W. B. Yeats – ‘Broken Dreams’

“I walk this empty street
On the Boulevard of broken dreams

That song has no relevance to this poem, it just always plays in my mind when I look at it

Enough Green Day, back to Yeats’ poem ‘Broken Dreams’ – it was written in 1917 when he was 52 years of age, this was just after his last proposal to Maud Gonne. Yeats explores the themes of time, ageing and afterlife in this poem and their effects of his unrequited love (most probably for  Gonne considering the poem’s historical context). He does this by exploring the loveliness and perfection of his beloved, and also presents the drama of ageing and its sense of frailty.

As we already know from previous Yeats’ poem analysis, his feelings too many forms in his writing. Throughout his poetry, Maud Gonne transforms into almost like a ‘myth’, and in this particular poem, she is his Helen of Troy as he discusses her perfections as well as the perfections of her imperfections.

The poem takes the reader on a journey through the series of images and ideas of Maud Gonne, being the past, present, her being idealised, transient and “nothing but a memory”. The title ‘Broken Dreams’ instantly sets the focus of the poem of Yeats’ dreams of being with Maud Gonne that are now broken. Because of this reason, it would have thought Yeats may use a number of ‘broken’ stanzas for this poem, but instead it includes one long stanza, giving it a sense of being like a monologue. However, the varying of line length illustrates the shift of Yeats’ unplanned feelings and also the focus, giving it a modern, casual feel. Enjambment is also used in this poem to fortify this idea, creating a fast paced recollection of memories. It is particularly prominent when he is recalling Gonne in her youth, “and with the fervour of my youthful eyes”, and how beautiful she was. Yeats also uses monosyllables throughout ‘Broken Dreams’ to ponder over this wonder of true beauty.

The poem begins following a tight rhyme scheme, “passing”;”blessing”, and becomes more ranged and distant as the poem goes on, in the final few lines however, Yeats brings the structure back together as he recognises what love is.

Yeats creates a similarity of his poem to the Shakespeare sonnet ’18’ as he opens with an unflattering truth “There is grey in your hair”, this gives himself the ability to flatter later on in the poem as he shows her beauty has been withered with time, creating the poem’s overall image of ageing and the decaying of natural beauty with the help of somewhat prosaic language, “Young men no longer catch their breath when you are passing”. Yeats then creates a conversational tone, referring himself to an “old gaffer”, this makes it look more like a personal, casual thought.

Maud Gonne is almost described as being supernatural, “it was your prayer recovered him upon the bed of death”, giving her the idea of being saint-like and a miracle worker. But, again Yeats’ follows this by dwelling on how beauty fades and dies “Your beauty can but leave among us”. Yeats is infatuated by the physical beauty she once had and now that age has withered this, he’s not able to love her in the same way he once did. Consequentially, all he can do is search for “nothing but memories” and to look forward to the death and the afterlife, being reunited with her former-self, for death releases the physical constraints of age; “But in the grave all, all, shall be renewed”. To me, this gives the idea of beauty being in the eye of the beholder.

“You are more beautiful than any one/ And yet your body had a flaw / Your small hands were not beautiful”, again, shows Yeats addressing Gonne’s faults.This fault is the only thing that separates her from the angels, perhaps making her even more desirable as this human-like flaw makes her beauty transient and more precious. Adding to the idea of Yeats’ suggestion of her imperfections being a perfection in their own way, “leave unchanged the hands that I have kissed”. This shows a more mature side to Yeats’ as he is being more realistic, rather than describing Gonne as ‘flawless’.

Within the final lines, Yeats reminds us of love and beauty’s vulnerability. “From dream to dream and rhyme to rhyme I have ranged”, this repetition creates the sense of dying and Yeats’ own frustration. Yeats becomes insubstantial to words “in rambling talk with an image of air”, compared to the more imagined reality of the real human love. To end the poem, Yeats repeats a previous line, “Vague memories, nothing but memories” which surprisingly has no rhetorical question (a typical Yeats trait), but instead this inadequate of Yeats represents the mind to the reality of marvellous, physical beauty and leaves the reader with a poet and his broken dreams.

This poem can be compared to others of Yeats’ work involving an elegic tone. For example, his unfulfilled yearning in poems such as ‘The Cold Heaven’ may reflect his torment over his beloved. We can also see Maud as another symbol like in ‘The Fisherman’ and ‘An Irish Airman Forsees his Death’ of being a ‘romantic individual’ as she has her own mind and stands for independence when she ‘rejects’ Yeats.

Leda and the Swan

– Leda and the Swan was first published by Yeats in American magazine ‘The Dial’ in 1924. Yeats retells the story from Greek mythology of the rape of Leda, the daughter of a king named Thestius, by Zeus, god of sky and thunder, who had assumed the form of a swan. In many versions of the story, Zeus merely seduces Leda. This is definitely not the case in Yeats’s graphic version. After the rape, Leda gets pregnant and gives birth to Helen of Troy. According to the story, Helen was hatched from an egg that later leads to the destruction of Troy and the subsequent strengthening of Greece. Yeats talks about Zeus using his powers for evil. –

Similarly to his other poems, Yeats uses Greek Mythology references to explain his own thoughts at the time, in this case he relates the ‘making of Ireland’ to the Leda and the Swan myth as it was said to have been the ‘making of Greece’. In this poem, Yeats tries to put across the idea of evil breeding evil; the overall permeating result of this rape of Leda is destruction and death. It could be interpreted that Yeats also uses this myth as a representation of the Irish being metaphorically ‘raped’ by the English, and this too resulting in destruction and death. The idea of Zeus using his power for evil could also symbolise the Catholics in ‘September 1913’ as they are described as abusing their power, “greasy till”.

The poem favours the traditional form of the Petrarchan sonnet in iambic pentameter following an abab cdcd efg efg rhyme scheme. This use of half rhyme throughout the poem could suggest that something is ‘unfinished’. The fact the poem is composed like a sonnet is a paradox in itself as the subject of the poem is highly ‘untraditional’, the violent events are in stark contrast to the usual subject discussed in sonnets: love. However, this Petrarchan structure gives a clear separation between the first eight lines (the “octave”) and the final six (the “sextet”), the dividing line and turning point in the poem, possibly representing the moment of ejaculation—the “shudder in the loins.”

Yeats’s begins the poem in an abrupt manner, “A sudden blow”, bringing the reader dramatically into the fray, making them believe we are witnessing the events.This is similarly used in ‘The Cold Heaven’ beginning with “Suddenly”, also projecting a sense of urgency, immediately drawing the readers attention. The octet then deals with the ‘attack’. The swans power is immediately brought forward with it’s “great wings”, contrasting to the weakness of the “staggering girl”. Yeats uses violent language in this octet to make the reader empathise the girl,

“her nape caught in his bill”, “he holds her helpless breast upon his breast” .

In the second stanza, a common technique of Yeats is used; the rhetorical question. Yeats also creates ambiguity as to whether Leda consents here; “How can those terrified vague fingers push the feathered glory from her loosened thighs?” Her “thighs” might be “loosening” through choice and not by force as well as her thighs being “caressed”, which reflects a more affectionate scene. Yet Yeats also describes her “breast” as “helpless” which implies She has no choice over what happens – whether or not she is rendered “helpless” by her lust remains one of the key points for debate. This idea of the girl ‘letting it happen’ also links to the people of Ireland just ‘taking it’ during the Easter rising in ‘Easter 1916’.

The three rhetorical questions in the poem, like in ‘September 1913’ are used by Yeats as a way to challenge the reader and leaves them wondering with thought. “And how can that body, laid in that white rush, but feel the strange heart beating where it lies?” The poem also ends with a rhetorical question, like in ‘Wild Swans at Coole’ and ‘the Second Coming’. “Did she put on his knowledge with his power before the indifferent beak could let her drop?” leaves the reader with the idea of the affects of rape and Zeus’ power and knowledge possibly transferring to Leda. The result of rape in this case reflects on Yeats’ idea of ‘violence breeding violence’ as Helen of Troy was born, she was later abducted from her husband by Paris, resulting in the violent Trojan war.

“Mastered by the brute of blood” along with the fact that the “beak could let her drop” again shows Zeus’ dominance. This final line, with the rest of the poem, could be symbolic of the Gods intervene in human affairs and then dropping it.

“A shudder in the loins engenders there The broken wall, the burning roof and tower And Agamemnon dead.” makes clear that the effects of this rape ends with not only the death of Agamemnon, but also the absolute destruction of Troy. If Leda did indeed consent to the union with Zeus, then she is effectively the catalyst for horror – this may be a reflection on the actions of some of the women Yeats knew or Yeats may even be discussing the consequences of his own actions. This refers to the idea of the consequences of one action being seen to unfold over decades of violence and destruction, in Yeats’ case, the destruction of culture – rendered as a motif here by the destruction of Troy.

Throughout the poem, Yeats uses vivid language to create intense imagery of the rape, “terrified”, “shudder”, “burning roof”. This contrasts with the semantic field of sexual intercourse used in the poem; “breast upon breast”, “loosening thighs”, “shudder in the loins”. This creates the sense of the violence into the sexual act, and that there isn’t any ‘love’ present. The idea of the ‘Swan is also a paradox to the ‘Wild Swans at Coole’, the Irish wild swans were seen as beautiful, peaceful and “brilliant creatures”, where as the Greek god swans are only forceful.

Thank you for reading, here are some websites which helped me in my research;

My analysis of W. B. Yeats – ‘The Second Coming’

This poem was composed by Yeats in 1919, just at the end of the First World War (the ‘recovery’ period, if you like), and it was originally named ‘The Second Birth’. The poem is considered a major work of Modernist poetry and has been reprinted in several collections, including ‘The Norton Anthology of Modernist Poetry’.

The first stanza of the poem begins by describing the conditions present in the world, “Things fall apart”, “Mere anarchy”, and the second surmises from those conditions that a monstrous Second Coming is about to take place, not of the Jesus we first knew, but of a new messiah, a “rough beast,” the slouching sphinx rousing itself in the desert and lumbering toward Bethlehem. This brief exposition, though intriguingly blasphemous, is not terribly complicated; but the question of what it should signify to a reader is another story entirely.

As it was written post WW1, you would think this poem to be full of hope and youthfulness (like Europe should have been), but instead, Yeats takes a turn and instead composed this poem as a way to describe what he finds most terrifying post- WW1.

‘The Second Coming’ seems to be written in blank verse, as it has a consistent meter (rough iambic pentameter), but doesn’t include any strict rhyme scheme. It includes twenty two lines split into two stanzas, but does not appear to follow any particular formal tradition. The second stanza of the poem is made up of fourteen lines, this suggestively creates the impression it could be a sonnet, as it uses the same line length. The first stanza, however, is only made up of eight lines, this could be thought of as a fragment of a sonnet that is ‘interrupted’ by the full sonnet of the second stanza. However, these aren’t ‘true’ sonnets in the classic sense because of the un-structured rhyme scheme.

The title of the poem, ‘The Second Coming’, refers to the Second Coming of Christ, as predicted in the Book of Revelation in the New Testament of the Bible. The phrase, “the second coming”, stands as a symbol of its own, gathered from the history and consciousness of humankind back to the beginning of recorded time, referred to in the poem as “Spiritus Mundi”. This book is also known as the Apocalypse and is seen as the most violent parts of the bible. Also, when Yeats wrote the poem, World War I had just ended in Europe, and a lot of people were starting to take the idea of a “war to end all wars” more seriously. They were also worried about how to tell good and evil apart. Amid this pessimistic atmosphere, Yeats adds a sinister twist to the idea of the Second Coming in his poem, suggesting that the end of history might not be heralded by the return of Christ at all, but by the coming of the Antichrist – a symbol of violence and chaos in the world.

A main technique in which Yeats uses in this poem (as well as throughout all of his poetry), is the use of unexplained symbols. Such as “Falcon”, “A shape with lion body and the head of a man” (referring to the Egyptian Sphinx), and “rough beast”. This technique of taking symbols from a variety of sources e.g the Bible, history, folklore, Greek mythology, and his own plays is popular throughout Yeats’ poetry. Yeats’ use of rich and vivid symbols in this poem creates a feeling of disaster, turning to dread at the thought of facing a change, even when such change could be an improvement.

The opening line begins with the repetition of “Turning and turning”, could be a symbol to life. And the “widening gyre”, Yeats uses this symbol throughout his poetry. Technically, it stands from the alternation between two historical cycles: one characterized by order and growth, the other by chaos and decay. It’s also comparable to the Chinese concepts of Yin and Yang. A tone of confusion and tension is set from the first opening lines. “The falcon cannot hear the falconer”, symbolising the things being out of sync and the chaos that Europe had been left with post WW1. The “falcon” may also be a reference to Shakespeare’s Macbeth regarding to the unnatural events occurring on the morning after the death of King Duncan, “On Tuesday last / A falcon, towering in her pride of place”. “Things fall apart, the centre cannot hold” could be referring to a society out of control and again, works with the line before it of the “falcon cannot hear the falconer” in adding to this idea of chaos. These two lines create a fast rhythm to the reader, projecting a sense of almost desperation. “Mere anarchy” could mean a couple of things; perhaps nothing more than confusion, or a confusion that was once held back by civilization, but is now free, and ironically, binding at the same time. When some commit anarchy, others are bound by the consequences of the anarchist’s actions and are paradoxically not free to be anarchic themselves.

The second stanza appears more prophetic, with the repetition of the first word of the two lines “Surely some revelation is at hand; Surely the Second Coming is at hand”, the repetition of “surely” expresses the doubt that Yeats would have been feeling during the time. “Desert sand”, adds to the semantic field of religion, possibly referring to the time where Jesus was led into the desert by the Holy Spirit so that the devil could test him. “The head of a man, a gaze blank and pitiless as the sun”. Gives no specific personification to this character that we can be drawn to or admire. This somehow repels the reader from this inhuman thing that moves closer and closer, like death. There will be a death when it arrives to its destination; the death of old ideas, and the destiny of man shot in another direction, from which it may then spiral again in yet another “widening gyre”.

There are two types of language that is used in this poem, firstly Yeats uses sinister like language, “blood-dimmed”, “drowned”, “nightmare” to express the terror occurring during the idea of Armageddon and ascension day. Also the use of religious language, “desert sand”, “rocking cradle”, “Bethlehem to be born”. These two language types used together in this poem creates a huge paradox in which is conveyed throughout the whole of the poem.

‘The Second Coming’ is considered a major work of modernist poetry and has been used/adapted in popular culture today. Here are some interesting examples I have found during my research;

  • DC Comics’ series ‘Batman: The Widening Gyre’, written by Kevin Smith, and illustrated by his lifelong friend and muse, Walter Flanagan, was titled after the opening line of this poem and draws heavily on Yeats’ themes and symbolism.
  • Stephen King’s novel ‘The Stand’ quotes the poem and heavily references the poem throughout the book. Many plot points parallel lines from the poem.
  • In the comic ‘V for Vendetta’ by Alan Moore and David Lloyd, the character V quotes the poem.
  • In the TV series ‘Heroes’, Season 3 Episode 1 is titled “The Second Coming”, and the narrator recites the poem in the closing moments of the show.

– I hope you have found this blog post useful in your own analysis of ‘The Second Coming’, here are some websites that I found the most useful in my research of this poem;

Thanks for reading! –

‘September 1913’ & ‘Easter 1916’ – W.B Yeats compared and contrasted

Throughout many of his poems, W.B Yeats portrayed important aspects of Ireland’s history especially around the 1900’s when Ireland was fighting for independence. The poems ‘September 1913’ and ‘Easter 1916’ both reflect the political, cultural, and societal atmospheres that were found in Ireland at this time.

‘September 1913′ focuses on displaying Yeats’ new stance of belief exploring his new political mind during the time where the Irish Independence was also at it’s highest. This poem is about what Yeats sees as a lack of compassion in his countrymen and a reaction to their apathy

In ‘Easter 1916′, however, the focus is mainly on working through Yeats’ personal feelings about the revolutionary movement and is almost used as an elegy to the leaders executed whilst trying to prevent Great Britain from ruling Ireland.

The way in which Yeats names many political leaders in both of these two poems makes them similar. In ‘September’, he mentions “O’Leary” at the end of each stanza, John O’Leary was an Irish separatist who focused on getting the greatest good for Ireland. He uses him in this poem as a symbol of national integrity. The repetition of O’Leary makes it clear Yeats looked up and admired him and that he wishes for a return to the less egotistical and self-driven politics of a bygone era. The line “It’s with O’Leary in the grave” projects Yeats’ idea of O’Leary’s death linking to the ‘death’ of Ireland as he no longer is able to guide it. Yeats also mentions Edward Fitzgerald, Robert Emmet and Wolfe Tone in the third stanza, all Irish revolutionists and leaders (whom Yeats idolised), so that they stand out from the rest of the nation.

‘Easter’ similarly includes the key figures (this time involved in the Easter uprising), but contrasting to ‘September’ by alluding to them without actually listing names. “That woman’s days were spent” refers to Constance Markiewicz, an Irish revolutionist and politician. Yeats expresses a negative opinion of Markiewicz calling her “ignorant”. “Until her voice grew shrill”, I think Yeats is trying to put across here the idea of Markiewicz being almost ‘spoilt’ by politics with the use of this negative language, as he was a long-time friend to her before. The reference to “harriers” also backs up this idea as it can be seen as a symbol of attacking innocence (meaning politics attacking innocent Markiewicz). The man who “kept a school / And rode our winged horse” is a reference to Patrick Pearse, and the lines about Pearse’s “helper and friend” allude to Thomas MacDonagh, again both Easter rising leaders. In Yeats’s description of the three, his torn feelings about the Easter uprising are most keenly communicated. He contrasts the “shrill” voice of Countess Markievicz as a revolutionary, with his remembrance of her incomparably “sweet” voice when she was a young woman; and he contrasts the haughty public personae of Pearse against his impression of his “sensitive” nature, describing how “daring and sweet” his ideals were even though he and MacDonagh had to resort to “force”.

‘Easter 1916’ has a noticeable pattern in it’s form, stanza 1 and 3 both having 16 lines to represent 1916, and stanza 2 and 4 having 24 lines representing the date in which the uprising began April 24th (4 stanzas being the 4th month, April). This to me is a clever way of Yeats expressing the deep, meaningful thoughts he has over the rising. ‘September 1913’, however is simply written in a 4 stanza 8 line poem with an alternating rhyme rhythm throughout. This to me, suggests the stability and regularity that Yeats wanted to return to Ireland at that time, as well as setting an accusatory and conversational tone.

Yeats uses irony in both of these poems, in ‘September’ by the use of religious language, “prayer” and “born to pray”, this language is used as a mockery to the Catholics as they ‘took from Ireland’ -being responsible for apathy. “Fumble in a greasy till”, Yeats accuses the Catholics of being the reason of the workers having little money taking from them, and the life out of Ireland. This gives a very clear idea of these people killing Ireland. In ‘Easter’, “fire at the club” is an English saying, this irony is also used to mock the English, also the line “where motley is worn”, motley being the clothes of a jester suggests Yeats’ disrespect towards the revolutionists almost calling them clown-like.

‘September’ begins with Yeats immediately directing to the reader being the middle class workers, in first person, “What need you”, this instantly projects a sense of anger. ‘Easter’ is written in first person narrative, “I have met them”, this instantly distances Yeats from the rest of the people.

Both poems also use rhetorical questions, which could mean this is a technique Yeats is a big user of. “Could they save?” and “She rode to harriers?” the constant use of rhetorical questions in these poems could be to convey a sense of confusion, or the idea that the questions can never be truly answered.

I hope this has been some use to you in either your notes on ‘Easter 1916’ or ‘September 1913’, looking at these comparisons has helped me to understand Yeats further and his writing techniques and feelings. In my opinion, I think it is most interesting in reading ‘September’ before looking at ‘Easter’ as (apart from being written earlier) shows us the change in Yeats’ feelings about the changes that were occurring in Ireland at that time.

My W. B. Yeats & Oscar Wilde research

At home I have just completed some background research on both writers Oscar Wilde and W. B. Yeats. Hopefully this information may be of some use to you for better understanding of their backgrounds before we begin to look at their novel/poems in greater depth..

Oscar Wilde 1854-1900

Wilde was educated at Trinity College, Dublin and Magdalen College, Oxford. While at Oxford, he became involved in the aesthetic movement. After he graduated, he moved to London to pursue a literary career.

‘The Picture of Dorian Gray’ is the only published novel by Oscar Wilde. In a letter, Wilde said the main characters were reflections of himself:

It appeared as the lead story in Lippincott’s Monthly Magazine printed as the July 1890 issue. The magazine’s editors feared the story was indecent as submitted, so they censored roughly 500 words, without Wilde’s knowledge, before publication. But even with that, the story was still greeted with outrage by British reviewers, some of whom suggested that Wilde should be prosecuted on moral grounds, leading Wilde to defend the novel aggressively in letters to the British press. He later revised the story for book publication, making substantial alterations, deleting controversial passages, adding new chapters and including an aphoristic Preface which has since become famous in its own right. The amended version was published in April 1891. Some scholars believe that Wilde would today have wanted us to read the version he originally submitted to Lippincott’s.

Drama and tragedy marred Wilde’s private life. He married Constance Lloyd in 1884 and they had two sons, but in 1891 Wilde began an affair with Lord Alfred Douglas. In April 1895, Wilde sued Douglas’ father, the Marquis of Queensberry, for libel, after the Marquis had accused him of being homosexual. Wilde lost and, after details of his private life were revealed during the trial, was arrested and tried for gross indecency. He was sentenced to two years of hard labour. While in prison he composed a long letter to Douglas, posthumously published under the title ‘De Profundis’ .  Wilde was released with his health irrevocably damaged and his reputation ruined. He spent the rest of his life in Europe, publishing ‘The Ballad of Reading Gaol’ in 1898. He died in Paris on 30 November 1900.

Oscar Wilde portrait.jpg

William Butler Yeats 1865-1939

Yeats was born in Dublin and educated there and in London.

His earliest volume of verse was published in 1889, and its slow-paced and lyrical poems display Yeats’s debts to Edmund Spenser, Percy Bysshe Shelley, and the poets of the Pre-Raphaelite Brotherhood. From 1900, Yeats’s poetry grew more physical and realistic. He largely renounced the transcendental beliefs of his youth, though he remained preoccupied with physical and spiritual masks, as well as with cyclical theories of life. So after 1910, Yeats’s dramatic art took a sharp turn toward a highly poetical, static, and esoteric style. His later plays were written for small audiences; experimenting with masks, dance, and music, and were profoundly influenced by the Japanese Noh plays. Although a convinced patriot, Yeats deplored the hatred and the bigotry of the Nationalist movement, and his poetry is full of moving protests against it.


IETF-92 Proceedings

Selection of Language for Internet Media (slim) (WG)

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Charter (as of 2015-03-16):

Description of Working Group:

A mutually comprehensible language is helpful for human communication. This is true across a range of circumstances and environments. In general, the problem is most acute in situations where there is not a clear choice for a single language, such as environments lacking contextual or out-of-band information regarding the identity of the parties and the language to be used.

The group will address two specific cases that most urgently need a technical solution: One problem space is non-real-time communication, specifically email for one-to-many or where the set of recipients is dynamic or different recipients require different languages; the other is real-time communication, specifically emergency calling, preferably also useful for other cases where the parties may not know each other personally or where one party wishes to accommodate people with varying language and media needs.

In the real-time communication case, language and media are intrinsically linked, for example, signed languages require a video media.

While the two use cases are in different contexts (real time and non-real-time), the fundamental goal is the same: to enable selection of the best-fit language(s) for a specific situation. Some of the details will also be in common across the cases. Having a single WG address both cases makes it clear that these are two aspects of the same basic problem. A single WG also makes it easier to maximize similarities and avoid unnecessary fragmentation of the solutions.

The group will produce two specifications: one for email and one for real-time communications.

In the email case, the group will produce a media-type specification that enables a single email message to contain multiple language versions of the content, with provisions to help clients select a best fit version.

In the real-time communication case, the group will produce a specification enabling negotiation of a human language per media stream. The specification must be suitable for use in emergency communications as specified in RFC 6443 and RFC 6881 (which use SIP and SDP to negotiate media); it is desirable to also be suitable for use in non-emergency real-time communications that share the same call set-up and media negotiation protocols. The mechanism will permit the caller's media and language needs and preferences to be matched against what the called party is able to provide. The mechanism will permit resources (e.g., translation, relay, media) to be allocated or engaged as early as possible in the call set-up or for the call to be routed or handled specially (e.g., routed to a resource able to provide a needed language and/or media).

By adding language to the existing media negotiation mechanism as used in RFC 6443 and RFC 6881, the group can meet the basic use cases with minimal added complexity and be able to enhance later for additional use cases as needed.

Goals and Milestones:
July 2015 -- Submit "Multiple Language Content Type" to the IESG
November 2015 -- Submit "Negotiating Human Language in Real-Time Communications" to the IESG


Michael Hendrick

Michael Hendrick : Roß! Mein Roß! Was schleichst du so träg? - GURRE-LIEDER (Arnold Schönberg)

Lisinski Concert Hall, Zagreb, Croatia

Waldemar is riding out to the castle of Gurre where Tove is waiting for him. This song depicts his journey and arrival, an ECSTATIC moment reflected in the whole of nature.

Do you remember when YOU once (or more) felt this way? ;)
GURRE-LIEDER (1911) by Arnold Schönberg tells the tale of two lovers, Waldemar and Tove, the bitterness of Tove's murder by the Queen, and their souls finding eternal union through Spring and its renewal of nature.

Performed last Fall at Lisinski Hall in Zagreb and broadcast throughout Croatia, conducted by Nikša Bareza featuring the combined orchestras & choirs of Croatian National Theater, Croatian Radio Television & the Music Academy of Zagreb.

"Roß! Mein Roß! Was schleichst du so träg?" (Waldemar):

"Horse! My horse! Why are you dragging so slowly?
No, I see the path melting fast under your hooves.
But you must go faster. You're still in the middle of the woods,
and I planned to be in Gurre with no delay!
Now the forest thins, there,
I can see the castle which surrounds my Tove.
Behind us the forest closes into a wall of shadow; press on!
Look! The forest's shadows spread wide across field and fen!
Before they reach Gurre's grounds, I must stand at Tove's door.
Before the sound which now rings, ceases, never more to sound, your hooves, racer, must roar over Gurre's bridge;
Before that wilted leaf - there it hangs - falls down into the stream, in Gurre's yard your neighs must merrily resound...
The shadows spread, the sound dies away.
Now fall leaf, now you may perish.
I, Volmer, have seen Tove!"


Google+ Followers

Saturday, January 5, 2013

Just a comment

Just a comment:

Dear  Friends,

As you can read on the latest WOTS message dated 26:10:2012, it states

Well, I got some original messages of the ones that triggered my spiritual awakening and when I was posting the one dated 17th February 2003 I came across these paragraphs:

There is beauty under the Antarctic under the ice from a past civilization. Did you realize that you have 8000 years you cannot account for, (no). So that has to be something for you to look at also. If there is anything written, I do not know but all comes down to alignment and the Orion belt then in 2000 – it rose to its highest point, (I see).  This is how the alignment was able to come to pass, the five planets the other side of the sun. So this is why the shift will begin very slowly to take place. This is what happened before, when there was the great flood. Then there’s a shift of the Earth’s crust as we have mentioned before – you understand this?

You see there are a lot of warnings here, and it would be well worth, your scientists to look into the myths and the legends because that is where the truth is. They are not myths and legends, they are trying to leave something behind to warn you about this, not that you can do anything about it, but you could be prepared to a certain degree (indeed), because, I am going to tell you but I don’t know if you will like it or not.

I am talking about the year 2012, and it will be the month of December.  You must really use this time, your scientists, to see what is there for everybody to read. They have left the messages in the best way they can, the Mayan calendar and all the writings that they have tried to decipher from the monuments, of the pyramids and all the hieroglyphs.

Did you know there is a man-made cavity under the feet of the Sphinx, and what has this got in it, what has this got in it? Does it contain the secrets that you should know about? (It probably does). Then why haven’t they made an effort to find out? What is in there?
This is something we cannot understand – for they know it is there, it is not a secret, and it is a man made cavity and something has been put in there, but you will never know because they will never get round to finding out and exploring it, (they should).

When reading it, the paragraph of this message channeled for WOTS immediately came to my mind as I have searched for it but I have not found out nothing recent, but of course, I am not an expert in searching and have little time too.

Well, searching at Google for Antarctica old civilization, I found out:

Ancient structure under Antarctica’s ice
Posted on May 17th, 2011, 5:04 pm by admin
This does not surprise me at all, there has been many theories about how there might be a ancient civilization under the ice on Antarctica. All the theories have been pushed aside because of the STUPID time frame thats tells us that modern man ( you know! the ones that are able to build civilizations) has only been around for 250,000,00 years, Geologist tell us that the ice on Antarctica has been there for MILLIONS of years! well if this is right well how come we have an ancient map called the “Piri Reis map”? The Piri Reis map is explained as followed: The Piri Reis map is a pre-modern world map compiled in 1513 from military intelligence by the Ottoman-Turkish admiral and cartographer Piri Reis. The half of the map that survives shows the western coasts of Europe and North Africa and the coast of Brazil with reasonable accuracy. Various Atlantic islands including the Azores and Canary Islands are depicted also it shows what is to be believed as Antarctica with now ice one it, as is the mythical island of Antillia and possibly Japan. The historical importance of the map lies in its demonstration of the extent of exploration of the New World by approximately 1510, perhaps before others. It used 10 Arabian sources, 4 Indian maps sourced from Portuguese and one map of Columbus. When reading the story of how Piri Reis got his map he explained that the Chinese copied their version of the map from an even older map.  What i’m trying to say is it is not impossible for there to be a civilization under the ice of Antarctica, also that our time frame of ancient history and modern man are way off! well here is the story enjoy!

According to the European Union Times, disturbing news has been leaking out from the giant continent at the bottom of the world. During April 2001 an ancient structure or apparatus that lay encased miles under the hard Antarctic ice was detected by a roving spy satellite. The US military immediately moved to quash the reports and the mainstream news media dutifully complied. Despite the news blackout, reports still surfaced that a secretive excavation project had commenced on the heels of the discovery. Some European countries formally protested the excavation by the US military.

What could be under the ice?

And now, please click this link and go to:

The Egyptian Connection

The mysteries that surround the construction of the pyramids of Egypt and South America have caused speculation that an ancient, advanced and civilized race once existed. The construction of artifacts like the Sphinx, and the pyramids of Egypt, was impossible for people to have accomplished in the period 4000-10,500 BC. and even today, the construction of these artifacts is only barely within our technological grasp. The Sphinx that stands in the sands of Egypt and which is believed to be at least 10,000 years old, is said by experts to show inexplicable signs of water erosion. Explorers have searched the mysterious network of chambers that lies beneath the Sphinx and the pyramids of the Giza plateau, hoping to find the legendary Hall of Records which is said to contain ancient knowledge of even older civilizations. Information about this repository of knowledge originates with one of the most ancient and famous of the Egytptian legends - that of Isis and Osiris, and clues have been discovered in many other ancient texts. The pyramids themselves have spawned many theories about the astronomical knowledge of the early Egyptians. Certain pyramids are said to be aligned with constellations of stars, and even Newton studied the dimensions of the pyramids, relating them to calculations of the size of the earth. Recent NASA photographs of Mars have revealed a pyramidic-like structure on it's surface which some

astronomers believe is not natural See planetary cartography.

For more information on Egyptian civilization, see

From ancient history and the occasional archeological discovery, we gain tantalising glimpses of civilizations that flourished and died, tales of vast wealth, hidden treasure and impossible accomplishments, - from the Phoenicians, Sumerians, Hebrews, Mesopotamians, Egyptians and ancient Greeks - They all talk of at least one civilization with phenomenal wealth and power, special knowledge and extraordinary abilities.

This ancient culture may have undergone a catclysmic event, perhaps an earthquake or a flood, even the 'Great Flood' of Noah, causing the destruction of the civilization, or perhaps, this culture endured a slow decline over the centuries of forgotten time. They certainly have disappeared from our world altogether. One possible explanation suggested is that of continental drift, violent or gradual. Is it possible that Antarctica might have been somewhere else 10,000 years ago, with a different, more temperate, climate? Some scientists believe that the actual position of the South Pole itself may have shifted significantly in time gone by. Antartica was also once part of an ancient supercontinent, Gondwanaland, see Geophysics.

Being so, judge and search for yourselves. If you find out more connected with this matter, please revert to me. Tks

THE EXPANDED DIRECTOR'S CUT OF THE EMMY AWARD WINNING NBC NETWORK SPECIAL. 95 mins. This program presents geological evidence that the world's most famous monument, The Great Sphinx of Egypt, may be thousands of years older than we have been taught.

The Mystery of the Sphinx - NOW ON DVD with Bonus Features - 95 mins. Cat. #U526. Go to

Gobekli Tepe – 6000 years older than Stonehenge

April 2, 2012

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Gobekli Tepe: Oldest Monumental Architecture of Planet

Located 35 miles north of Turkey’s border with Syria, Gobekli Tepe consists of 20 T-shaped stone towers, carved with drawings of snakes, scorpions, lions, boars, foxes and other animals.

The amazing thing about them is they date back to 9,500 BC, 5,500 years before the first cities of Mesopotamia and 7,000 years before the circle of Stonehenge.

Scientists say that back then humans hadn’t even discovered pottery or domesticated wheat. They lived in villages, had no agriculture and only relied on hunting to survive.

Göbekli Tepe had already been located in a survey in 1964, when the American archaeologist Peter Benedict mentioned the site as a possible location of stone age activity, but its importance was not recognised at that time. Excavations have been conducted since 1994 by the German Archaeological Institute (Istanbul branch) and  Sanliurfa Museum, under the direction of the German archaeologist Klaus Schmidt (University of Heidelberg). The title isn’t actually doing Gobekli Tepe justice since the Turkish archaeological site is 7,000 years older than Stonehenge.

Gobekli Tepe changes everything archaeologists discovered so far and it is considered the most important archaeological find in recent history. Klaus Schmidt, the man who first discovered Gobekli Tepe says the carvings might be the first human representation of gods.

Göbekli Tepe

Evidence for the existence of extra-terrestrial life?

Unexplained 12,000 year old underground city, in southeastern Turkey, is made of massive carved stones, crafted and arranged by prehistoric people who apparently had not yet developed metal tools or even pottery.

Göbekli Tepe (Turkish for “Potbelly hill”) is a hilltop sanctuary erected on the highest point of an elongated mountain ridge some 15 km northeast of the town of Sanliurfa (formerly Urfa / Edessa) in southeastern Turkey.

The site is currently undergoing excavation by German and Turkish archaeologists.

Until excavations began, a complex on this scale was not thought possible for a community so ancient. The massive sequence of stratification layers suggests several millennia of activity, perhaps reaching back to the Mesolithic. The oldest occupation layer (stratum III) contains monolithic pillars linked by coarsely built walls to form circular or oval structures. Göbekli Tepe has revealed several adjacent rectangular rooms with floors of polished lime, reminiscent of Roman terrazzo floors.

Thus, the structures not only predate pottery, metallurgy, and the invention of writing or the wheel; they were built before the so-called Neolithic Revolution, i.e., the beginning of agriculture and animal husbandry around 9000 BC. But the construction of Göbekli Tepe implies organisation of an order of complexity not hitherto associated with Paleolithic, PPNA, or PPNB societies.

At present, Göbekli Tepe raises more questions for archaeology and prehistory than it answers. We do not know how a force large enough to construct, augment, and maintain such a substantial complex was mobilized and paid or fed in the conditions of pre-Neolithic society. We cannot “read” the pictograms, and do not know for certain what meaning the animal reliefs had for visitors to the site; the variety of fauna depicted, from lions and boars to birds and insects, makes any single explanation problematic.

Andrew Collins – Finding Eden: Mystery of Gobekli Tepe & Giza’s Cave Underworld

Description: In southeast Turkey stands the oldest temple in the world. At nearly 12,000 years old, Gobekli Tepe is an enigma to archaeology. Consisting of a series of stone circles, made up of T-shaped pillars bearing exquisite carvings of animals, birds, insects and abstract human figures, this ritual complex was constructed at the end of the last Ice Age by faceless individuals, who rose far beyond the conventional understanding of the hunter-gatherers who occupied the Eurasian continent at this time. Why were these amazing stone circles buried overnight, sometime around 10,000 year ago? It is an enigma that seems to start in Africa some 17,000 years ago, and ends with not only the creation of civilization down in the fertile crescent of Mesopotamia, but also in the sudden emergence of the ancient Egyptian civilization, where the story continues with the discovery in 2008 of a cave underworld beneath the plateau at Giza. Powerful evidence suggests that this underground complex existed ever before even the Pyramid Age, and might well reflect an African origin to the roots of ancient Egyptian religion. It might also hold the key to answering claims that in the vicinity of the Sphinx is a lost Hall of Records.

Biog: History and science writer Andrew Collins is a leading expert on Gobekli Tepe, and provides a powerful insight into the strange worlds both at Gobekli Tepe in Turkey and beneath the Pyramids at Giza. His books include From the Ashes of Angels (1996), Gods of Eden (1998), The Cygnus Mystery (2006), and Beneath the Pyramids (2009), in which he discovers and explores the lost underworld that exists beneath the Pyramids of Giza. Andrew, born in 1957, lives with his wife Sue in Marlborough, UK.

Filmed at the Megalithomania Conference in Glastonbury on 9th May 2010 by Nautilus AV Productions.

Gobekli Tepe: NG Photo Gallery

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PS1 Gobekli Tepe: The World’s First Temple?

Schmidt points to the great stone rings, one of them 65 feet across. “This is the first human-built holy place,” he says.

Prehistoric people would have gazed upon herds of gazelle and other wild animals; gently flowing rivers, which attracted migrating geese and ducks; fruit and nut trees; and rippling fields of wild barley and wild wheat varieties such as emmer and einkorn. “This area was like a paradise,” says Schmidt, a member of the German Archaeological Institute. Indeed, Gobekli Tepe sits at the northern edge of the Fertile Crescent—an arc of mild climate and arable land from the Persian Gulf to present-day Lebanon, Israel, Jordan and Egypt—and would have attracted hunter-gatherers from Africa and the Levant. And partly because Schmidt has found no evidence that people permanently resided on the summit of Gobekli Tepe itself, he believes this was a place of worship on an unprecedented scale—humanity’s first “cathedral on a hill.”

Unlike the stark plateaus nearby, Gobekli Tepe (the name means “belly hill” in Turkish) has a gently rounded top that rises 50 feet above the surrounding landscape. To Schmidt’s eye, the shape stood out. “Only man could have created something like this,” he says. “It was clear right away this was a gigantic Stone Age site.” The broken pieces of limestone that earlier surveyors had mistaken for gravestones suddenly took on a different meaning.

Schmidt returned a year later with five colleagues and they uncovered the first megaliths, a few buried so close to the surface they were scarred by plows. As the archaeologists dug deeper, they unearthed pillars arranged in circles. Schmidt’s team, however, found none of the telltale signs of a settlement: no cooking hearths, houses or trash pits, and none of the clay fertility figurines that litter nearby sites of about the same age. The archaeologists did find evidence of tool use, including stone hammers and blades. And because those artifacts closely resemble others from nearby sites previously carbon-dated to about 9000 B.C., Schmidt and co-workers estimate that Gobekli Tepe’s stone structures are the same age. Limited carbon dating undertaken by Schmidt at the site confirms this assessment.
The way Schmidt sees it, Gobekli Tepe’s sloping, rocky ground is a stonecutter’s dream. Even without metal chisels or hammers, prehistoric masons wielding flint tools could have chipped away at softer limestone outcrops, shaping them into pillars on the spot before carrying them a few hundred yards to the summit and lifting them upright. Then, Schmidt says, once the stone rings were finished, the ancient builders covered them over with dirt. Eventually, they placed another ring nearby or on top of the old one. Over centuries, these layers created the hilltop.

Today, Schmidt oversees a team of more than a dozen German archaeologists, 50 local laborers and a steady stream of enthusiastic students. He typically excavates at the site for two months in the spring and two in the fall. (Summer temperatures reach 115 degrees, too hot to dig; in the winter the area is deluged by rain.) In 1995, he bought a traditional Ottoman house with a courtyard in Urfa, a city of nearly a half-million people, to use as a base of operations.

On the day I visit, a bespectacled Belgian man sits at one end of a long table in front of a pile of bones. Joris Peters, an archaeozoologist from the Ludwig Maximilian University in Munich, specializes in the analysis of animal remains. Since 1998, he has examined more than 100,000 bone fragments from Gobekli Tepe. Peters has often found cut marks and splintered edges on them—signs that the animals from which they came were butchered and cooked. The bones, stored in dozens of plastic crates stacked in a storeroom at the house, are the best clue to how people who created Gobekli Tepe lived. Peters has identified tens of thousands of gazelle bones, which make up more than 60 percent of the total, plus those of other wild game such as boar, sheep and red deer. He’s also found bones of a dozen different bird species, including vultures, cranes, ducks and geese. “The first year, we went through 15,000 pieces of animal bone, all of them wild. It was pretty clear we were dealing with a hunter-gatherer site,” Peters says. “It’s been the same every year since.” The abundant remnants of wild game indicate that the people who lived here had not yet domesticated animals or farmed.

But, Peters and Schmidt say, Gobekli Tepe’s builders were on the verge of a major change in how they lived, thanks to an environment that held the raw materials for farming. “They had wild sheep, wild grains that could be domesticated—and the people with the potential to do it,” Schmidt says. In fact, research at other sites in the region has shown that within 1,000 years of Gobekli Tepe’s construction, settlers had corralled sheep, cattle and pigs. And, at a prehistoric village just 20 miles away, geneticists found evidence of the world’s oldest domesticated strains of wheat; radiocarbon dating indicates agriculture developed there around 10,500 years ago, or just five centuries after Gobekli Tepe’s construction.

What was so important to these early people that they gathered to build (and bury) the stone rings? The gulf that separates us from Gobekli Tepe’s builders is almost unimaginable. Indeed, though I stood among the looming megaliths eager to take in their meaning, they didn’t speak to me. They were utterly foreign, placed there by people who saw the world in a way I will never comprehend. There are no sources to explain what the symbols might mean. Schmidt agrees. “We’re 6,000 years before the invention of writing here,” he says.

Still, archaeologists have their theories—evidence, perhaps, of the irresistible human urge to explain the unexplainable. The surprising lack of evidence that people lived right there, researchers say, argues against its use as a settlement or even a place where, for instance, clan leaders gathered. Hodder is fascinated that Gobekli Tepe’s pillar carvings are dominated not by edible prey like deer and cattle but by menacing creatures such as lions, spiders, snakes and scorpions. “It’s a scary, fantastic world of nasty-looking beasts,” he muses. While later cultures were more concerned with farming and fertility, he suggests, perhaps these hunters were trying to master their fears by building this complex, which is a good distance from where they lived.

Danielle Stordeur, an archaeologist at the National Center for Scientific Research in France, emphasizes the significance of the vulture carvings. Some cultures have long believed the high-flying carrion birds transported the flesh of the dead up to the heavens. Stordeur has found similar symbols at sites from the same era as Gobekli Tepe just 50 miles away in Syria. “You can really see it’s the same culture,” she says. “All the most important symbols are the same.”

For his part, Schmidt is certain the secret is right beneath his feet. Over the years, his team has found fragments of human bone in the layers of dirt that filled the complex. Deep test pits have shown that the floors of the rings are made of hardened limestone. Schmidt is betting that beneath the floors he’ll find the structures’ true purpose: a final resting place for a society of hunters.

Perhaps, Schmidt says, the site was a burial ground or the center of a death cult, the dead laid out on the hillside among the stylized gods and spirits of the afterlife. If so, Gobekli Tepe’s location was no accident. “From here the dead are looking out at the ideal view,” Schmidt says as the sun casts long shadows over the half-buried pillars. “They’re looking out over a hunter’s dream.”

By Andrew Curry
Photographs by Berthold Steinhilber

Article Source: Smithsonian magazine,  Gobekli Tepe: The World’s First Temple?

PS2 The lunisolar calendar of Göbekli Tepe

The lunisolar calendar of Göbekli Tepe, versions from Nevali Cori, Halaf, Safadi, Ghassoul, Egypt, Knossos, Tiryns, and China
Lunisolar calendar of Göbekli Tepe: a year has 12 months of 30 days, plus 5 and occasionally 6 days, while 63 continuous periods of 30 days yield 1,890 days and correspond to 64 lunations

The begin of the calendar walk was marked by a stone phallus. The calendar walk forms two loops, while the additional days at the end of the year are represented as space between the pair of central pillars. The calendar walk is at the same time a representation of the life of a supreme leader: the first pillars mark youth, the central pillars his apointment as ruler and supreme ruler, the following pillars his adult life, the final space between the pillars his death, the leaping foxes on the central pillars the guides of his soul through the Underworld back to daylight … A charming Celtic coin shows the sun horse on the early morning of the summer solstice, under it the snout of a fox peeping out of a hole in the ground – the fox that guided the sun horse through the Underworld and back to daylight
Cult building II of Nevali Cori shows 12 pillars along the walls, each representing 30 days, plus a pair of central pillars for the 5 and occasionally 6 additional days. Cult building III shows thirteen pillars along the wall, each representing 28 days, while the space between the central pillars represents one and occasionally two additional days, and this time 135 continuous periods of 28 days yielding 3’780 days corresponding to 128 lunations …

The lunisolar calendar in the version of Halaf required 6 leap days in 25 years.

Sooner or later the calendar of Göbekli Tepe was combined with an astronomical observatory in a river plain with a flat horizon, somewhere in Upper Mesopotamia. Imagine a pole or a tree of life in the center of a circle, on the circumference a dozen poles in the positions of 1 2 3 4 5 6 7 8 9 10 11 12 o’clock, the poles of 3 6 9 12 o’clock marking the cardinal directions east south west north. Sighting lines provided by the poles allow indicate where the sun will raise and set on the mornings and evenings of the equinoxes and solstices
Click to Enlarge
 This calendar observatory became the Asherah sanctuary, from AS AAR RAA meaning upward (as) toward the one composed of air (aar) and light (raa).

On the lid of a curved ivory box from Beersheba I recognize a schematic representation of the Asherah sanctuary, twelve poles around a tree of life in the center, flanked by two geometric representations of AC CA, while a pendant from Ghassoul, left upper part chipped off, shows a more realistic Asherah sanctuary, with a schematic tree, branches pointing upward, and an altar in the form of a cross. A small ivory disk from Safadi shows a variant of the lunisolar calendar from Göbekli Tepe: nine perforations around a pair of central ones, each of the nine perforations representing a period of fourty days. Nine periods are 360 days, add 5 and occasionally 6 days for a year. The ratios of lunations (l) to periods of fourty days (p) yield very good additive values l/p: 4/3, 19/14, 23/17, 42/31, 65/48, 107/79  *  65/48, 42/31, 107/79, 149/110, 256/189. (All three objects mentioned in this paragraph are from the fourth millennium BC

An Egyptian month counted 30 days, a year 12 months plus 5 days. Horus was the Celestial Falcon. His right eye was the sun, his left eye was the moon. Seth destroyed the moon eye, whereupon wise Thoth healed it. The healed eye, the famous Horus Eye or wedjat (referring to the color green, the color of new life) was called The Whole One. The six elements of the Horus Eye were associated with numbers, namely the fractions 1/2, 1/4, 1/8, 1/16, 1/32, 1/64, or, in my simple notation, ‘2 ‘4 ‘8 ’16 ’32 ’64. These numbers add up to 63/64, not really to 1. Why then, The Whole One? The Horus Eye or wedjat, I believe, represented a lunation, from one to the next new moon, or from one to the next full moon. Multiply a month of 30 days by the Horus Eye series ‘2 ‘4 ‘8 ’16 ’32 ’64 and you obtain 29 ‘2 ’32 days, or 29 days 12 hours 45 minutes – not even a minute longer than the actual value from 1989 AD, namely 29 days 12 hours 44 minutes 2.9 seconds. With a little fantasy you can even see the wedjat eye in the moon:

The Minoan double axe may be a graphic rendering of the solstices derived from the Asherah sanctuary, as shown in this drawing, inspired by the carvings on a block at Knossos (see also the chapters on Mallia and Knossos below)

The rosette in the center of the Tiryns disk, Middle Helladic, around 1650 BC, represents another variation of the Göbekli Tepe lunisolar calendar: each petal stays for 45 days, and the small circle in the center for 5 and occasionally 6 days, while 21 continuous periods of 45 days yield 945 days and correspond to 32 lunations  disc.htm

The Azilian calendar may also have been used in the Neolithic Yangshao culture, and in Banshan. Later on, the legendary first Chinese emperor Fu-hi divided the zodiac into 28 animals and mansions. This suggests a modification of the Azilian calendar: a profane week of 7 days, a profane month of 28 days, a profane year of 12 months plus 1 and occasionally 2 leap days, while 135 continual weeks of 7 days, yielding 945 days, equal 32 lunations; a sacred week of 13 days, perhaps 1-5-1-5-1 days, a sacred year of 28 weeks plus 1 and occasionally 2 leap days, while 184 continual weeks, yielding 2392 days, equal 81 lunations.
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FOR CLUBS: Reminder of September 30 deadline for the Capital Project Grant

Article #3145
Published By: Kathy Stahr

Important Reminder from Community Gaming Grants Branch:

Organizations wishing to apply for a Capital Project Grant are reminded that they have until September 30 to submit their application.

1.       How will the applications evaluated?

An organization must demonstrate on its application that it meets the mandatory eligibility criteria. Each application that meets eligibility criteria will then be scored based on how well the proposed project meets the following assessment criteria: Financial Considerations, Project Feasibility, Alignment with Sector Objectives and Special Project Features

Additional consideration will be given to the allocation of grant funding across the six Community Gaming Grant sectors, the geographic distribution of grants throughout the province, project size and the inclusion of Aboriginal not-for-profit organizations.

2.       Is there a time limit for how long an organization has to complete the project?

Yes. The project must be completed, and the grant funds spent, within 36 months of receipt of the grant.

3.       Do applicants need to contribute their own money to the project?

Yes. Organizations are expected to provide matching funds. In addition to cash, this can include tangible in-kind contributions, such as donated equipment and materials. Land and intangible in-kind support, such as volunteer time, donated labour or services will not be accepted as matching funds.

4.       Does an organization need to own the land on which it plans to complete the project?

No. An organization does not need to own the land provided it has a long-term lease agreement with the landowner or some other equivalent arrangement, has their written permission to undertake the project, and is responsible for maintaining the facility after it is completed.

5.       What is the purpose of the risk management plan, and what needs to be in it?

In the risk management plan, applicants must identify and rank potential risks as either high, medium or low based on likelihood and consequence, and then identify proposed management/mitigation strategies.  The risk management plan can be prepared by anyone knowledgeable of the project.  It can be a simple list of possible risks and how they can be minimized.  The risk management plan is not required to be an additional eligible expense though it can be.

Interested in applying for the Capital Projects Grant? See the Capital Projects Grants web page for more information on this program and be sure to get your application in by the September 30 deadline.

Successful applicants will be notified via email.

Mike Sherman
Community Outreach Manager
Community Gaming Grants Branch
Ministry of Municipal Affairs and Housing
Tel: 778-698-8940
Cell: 778-587-4326

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Cooking Tips And Tricks Anyone Can Use

Are you a lover of all kinds of food? Are you someone who has an insatiable appetite towards sweets? Do you enjoy interesting and unusual ethnic dishes? Are you curious about what to to do make these delicious dishes at home? Well, stop thinking about it and start cooking! Implement the steps in the article to gain information on how to start making wonderful meals.

Slice meat on the bias very thin when you are making stir fry. This can be a very time consuming and somewhat difficult procedure. Take the meat out of the freezer once it gets firm, place a sharp knife at an oblique angle and start slicing.

Always bake pie and tart crusts for longer than the recipe specifies for best results. Go past the usual pale tan color and take them to a caramel gold. This color means that the sugar has caramelized within the pie crust and will have a crunchy and sweet flavor.

When you want to cook your meat in strips, do it while it is slightly frozen. This is especially helpful if you are preparing an Oriental dish. By doing this, the meat becomes much easier to slice as the meat fibers are less likely to tear. However, to ensure that the meat cooks evenly, make sure that the meat is thawed before you cook it.

Long cooking processes, like boiling, can “zap” nutrients from foods, like vegetables. The healthier way to prepare vegetables is by cooking them quickly, such as steaming or sauteing them; the most nutritious way of all is by serving them raw.

Even if you have screwed up in this way, there is a fix that will still let you use it right away. Mix together a solution of one tablespoon corn starch and two tablespoons water. Thicken your sauce by stirring in this solution. For sauce that is too thick, add liquid until your sauce is at the desired consistency.

This type of seasoning can be added to all types of foods other than meat. Seasoned salt can be added to a variety of dishes and snacks, from popcorn and pumpkin seeds to scrambled eggs and vegetables. Everyone will love the flavor and ask you for your secret ingredient!

Leave raw potatoes in cold water for at least 30 minutes before frying them to make crispier French fries. Soaking the potatoes helps to make the fibers within them stronger, which makes them better able to handle the heat during frying.

Cook your veggies in chicken broth! Chicken broth is an excellent base to use when preparing vegetable dishes that helps keep them from sticking and gives them some flavor. Chicken broth is readily available at any grocery store, and is very inexpensive.

Fresh Basil

Always measure the amount of cooking oil you use. To lower the amount of fat in your cooking, be sure to carefully measure the amount of oil that you use when you cook, instead of simply pouring from the bottle into a pan. You will also be able to monitor how much oil you will be using.

Do you love to cook with fresh basil? Gather a small bunch of freshly cut basil and place it in a glass. Pour water in the glass until the stems of the fresh basil are completely covered. The basil will stay fresh for a matter of weeks on your windowsill or kitchen counter. The basil will grow roots if you occasionally change the water. Encourage growth by cutting or trimming the basil now and then, and you will be able to use fresh basil for a long time!

You can dry out your own tomatoes. You can do this by cutting ripe tomatoes into 1/2 inch thick slices, or by cutting Roma tomatoes in half lengthwise. Place on a cooling rack, cut-side up and lightly salt them. Then place that on a baking sheet and dry them in an oven that is 190 degrees for 10 hours. After the tomatoes have cooled, place them in plastic bags, and store them in the freezer. Another way to preserve your dried tomatoes is in olive oil, with herbs for added flavor, in a glass jar. The jar can be stored in your refrigerator for up to two weeks.

When you are cooking, it is important to remember that a fresh ingredient is always better than a frozen or dried ingredient. Use fresh ingredients, as they bring out the flavor in a dish, and they are also less expensive.

Many vegetables and herbs have a smell that has a tendency to remain on cutting boards, despite how many times you wash them. Use permanent ink to mark one end of the cutting board to identify which is which.

They will act like a sponge and just soak up a lot of that water. You should wet a cloth and wipe the mushrooms off, rather than soaking them.

After purchasing fruits that are not quite ripe, store them in a plastic bag that is perforated with holes. Fruits produce ethylene gas when they become riper. In the perforated plastic bag, the ethylene gas will stay trapped, allowing the fruit to ripen deliciously.

If you have sauce left over after a meal, store the remainder in one or more ice cube trays and let it freeze. When you feel the need to create another meal, you will have them handy to heat up. This process doesn’t cause the sauce to go bad, so reheat with confidence!

While engaged in cooking, get in the habit of cleaning dishes as you finish using them. On one side of your sink, you should have hot soapy water at the ready, and on the other, lukewarm water for rinsing. Dishes clean best immediately after use and by washing them immediately, they will be ready to prepare the next ingredient for your meal.

A great source of protein for your diet can be found in beans and tofu. Both of these protein-rich foods are available at most grocery stores. A delicious alternative to meat is tofu pan fried with your favorite seasonings. Likewise, beans cooked with herbs can also be a flavorful dish.

Do not forget to add salt to water for making pasta. Adding salt to the water prior to cooking ensures the pasta is infused with flavor. Pasta salted during cooking tastes better than pasta salted after the fact.

To properly cook a pumpkin, halve it vertically first. Next, take each half and place them cut side down onto separate baking sheets. Sprinkle some water on the sheets and bake the pumpkin for about an hour at 350 degrees.

To make an improvement to pasta sauce, save some of the pasta’s cooking water. Save approximately 1/4 cup of water after cooking your pasta. When you are ready to mix your sauce and pasta together, incorporate some of this water. The addition of the starchy water will bulk up your sauce and make it creamier.

Don’t use a type of wine in your meal that is a kind you wouldn’t drink regularly. If you cook with an unfamiliar wine, you run the risk of disliking the taste of the wine and having it ruin your food. There are cooking wines available.

Prepare everything you need to cook your food in advance. This way, you can prevent distractions like hot oil in pans or other distractions. You can also save on gas and heat by not turning on appliances before you are ready.

Always follow the instructions if you are making something like macaroni and cheese. This ensures that the macaroni is cooked to perfection and that the cheese is the right consistency to blend well with the pasta. A solid serving spoon is an easy way to portion out your macaroni and cheese. Another great tip is to spice things up a bit with some black pepper.

Get your grill ready to go before you start to barbecue. Begin preparations around a half hour before you intend to start grilling. They will be perfect when they are ash covered and giving off medium heat. This is the best temperature for grilling.

When you are planning to make quite a detailed meal, do some of the prep work the day before to reduce some of the stress involved. Locate the ingredients, cut up and measure herbs and spices and look through your cupboards to make sure you have what you need. When cooking time arrives, you’ll need only to be concerned with assembling and cooking the meal.

Use only a very small amount of fat when sauteing a food. The extra moisture will steam the food instead of sauteing it and will not add that little bit of crispness that sauteing is good for. Also, make sure that this is done at a temperature that is low.

One of the best cooking tips you can find is to use your imagination. Following every recipe to the letter will give results, but it won’t make you a great cook. Sometimes if you add a little extra, or refrain from using an ingredient you do not really enjoy, you can turn an ordinary dish into something extravagant. You will not become a real cook by just following what cookbooks say.

A meat thermometer can let you know if your meat has been thoroughly cooked. Follow the recommended guidelines for the correct internal temperature for each kind of meat. There is bacteria present in the meat, and to make sure you do not get sick you will have to cook it thoroughly.

To make your pasta sauce a little better, use some of the water that you cooked your noodles in. Set aside approximately one-fourth cup. While mixing the sauce and pasta, add the pasta water into the mix. The addition of the starchy water will bulk up your sauce and make it creamier.

You need to make sure that you cook a cake until it is thoroughly cooked. While the recipe or directions are a good starting point in cooking times, they may need adjustment. Factors like what kind of oven is used and elevation play a part in what the optimal cooking time will be. To be sure, test your cake by inserting a toothpick in the cake’s middle. If the toothpick comes out with no batter on it, the cake has finished cooking. If the toothpick has batter on it when it is pulled out, the cake needs to stay in the oven for a few more minutes or so.

When you’re trying to cook with an ingredient that’s new to you, learn a little about it first. You might be surprised of the possibilities you will learn about for food. By taking the time to educate yourself, you will have fun, and also prevent any disasters in the kitchen!

Using a baked potato instead of a small one can help you to have nice thick skins to use to make twice baked potatoes. Don’t use red potatoes, their skin is too thin to help a dense filling.

Make sure to take care of all of the preparation beforehand to maximize your cooking experience. You can often prepare ingredients for upcoming meals a day or two in advance. Sometimes, preparing your ingredients in advance yields a bonus in the form of better flavor. This works so well that many people find it difficult to stop.

Prepping to fix a large meal, like over the holidays, can be a very stressful time. You’ll need a few quick tips to help you out. Cut vegetables and fruit, measure ingredients, and marinate meat up to 24 hours before cooking. This includes gathering all ingredients, utensils and sauces.

By implementing the tips above, you can be on your way to creating restaurant standard food in your own kitchen. Remember that you should always be willing to take measured risks in the kitchen by spicing things up to your personal tastes. You may find a new food that you love! Follow the advice in this article, and let your taste buds provide you with the rest of the guidance needed to find the chef in yourself.

When you know you have a busy day coming up, prepare your meals ahead of time, preferably the night before. Chopping up veggies or preparing a lasagna before hand can help to save you stress for the next day.

Gastronomi festival
God mad


What is blood counts

the basic components of the liquid portion of blood are presented plasma and cell of the presented three categories of hematopoietic cells in the form of white blood cells, red blood cells and platelets.Accordingly, the level of certain elements in the blood composition varies depending on the place in the body of various inflammatory or other non-normal healthy state process (dehydration, various diseases of viral or bacterial origin, pathologies of the circulatory system, poisoning, diseases of oncological nature, bleeding).

blood counts for various diseases evaluated by various tests, the most common of which is its overall analysis.Let us dwell on this study, this living more fluid.

So investigate whether blood counts are normal, allows the familiar to every man complete blood count, which is the main base test to get an overall picture of the volume ratio of the elements of this red liquid, the level of hemoglobin, the ratio of plasma and cell parts.

This allows you to get a well-known te

st is the following blood parameters: quantitative and qualitative characteristics of the composition of hematopoietic cells;setting a particular number of red hematopoietic cells, their shapes and sizes with a specific indicator of hemoglobin contained in them;the percentage of liquid and the cell portions (hematocrit);definition formulas buffy;establishing the number of platelets, and data analysis of ESR.
Due to the fact that the body's normal levels of healthy blood, the stable composition ratio of hematopoietic cells, all the attendant changes to various diseases in the first place can diagnose certain disorders.Of course, there are exceptional conditions in which blood parameters may change, for example, during menstruation or pregnancy in women.Also, blood counts may vary slightly under the influence of external factors: working conditions, meals.

To conduct this research test there is no need for special preparations, the only requirement for the test is its holding on an empty stomach.The material for the test fluid is whole blood, the time interval of one day study.

Only a qualified professional can most accurately analyze blood parameters, by means of a general analysis.However, any person having the necessary data could be concluded about the state of health in general.When this information which can identify more than enough.For example, among the major indices recovered value of hemoglobin content, hematocrit, quantitative content of the cell of the subgroup to which the blood (platelets, red blood cells, white blood cells), plus the fact erythrocyte indices denoted Latin abbreviations as follows: MCV, RDW, MCH,MCHC.


Charleroi, Belgium: Mapping out storyworlds to identify stories for new innovation lab. March 2017

Client: R/O Institute is, in their words "a storytelling institute that fosters the creation of original content and the acceleration of Narrative Intellectual Properties (NIP) built around tomorrow’s heroes and multiplatform storyverses."

Client's goal: The participants had already spent time investigation and exploring storywrolds, settings, subject areas, topics in which they wanted to generate stories. My task was to help them map out those worlds, ensure that the logic was robust and from that, identify the stories that they wanted to tell.

Point of contact: Domenico La Porta


". VdoTips: Staff Nurse Exam Practice Set

Staff Nurse Exam Practice Set

1.Which of the following is a common symptom of active tuberculosis ?
(A) marked weight loss
(B) , dyspnea on exertion
(C) mental status changes
(D) constipation

2.The number of processes completed per unit time is known as ?
(A). Output
(B). Throughput
(C). Capacity
(D). Efficiency

3.What is called for memory from 1K - 640K ?
(A). Conventional Memory
(B). Extended Memory
(C). Low Memory
(D). Normal Memory

4.Virtual memory is used for ?
(A). A type of memory used in supercomputers
(B). An extremely large main memory
(C). An illusion of extremely large main memory
(D). An extremely large secondary memory

5.What is a shell ?
(A). It is a tool in CPU scheduling.
(B). It is a part in compiler
(C). It is a hardware component
(D). It is a command interpreter


Le Chant du Martyr

grand caprice religieux pour piano

This sheet contains the following parts:

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Complete Score (300 dpi)
Complete Score

Louis Moreau Gottschalk

Louis Moreau Gottschalk was an American composer and pianist, best known as a virtuoso performer of his own romantic piano works. He ...