmas Card / KONICA MINOLTA on Behance
Gwen Keraval, Le fils qui sauva son père
A beautiful illlustration made by Tabula Rosi that includes reindeer, Christmas ornaments, birds, candy canes and snowflakes.
Kailey Whitman illustration
Vintage Printable at Swivelchair Media - Beta | Animal – Deer and related
Love this deer & bird Christmas card!
a little birdie told me; have you heard? there's going to be a new boy!
☼ Painterly Landscape Escape ☼ landscape painting by Page Railsback
'The Badger Funeral' by Dick Vincent. The illustration is based on British folklore that badgers bury their dead and even perform a burial ceremony.
les animaux 88 by pilllpat (agence eureka), via Flickr


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Used In
The Merry Wives of Windsor
Go to Play Vocabulary
Go to Word Detail
Briefly, I do mean to make love to Ford's wife; I spy entertainment in her; she
, she carves, she gives the leer of invitation; I can construe the action of her familiar style; and the hardest voice of her behaviour, to be Englished rightly, is 'I am Sir John Falstaff's.'
Now, Sir John, here is the heart of my purpose: you are a gentleman of excellent breeding, admirable
, of great admittance, authentic in your place and person, generally allowed for your many war-like, court-like, and learned preparations.
There are no more uses of "discourse" in the play.
Show samples from other sources
The event has elevated the level of public
on this issue.
The idea of individual rights is prominent in American
Go to more samples
Go to Play Vocabulary
. . . enhancing vocabulary while reading


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Board of Directors
The Board of Directors functions to advise, assist and aid in our efforts to support breast cancer education and outreach programs serving Komen Coastal Georgia's service area.
Suzanne Kirk is the President of Employee Development Strategies, Inc., a Human Resources and Organizational Development consulting firm that helps clients focus on the people side of business. An avid community volunteer, Suzanne is passionate about continuing the fight against breast cancer after losing her mom to the disease in 1997. As a wife and mother of three children, Suzanne is honored to be part of an organization focused on eradicating breast cancer for the coming generations.
Heather Lundy is an attorney in the Specialty Litigation practice group at Hunter Maclean, focusing her practice on medical malpractice defense. She joins the Komen Coastal Georgia Board of Directors in 2014. Heather is excited to take an active role in the fight against breast cancer.
Melanie Orsini is an accountant with Skinner, Barndollar, & Lane, PC, where she prepares tax returns and financial statements for small to medium businesses and private foundations in Savannah and the surrounding communities. During 2013-2014, two of her family members were diagnosed with breast cancer. Shortly thereafter in 2014, a client, also a survivor, introduced Melanie to Susan G. Komen Coastal Georgia with an invitation to serve on its Board as Treasurer-Elect. Melanie was thrilled with the opportunity to use her knowledge of accounting to help in the fight for a cure.
DelRia Baisden
Member At Large
A native of Brunswick, Georgia, DelRia T. Baisden serves as Vice President for Southeast Georgia Health System. She oversees the Radiology, Cardiopulmonary, Wound Care, and Rehabilitation Services departments on the Brunswick Campus. She received both her Bachelor of Science in Psychology and her Master of Health Administration from Tulane University in New Orleans, Louisiana. In 2007, Ms. Baisden was honored at the YWCA of Brunswick Tribute to Women Leaders for her contributions to the community and the Health System. She currently serves as a member of the Board of Managers for the Golden Isles YMCA and the Coastal Georgia Affiliate of Susan G. Komen.
Leesa is an attorney with Moore, Clarke, DuVall & Rodgers in Savannah. She is a 16-year breast cancer survivor and daughter of a survivor. She is convinced that mammography and good medical care result in early detection and early cure. Two weeks after her 40th birthday, her tumor was detected by mammogram when compared to her baseline films taken five years earlier. Both mammograms were scheduled by her primary care physician due to her family history. When diagnosed, her sons were 11 and 7 years old. Leesa danced with both at their weddings this summer! This is why she feels honored to join the Komen Coastal Georgia Board this year to help provide mammograms and education for under-served women.
Emily handles all marketing and communication efforts for the Georgia Tech Savannah campus. A seasoned marketing and development professional, she is excited to use her expertise to help in the fight against breast cancer. Originally from Indianapolis, Emily attended SCAD and loved Savannah enough to stay and call it home. She and her husband Tim are proud parents of their young son, Patrick.
Lori Keith Robinson, a well-known Savannah artist, HATES breast cancer! Both her mother and sister fought the vicious disease. Her sister's death at 41 was especially hard because she was so young and left two children without a mother. Her son (who was nine at the time) eventually came to live with Lori, and she witnessed the results of his loss daily. Lisa, her sister, participated in a phase I trial at UNC Chapel Hill. When asked why she would agree to do that, she said simply "if no one ever participated, they'd never find a cure". Lori wants to continue her sister's selfless mission, hoping that cure will be found in time for her nieces' and her daughter's generation. After attending a Komen Research lecture on what is currently being developed, Lori felt a sense of hope, for the first time, that a cure was truly possible.
Dr. Ray Rudolph is a recently retired breast surgeon after practicing at Memorial University Medical Center for 30 years. The last 15 years of his surgical practice was exclusively dedicated to the care of women with breast disease at the Center for Breast Care, the first breast only practice in the region, established with his partner Dr. Paula DeNitto. He was on the committee that applied to Komen for the Cure to establish the local affiliate here. He has been extensively involved with the Race for the Cure in Savannah since its onset recently serving as the honorary race chair in 2015 and race co-chair in 2016. November 2015 he traveled to Zambia, Africa and witnessed firsthand a population where 75% of breast cancers are diagnosed at an advanced stage. He witnessed the contributions of Komen for the Cure even in Zambia as was noted on breast health posters, literature, and our significant support of the national health survey and report of 2015. He received his M.D. at the University Of South Dakota School Of Medicine, completed his surgery residency at Memorial in Savannah, and received his Masters of Public Health from Armstrong University, Savannah. His wife of 43 years, Barbara, is a nurse practitioner, and he has 2 children and 4 grandchildren.
Melinda B. Spisso is the owner and operator of Spisso CPA. Melinda Spisso is a certified public accountant and QuickBooks Certified Pro Advisor. Melinda has worked in public accounting for more than 15 years and extensively in tax for more than 10 years. She graduated from Huntingdon College with a BA in Accounting and then attended Auburn University of Montgomery to earn her Masters of Business Administration. Melinda moved to Savannah, Georgia in 2002 and has since become very involved in the community serving on several boards. She currently serves as the Junior Achievement Volunteer Coordinator at Blessed Sacrament School, she has been a Girls on the Run coach for the last few years at Blessed Sacrament School and now serves as a member of the Girls on the Run Board. She is in her final year as a member of the Blessed Sacrament School Board. She attended the Leadership Savannah program in 2012-2013 and was also named one of GenerationNext's 2016 Savannah's Top Rising Stars of Business. Melinda is married and has three young daughters.
Drew Wade, M.D., is a radiologist at SouthCoast Health in Savannah. As a diagnostic radiologist, he routinely reads mammograms and is often the first to discuss a breast cancer diagnosis with a patient. In additional to his professional role, Drew also has been touched personally by breast cancer, as both his mother and wife are survivors. He received his undergraduate degrees from the University of Georgia and M.D. from Emory. Drew is a 2008 graduate of Leadership Savannah, and is the founding Chair of Savannah Bicycle Campaign and serves on the boards of the Savannah Music Festival and Georgia Bikes. He is an avid runner and cyclist, and has three children, Henry, Margaret and Etta.


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Our gluten free pastry recipes is absolutely perfect for creating all kinds of gluten free tarts and pies.
What could be a more enduring image of childhood adventures in baking than the classic jam tart? Absolutely not at all good for you, but just one of the most comforting things to sink your teeth into!
Our version is ever so slightly better for you than the standard version, but even so, they are definitely a once in a while treat.
Perfect birthday party fayre if your paleo child is worried about you feeding their friends some weird concoctions that will kill their street cred dead.
Our pasty recipe includes tapioca flour which is considered a 'safe' starch by many paleo aficionados. It's not got anything in the way of nutrients to speak of, but here at Creatively Paleo our opinion is that food isn't JUST about the nutritional value - flavour, taste and texture are all key to the enjoyment of food.
If you fill your tarts with our home made lemon curd then you're going to get plenty of eggy goodness, and minimal amounts of sugar - we use coconut sugar, you might try it with honey or maple syrup.
Our paleo kids love baking jam tarts, and this photo shows our 5 year old busy spooning in the curd - a great coordination developing activity.
This tower of jam tart hearts could have been made by the Queen of Hearts herself!
A perfect little dessert to share for valentines day when topped with a fresh strawberry and some coconut cream.
If you liked our gluten free pastry recipe for jam tarts why not try out our lemon curd filled buns?


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Kenya embraces solar to meet energy needs
Nearly 70 percent of the Kenyan population relies on costly and environmentally damaging energy sources. But a green transtion is underway, as ever more Kenyans turn to solar power to meet their daily energy needs. Peter Theuri is busy tending his crops in central Kenya's Kiambu County. Slung over one… »
South Sudan Exodus: 900,000 Refugees in 2,5 Years
Human Wrongs Watch Some 60,000 people have fled South Sudan's recent violence in the capital city of Juba, bringing the overall number of South Sudanese refugees in neighboring countries since December 2013 to nearly 900,000… »
What will it take to stop extrajudicial killings in East Africa?
By Phil Wilmot for Waging Nonviolence. Kenya is often praised as a beacon of democracy and stability in East Africa, but recent squelched demonstrations and recklessness by police have led Kenyans to question whether the benchmarks of their nation's progress are being quickly… »
Kenyan refugee camp closures will have disastrous consequences
The Kenyan government's decision to close its refugee camps will have disastrous consequences and must be reconsidered, international organisations have stated. At the end of last week, the Kenyan government announced that the "hosting of refugees has to come to an end", citing economic, security and environmental concerns. Currently, Kenya hosts… »
International Day of Nonviolence celebrated around the world
This year's international Day of Nonviolence witnessed a whole host of activities around the world. Among the activities held on the annual October 2nd included: In Nakpanduri, a conflict area that experiences curfews in the northern region of Ghana, there was an all-white dressed mentorship class led by Elizabeth Bidzakin… »
Kenyan mother wins environmental prize after baby suffers lead poisoning
As the world marks the 45th Earth Day, we speak to Kenyan activist Phyllis Omido, who was just awarded the Africa 2015 Goldman Environmental Prize, the world's most prestigious environmental award. Omido organized protests to close a lead plant in Mombasa, Kenya, that was exposing the community to toxic chemicals. »
In Kenya's war on corruption: some you win, some you lose
On the 26th of March this year, President Kenyatta shocked those watching and listening as he gave his "State of the Nation" address in parliament. Instead of a regular condemnation of corruption in government as normally happens by Kenyan politicians, Kenyatta went much further by lodging with Parliament a report… »
The roots of terrorism in Kenya: colonialism, once again…
No one is left without a sensation of horror at last week's awful attack on Garissa University College, Kenya in which it seems that the dead number more than 150 young students who had their whole lives ahead of them. It is also noticeable that world leaders have not flocked… »
Is Kenya on the brink of religious war?
I had joined my fellow members of 'Sitarusha Mawe Tena Peace Campaign' and several partners in marking the 'International Day of Peace' on the 21st September, 2013 when news of the attack at the Westgate Mall came in. We had decided to mark the day by holding a cleanup exercise… »
Peace on a knife edge as Kenyans hold their breath waiting for the election result to be decided in court
Last week Kenyans went to the polls in huge numbers to vote for the first time under a new constitution which was itself voted for by Kenyans in a referendum in 2010 following the devastating election of 2007 which resulted in up to 1500 dead and 250,000 displaced people, many… »
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The 1994 Dallas Convention Center Expansion totaled 575,000 square feet, including prime exhibit space, pre-function area and a loading dock. In addition, there is 155,000 square feet of heliport, lobby, and concourse rollway area. Austin Commercial advised on-site use, foundations and improvements, and assisted in general selection of materials, building systems and equipment. Austin served at risk, guaranteeing both costs and schedule. The project was successfully completed on-time, under budget and with no claims.
Austin Commercial
Public Assembly and Sports


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