text:
I'm confused about why many of you prefer to wear your windshirt as a next-to-body layer, maybe just over your base layer, and your puffy layer over that. I've always preferred to wear mine as an outer shell, to make my down layer more efficient. What am I missing here?
I don't understand why anyone would have a windshirt period.Of course I'm in the rainy Pacific Northwest so I think a waterproof breathable hardshell is required on the outside. And a base layer is necesary. And in between an insulation layer with enough warmth for the minimum temperature I'll encounter.If you add a windshirt inside, it's heavier than just having a thicker insulation layer
Edited by retiredjerry on 10/28/2012 09:24:42 MDT.
People just putting on the down jacket over the windshirt at breaks. I don't use one either. I'm almost in the PNW. Pretty wet/windy.
Gary, My strategy is the same as yours. Wind shirt (actually an uncoated hooded nylon widnbreaker) is always on the outside (of bare skin, polypro top, or insulated coat).A raincoat would, if worn, go over the wind shirt.Daryl
"I'm almost in the PNW. Pretty wet/windy."I make it down as far as the Eel River occasionally. It always seems warm and dry. Nice extension to the warm season. Doesn't seem wet/windy.I guess I don't go there in the winter though. And I probably look at weather reports and avoid the wet/windy periods.
I think that the op was also asking about an outer layer increasing the efficiency of a down jacket/vest. I agree with Jerry that, since I'm going to carry a wpb shell, a windshirt if sort of redundant. And I layer my down under the shell for what I presume is better warmth (wind, etc.)Maybe people don't want to go through the gyrations of swapping out pieces for a short break. Or maybe I'm missing something.I own a Houdini and wear it all the time for day hikes.
Edited by book on 10/28/2012 10:39:14 MDT.
I've never heard of anyone who wears a windshirt as a base layer.Wear one over the top of a base layer and you add significant warmth for minimal weight.Under another layer kind of defeats the purpose and contributes little.I find a windshirt to be the best use of ounces that I carry. A best use of a windhsirt is in conditions where you can overheat and also become very chilled depending on wind exposure and/or light rain.I usually find a winshirt is more comfortable in light rain or snow than a rain shell if the temps aren't too cold. You do get wet, but not cold.I also wear it under a cape in cool heavy rain or snow to add warmth. The combination breaths better than a waterproof breathable shell.
Common sense says match your gear to the conditions to be encountered where you're going.windshirt vs. no windshirt vs. hardshell?raingear or no raingear?down vs. synthetic insulating jacket vs. merino wool zip-T?down vs. synthetic sleeping bag?sleeping bag vs. quilt?No single piece of gear fits all situations.
Edited by wandering_bob on 10/28/2012 12:15:35 MDT.
Q) Why baselayer + windshirt + down (in that order)?A) This arrangement is ideal if you're breaking camp in the morning and know the down is only going to be worn for 20 min or so. Once you get warm enough, you can stow it and keep rolling without additional fiddling with layers. Around camp in the evening etc, windshirt on the outside is ideal for max warmth and to protect the down garment.Q) Why windshirt next to body?A) This setup would be most suitable for physical bug protection, where you want a physical barrier, but wearing a baselayer as well may be too hot. Some windshirt fabrics are nicer than others for this. A lot of 'trekking shirts' (ie. RailRiders) are similar material as a windshirt. If a windshirt is too 'plasticy' they it won't feel good.Q) Why a windshirt at all?A) I like using a windshirt, even for PNW use alongside a traditional WP/B shell. Almost never do I take it instead of a WP/B shell although that may be suitable for some locales (ie. southwest). A windshirt is a lot more breathable than a WP/B jacket, so it's great to wear all day in windy/chilly conditions. While a WP/B shell could be worn, the windshirt is far more breathable so you stay more comfortable and you divert wear/tear from a pricey WP/B shell - especially while bushwacking. It's just much nicer to wear in non-raining conditions so it's worth the 4-6oz considering the amount of use it sees.I really like this one (MEC RD Windshirt, 5oz, $78). A bit heavier than some, but all the weight is in the material and cut, so it's more durable than most with a nice long torso, great hood and nice long sleeves. I added thumb loops to mine.http://www.mec.ca/AST/ShopMEC/MemberPicks/MensClothing/PRD~5019-388/mec-rd-windshell-jacket-mens.jsp
Edited by dandydan on 10/28/2012 12:18:00 MDT.
I havent pulled the trigger on a windshirt...yet.I know some absolutely swear by them.I cannot see it doing anything but adding wt.I hike in short sleeves down in 40s'-50s, or maybe long sleeves if expected highs are only in 40s.If cold, I put on my melanzana fleece hoody, at all stops, etc. I sleep in it too.If cool and windy, I wear my driducks jacket, very breathable, never had any issues. If you are bringing a fleece midlayer, and have breathable rainjacket, you wont find a place for a windshirt.The combo of windshirt and a baselayer would have to outperform a midlayer fleece in warmth, and weight to be useful. It really doesnt seem too. .
Edited by livingontheroad on 10/28/2012 12:42:42 MDT.
A windshirt is great if hiking above treeline.
Re: "The combo of windshirt and a baselayer would have to outperform a midlayer fleece in warmth, and weight to be useful. It really doesnt seem too."A windshirt over a base layer can be warmer than a grid fleece, like the melnzana, in wind. And the combination much lighter.I find the melanzana grid fleece doesn't perform well alone in wind, but I do like it a lot because of it's weight, breathability, waterphobia and the fact that under a shell is 4x warmer.I often wear a light baselayer and the melanzano hoody grid fleece with a wind shirt on the outside in below freezing, windy conditions. If I get at all sweaty, I open the windshirt.You really feel the difference when the windshirt is removed.
I appreciate you guys weighing in on my question. It looks like I have been doing it right all along. So for those that put their down jacket over the wind shirt, they are just doing it at quick rest stops? It makes sense there.I expect that those of you in the PNW have a different set of conditions to deal with. Here in Colorado, we enjoy lots of days when there won't be any precipitation, summer or winter. But I always carry both a wind shirt and a WP/B shell, for the flexibility. The wind shirt nearly always is worn while I hike, over a base layer of various thicknesses, plus maybe a synthetic vest if it's colder. It's so much warmer when the temps get below 45-50* F, due to the wind blocking capability and no moisture buildup. I size mine so that they will fit over my insulation, for extra warmth, and also to protect the expensive down jacket from campfire embers.Thanks for sharing your comments.
I only wear a windshirt on bare skin when drying a base layer. DO think of a windshirt as a shirt rather than a jacket. I think that helps fit it into a layering scheme. I wear my windshirt on top of wicking base and mid layers to block wind and light precip. My windshirt wouldn't fit over my puffy layers and the shell on a puffy layer is performing the same function as a windshirt anyway. I could see adding it if things were getting really nasty. It makes sense to leave the windshirt on under a puffy added on a quick break.
I stand corrected, those are good examples of wearing a winshirt under layers.I also carry wind pants during the cooler months. It adds warmth if you are wearing shorts and have hairy legs:-)I wear my windshirt and windpants when I'm doing laundry in town, or even on the trail, if there others around.
I have a North Face anorak that is waterproof (but barely breathable!) that weighs 6 oz. This past summer in good weather--with a good forecast--it became my shell and windshirt. It blocks wind better than my houdini and is wp, just in case. On a day hike or peak bagging trip taken during an extended hike, the anorak is more robust and will work if there's a thunderstorm or worse, whereas the Houdini would wet out pretty quick in a thunderstorm. If there's a chance of weather I bring my event anorak and leave these other pieces at home. I thought about the Houdini for bug protection but now I wear a sun shirt that is part nylon as a base layer; the skeeters can't penetrate it with their nasty little beaks!
Edited by book on 10/28/2012 14:05:48 MDT.
Like many have already said, I use the wind shirt over my base layer. I've only started using one in the last 18 months, but I regret not learning about the benefits of it sooner. In fact I wish I had one when I was hiking in the PNW. Conditions in Scotland are arguably as wet and windy as the west coast. In wet misty conditions I go with the wind shirt until the precipitation gets heavy then I put on my eVent jacket. By the time the rain lets up, I take off the eVent jacket and the wind shirt has dried from my body heat. Has worked well for min it the 2 - 8 dec C range.
i'm in the "i do get it" camp in regards to wind shirts. i wear a LS microweight shirt from Icebreaker when I want to cover up. I also always carry a WP/B jacket (Marmot Mica) that I wear as an outer shell over my down layer when cold, or just over my LS shirt if just cool and i'd like to wear it.with a WP/B jacket and a merino LS microweight layer, I just don't see where a wind shirt fits. and I can't imagine bringing one in lieu of my LS shirt or WP/B layer...
Setting up camp. Wind is starting to pick up. Wearing a mesh tank top under my Houdini.Next morning biting cold wind with gusts around 30mph. Want to minimize moisture into my down vest. Wearing all the clothes I brought. Once the sun got high enough I stuffed the vest into my pack. Yes, I know it is quite a fashion statement :)Pictures by Andy Duncan.
Joe,A windshirt is far more breathable than any Wpb shell, the trick is only to wear the Wpb shell if its bucketing down with rain.
Edited by stephenm on 10/29/2012 04:52:57 MDT.
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Application Information
Scholarship Overview
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More Requirements:
Music degree must be concentrated in voice.

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text:
SCOTT, Sir Walter. Kenilworth (1821)
Contemporary Reviews
Monthly Review, 2nd ser. 94 (Feb 1820): 146–61.
It was said in praise of Shakspeare [sic], and Dryden was
the critic who said it, that he did not read mankind 'through
the spectacles of books.' Shakspeare, however, was contented
with general nature. If this vast and varied repository of manners
and humours, of passion and incident, supplied his imagination with
the materials which he wanted, he was well satisfied; and he cared
little or nothing for those minute proprieties and petty adjustments,
which give to each place or country peculiar modes and accidental
fashions. His antient Romans, as Voltaire captiously remarks, have
nothing Roman in them: they are merely men filled with masculine
sentiments, and busily engaged in the great and lofty transactions
of the scene; and, if he fixes his personages at Verona [146/147]
or Milan, we see nothing that betrays the slightest anxiety in the
poet to accommodate his fiction to the genius, habits, or dress
of the town or nation which happens to be the object of his fable.
When Speed and Lance, the servants of 'The Two Gentlemen of
Verona,' meet each other in the streets of Milan, an adjournment
is proposed to the ale-house, just as much in the ordinary course
as if the Boar in East-cheap or the Tabart in Southwark were within
a stone's throw of them. As for the localities of dress, he
scarcely ever gave himself the trouble of recollecting that there
was any such thing as local or national costume. When Julia proposes
to her chamber-maid, in the same play, that she should escape in
male attire from Verona in pursuit of her lover, the hose, the farthingale,
and the peculiarities of the English dress at that time engross
the whole of the consultation, without the slightest allusion to
the fashions and garb of the country which is the scene of the drama.
These were matters which, from his lofty elevation and in his wide
horizon, Shakspeare could no more see than, standing on his own
cliff at Dover, he could have seen the beetles crawling at its base.
On the contrary, the author of 'Kenilworth,' however
he may resemble the great poet in the other attributes of his genius,
has not claimed the privilege so cheerfully accorded to Shakspeare.
He rarely takes off the spectacles through which he contemplates
the manners and adjusts the agencies of his romance, and still more
rarely neglects any of the proprieties of detail. Not only has the
quaint and stiff phraseology of the conversation of the times which
he has chosen for his fiction become almost familiar to him from
diligent reading, aided by minute observation, but the millinery
of the haberdasher's shop and the wares of a pedlar's
box are as much at his fingers' ends as if he had actually
taken their inventories. He has no doubt done well by attending
to these verisimilitudes: which render more perfect the fascination
of the story, and prevent our being recalled from the illusion by
intimations that too frequently cross us while we are reading the
romances of inferior artists, that the tale does not belong to the
times or the actors to which it is attributed. They have all the
effect which an improved attention to the ordonnance of
the theatre has of late produced, by a closer observance of costume
and propriety in scenic decoration.
He has done well also in selecting the splendid reign of Elizabeth
for the period of his present story. 'Ivanhoe' was thrown
rather too far back in our social and moral history. He there obtained,
indeed, more ample room for his invention; and, in the uncertainty
and darkness of real facts, a [147/148] greater licence to fill
the void with those representations of life which admit all the
swell of fancy and the splendor of fiction, without being rigidly
brought to the test or tried by the laws of authentic and exact
portraiture. He had an imposing and gallant costume to display,
in the pomp of pageantry which marked the public and private transactions
of that remote age; in moated castles and mailed champions; in the
wild achievements that exhibited the freshness of the chivalrous
honour which at that time spoke in actual deeds of 'bold emprize,'
but of which merely the sentiments and language descended to the
days of Elizabeth;—in a word, he could exhibit this costume
in all the forms of physical strength and personal courage, that
stand enlarged and dilated to our eyes through the hazy distance
at which they are viewed, and almost overpower the imagination by
their awful dimensions, At the same time, there was a disadvantage
in the exhibitions of a state of life so strongly marked, and yet
so obscurely known. For want of those minute and gentle strokes
which a more familiar acquaintance with domestic manners and daily
occurrences can alone supply, the whole delineation consisted of
outline, bold and vehement and sublime, but tediously defective
in variety, and fatiguing us by the sameness of the pictures and
the uniformity of the sentiments and descriptions.
When the scene is laid in the good old time of Elizabeth, we feel
ourselves more at home. It is at a sufficient distance for that
theatrical tone and cast of diction, in which the characters of
romance must in some degree express themselves in order to give
effect to the dialogue, without being corrected or called to account
by a living knowlege and actual experience of the style and form
of conversation really prevalent; and it is sufficiently remote,
also, to give effect to incidents which, if too nearly inspected,
produce an enfeebled impression. Yet it is near enough not to require
from the writer that exaggerated colouring which shews the picture
to be fictitious, or to demand of the reader that acquiescence in
strange occurrences, brought about by improbable agencies, which
shocks and disgusts the understanding. It presents a happy medium
between that which is too real to be pleasing, and that which, by
being wholly unreal, is disgusting. There is, moreover, a certain
mysterious charm that attracts us to that golden period, with its
full train of delightful associations, hospitality, plenty, frugality,
and content. Though vanity whispers that we are grown more enlightened
and intellectual, (a suggestion which might fairly be disputed when
the age of Bacon and Shakspeare is one of the objects of comparison,)
yet the truly [148/149] English characteristics of that time were
to be found in their fullest strength and prominence; and while
in every respect except the mere quantity of books that age was
as lettered as our own, it had the higher distinction of a steadier
warmth of attachment to that circle of our relations which is truly
and emphatically social. We have therefore great delight in straying
back to our ancestors of those days, partaking though in fancy of
their honest hospitalities, listening to the smart but somewhat
coarse reciprocations of their dialogue, mixing in their merry though
sometimes intemperate carousals, an escaping, even in fiction, from
a less romantic stage of society, of which the traits are tamely
and coldly monotonous.
On the literary merit of the much admired author of Waverley, we
have too frequently and too recently expressed our opinion to renew
either our praise or our censure, in general terms, on the present
occasion. We shall merely observe, and trust to the discernment
of our readers for a confirmation of our remark, that the tale now
before us, with all its beauty, is still blemished by a few of the
inadvertencies of hasty composition. The writer does not take sufficient
time to complete the frame-work of history before be fills it up,
but his invention and execution seem to go on together. The consequence
is a want of general consistency, as well as the absence of a perfect
congruity between the actors and the plan of the romance; while
many of his characters are brought on the stage evidently with higher
destinations in the fortunes and agencies of the piece, than he
has allowed himself leisure ultimately to assign them. We cannot
fail to perceive this incongruity in the character of Dickie Sludge;
who seems to have been primarily intended for greater things than
pinching the legs of the sturdy porter at Kenilworth to prompt him
in the speech which he was to deliver on the entrance of Elizabeth;
or, by a clumsy and improbable contrivance, preventing the letter
of the Countess from reaching her lord; or even his concluding and
[sic] most important act of interference between Tressilian
and Leicester. He opened on us with a promise of originality, wildness,
and grotesque humour, calculated to play a material part amid the
changeful events of the piece, and to fill up a more considerable
space in the mind and attention of the reader. That, when he was
first fashioned by the hands of the author, no slight solicitude
and care were expended to make hint worthy of a distinguished place
among the characters of the tale, is apparent from the singularly
romantic incident attending his first introduction to Tressilian;
and from the anxiety exhibited in the first sketches of his habits
and dispositions, to give him an intellectual port and bearing [149/150]
which are thrown away on an urchin who plays a few monkey-tricks
and then is no more seen.
—— 'Amphora cœpit
Institui; currente rotâ, cur urceus exit?'
Yet Kenilworth is a work of extraordinary talent, and is abundantly
marked by the prevailing excellences of its author; general beauty
of composition, vigour of character, felicity of contrast, striking
situations, and a plot skilfully contrived, though too sudden, perhaps,
in its developement, and revolting in its catastrophe. We shall
attempt a brief summary of the tale, to explain a few extracts,
in which the peculiar powers of his mind and fancy seem to have
been exercised.
The time of the narrative is that part of the splendid reign of
Queen Elizabeth, when the Earl of Leicester first cherished his
proud aspirings to the hand and throne of his mistress; and it opens
in the midst of the strife of faction and emulation which existed
between that ambitious nobleman and the Earl of Sussex, whose meritorious
services in the hard hour of her adversities the Queen is well known
to have highly valued. The whole story, which, unlike the other
romances of the same writer, is tragic in its catastrophe, receives
its complexion from the fortunes of Leicester, who is obviously
its hero; but the chief interest of the narrative is derived from
the hapless fate of Amy Robsart, whom the Earl had privately married,
his designs on Elizabeth prompting him to a concealment of their
union. She was the daughter of an impoverished fox-hunting knight
in Cornwall, whose estate had been impaired by habits of too great
hospitality; and she had been educated with all the blind and indulgent
fondness of a parent who, like 'Squire Western, loved nothing
on earth so well as his horse and his daughter. Edmund Tressilian
cherished an early, and, as it proves, a steady though ill-fated
attachment to this interesting but giddy being, who had unfortunately
not learned to value his affection in the same proportion as she
esteemed his merit.
Mystery and duplicity are necessarily called forth to conceal this
marriage; the coquettish encouragement of the Virgin-Queen having
inspired Lord Leicester with sentiments towards her far beyond the
gallantry which she exacted from all her courtiers. This mystery,
with the deceitful policy which by degrees wove around his head
its inextricable meshes and at length involved him in guilt and
disgrace, and the cruel custody in which a subserviency to his views
made him keep his unfortunate Countess, constitute the distress
of the plot; and it is a portion of the work which has been executed
with [150/151] great pathos and feeling. It does not appear with
sufficient clearness, perhaps, where or how the Earl became first
enamoured of this rural beauty, and was so overpowered by her charms
as to adopt the irretrievable measure of a solemn union: but the
whole management of the intrigue, and of the means by which she
was removed from her father's house, he had confided to Varney,
one of his confidential retainers, who filled the station of Master
of the Horse in his princely household. This man presents a character
of unmixed and consummate villainy. Sacrificing every consideration
to his own views of advancement, no compunction from the beginning
to the end of this sad story ever visits him; and he, aided by one
Anthony Foster, to whose custody the Countess is more immediately
committed, is the principal agent of the diabolical sufferings inflicted
on that unfortunate lady, with the connivance at least of the ambitious
courtier who had won her affections. In this respect, the writer
betrays a departure in favour of Leicester from the concurrent testimony
of our historians; who impute to him in express terms the murder
of his wife by poison, to make way for his designs on Elizabeth.
As Varney, however, was the immediate instrument by whom she was
seduced from the paternal roof, and as the profligacy of his character
was well known in the neighbourhood of Sir Hugh Robsart's
seat, (Lidcote Hall, in Cornwall,) her friends, and among them Tressilian,
formed the melancholy conclusion that, having yielded to his
arts, she was living with him in a state of unlawful intercourse.
Urged by his own affection, which even the supposed circumstances
of her disgraceful flight did not extinguish, and at the instance
of her afflicted father, Tressilian set out on the desperate errand
of reclaiming her, if possible, from her unholy connection. She
was then in a splendid imprisonment, and clandestinely visited by
her husband, at an old mansion, once an abbey, but desolated and
despoiled at the Reformation, in the village of Cumnor, in Berkshire;
now become the property of Varney by virtue of a grant from Leicester,
and tenanted by Anthony Foster, the savage but puritanical villain
whom Varney had selected for that office. Tressilian, who deemed
it possible from these circumstances that this might be the place
of her retreat, is first introduced to us at an inn in the above
village, the bonny Black Bear; the humours of which are pourtrayed
in the opening of the narrative, with the author's habitual
felicity in describing the domestic manners and wages of that period
of our history.
In the company at the inn was a person just arrived from the wars
in the Netherlands; a swaggering adventurer, nursed [151/152] in
enterprize, and fit for any exploit that was likely to fill his
pockets, without doing much injury to a conscience that was none
of the most squeamish; by name Michael Lambourne, and a kinsman
of Giles Gosling the landlord. The conversation turned on Anthony
Foster, whose character inspired great terror in the neighbourhood,
and on a young lady at his house, and the strictness with which
she was secluded. This circumstance gave a strong hint to Tressilian;
and Michael Lambourne having made a drunken bet with one of the
company that he would venture up the next day to the Hall, and force
Tony Foster to introduce him to his fair guest, Tressilian offered
to pay half of the risk if he might accompany Lambourne in the adventure.
By this artifice Tressilian calculated on obtaining entrance into
the house, which was lonely, and barricadoed with great vigilance.
They accordingly set forth together on the enterprize, succeed in
their scheme for obtaining entrance, and we are consequently introduced
to Foster, who is sketched with great power. A recognition takes
place between him and Michael, they having been early acquaintances;
and Foster, conceiving Lambourne to be a man whose services in furtherance
of the schemes of his employer were not likely to be impeded by
scruples, takes him into another apartment to talk with him, leaving
Tressilian to wait their return. An accidental interview with Amy,
once the object of his warmest affections, but now deeply sunken,
as he imagined, in vice and dishonour, was afforded him by her casually
coming into the room. We give a short extract from the pathetic
dialogue which ensued, and which is in the best manner of the author;
' "Is my father ill?" said the lady.
' "So ill," answered Tressilian, "that
even your utmost haste may not restore him to health; but all shall
be instantly prepared for your departure, the instant you yourself
will give consent."
' "Tressilian," answered the lady, "I cannot,
I must not, I dare not leave this place. Go back to my father—tell
him I will obtain leave to see him within twelve hours from hence.
Go back, Tressilian—tell him I am well, I am happy—happy
could I think he was so—tell him not to fear that I will
come, and in such manner that all the grief Amy has given him shall
be forgotten—the poor Amy is now greater than she dare name.
—Go, good Tressilian—I have injured thee too, but believe
me I have power to heal the wounds I have caused—I robbed
you of a childish heart, which was not worthy of you, and I can
repay the loss with honours and advancement."
' "Do you say this to me, Amy?—Do you offer
me pageants of idle ambition, for the quiet peace you have robbed
me of? But be it so—I came not to upbraid, but to serve and
to free you.—You cannot disguise it from me; you are a prisoner.
[152/153] Otherwise your kind heart—for it was once a kind
heart—would have been already at your father's bed-side.
—Come—poor, deceived, unhappy maiden—all shall
be forgot—all shall be forgiven. Fear not my importunity
for what regarded our contract—it was a dream, and I have
awaked—But come—your father yet lives—Come,
and one word of affection—one tear of penitence, will efface
the memory of all that has passed."
' "Have I not already said, Tressilian," replied
she, "that I will surely come to my father, and that without
farther delay than is necessary to discharge other and equally binding
duties?—Go, carry him the news I come as sure as there is
light in Heaven—that is, when I obtain permission."
' "Permission?—permission to visit your father
on his sick-bed, perhaps on his death-bed!" repeated Tressilian,
impatiently; "and permission from whom?—From the villain,
who, under disguise of friendship, abused every duty of hospitality,
and stole thee from thy father's roof!"
' "Do him no slander, Tressilian!—He whom thou
speakest of wears a sword as sharp as thine—sharper, vain
man—for the best deeds thou hast ever done in peace or war,
were as unworthy to be named with his, as thy obscure rank to match
itself with the sphere he moves in.—Leave me! Go, do mine
errand to my father, and when he next sends to me, let him chuse
a more welcome messenger."
' "Amy," replied Tressilian, calmly, "thou
canst not move me by thy reproaches.—Tell me one thing, that
I may bear at least one ray of comfort to my aged friend—This
rank of his which thou doest boast—doest thou share it with
him, Amy?—Does he claim a husband's right to controul
thy motions?"
' "Stop thy base unmannered tongue!" said the
lady; "to no question that derogates from my honour, do I
deign an answer."
' "You have said enough in refusing to reply,"
answered Tressilian; "and mark me, unhappy as thou art, I
am armed with thy father's fall authority to command thy obedience,
and I will save thee from the slavery of sin and of sorrow, even
despite of thyself, Amy."
' "Menace no violence here!" exclaimed the lady,
drawing back from him, and alarmed at the determination expressed
in his look and manner; "threaten me not, Tressilian, for
I have means to repel force."
' "But not, I trust, the wish to use them in so evil
a cause," said Tressilian. "With thy will—thine
uninfluenced, free, and natural will, Amy, thou canst not chuse
this state of slavery and dishonour—thou hast been hound
by some spell—entrapped by some art—art now detained
by some compelled vow.—But thus I break the charm—Amy,
in the name of thine excellent, thy broken-hearted father, I command
thee to follow me."
' "As he spoke, he advanced and extended his arm, as
with the purpose of laying hold upon her. But she shrunk back from
his grasp, and uttered a scream, which brought into the apartment
Lambourne and Foster.' [153/154]
On leaving the mansion, Tressilian meets Varney, who had been dispatched
by the Earl to announce his intention of coming to visit his lady
that evening; and, under the conviction that Varney was her seducer,
he reproaches him with his baseness. The result is a combat, which
would have ended fatally for Varney, had not the blow been arrested
by Lambourne; and the parties are separated. The Earl next arrives;
and a playful scene ensues with his beauteous bride, who amuses
herself with disrobing him of his disguise, and contemplating with
rustic wonder and delight the rich habiliments and glittering honours
with which he now appears decorated. She then expresses a natural
wish to take in public the rank and situation to which she was intitled,
and to share openly in his glory and dignity:
' "Why, Amy," said the Earl, looking around,
"are not these apartments decorated with sufficient splendour?
I gave the most unbounded order, and, methinks, it has been indifferently
well obeyed—but if thou canst tell me aught which remains
to be done, I will instantly give direction."
' "Nay, my lord, now you mock me," replied the
Countess: "the gaiety of this rich lodging exceeds my imagination
as much as it does my desert. But shall not your wife, my love—at
least one day soon—be surrounded with the honour, which arises
neither from the toils of the mechanic who decks her apartment,
nor from the silks and jewels with which your generosity adorns
her, but which is attached to her place among the matronage, as
the avowed wife of England's noblest Earl?"
' "One day?" said her husband,—"Yes,
Amy, my love, one day this shall surely happen; and, believe me,
thou canst not wish for that day more fondly than I. With what rapture
could I retire from labours of state, and cares and toils of ambition,
to spend my life in dignity and honour on my own broad domains,
with thee, my lovely Amy, for my friend and companion! But, Amy,
this cannot yet be; and these dear but stolen interviews are all
I can give to the loveliest and the best beloved of her sex."
' "But why can it not be?" urged the
Countess, in the softest tones of persuasion,—"why
can it not immediately take place—this more perfect, this
uninterrupted union, for which you say you wish, and which the laws
of God and man alike command?—Ah! did you but desire it half
so much as you say, mighty and favoured as you are, who, or what,
should bar your attaining your wish?"
'The Earl's brow was overcast.
' "Amy," he said, "you speak of what you
understand not. We that toil in courts are like those who climb
a mountain of loose sand—we dare make no halt until some
projecting rock afford us a secure stance and resting place—if
we pause sooner, we slide down by our own weight, an object of universal
derision. I stand high, but I stand not secure enough to follow
my own in-[154/155]clination. To declare my marriage, were to be
the artificer of my own ruin. But, believe me, I will reach a point,
and that speedily, when I can do justice to thee and to myself.
Meantime, poison not the bliss of the present moment, by desiring
that which cannot at present be. Let me rather know whether all
here is managed to thy liking." '
Lambourne was now engaged by Varney, who saw that he would be a
fit instrument for the most atrocious projects, and directed him
not to lose scent of Tressilian. From certain hints with which Varney's
subsequent conversation with Lambourne, at the inn, supplied him,
Giles Gosling communicates his suspicion to Tressilian that his
life is in danger, and urges him to escape before day-break; suggesting
also that Tressilian should present to the Queen in person, and
in the name of Sir Hugh Robsart, a petition in favour of Amy, whom
they considered as having fallen a victim to the artifices of Varney,
and as still kept under restraint by his connivance. Tressilian
accordingly departs, and in his journey towards the residence of
her father meets with a singular adventure which brings him into
contact with Dickie Sludge and Wayland Smith; the latter also a
strange character, formerly assistant of a person addicted to studies
in pursuit of the grand elixir or philosopher's stone, and
tinctured in consequence with n considerable knowlege of the properties
and uses of medicine. By some of those instincts which are of frequent
occurrence in romance, this man attaches himself forthwith to the
fortunes of Tressilian, and enters into his designs; and having
cured the Earl of Sussex, then drooping under the effects of poison
which had been administered to him, and which Wayland's sagacity
and experience found to have been the manna of St. Nicholas, he
is despatched by Tressilian to Cumnor, to obtain from Gosling the
information which he had promised to communicate to Tressilian respecting
the state of affairs there, and at the same time to contrive means
of effecting the deliverance of Amy.
The policy adopted by Elizabeth, of keeping an even balance between
the two great factions of Leicester and Sussex which agitated the
early portion of her reign, by a nice and cautious distribution
of her favour, has been remarked by many of her historians. The
author has ingeniously availed himself of this balancing principle
between the rival Earls, and has founded on it several of the leading
incidents of the work. In the mean while, Sussex, eager to catch
the opportunity of throwing discredit on Leicester and his adherents,
had already presented to the Queen Sir Hugh Robsart's petition
against Varney, which he had received from [155/156] Tressilian,
who was one of the most zealous of Lord Sussex's partizans.
Elizabeth, having insisted on the attendance of both noblemen at
court on a day appointed for that purpose, in order to effect a
reconciliation, became anxious lest the collision of two such fiery
spirits, each backed by a strong and numerous band of followers,
and dividing between them the hopes and wishes of the nation, should
break out in actual tumult, and gave directions of precaution. When
the eventful hour approached, the rival Earls entered the palace
at Greenwich precisely at noon. The pomp and circumstance of the
court are set before the reader in great detail; and, after the
forced and reluctant ceremony of the reconcilement, the petition
against Varney, to the great terror and visible confusion of Leicester,
is mentioned by the Queen. The whole scene has a dramatic cast,
and is represented with great spirit. Varney and Tressilian are
ordered into the council-chamber: but the danger that lowered over
the Earl of Leicester is averted by the promptitude of Varney, a
skilful pilot in extremity, and conscious that his own chances of
ruin or advancement depended on the safety of his lord. He takes
it on himself to acknowlege some 'love-passages' with
Amy Robsart, and, after a little hesitation, avers that he has married
her; dissipating the storm that was gathering in the royal bosom
by some of those skilful flatteries, archly and cunningly interposed,
to which that bosom was at all times too open. The Queen, however,
appealed to the honour of Leicester respecting the truth of Varney's
allegation; and the Earl, having gone too far to recede by not contradicting
his retainer's declaration, replied, with equivocation, that
to the best of his knowlege she was a wedded wife. Before this celebrated
audience ended, Elizabeth intimated her intention in the week ensuing
'to taste the good cheer of Kenilworth,' to which she
commanded Leicester to bid the Earl of Sussex welcome, and dismissed
them both in complimentary phrase.—'My lords of Sussex
and Leicester, we have a word more with you. Tressilian and Varney
are near your persons—you will see that they attend you at
Kenilworth—and as we will (shall) then have both Paris and
Menelaus within call, so we will have this same fair Helen also,
whose fickleness has caused this broil. Varney, thy wife must he
at Kenilworth, and forthcoming at my order.'—The Earl
and his follower bowed low, without daring to look at the Queen
or at each other, for the nets and toils of their falsehood were
in the act of closing around them.
Leicester, in common with many persons of rank and education in
those times, had great faith in judicial astrology; [156/157] and
the author introduces to us a singular character, who officiated
in his household as a sage versed in the mysteries of the planets;
—the very person of whom Wayland Smith had learned his science,
and whom Varney had employed to administer the poison to Lord Sussex,
of which Wayland Smith had administered the antidote. [1] In the
perplexity to which the orders of Elizabeth had reduced the Earl
and his agent, this astrologer is sent down under the escort of
Lambourne to Cumnor, not actually to destroy her, but to administer
such a portion of this delectable medicine of the manna of St. Nicholas
as should produce languor, depression, and an unwillingness to change
of place. This was the only expedient that occurred to them, by
which the peremptory commands of Elizabeth could be evaded; to whom
they were to relate the illness of Amy and her inability to travel.
The thorough-bred romance-reader will not withhold the sufficient
quantum of credulity, which the writer requires of those who lend
their faith to the incidents of his tale, from the strange properties
ascribed to this manna; and it would be unfair to fetter
him who weaves them together, in the choice and selection of his
machinery. Otherwise, means more probable and less revolting might,
we conceive, have been devised, without taxing too rigorously the
invention of the author. However, the operation of the medicine
is again counteracted by an antidote from Wayland; who moreover
enables the Countess to escape, with the determination of meeting
her Lord at Kenilworth, and asserting her rights. The adventures
which befell them on their way form a very interesting part of the
story. At length they arrive at Kenilworth without the knowlege
of the Earl, and in the midst of the princely entertainments which
he had prepared for the reception of his royal mistress. A series
of accidents ensue, which increase the torments and perplexities
of the Countess's situation. She is restrained by her affection
for Leicester, and the apprehension that an open appeal to the Queen
might be injurious to his fortunes, from discovering her name and
rank to Elizabeth: but, by one of those chances which are of rare
occurrence in real life, though of indispensable utility in romance,
she is discovered in a forlorn and piteous attitude in a sequestered
grotto of the garden by the Queen herself. The result is that the
infamous Varney again claims her as his wife, and [157/158] asserts
that she is insane: in consequence of which she is consigned back
to the custody of this unfeeling wretch by the command of her Majesty;
the mean and sordid irresolution of Leicester, and his fevered and
restless ambition, inducing him to acquiesce in the deceit and the
villainy. At Cumnor-place, it is contrived that death, as it were
by accident, shall terminate the few and wretched days of the lovely
and injured Amy. The truth is afterward developed by the agency
of the worthy Tressilian, Wayland Smith, and Dickie Sludge: but
the penitence of Leicester is too late, for he had given the fatal
mandate to her assassin; having been urged to that deadly resolve
by feelings of jealousy and wounded pride, which, Iago-like, Varney
had stirred up in his bosom by insinuations against Tressilian.
The pomp and pageantry of the celebrated entertainments, with which
the Queen was received at Kenilworth, are set forth with the accustomed
talent of the author; whose great felicity it is to clothe with
new life and vigour the ceremonial usages of departed days, and
to infuse a living interest into scenes drawn from those obscure
recesses of history which no man has more diligence in exploring,
or exercises a more powerful fancy in embellishing. We have not
room to extract any parts of this bustling and animated description,
which has indeed been made more or less familiar to the reader by
the records of Laneham, Nichols, &c.: but we cannot omit the
dignified and spirited remonstrance of the poor heart-sick Countess,
when she had a casual interview with her Lord in the midst of these
solemnities. It is a fine piece of moral painting, and derives much
of its effect from its melancholy portraiture of a heart-broken
victim of ambition in the vortex of pomp and magnificence, while
the pride of wounded virtue breathes in her beautiful and eloquent
' "We will think, Amy, of some other retreat,"
said Leicester; "and you shall go to one of my northern castles,
under the personage it will be but needful, I trust, for a very
few days of Varney's wife."
' "How, my Lord of Leicester!" said the lady,
disengaging herself from his embraces; "is it to your wife
you give the dishonourable counsel to acknowledge herself the bride
of another—and of all men, the bride of that Varney?"
' "Madam, I speak it in earnest—Varney is my
true and faithful servant, trusted in my deepest secrets. I had
better lose my right hand than his service at this moment. You have
no cause to scorn him as you do."
' "I could assign one, my lord," replied the
Countess; "and I see he shakes even under that assured look
of his. But he that is necessary as your right hand to your safety,
is free from any [158/159] accusation of mine. May he be true to
you; and that he may be, true, trust him not too much or too far.
But it is enough to say that I will not go with him unless by violence,
nor would I acknowledge him as my husband, were all—"
' "It is a temporary deception, madam," said
Leicester, irritated by her opposition, "necessary for both
our safeties, endangered by you through female caprice, or the premature
desire to seize on a rank to which I gave you title, only under
condition that our marriage, for a time, should continue secret.
If my proposal disgust you, it is yourself has brought it on both
of us. There is no other remedy—you must do what your own
impatient folly hath rendered necessary—I command you."
' "I cannot put your commands, my lord," said
Amy, "in balance with those of honour and conscience. I will
nor, in this instance, obey you. You may achieve your own dishonour,
to which these crooked policies naturally tend, but I will do nought
that can blemish mine. How could you again, my lord, acknowledge
me as a pure and chaste matron, worthy to share your fortunes, when,
holding that high character, I had strolled the country the acknowledged
wife of such a profligate fellow as your servant Varney!"—
' "My lord, my lord, bend no angry brows on me—it
is the truth, and it is I who speak it. I once did Tressilian wrong
for your sake—I will not do him the further injustice of
being silent when his honour is brought in question. I can forbear,"
she said, looking at Varney, "to pull the mask off hypocrisy,
but I will not permit virtue to be slandered in my hearing."
'There was a dead pause. Leicester stood displeased, yet
undetermined, and too conscious of the weakness of his cause; while
Varney, with a deep and hypocritical affectation of sorrow, mingled
with humility, bent his eyes on the ground.
'It was then that the Countess Amy displayed, in the midst
of distress and difficulty, the natural energy of character, which
would have rendered her, had fate allowed, a distinguished ornament
of the rank which she held. She walked up to Leicester with a composed
step, a dignified air, and looks in which strong affection essayed
in vain to shake the firmness of conscious truth and rectitude of
principle. "You have spoke your mind, my lord," she
said, "in these difficulties with which, unhappily, I have
found myself unable to comply. This gentleman—this person
I would say—has hinted at another scheme, to which I object
not but as it displeases you. Will your lordship be pleased to hear
what a young and timid woman, but your most affectionate wife, can
suggest in the present extremity?"
'Leicester was silent, but bent his head towards the Countess,
as an intimation that she was at liberty to proceed.
' "There hath been but one cause for all these evils,
my lord," she proceeded, " and it resolves itself into
the mysterious duplicity with which you have been induced to surround
yourself. Extricate yourself at once, my lord, from the tyranny
of these disgraceful trammels. Be like a true English gentleman,
knight, and earl, who holds that truth is the foundation of honour,
and [159/160] that honour is dear to him as the breath of his nostrils.
Take your ill-fated wife by the hand, lead her to the footstool
of Elizabeth's throne—Say, that in a moment of infatuation,
moved by supposed beauty, of which none perhaps can now trace even
the remains, I gave my hand to this Amy Robsart.—You will
then have done justice to me, my lord, and to your own honour; and
should law or power require you to part from me, I will oppose no
objection—since I may then with honour hide a grieved and
broken heart in those shades from which your love withdrew me."
When Leicester's acquiescence in the murderous project is
at last extorted from him by Varney, the tumult of his feelings
is well sketched by this powerful writer; and the concluding part
of the scene is a specimen of picturesque delineation and fine composition:
'By such a train of argument did Leicester labour to reconcile
his conscience to the prosecution of plans of vengeance, so hastily
adopted, and of schemes of ambition, which had become so woven in
with every purpose and action of his life, that he was incapable
of the effort of relinquishing them; until his revenge appeared
to him to wear a face of justice and even of generous moderation.
'In this mood, the vindictive and ambitious Earl entered
the superb precincts of the Pleasance, then illumined by the full
moon. The broad yellow light was reflected on all sides from the
white freestone, of which the pavement, balustrades, and architectural
ornaments of the place were constructed; and not a single fleecy
cloud was visible in the azure sky, so that the scene was nearly
as light as if the sun had but just left the horizon. The numerous
statues of white marble glimmered in the pale light, like so many
sheeted ghosts just arisen from their sepulchres, and the fountains
threw their jets into the air, as if they sought that their waters
should be silvered by the moon-beams, ere they fell down again upon
their basins in showers of sparkling silver. The day had been sultry,
and the gentle night-breeze, which sighed along the terrace of the
Pleasance, raised not a deeper breath than the fan in the hand of
youthful beauty. The bird of summer-night had built many a nest
in the bowers of the adjacent garden, and the tenants now indemnified
themselves for silence during the day, by a full chorus of their
own unrivalled warblings, now joyous, now pathetic, now united,
now responsive to each other, as if to express their delight in
the placid and delicious scene to which they poured their melody.'
Such are the outlines of the romance of 'Kenilworth,'
The key-note of the tale is sad, and its vibrations sound heavily
in contrast to the noise of unfeeling pomp, festive gladness, and
gorgeous parade, which is heard in the stately halls and pleasant
bowers of that renowned castle. The heart, [160/161] and its most
sacred sympathies, are indeed in every part of it, even amid its
most stirring agitations, busily engaged with the young and beautiful
bride of Leicester; and we are forced from the pride and pageantry
of the festive scene to the gloom and solitude of her confinement,
where she droops like the flower assailed by the tempest, whose
short summer-day of beauty and of blossom is overclouded and darkened
for ever.
The action of this drama, for it approximates more to the drama
than any of the preceding productions of its eminent author, is
rapid and changeful; and the spirit of the times of Elizabeth has
been most skilfully infused into the whole story. The minute proprieties
to which we have before adverted, of garb, idiom, manners and humours,
and the domestic life of our ancestors in that age, even to the
upholstery of an apartment, are also scrupulously preserved. So
constant is this fidelity, that scarcely a passage can be found
in the romance, whether its high and dignified personages sweep
by in solemn and fantastic pomp, or we are ushered into the public
room of an inn to hear the buffoonery and banter of social and convivial
relaxation in humbler life;—scarcely a passage, we say, occurs
that is not redolent of the æra which the writer has chosen
to illustrate; nor is a contrivance admitted which is not faithful
to his scope and his purposes. The tale, indeed, may not have that
magic influence on the fancy which was experienced by those who
hung over the antecedent fictions of this admired novelist; and
it may abound less in those sportive creations of genius which will
live, we were about to say, for ever, enshrined and embodied in
Dirk Hattrick [sic], Dandy Dinmont, and Meg Merrilies: but
it rushes at once to the heart, and unlocks the inmost fountains
of our sympathetic affections; amending the soul by the lessons
which it presents to the criminal aspirings of earthly ambition,
and chastening and purifying it by the most affecting images of
mortal suffering.
[1] The existence of this astrologer, Alasco, is not mere fiction;
such a person having been in correspondence with Dr. Dee, who resided
at Mortlake, in Surrey, at the time in question.
Notes: Format: 3 vols Crown 8vo; price 1l. 11s. 6d. Boards. Publisher:
Hurst & Co.
Print | Close
© 2004 Project Director: Professor
Peter Garside;
Research Associates: Dr Jacqueline
Belanger, Dr Sharon Ragaz;
Database/Website Developer: Dr Anthony


text:
Websites: AdamAndAndy.com, Adam and Andy Yahoo Group
Bio: James Asal lives in Connecticut with his spouse Timothy and their beagle, Baxter. His comic strip Adam & Andy debuted on the web on May 15, 1999.
Adam & Andy appears in several publications in the US and Europe. The feature is translated into German, Turkish, Swedish, Norwegian, Russian, and Polish.
Readers can sign up for free email subscription to the strip.
The first Adam & Andy trade paperback collection was published by Studio 64 in October 2003 and is available direct from AdamAndAndy.com or at bookstores worldwide.
Adam & Andy trade paperback
[News, Posted 3/1/04]
Every year I look forward to Alternative Press Expo. It's like someone took an Artists' Alley section of a regular comic convention and gave it full run of the show, shooing all the trading cards, action figures and quarter bins out the door. The fact that it takes place in San Francisco is a definite plus, as well, especially if you run a nonprofit organization devoted to queers in comics!
Prism Comics made its debut as an official not-for-profit organization last year at APE, with a modest…
This page last updated on 4/10/08.If you're James Asal and you want to submit a revision to this profile, click here to log in. Once you're logged in, you can submit revisions to your profile and add and change images.
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text:
More Hawkinson
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text: The Whitehouse will eventually attack Iran because America is full of sheepe.Million are ignorant when it come to who caused most wars in which the US was involved or the reason behind them or how many innocents the US killed in those wars. " It is fortunate for the governments that the masses don't think." Adolf Hilter. how many know that the Whitehouse sent a letter to the leader of Afghanistan in 1998 demanding to be allowed to build the Turkmenistan-Afghan-Pakistan pipe line. The letter stated we can come with a carpet of peace or a carpet of bombs. The choice is yours. Well! The US came with a carpet of bombs.


text:
Emma Watson is starting the New Year as a single lady!
The "Harry Potter" star split with her longtime beau Will Adamowicz.
"Emma and Will separated last summer and are no longer in touch," the actress' rep told the U.K.'s The Mirror. The cause of the couple's split is not yet known.
The two met as students at Oxford University in 2011. They were last seen together in London in November.
The actress is notoriously tight-lipped about her personal life. However, she opened up about relationships in an interview in the October 2012 issue of Glamour UK.
"I wish someone had told me at 15: 'You accept the love that you think you deserve.' I would have approached my relationships completely differently if they had," the brunette beauty told the mag. "I like this idea of quality control – that we don't have to accept just anyone into our lives. People talk about love as though it just happens to you – as though you're a victim in it all, when actually you can make good choices and bad. But women have a natural tendency to want to nurture and take care of men. I tend to date people who are quite introspective. I like deep thinkers."
We don't think Emma will be single for long!
Click "Launch Gallery" above to see more celebrity splits.
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text:
Camping Recipes
Sunflower Sandwich
Makes 1
- 1/2 split English muffin, hamburger bun or 1 slice of bread
- peanut butter
- 1 canned pineapple slice, cut into pieces or canned pineapple tidbits
- raisins
- sunflower nuts (optional)
Use a table knife to spread English muffin half, hamburger bun or bread slice with peanut butter. Arrange the pineapple pieces on top of the peanut butter in a circle to look like the petals of a sunflower. Fill the center of the flower with raisins. If you like, sprinkle with sunflower nuts.
VKR Program
Purchase your one year membership now for only $27.
Send a KOA Gift Card or check out what special deals our Partners have cooked up especially for you.
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text: Photos: Best of the West Share this story email Share this story «Previous 1 of 29 Photos Next » « » APTOPIX Alamo Bowl Football Oregon players celebrate the team's win over Texas in the Valero Alamo Bowl NCAA college football game, Monday, Dec. 30, 2013, in San Antonio. Oregon won 30-7. (AP Photo/Eric Gay)


text:
FOX News – news app for Android. Get the day's top news stories from the FOX News Channel. The app allows you to receive FOX News alerts, read headline news stories, stream the latest video clips, listen to FOX News Radio, and browse through photo galleries, all for free. Be always aware of the hottest news!
App. version: 1.0.6
Android version: 1.6+
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text:
did an MTBR search on the subject, didn't find anything...
what bike(s) have you sold that you wish you'd kept?
mine were my '02 superlight and the beautiful burgundy '99 ibis alibi. (thankfully, i kept the orange one)
i needed to sell the alibi frame to fund the superlight and the superlight went out the door to make room and provide a little extra cash.
at the time, the alibi was pretty light for an XC setup (24.0lbs) and the santa cruz would bull through almost anything...
i only have photos of the superlight. wish i'd scanned the hard copies of the burgundy ibis...
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County tax rate, budget hearing set for today
Polk County Enterprise - September 2009
LIVINGSTON — Polk County taxpayers another opportunity to comment on the proposed $25 million Polk County budget at 4 p.m. Tuesday, Sept. 8. At the first public hearing on the budget, Kathy Freeman took issue with what she claimed were salary figures for the secretary assigned to the DPS office in Livingston. She questioned why a secretary was paid $41,335.41. The proposed budget shows the salary to be $28,642.11. Group insurance is $7,143.12 a year, retirement $2,739.75 and $23,56.38 in payroll taxes. Since the employee who was singled out in Freeman's comments has served in her position for several years, she also qualified for $720 a year in longevity pay.
The DPS secretary assists troopers with crash reports, filing citations with Justice of the Peace courts and filing paperwork on pending cases with the district attorney's office. She also provides notary services and provides copies of accident reports to insurance companies, media outlets and the public as well as other customer service duties. The secretary also handles bookkeeping on time sheets for DPS staff and reconciles those with records in Austin. Local troopers also point out that Polk County is the only county in this DPS district to staff the office with a single office worker. The other county have two. In Sunday's edition, a story on the earlier budget hearing understated the number of officers that work out of the DPS office.
There are 10 troopers, one sergeant, three license and weight officers, the driver's license office and two game wardens. Those troopers said if they were required to do all their own paperwork, it would take each of them two to three days per week to complete The revenue generated by troopers would drop dramatically. Every JP has two secretaries to process tickets from troopers and sheriff's deputies. If officers were required to do their own paperwork, it would take each of them off the streets for three days a week, according to DPS Sgt. Nita Bowen. San Jacinto County has two full time secretaries.
Justice of the Peace courts are budgeted to bring in $820,000 in court revenue during the 2010 fiscal year. That revenue comes from fines for offenses reported by all law enforcement officers as well as fees for civil cases. Research on the amount of yearly revenue that results from DPS citations was still under way as this edition went to press, but early data indicates that troopers alone generate more than $1 million. Proposed budget changes The revenue side of the county budget includes an additional $648,696.92 in ad valorem tax revenue. County Judge John Thompson budgeted $100,000 less in sales tax revenue.
The county's main source of sales tax is from pipeline installed in the county. Many pipeline companies choose to pay the tax in the county where it is installed, since it is typically lower than the rates in effect where the pipe is purchased. Other taxes — hotel/motel occupancy, vehicle sales tax, mixed beverages, vehicle inventory taxes — are projected to increase by $11,000. Permits for building permits, sewer and liquor permits are expected to increase by $20,980 and include an increase in permit fees approved by commissioners this year. The budget proposal has revenue from other charges and fees dropping by $57,473.
Auto registration and vehicle licenses are predicted to drop $125,500 based on actual receipts for the 2009 fiscal year (FY09). Interest income will take the biggest dive by $244,090 based on actual FY09 receipts. The county will dip into the fund balance in the District Clerk's Record Management Fee of $2,425. Overall, Thompson foresees an increase of $331,161.88 to cover anticipated expenses. On the expense side, the county will see an increase in personnel costs of $322,524.40 due to the rising cost of benefits.
Operating expenses are budgeted to go op $31,393.40 to cover a combination of changes that may include amendments to the FY09 budget for personnel and other expenses. Capital outlay will drop by $50,410.37 since the FY09 budgeted for a number of capital purchase requests that were funded in the general budget rather that the capital purchase list for the ensuing Reimbursement Resolution funded by tax notes. Debt service will decrease by $5,957.01 due to the favorable interest rate on 2009 Tax Notes. That reduced expense was offset by lower debt payments and debt retirement.
The Available School Fund is expected to increase $2,615. Personnel Changes in various departments will impact overall personnel costs, according to the budget proposal prepared by Thompson's office. The district attorney's office will have a net change of $22,721,70. Of that amount $33,111.71 is for a new victim services position and includes a $10,389.92 reduction in part-time personnel. Another $25,000 is budgeted for a DA special fund salary, but is reimbursed by the state. At the jail, another $21,306.64 will be needed to fund staff reorganization. The sheriff's office also will receive another $25,000 plus benefits which will be moved from part time personnel to the operating fund.
In the Human Resources department, the proposed budget adds $1,049.11 to part time personnel for a total of nine hours per period. The Aging Services Department will decrease personnel expenses by $20,201 due to staffing reorganization. Operating Expenses The Commissioners Court operating budget will increase by $33,069.16 for offsetting increases and decreases in retiree health premiums, redistricting, attorney/ consulting fees, countywide events, IAH phone cards, Aging subsidy and service awards. The budget proposal provides $2,000 to purchase a truck vault for the Texas Ranger.
Another $4,000 is allocated to the County Clerk's budget to allow for election costs and staffing at the sub-courthouse. Telephone expenses were cut by $6,000.53. Juror fees are expected to increase $20,000. The Judicial section of the budget was moved to individual departments for the 258th Judicial District and the 411th Judicial District. The Tax Assessor-Collectors budget will increase by $6,000 to cover increase in expenses to mail tax statements. Maintenance engineering and Custodial increases include $10,000 for supplies/repair, $7,500 for building repair, $6,300 for inspections, $4,500 for auto maintenance and $14,000 in IBM maintenance previously budgeted in capital expenses. The Sheriff/Jail budget will described $57,946 overall. Contract housing is reduced $24,000 (moved to part-time jail) and reduced fuel and oil expenses by $31,000.
Constables budget will decrease by $2,343.68 to offset personnel increase for cell phone allowances in requesting offices, the budget proposal says. The county's share of appraisal district expenses went down by $27,403.25. The proposed budget is available for review on the Polk County website at www.co.polk.tx.us/ips/ cms. Click on the budget item in the menu on the left-hand side of the screen. BUDGET From Page 1A noculated by
Polk County Publishing Company
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