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Cummins India Limited designs, manufactures, distributes, and services engines, generator sets, and related technologies in India. The company operates through three business units: Engine Business, Power Systems Business, and Distribution Business. The Engine Business segment manufactures and markets diesel engines ranging from 50 HP to 600 HP for off-highway applications, as well as off-highway commercial equipment industry comprising construction and compressor. The Power Systems Business segment provides power generation systems in standby and distributed power generation for individual and institutional customers in various segments, such as infrastructure, manufacturing, data centers, rental, healthcare, and hospitality; and integrated power solutions for railways, mining, marine, pumps, oil and gas, and defense sectors, as well as manufactures and exports low kilowatt generator sets; and power generation systems including generator sets, paralleling controls, switchgears, transfer switches, and controls. The Distribution Business segment offers products, services, and solutions for equipment and engines; and provides after-market support services to customers in India, Nepal, and Bhutan. It also exports its products to the United States, Europe, Mexico, Africa, the Middle East, and China. The company was incorporated in 1962 and is headquartered in Pune, India. Cummins India Limited is a subsidiary of Cummins Inc.

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COLUMBUS, Ind. — <strong>Cummins</strong> Inc. (NYSE: CMI) announced today that Senior Vice President Tony Satterthwaite will retire, effective September 2024, after 36 years in leadership positions with the company. “Tony’s more-than three decades of visionary leadership with <strong>Cummins</strong> have produced a ...

Satterthwaite announces retirement from Cummins after 36-year career - The Republic News

Authors:
(1) Lukáš Korel, Faculty of Information Technology, Czech Technical University, Prague, Czech Republic;
(2) Petr Pulc, Faculty of Information Technology, Czech Technical University, Prague, Czech Republic;
(3) Jirí Tumpach, Faculty of Mathematics and Physics, Charles University, Prague, Czech Republic;
(4) Martin Holena, Institute of Computer Science, Academy of Sciences of the Czech Republic, Prague, Czech Republic. Table of Links Abstract and Introduction ANN-Based Scene Classification Methodology Experiments Conclusion and Future Research, Acknowledgments and References 5 Conclusion and Future Research In this paper was provided an insight into the possibility of using artificial neural networks for scene recognition location from a video sequence with a small set of repeated shooting locations (such as in television series) was provided. Our idea was to select more than one frame from each scene and classify the scene using that sequence of frames. We used a pretrained VGG19 network without two last layers. This results were used as an input to the trainable part our neural network architecture. We have designed six neural network models with different layer types. We have investigated different neural network layers to combine video frames, in particular average-pooling, max-pooling, product, flatten, LSTM, and bidirectional LSTM layers. The considered networks have been tested and compared on a dataset obtained from The Big Bang Theory television series. The model with max-pooling layer was not successful, its accuracy was the lowest of all models. The models with a flatten or product layer were very unstable, their standard deviation was very large. The most stable among all models was the one with an average-pooling layer. The models with unidirectional LSTM and bidirectional LSTM had similar standard deviation of the accuracy. The model with a bidirectional LSTM had the highest accuracy among all considered models. In our opinion, this is because its internal memory cells preserve information in both directions. Those results shows, that models with internal memory are able to classify with a higher accuracy than models without internal memory. Our method may have limitations due to the chosen pretrained ANN and the low dimension of some neural layer parts. In future research, it is desirable to achieve higher accuracy in scene location recognition. This task may also need modifying model parameters or using other architectures. It also may need other pretrained models or combining several pretrained models. It is also desirable that, if the ANN detects an unknown scene, it will remember it and next time it will recognize a scene from the same location properly. Acknowledgments The research reported in this paper has been supported by the Czech Science Foundation (GACR) grant 18-18080S. Computational resources were supplied by the project "e-Infrastruktura CZ" (e-INFRA LM2018140) provided within the program Projects of Large Research, Development and Innovations Infrastructures. Computational resources were provided by the ELIXIRCZ project (LM2018131), part of the international ELIXIR infrastructure. References [1] Zhong, W., Kjellström, H.: Movie scene recognition with Convolutional Neural Networks. https://www.diva-portal.org/smash/get/diva2 :859486/FULLTEXT01.pdf KTH ROYAL INSTITUTE OF TECHNOLOGY (2015) 5–36 [2] Simonyan, K., Zisserman, A.: Very Deep Convolutional Networks for Large-Scale Image Recognition. https://arxiv.org/pdf/1409.1556v6.pdf Visual Geometry Group, Department of Engineering Science, University of Oxford (2015) [3] Russakovsky O., Deng J., Hao S., Krause J., Satheesh S., Ma Sean, Huang Z., Karpathy A., Khosla A., Bernstein M., Berg A. C., Fei-Fei L.: ImageNet Large Scale Visual Recognition Challenge. International Journal of Computer Vision 115 (2015), pp. 211–252 [4] Li-jia L., Hao S., Fei-fei L., Xing E.: A High-Level Image Representation for Scene Classification & Semantic Feature Sparsification. https://cs.stanford.edu/groups/vision/pdf/ LiSuXingFeiFeiNIPS2010.pdf NIPS (2010) [5] Felix A. Gers, Schmidhuber J., and Cummins F., Learning to forget: Continual prediction with LSTM, in Proceedings of ICANN. ENNS (1999), pp. 850-–855 [6] Benavoli A., Corani G., Mangili F.: Should We Really Use Post-Hoc Tests Based on Mean-Ranks? Journal of Machine Learning Research 17 (2016), pp. 1–10 [7] García S., Herrera F.: An Extension on "Statistical Comparisons of Classifiers over Multiple Data Sets" for all Pairwise Comparisons Journal of Machine Learning Research 9 (2008), pp. 2677–2694 [8] Graves, A.: Supervised Sequence Labelling with Recurrent Neural Networks. Springer (2012) [9] Kaiming H., Xiangyu Z., Shaoqing R., Jian S.: Deep Residual Learning for Image Recognition. 2016 IEEE Conference on Computer Vision and Pattern Recognition (2016), pp. 770–778 [10] Sudha V., Ganeshbabu T. R.: A Convolutional Neural Network Classifier VGG-19 Architecture for Lesion Detection and Grading in Diabetic Retinopathy Based on Deep Learning. http://www.techscience.com/cmc/v66n1/40483 Computers, Materials & Continua (2021), pp. 827–842 [11] Zhou B., Lapedriza A., Khosla A., Oliva A., Torralba A.: Places: A 10 Million Image Database for Scene Recognition. IEEE Transactions on Pattern Analysis and Machine Intelligence (2018), pp. 1452–1464 This paper is available on arxiv under CC0 1.0 DEED license. Authors: (1) Lukáš Korel, Faculty of Information Technology, Czech Technical University, Prague, Czech Republic; (2) Petr Pulc, Faculty of Information Technology, Czech Technical University, Prague, Czech Republic; (3) Jirí Tumpach, Faculty of Mathematics and Physics, Charles University, Prague, Czech Republic; (4) Martin Holena, Institute of Computer Science, Academy of Sciences of the Czech Republic, Prague, Czech Republic. Authors: Authors: (1) Lukáš Korel, Faculty of Information Technology, Czech Technical University, Prague, Czech Republic; (2) Petr Pulc, Faculty of Information Technology, Czech Technical University, Prague, Czech Republic; (3) Jirí Tumpach, Faculty of Mathematics and Physics, Charles University, Prague, Czech Republic; (4) Martin Holena, Institute of Computer Science, Academy of Sciences of the Czech Republic, Prague, Czech Republic. Table of Links Abstract and Introduction Abstract and Introduction ANN-Based Scene Classification ANN-Based Scene Classification Methodology Methodology Experiments Experiments Conclusion and Future Research, Acknowledgments and References Conclusion and Future Research, Acknowledgments and References 5 Conclusion and Future Research In this paper was provided an insight into the possibility of using artificial neural networks for scene recognition location from a video sequence with a small set of repeated shooting locations (such as in television series) was provided. Our idea was to select more than one frame from each scene and classify the scene using that sequence of frames. We used a pretrained VGG19 network without two last layers. This results were used as an input to the trainable part our neural network architecture. We have designed six neural network models with different layer types. We have investigated different neural network layers to combine video frames, in particular average-pooling, max-pooling, product, flatten, LSTM, and bidirectional LSTM layers. The considered networks have been tested and compared on a dataset obtained from The Big Bang Theory television series. The model with max-pooling layer was not successful, its accuracy was the lowest of all models. The models with a flatten or product layer were very unstable, their standard deviation was very large. The most stable among all models was the one with an average-pooling layer. The models with unidirectional LSTM and bidirectional LSTM had similar standard deviation of the accuracy. The model with a bidirectional LSTM had the highest accuracy among all considered models. In our opinion, this is because its internal memory cells preserve information in both directions. Those results shows, that models with internal memory are able to classify with a higher accuracy than models without internal memory. Our method may have limitations due to the chosen pretrained ANN and the low dimension of some neural layer parts. In future research, it is desirable to achieve higher accuracy in scene location recognition. This task may also need modifying model parameters or using other architectures. It also may need other pretrained models or combining several pretrained models. It is also desirable that, if the ANN detects an unknown scene, it will remember it and next time it will recognize a scene from the same location properly. Acknowledgments The research reported in this paper has been supported by the Czech Science Foundation (GACR) grant 18-18080S. Computational resources were supplied by the project "e-Infrastruktura CZ" (e-INFRA LM2018140) provided within the program Projects of Large Research, Development and Innovations Infrastructures. Computational resources were provided by the ELIXIRCZ project (LM2018131), part of the international ELIXIR infrastructure. References [1] Zhong, W., Kjellström, H.: Movie scene recognition with Convolutional Neural Networks. https://www.diva-portal.org/smash/get/diva2 :859486/FULLTEXT01.pdf KTH ROYAL INSTITUTE OF TECHNOLOGY (2015) 5–36 [2] Simonyan, K., Zisserman, A.: Very Deep Convolutional Networks for Large-Scale Image Recognition. https://arxiv.org/pdf/1409.1556v6.pdf Visual Geometry Group, Department of Engineering Science, University of Oxford (2015) [3] Russakovsky O., Deng J., Hao S., Krause J., Satheesh S., Ma Sean, Huang Z., Karpathy A., Khosla A., Bernstein M., Berg A. C., Fei-Fei L.: ImageNet Large Scale Visual Recognition Challenge. International Journal of Computer Vision 115 (2015), pp. 211–252 [4] Li-jia L., Hao S., Fei-fei L., Xing E.: A High-Level Image Representation for Scene Classification & Semantic Feature Sparsification. https://cs.stanford.edu/groups/vision/pdf/ LiSuXingFeiFeiNIPS2010.pdf NIPS (2010) [5] Felix A. Gers, Schmidhuber J., and Cummins F., Learning to forget: Continual prediction with LSTM, in Proceedings of ICANN. ENNS (1999), pp. 850-–855 [6] Benavoli A., Corani G., Mangili F.: Should We Really Use Post-Hoc Tests Based on Mean-Ranks? Journal of Machine Learning Research 17 (2016), pp. 1–10 [7] García S., Herrera F.: An Extension on "Statistical Comparisons of Classifiers over Multiple Data Sets" for all Pairwise Comparisons Journal of Machine Learning Research 9 (2008), pp. 2677–2694 [8] Graves, A.: Supervised Sequence Labelling with Recurrent Neural Networks. Springer (2012) [9] Kaiming H., Xiangyu Z., Shaoqing R., Jian S.: Deep Residual Learning for Image Recognition. 2016 IEEE Conference on Computer Vision and Pattern Recognition (2016), pp. 770–778 [10] Sudha V., Ganeshbabu T. R.: A Convolutional Neural Network Classifier VGG-19 Architecture for Lesion Detection and Grading in Diabetic Retinopathy Based on Deep Learning. http://www.techscience.com/cmc/v66n1/40483 Computers, Materials & Continua (2021), pp. 827–842 [11] Zhou B., Lapedriza A., Khosla A., Oliva A., Torralba A.: Places: A 10 Million Image Database for Scene Recognition. IEEE Transactions on Pattern Analysis and Machine Intelligence (2018), pp. 1452–1464 This paper is available on arxiv under CC0 1.0 DEED license. This paper is available on arxiv under CC0 1.0 DEED license. available on arxiv

Video Scene Location Recognition Using AI: Conclusion and Future Research

Enabling Acoustic Audience Feedback in Large Virtual Events: Conclusions & References

ERIK ADOLPH vs. Uber Court Filing, retrieved on July 17, 2023, is part of . You can jump to any part in this filing . This is part 5 of 15. HackerNoon’s Legal PDF Series here A. “In construing a statute, our task is to ascertain the intent of the Legislature so as to effectuate the purpose of the enactment.” (Cummins, Inc. v. Superior Court (2005) 36 Cal.4th 478, 487.) We look first to “the words of the statute, which are the most reliable indications of the Legislature’s intent.” (Ibid.) As noted, section 2699, subdivision (c) defines “aggrieved employee,” and we have explained that “[t]he plain language of section 2699(c) has only two requirements for PAGA standing.” (Kim, supra, 9 Cal.5th at p. 83.) The plaintiff must allege that he or she is (1) “someone ‘who was employed by the alleged violator’ ” and (2) someone “ ‘against whom one or more of the alleged violations was committed.’ ” (Id. at pp. 83–84, quoting § 2699, subd. (c).) In Kim, we declined to impose additional requirements not found in the statute. (Kim, supra, 9 Cal.5th at pp. 84–91.) The plaintiff, Kim, sued his employer, alleging individual claims for damages and a PAGA claim for civil penalties. (Kim, at p. 82.) Kim settled and dismissed the individual claims for damages, proceeding only with the PAGA claim. (Kim, at p. 82.) The employer conceded that Kim had PAGA standing when he filed suit but argued that Kim’s “standing somehow ended” once his individual claims settled. (Kim, at p. 84.) According to the employer, PAGA standing is premised on an unredressed injury, and because Kim received compensation for his injury, he no longer had the status of an “aggrieved employee.” (Kim, at p. 84.) We rejected this argument, finding it inconsistent with the statutory language in several respects. (Kim, supra, 9 Cal.5th at pp. 83–86.) First, “[t]he Legislature defined PAGA standing in terms of violations . . . . Kim became an aggrieved employee, and had PAGA standing, when one or more Labor Code violations were committed against him,” and “[s]ettlement did not nullify these violations. The remedy for a Labor Code violation, through settlement or other means, is distinct from the fact of the violation itself,” and only the latter is required for PAGA standing. (Kim, at p. 84.) Second, nothing in the text of the statute requires the plaintiff to have an unredressed injury; reading such a requirement into the statute would be “at odds with the statutory definition.” (Id. at p. 85.) Third, allowing post-violation events to strip an aggrieved employee of the ability to pursue a PAGA claim “would add an expiration element to the statutory definition of standing.” (Kim, at p. 85.) Although Uber says Kim is distinguishable because the plaintiff had settled only individual claims for damages and not any claim for civil penalties under PAGA, this circumstance played no role in Kim’s reasoning. Kim made clear that only the fact of a violation is required to confer standing. The Court of Appeal in Johnson v. Maxim Healthcare Services, Inc. (2021) 66 Cal.App.5th 924 (Johnson) similarly declined to read into the statute a standing requirement not supported by its language. There, a company required its workers to sign unlawful noncompete agreements. (Id. at p. 927.) The Labor Code violations sustained by the plaintiff were time-barred, and the employer argued that the plaintiff therefore did not have PAGA standing. (Johnson, at p. 929.) Relying on Kim, the court rejected this argument and held that the plaintiff had standing to pursue her PAGA claim because she satisfied the statutory definition of an “ ‘aggrieved employee.’ ” (Johnson, at p. 930.) The fact that the plaintiff’s “individual claim may be time-barred does not nullify the alleged Labor Code violations nor strip [the plaintiff] of her standing to pursue PAGA remedies.” (Johnson, at p. 930.) As Kim and Johnson make clear, a worker becomes an “aggrieved employee” with standing to litigate claims on behalf of fellow employees upon sustaining a Labor Code violation committed by his or her employer. (See Kim, supra, 9 Cal.5th at pp. 84–85; Johnson, supra, 66 Cal.App.5th at p. 930; § 2699, subd. (c).) Standing under PAGA is not affected by enforcement of an agreement to adjudicate a plaintiff’s individual claim in another forum. Arbitrating a PAGA plaintiff’s individual claim does not nullify the fact of the violation or extinguish the plaintiff’s status as an aggrieved employee, any more than the time-barring of remedies did in Johnson or the settlement of the individual damages claims did in Kim. (See Kim, at pp. 84–85; Johnson, at p. 930.) The operative complaint alleges that Adolph experienced Labor Code violations while driving for Uber. Under Kim, Adolph’s allegations that Labor Code violations were committed against him while he was employed by Uber suffice to confer standing to bring a PAGA action. Continue Reading . Here About HackerNoon Legal PDF Series: We bring you the most important technical and insightful public domain court case filings. This court case S274671 retrieved on September 22, 2023, from is part of the public domain. The court-created documents are works of the federal government, and under copyright law, are automatically placed in the public domain and may be shared without legal restriction. courts.ca.gov

Comparing the Uber Lawsuit to Previous Cases: Does It Hold Up?

The Warden by Anthony Trollope, is part of the HackerNoon Books Series. You can jump to any chapter in this book . Conclusion here Conclusion Our tale is now done, and it only remains to us to collect the scattered threads of our little story, and to tie them into a seemly knot. This will not be a work of labour, either to the author or to his readers; we have not to deal with many personages, or with stirring events, and were it not for the custom of the thing, we might leave it to the imagination of all concerned to conceive how affairs at Barchester arranged themselves. On the morning after the day last alluded to, Mr Harding, at an early hour, walked out of the hospital, with his daughter under his arm, and sat down quietly to breakfast at his lodgings over the chemist's shop. There was no parade about his departure; no one, not even Bunce, was there to witness it; had he walked to the apothecary's thus early to get a piece of court plaster, or a box of lozenges, he could not have done it with less appearance of an important movement. There was a tear in Eleanor's eye as she passed through the big gateway and over the bridge; but Mr Harding walked with an elastic step, and entered his new abode with a pleasant face. "Now, my dear," said he, "you have everything ready, and you can make tea here just as nicely as in the parlour at the hospital." So Eleanor took off her bonnet and made the tea. After this manner did the late Warden of Barchester Hospital accomplish his flitting, and change his residence. It was not long before the archdeacon brought his father to discuss the subject of a new warden. Of course he looked upon the nomination as his own, and he had in his eye three or four fitting candidates, seeing that Mr Cummins's plan as to the living of Puddingdale could not be brought to bear. How can I describe the astonishment which confounded him, when his father declared that he would appoint no successor to Mr Harding? "If we can get the matter set to rights, Mr Harding will return," said the bishop; "and if we cannot, it will be wrong to put any other gentleman into so cruel a position." It was in vain that the archdeacon argued and lectured, and even threatened; in vain he my-lorded his poor father in his sternest manner; in vain his "good heavens!" were ejaculated in a tone that might have moved a whole synod, let alone one weak and aged bishop. Nothing could induce his father to fill up the vacancy caused by Mr Harding's retirement. Even John Bold would have pitied the feelings with which the archdeacon returned to Plumstead: the church was falling, nay, already in ruins; its dignitaries were yielding without a struggle before the blows of its antagonists; and one of its most respected bishops, his own father,—the man considered by all the world as being in such matters under his, Dr Grantly's, control,—had positively resolved to capitulate, and own himself vanquished! And how fared the hospital under this resolve of its visitor? Badly indeed. It is now some years since Mr Harding left it, and the warden's house is still tenantless. Old Bell has died, and Billy Gazy; the one-eyed Spriggs has drunk himself to death, and three others of the twelve have been gathered into the churchyard mould. Six have gone, and the six vacancies remain unfilled! Yes, six have died, with no kind friend to solace their last moments, with no wealthy neighbour to administer comforts and ease the stings of death. Mr Harding, indeed, did not desert them; from him they had such consolation as a dying man may receive from his Christian pastor; but it was the occasional kindness of a stranger which ministered to them, and not the constant presence of a master, a neighbour, and a friend. Nor were those who remained better off than those who died. Dissensions rose among them, and contests for pre-eminence; and then they began to understand that soon one among them would be the last,—some one wretched being would be alone there in that now comfortless hospital,—the miserable relic of what had once been so good and so comfortable. The building of the hospital itself has not been allowed to go to ruins. Mr Chadwick, who still holds his stewardship, and pays the accruing rents into an account opened at a bank for the purpose, sees to that; but the whole place has become disordered and ugly. The warden's garden is a wretched wilderness, the drive and paths are covered with weeds, the flower-beds are bare, and the unshorn lawn is now a mass of long damp grass and unwholesome moss. The beauty of the place is gone; its attractions have withered. Alas! a very few years since it was the prettiest spot in Barchester, and now it is a disgrace to the city. Mr Harding did not go out to Crabtree Parva. An arrangement was made which respected the homestead of Mr Smith and his happy family, and put Mr Harding into possession of a small living within the walls of the city. It is the smallest possible parish, containing a part of the Cathedral Close and a few old houses adjoining. The church is a singular little Gothic building, perched over a gateway, through which the Close is entered, and is approached by a flight of stone steps which leads down under the archway of the gate. It is no bigger than an ordinary room,—perhaps twenty-seven feet long by eighteen wide,—but still it is a perfect church. It contains an old carved pulpit and reading-desk, a tiny altar under a window filled with dark old-coloured glass, a font, some half-dozen pews, and perhaps a dozen seats for the poor; and also a vestry. The roof is high pitched, and of black old oak, and the three large beams which support it run down to the side walls, and terminate in grotesquely carved faces,—two devils and an angel on one side, two angels and a devil on the other. Such is the church of St Cuthbert at Barchester, of which Mr Harding became rector, with a clear income of seventy-five pounds a year. Here he performs afternoon service every Sunday, and administers the Sacrament once in every three months. His audience is not large; and, had they been so, he could not have accommodated them: but enough come to fill his six pews, and on the front seat of those devoted to the poor is always to be seen our old friend Mr Bunce, decently arrayed in his bedesman's gown. Mr Harding is still precentor of Barchester; and it is very rarely the case that those who attend the Sunday morning service miss the gratification of hearing him chant the Litany, as no other man in England can do it. He is neither a discontented nor an unhappy man; he still inhabits the lodgings to which he went on leaving the hospital, but he now has them to himself. Three months after that time Eleanor became Mrs Bold, and of course removed to her husband's house. There were some difficulties to be got over on the occasion of the marriage. The archdeacon, who could not so soon overcome his grief, would not be persuaded to grace the ceremony with his presence, but he allowed his wife and children to be there. The marriage took place in the cathedral, and the bishop himself officiated. It was the last occasion on which he ever did so; and, though he still lives, it is not probable that he will ever do so again. Not long after the marriage, perhaps six months, when Eleanor's bridal-honours were fading, and persons were beginning to call her Mrs Bold without twittering, the archdeacon consented to meet John Bold at a dinner-party, and since that time they have become almost friends. The archdeacon firmly believes that his brother-in-law was, as a bachelor, an infidel, an unbeliever in the great truths of our religion; but that matrimony has opened his eyes, as it has those of others. And Bold is equally inclined to think that time has softened the asperities of the archdeacon's character. Friends though they are, they do not often revert to the feud of the hospital. Mr Harding, we say, is not an unhappy man: he keeps his lodgings, but they are of little use to him, except as being the one spot on earth which he calls his own. His time is spent chiefly at his daughter's or at the palace; he is never left alone, even should he wish to be so; and within a twelvemonth of Eleanor's marriage his determination to live at his own lodging had been so far broken through and abandoned, that he consented to have his violoncello permanently removed to his daughter's house. Every other day a message is brought to him from the bishop. "The bishop's compliments, and his lordship is not very well to-day, and he hopes Mr Harding will dine with him." This bulletin as to the old man's health is a myth; for though he is over eighty he is never ill, and will probably die some day, as a spark goes out, gradually and without a struggle. Mr Harding does dine with him very often, which means going to the palace at three and remaining till ten; and whenever he does not the bishop whines, and says that the port wine is corked, and complains that nobody attends to him, and frets himself off to bed an hour before his time. It was long before the people of Barchester forgot to call Mr Harding by his long well-known name of Warden. It had become so customary to say Mr Warden, that it was not easily dropped. "No, no," he always says when so addressed, "not warden now, only precentor." About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Anthony Trollope (1996). The Warden. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/619/pg619-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at www.gutenberg.org https://www.gutenberg.org/policy/license.html.

Our tale is now done

At any rate, come to me at once

The Warden Resigns

Dr Grantly Visits the Hospital

The Warden by Anthony Trollope, is part of the HackerNoon Books Series. You can jump to any chapter in this book . Hiram's Bedesmen here Hiram's Bedesmen The parties most interested in the movement which is about to set Barchester by the ears were not the foremost to discuss the merit of the question, as is often the case; but when the bishop, the archdeacon, the warden, the steward, and Messrs Cox and Cummins, were all busy with the matter, each in his own way, it is not to be supposed that Hiram's bedesmen themselves were altogether passive spectators. Finney, the attorney, had been among them, asking sly questions, and raising immoderate hopes, creating a party hostile to the warden, and establishing a corps in the enemy's camp, as he figuratively calls it to himself. Poor old men: whoever may be righted or wronged by this inquiry, they at any rate will assuredly be only injured: to them it can only be an unmixed evil. How can their lot be improved? all their wants are supplied; every comfort is administered; they have warm houses, good clothes, plentiful diet, and rest after a life of labour; and above all, that treasure so inestimable in declining years, a true and kind friend to listen to their sorrows, watch over their sickness, and administer comfort as regards this world, and the world to come! John Bold sometimes thinks of this, when he is talking loudly of the rights of the bedesmen, whom he has taken under his protection; but he quiets the suggestion within his breast with the high-sounding name of justice: "Fiat justitia, ruat cœlum." These old men should, by rights, have one hundred pounds a year instead of one shilling and sixpence a day, and the warden should have two hundred or three hundred pounds instead of eight hundred pounds. What is unjust must be wrong; what is wrong should be righted; and if he declined the task, who else would do it? "Each one of you is clearly entitled to one hundred pounds a year by common law": such had been the important whisper made by Finney into the ears of Abel Handy, and by him retailed to his eleven brethren. Too much must not be expected from the flesh and blood even of John Hiram's bedesmen, and the positive promise of one hundred a year to each of the twelve old men had its way with most of them. The great Bunce was not to be wiled away, and was upheld in his orthodoxy by two adherents. Abel Handy, who was the leader of the aspirants after wealth, had, alas, a stronger following. No less than five of the twelve soon believed that his views were just, making with their leader a moiety of the hospital. The other three, volatile unstable minds, vacillated between the two chieftains, now led away by the hope of gold, now anxious to propitiate the powers that still existed. It had been proposed to address a petition to the bishop as visitor, praying his lordship to see justice done to the legal recipients of John Hiram's Charity, and to send copies of this petition and of the reply it would elicit to all the leading London papers, and thereby to obtain notoriety for the subject. This it was thought would pave the way for ulterior legal proceedings. It would have been a great thing to have had the signatures and marks of all the twelve injured legatees; but this was impossible: Bunce would have cut his hand off sooner than have signed it. It was then suggested by Finney that if even eleven could be induced to sanction the document, the one obstinate recusant might have been represented as unfit to judge on such a question,—in fact, as being non compos mentis,—and the petition would have been taken as representing the feeling of the men. But this could not be done: Bunce's friends were as firm as himself, and as yet only six crosses adorned the document. It was the more provoking, as Bunce himself could write his name legibly, and one of those three doubting souls had for years boasted of like power, and possessed, indeed, a Bible, in which he was proud to show his name written by himself some thirty years ago—"Job Skulpit;" but it was thought that Job Skulpit, having forgotten his scholarship, on that account recoiled from the petition, and that the other doubters would follow as he led them. A petition signed by half the hospital would have but a poor effect. It was in Skulpit's room that the petition was now lying, waiting such additional signatures as Abel Handy, by his eloquence, could obtain for it. The six marks it bore were duly attested, thus: &c., and places were duly designated in pencil for those brethren who were now expected to join: for Skulpit alone was left a spot on which his genuine signature might be written in fair clerk-like style. Handy had brought in the document, and spread it out on the small deal table, and was now standing by it persuasive and eager. Moody had followed with an inkhorn, carefully left behind by Finney; and Spriggs bore aloft, as though it were a sword, a well-worn ink-black pen, which from time to time he endeavoured to thrust into Skulpit's unwilling hand. With the learned man were his two abettors in indecision, William Gazy and Jonathan Crumple. If ever the petition were to be forwarded, now was the time,—so said Mr Finney; and great was the anxiety on the part of those whose one hundred pounds a year, as they believed, mainly depended on the document in question. "To be kept out of all that money," as the avaricious Moody had muttered to his friend Handy, "by an old fool saying that he can write his own name like his betters!" "Well, Job," said Handy, trying to impart to his own sour, ill-omened visage a smile of approbation, in which he greatly failed; "so you're ready now, Mr Finney says; here's the place, d'ye see;"—and he put his huge brown finger down on the dirty paper;—"name or mark, it's all one. Come along, old boy; if so be we're to have the spending of this money, why the sooner the better,—that's my maxim." "To be sure," said Moody. "We a'n't none of us so young; we can't stay waiting for old Catgut no longer." It was thus these miscreants named our excellent friend. The nickname he could easily have forgiven, but the allusion to the divine source of all his melodious joy would have irritated even him. Let us hope he never knew the insult. "Only think, old Billy Gazy," said Spriggs, who rejoiced in greater youth than his brethren, but having fallen into a fire when drunk, had had one eye burnt out, one cheek burnt through, and one arm nearly burnt off, and who, therefore, in regard to personal appearance, was not the most prepossessing of men, "a hundred a year, and all to spend; only think, old Billy Gazy;" and he gave a hideous grin that showed off his misfortunes to their full extent. Old Billy Gazy was not alive to much enthusiasm. Even these golden prospects did not arouse him to do more than rub his poor old bleared eyes with the cuff of his bedesman's gown, and gently mutter: "he didn't know, not he; he didn't know." "But you'd know, Jonathan," continued Spriggs, turning to the other friend of Skulpit's, who was sitting on a stool by the table, gazing vacantly at the petition. Jonathan Crumple was a meek, mild man, who had known better days; his means had been wasted by bad children, who had made his life wretched till he had been received into the hospital, of which he had not long been a member. Since that day he had known neither sorrow nor trouble, and this attempt to fill him with new hopes was, indeed, a cruelty. "A hundred a year's a nice thing, for sartain, neighbour Spriggs," said he. "I once had nigh to that myself, but it didn't do me no good." And he gave a low sigh, as he thought of the children of his own loins who had robbed him. "And shall have again, Joe," said Handy; "and will have someone to keep it right and tight for you this time." Crumple sighed again;—he had learned the impotency of worldly wealth, and would have been satisfied, if left untempted, to have remained happy with one and sixpence a day. "Come, Skulpit," repeated Handy, getting impatient, "you're not going to go along with old Bunce in helping that parson to rob us all. Take the pen, man, and right yourself. Well," he added, seeing that Skulpit still doubted, "to see a man as is afraid to stand by hisself is, to my thinking, the meanest thing as is." "Sink them all for parsons, says I," growled Moody; "hungry beggars, as never thinks their bellies full till they have robbed all and everything!" "Who's to harm you, man?" argued Spriggs. "Let them look never so black at you, they can't get you put out when you're once in;—no, not old Catgut, with Calves to help him!" I am sorry to say the archdeacon himself was designated by this scurrilous allusion to his nether person. "A hundred a year to win, and nothing to lose," continued Handy. "My eyes! Well, how a man's to doubt about sich a bit of cheese as that passes me;—but some men is timorous;—some men is born with no pluck in them;—some men is cowed at the very first sight of a gentleman's coat and waistcoat." Oh, Mr Harding, if you had but taken the archdeacon's advice in that disputed case, when Joe Mutters was this ungrateful demagogue's rival candidate! "Afraid of a parson," growled Moody, with a look of ineffable scorn. "I tell ye what I'd be afraid of—I'd be afraid of not getting nothing from 'em but just what I could take by might and right;—that's the most I'd be afraid on of any parson of 'em all." "But," said Skulpit, apologetically, "Mr Harding's not so bad;—he did give us twopence a day, didn't he now?" "Twopence a day!" exclaimed Spriggs with scorn, opening awfully the red cavern of his lost eye. "Twopence a day!" muttered Moody with a curse; "sink his twopence!" "Twopence a day!" exclaimed Handy; "and I'm to go, hat in hand, and thank a chap for twopence a day, when he owes me a hundred pounds a year; no, thank ye; that may do for you, but it won't for me. Come, I say, Skulpit, are you a going to put your mark to this here paper, or are you not?" Skulpit looked round in wretched indecision to his two friends. "What d'ye think, Bill Gazy?" said he. But Bill Gazy couldn't think. He made a noise like the bleating of an old sheep, which was intended to express the agony of his doubt, and again muttered that "he didn't know." "Take hold, you old cripple," said Handy, thrusting the pen into poor Billy's hand: "there, so—ugh! you old fool, you've been and smeared it all,—there,—that'll do for you;—that's as good as the best name as ever was written": and a big blotch of ink was presumed to represent Billy Gazy's acquiescence. "Now, Jonathan," said Handy, turning to Crumple. "A hundred a year's a nice thing, for sartain," again argued Crumple. "Well, neighbour Skulpit, how's it to be?" "Oh, please yourself," said Skulpit: "please yourself, and you'll please me." The pen was thrust into Crumple's hand, and a faint, wandering, meaningless sign was made, betokening such sanction and authority as Jonathan Crumple was able to convey. "Come, Job," said Handy, softened by success, "don't let 'em have to say that old Bunce has a man like you under his thumb,—a man that always holds his head in the hospital as high as Bunce himself, though you're never axed to drink wine, and sneak, and tell lies about your betters as he does." Skulpit held the pen, and made little flourishes with it in the air, but still hesitated. "And if you'll be said by me," continued Handy, "you'll not write your name to it at all, but just put your mark like the others;"—the cloud began to clear from Skulpit's brow;—"we all know you can do it if you like, but maybe you wouldn't like to seem uppish, you know." "Well, the mark would be best," said Skulpit. "One name and the rest marks wouldn't look well, would it?" "The worst in the world," said Handy; "there—there": and stooping over the petition, the learned clerk made a huge cross on the place left for his signature. "That's the game," said Handy, triumphantly pocketing the petition; "we're all in a boat now, that is, the nine of us; and as for old Bunce, and his cronies, they may—" But as he was hobbling off to the door, with a crutch on one side and a stick on the other, he was met by Bunce himself. "Well Handy, and what may old Bunce do?" said the gray-haired, upright senior. Handy muttered something, and was departing; but he was stopped in the doorway by the huge frame of the newcomer. "You've been doing no good here, Abel Handy," said he, "'tis plain to see that; and 'tisn't much good, I'm thinking, you ever do." "I mind my own business, Master Bunce," muttered the other, "and do you do the same. It ain't nothing to you what I does;—and your spying and poking here won't do no good nor yet no harm." "I suppose then, Job," continued Bunce, not noticing his opponent, "if the truth must out, you've stuck your name to that petition of theirs at last." Skulpit looked as though he were about to sink into the ground with shame. "What is it to you what he signs?" said Handy. "I suppose if we all wants to ax for our own, we needn't ax leave of you first, Mr Bunce, big a man as you are; and as to your sneaking in here, into Job's room when he's busy, and where you're not wanted—" "I've knowed Job Skulpit, man and boy, sixty years," said Bunce, looking at the man of whom he spoke, "and that's ever since the day he was born. I knowed the mother that bore him, when she and I were little wee things, picking daisies together in the close yonder; and I've lived under the same roof with him more nor ten years; and after that I may come into his room without axing leave, and yet no sneaking neither." "So you can, Mr Bunce," said Skulpit; "so you can, any hour, day or night." "And I'm free also to tell him my mind," continued Bunce, looking at the one man and addressing the other; "and I tell him now that he's done a foolish and a wrong thing. He's turned his back upon one who is his best friend; and is playing the game of others, who care nothing for him, whether he be poor or rich, well or ill, alive or dead. A hundred a year? Are the lot of you soft enough to think that if a hundred a year be to be given, it's the likes of you that will get it?"—and he pointed to Billy Gazy, Spriggs, and Crumple. "Did any of us ever do anything worth half the money? Was it to make gentlemen of us we were brought in here, when all the world turned against us, and we couldn't longer earn our daily bread? A'n't you all as rich in your ways as he in his?"—and the orator pointed to the side on which the warden lived. "A'n't you getting all you hoped for, ay, and more than you hoped for? Wouldn't each of you have given the dearest limb of his body to secure that which now makes you so unthankful?" "We wants what John Hiram left us," said Handy. "We wants what's ourn by law; it don't matter what we expected. What's ourn by law should be ourn, and by goles we'll have it." "Law!" said Bunce, with all the scorn he knew how to command—"law! Did ye ever know a poor man yet was the better for law, or for a lawyer? Will Mr Finney ever be as good to you, Job, as that man has been? Will he see to you when you're sick, and comfort you when you're wretched? Will he—" "No, nor give you port wine, old boy, on cold winter nights! he won't do that, will he?" asked Handy; and laughing at the severity of his own wit, he and his colleagues retired, carrying with them, however, the now powerful petition. There is no help for spilt milk; and Mr Bunce could only retire to his own room, disgusted at the frailty of human nature. Job Skulpit scratched his head;—Jonathan Crumple again remarked, that, "for sartain, sure a hundred a year was very nice;"—and Billy Gazy again rubbed his eyes, and lowly muttered that "he didn't know." About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Anthony Trollope (1996). The Warden. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/619/pg619-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at [www.gutenberg.org, located](https://www.gutenberg.org, located) at https://www.gutenberg.org/policy/license.html.

Hiram's Bedesmen

The Bishop of Barchester

The Barchester Reformer

Discovering a Love for Software Engineering After earning my Bachelor's degree in Mechanical Engineering from Penn State, I found myself unexpectedly drawn to software engineering during my time at Appian, a company specializing in low-code business automation tools. This unforeseen passion led me to pursue a Master's degree in Computer Science at the University of Pennsylvania, where I honed my skills and knowledge, ultimately making the leap from a solution engineering role to a software developer position. SaaS In this HackerNoon article, I aim to share my experiences, insights, and advice for those considering a career switch to software development. My journey has taught me valuable lessons, and I hope that by sharing my story, I can provide guidance and inspiration to others facing similar challenges. The Spark: Internship at Cummins My interest in software engineering was sparked during my internship at Cummins in the summer of 2019, where I worked on several projects involving fixture and component design for testing turbochargers. The process had repetitive tasks such as drafting, analyzing, and optimizing designs, which I found very monotonous. Additionally, the long timeline of projects led to a lack of excitement and a sense of stagnation. The only project I liked working on was automating one of the tedious analysis tasks that we would previously do manually. It would take a whole day and was done every week by me. I created a Matlab script with a interface that could completely automate this and save me a day's work. Fortunately, I had taken some coding classes at Penn State during my undergrad, which provided me with a basic foundation in Matlab for me to be able to take this task. This project was very fulfilling and I knew I had to be in the tech space after graduating. GUI Landing a somewhat Tech Role I applied to as many tech roles as I possibly could and applied to as many companies that came to my campus until I landed a job at Appian which started in early 2020. While working at Appian, I primarily worked with customers, learning valuable soft skills in managing customer expectations. I was part of a support team that resolved issues around the integration of third-party APIs with Appian and design issues within the Appian platform. This experience exposed me to the creative aspects of software engineering and solidified my interest in pursuing a career in the field. My Process of Applying to CS Master's Programs and then Transitioning to Software Development: Researching available online programs: As a working professional, my focus was on online programs, but the options were limited since this was before COVID-19 when online courses were not as popular. Creating a list of programs offering online degrees, I found that only a few were open to applicants without a previous bachelor's degree in computer science. Applying to multiple universities: Based on my undergrad experience, I aimed to apply to at least 5 schools: 2 safety, 2 target, and 1 reach, which included Georgia Tech and UPenn. Gathering all relevant documents and materials, such as transcripts and recommendation letters, early on, enabled me to apply in the early decision deadline, which historically has higher odds for acceptance than regular decision. Selecting the best program for my skill level: The choice came down to Georgia Tech and UPenn. After evaluating both programs' curricula, I ultimately chose UPenn's MCIT program. Factors that influenced my decision included program duration, course offerings, TA to student ratio (arguably the most crucial factor), cost, and faculty expertise. Completing coursework and gaining knowledge in Computer Science: Up until now, I have successfully finished 8 out of 10 required courses in the program, striving to take 3 courses a year and taking a break during the summer semester if I feel burnt out. Setting a goal for myself, I aim to complete the degree by mid-2024 and learn as many new and relevant technologies as possible. Preparing for a job search in software engineering: Recognizing the importance of investing in a LeetCode subscription, I gained access to a vast library of coding problems; there are free alternatives, but LeetCode is the most popular among students and industry professionals. I dedicated time to practice coding problems semi-consistently for about a year. Joining a support group with similar goals: Connecting with a group of friends at Appian who were also pursuing software development roles, I found support and camaraderie. We participated in group discussions, shared resources, and motivated each other. Leveraging previous experience and academic projects: In job applications and interviews, my solution engineering experience was highlighted to show that I am a quick learner, work well with others in a team and have good people skills such as working with clients. Showcasing academic projects from the CS Master's program, I demonstrated practical skills that are used widely by industry such as data analysis, algorithm optimization, software architecture design, and full-stack web development. Applying to software engineering positions: Actively searching and applying for jobs, I faced the uncertain job market of late 2022 but continued to apply to 100s of roles. Tailoring my resumes and cover letters, I ensured they matched the requirements of each position but made sure my main resume was general enough to be used for most of the applications. Securing a position in the competitive world of software development: Landing my first software engineering role was a success. Embracing the challenges and opportunities that come with starting a new job in the industry, I prepared myself for this exciting journey. Transitioning and Thriving in Software Development Progressing to my first software engineering job was not easy. To help myself grow, I kept a log of the things I learned during the first two months. Writing things down significantly aided in tracking my progress and developing my skills. One important skill I developed was the ability to ask the right questions and make an effort to find answers independently before seeking help from others. As a solution engineer, my work focused on troubleshooting and working with software teams to identify bugs. However, now as a software engineer, I now develop new products from scratch, fix bugs, and work on new features for existing products. It's exciting to see my code in action, used by thousands of people. Gaming: A Valuable Outlet for Success and Conclusion One aspect of my life that has helped me succeed in my professional journey is my passion for gaming. Gaming has not only been a great way to stay connected with my college friends in different states, but it has also helped me develop teamwork skills that are valuable in my professional life. Additionally, gaming serves as a fun and engaging way to destress and maintain a healthy work-life balance, allowing me to approach my software development career with a clear and focused mind. In my future articles, I plan to provide even more insight into my life as a software engineer, both professionally and personally. I hope that by sharing my experiences and lessons learned, I can inspire and encourage others to take the leap into the rewarding and exciting world of software engineering.

An Inside Scoop Into An Mechanical Engineer's Journey to Software Development

The Country of the Blind, And Other Stories, by H. G. Wells, is part of the HackerNoon Books Series. You can jump to any chapter in this book here . THE OBLITERATED MAN THE OBLITERATED MAN I was—you shall hear immediately why I am not now—Egbert Craddock Cummins. The name remains. I am still (Heaven help me!) Dramatic Critic to the Fiery Cross. What I shall be in a little while I do not know. I write in great trouble and confusion of mind. I will do what I can to make myself clear in the face of terrible difficulties. You must bear with me a little. When a man is rapidly losing his own identity, he naturally finds a difficulty in expressing himself. I will make it perfectly plain in a minute, when once I get my grip upon the story. Let me see—where am I? I wish I knew. Ah, I have it! Dead self! Egbert Craddock Cummins! In the past I should have disliked writing anything quite so full of "I" as this story must be. It is full of "I's" before and behind, like the beast in Revelation—the one with a head like a calf, I am afraid. But my tastes have changed since I became a Dramatic Critic and studied the masters—G.A.S., G.B.S., G.R.S., and the others. Everything has changed since then. At least the story is about myself—so that there is some excuse for me. And it is really not egotism, because, as I say, since those days my identity has undergone an entire alteration. That past!... I was—in those days—rather a nice fellow, rather shy— taste for grey in my clothes, weedy little moustache, face "interesting," slight stutter which I had caught in my early life from a schoolfellow. Engaged to a very nice girl, named Delia. Fairly new, she was— cigarettes—liked me because I was human and original. Considered I was like Lamb—on the strength of the stutter, I believe. Father, an eminent authority on postage stamps. She read a great deal in the British Museum. (A perfect pairing ground for literary people, that British Museum—you should read George Egerton and Justin Huntly M'Carthy and Gissing and the rest of them.) We loved in our intellectual way, and shared the brightest hopes. (All gone now.) And her father liked me because I seemed honestly eager to hear about stamps. She had no mother. Indeed, I had the happiest prospects a young man could have. I never went to theatres in those days. My Aunt Charlotte before she died had told me not to. Then Barnaby, the editor of the Fiery Cross, made me—in spite of my spasmodic efforts to escape—Dramatic Critic. He is a fine, healthy man, Barnaby, with an enormous head of frizzy black hair and a convincing manner, and he caught me on the staircase going to see Wembly. He had been dining, and was more than usually buoyant. "Hullo, Cummins!" he said. "The very man I want!" He caught me by the shoulder or the collar or something, ran me up the little passage, and flung me over the waste-paper basket into the arm-chair in his office. "Pray be seated," he said, as he did so. Then he ran across the room and came back with some pink and yellow tickets and pushed them into my hand. "Opera Comique," he said, "Thursday; Friday, the Surrey; Saturday, the Frivolity. That's all, I think." "But—" I began. "Glad you're free," he said, snatching some proofs off the desk and beginning to read. "I don't quite understand," I said. "Eigh?" he said, at the top of his voice, as though he thought I had gone and was startled at my remark. "Do you want me to criticise these plays?" "Do something with 'em... Did you think it was a treat?" "But I can't." "Did you call me a fool?" "Well, I've never been to a theatre in my life." "Virgin soil." "But I don't know anything about it, you know." "That's just it. New view. No habits. No clichis in stock. Ours is a live paper, not a bag of tricks. None of your clockwork professional journalism in this office. And I can rely on your integrity——" "But I've conscientious scruples——" He caught me up suddenly and put me outside his door. "Go and talk to Wembly about that," he said. "He'll explain." As I stood perplexed, he opened the door again, said, "I forgot this," thrust a fourth ticket into my hand (it was for that night—in twenty minutes' time) and slammed the door upon me. His expression was quite calm, but I caught his eye. I hate arguments. I decided that I would take his hint and become (to my own destruction) a Dramatic Critic. I walked slowly down the passage to Wembly. That Barnaby has a remarkable persuasive way. He has made few suggestions during our very pleasant intercourse of four years that he has not ultimately won me round to adopting. It may be, of course, that I am of a yielding disposition; certainly I am too apt to take my colour from my circumstances. It is, indeed, to my unfortunate susceptibility to vivid impressions that all my misfortunes are due. I have already alluded to the slight stammer I had acquired from a schoolfellow in my youth. However, this is a digression... I went home in a cab to dress. I will not trouble the reader with my thoughts about the first-night audience, strange assembly as it is,—those I reserve for my Memoirs,—nor the humiliating story of how I got lost during the entr'acte in a lot of red plush passages, and saw the third act from the gallery. The only point upon which I wish to lay stress was the remarkable effect of the acting upon me. You must remember I had lived a quiet and retired life, and had never been to the theatre before, and that I am extremely sensitive to vivid impressions. At the risk of repetition I must insist upon these points. The first effect was a profound amazement, not untinctured by alarm. The phenomenal unnaturalness of acting is a thing discounted in the minds of most people by early visits to the theatre. They get used to the fantastic gestures, the flamboyant emotions, the weird mouthings, melodious snortings, agonising yelps, lip-gnawings, glaring horrors, and other emotional symbolism of the stage. It becomes at last a mere deaf-and-dumb language to them, which they read intelligently pari passu with the hearing of the dialogue. But all this was new to me. The thing was called a modern comedy, the people were supposed to be English and were dressed like fashionable Americans of the current epoch, and I fell into the natural error of supposing that the actors were trying to represent human beings. I looked round on my first-night audience with a kind of wonder, discovered—as all new Dramatic Critics do—that it rested with me to reform the Drama, and, after a supper choked with emotion, went off to the office to write a column, piebald with "new paragraphs" (as all my stuff is—it fills out so) and purple with indignation. Barnaby was delighted. But I could not sleep that night. I dreamt of actors—actors glaring, actors smiting their chests, actors flinging out a handful of extended fingers, actors smiling bitterly, laughing despairingly, falling hopelessly, dying idiotically. I got up at eleven with a slight headache, read my notice in the Fiery Cross, breakfasted, and went back to my room to shave, (It's my habit to do so.) Then an odd thing happened. I could not find my razor. Suddenly it occurred to me that I had not unpacked it the day before. "Ah!" said I, in front of the looking-glass. Then "Hullo!" Quite involuntarily, when I had thought of my portmanteau, I had flung up the left arm (fingers fully extended) and clutched at my diaphragm with my right hand. I am an acutely self-conscious man at all times. The gesture struck me as absolutely novel for me. I repeated it, for my own satisfaction. "Odd!" Then (rather puzzled) I turned to my portmanteau. After shaving, my mind reverted to the acting I had seen, and I entertained myself before the cheval glass with some imitations of Jafferay's more exaggerated gestures. "Really, one might think it a disease," I said—"Stage-Walkitis!" (There's many a truth spoken in jest.) Then, if I remember rightly, I went off to see Wembly, and afterwards lunched at the British Museum with Delia. We actually spoke about our prospects, in the light of my new appointment. But that appointment was the beginning of my downfall. From that day I necessarily became a persistent theatre-goer, and almost insensibly I began to change. The next thing I noticed after the gesture about the razor was to catch myself bowing ineffably when I met Delia, and stooping in an old-fashioned, courtly way over her hand. Directly I caught myself, I straightened myself up and became very uncomfortable. I remember she looked at me curiously. Then, in the office, I found myself doing "nervous business," fingers on teeth, when Barnaby asked me a question I could not very well answer. Then, in some trifling difference with Delia, I clasped my hand to my brow. And I pranced through my social transactions at times singularly like an actor! I tried not to—no one could be more keenly alive to the arrant absurdity of the histrionic bearing. And I did! It began to dawn on me what it all meant. The acting, I saw, was too much for my delicately-strung nervous system. I have always, I know, been too amenable to the suggestions of my circumstances. Night after night of concentrated attention to the conventional attitudes and intonation of the English stage was gradually affecting my speech and carriage. I was giving way to the infection of sympathetic imitation. Night after night my plastic nervous system took the print of some new amazing gesture, some new emotional exaggeration—and retained it. A kind of theatrical veneer threatened to plate over and obliterate my private individuality altogether. I saw myself in a kind of vision. Sitting by myself one night, my new self seemed to me to glide, posing and gesticulating, across the room. He clutched his throat, he opened his fingers, he opened his legs in walking like a high-class marionette. He went from attitude to attitude. He might have been clockwork. Directly after this I made an ineffectual attempt to resign my theatrical work. But Barnaby persisted in talking about the Polywhiddle Divorce all the time I was with him, and I could get no opportunity of saying what I wished. And then Delia's manner began to change towards me. The ease of our intercourse vanished. I felt she was learning to dislike me. I grinned, and capered, and scowled, and posed at her in a thousand ways, and knew—with what a voiceless agony!—that I did it all the time. I tried to resign again, and Barnaby talked about "X" and "Z" and "Y" in the New Review, and gave me a strong cigar to smoke, and so routed me. And then I walked up the Assyrian Gallery in the manner of Irving to meet Delia, and so precipitated the crisis. "Ah!—Dear!" I said, with more sprightliness and emotion in my voice than had ever been in all my life before I became (to my own undoing) a Dramatic Critic. She held out her hand rather coldly, scrutinising my face as she did so. I prepared, with a new-won grace, to walk by her side. "Egbert," she said, standing still, and thought. Then she looked at me. I said nothing. I felt what was coming. I tried to be the old Egbert Craddock Cummins of shambling gait and stammering sincerity, whom she loved, but I felt even as I did so that I was a new thing, a thing of surging emotions and mysterious fixity—like no human being that ever lived, except upon the stage. "Egbert," she said, "you are not yourself." "Ah!" Involuntarily I clutched my diaphragm and averted my head (as is the way with them). "There!" she said. "What do you mean?" I said, whispering in vocal italics—you know how they do it—turning on her, perplexity on face, right hand down, left on brow. I knew quite well what she meant. I knew quite well the dramatic unreality of my behaviour. But I struggled against it in vain. "What do you mean?" I said, and, in a kind of hoarse whisper, "I don't understand!" She really looked as though she disliked me. "What do you keep on posing for?" she said. "I don't like it. You didn't use to." "Didn't use to!" I said slowly, repeating this twice. I glared up and down the gallery with short, sharp glances. "We are alone," I said swiftly. "Listen!" I poked my forefinger towards her, and glared at her. "I am under a curse." I saw her hand tighten upon her sunshade. "You are under some bad influence or other," said Delia. "You should give it up. I never knew anyone change as you have done." "Delia!" I said, lapsing into the pathetic. "Pity me, Augh! Delia! Pit—y me!" She eyed me critically. "Why you keep playing the fool like this I don't know," she said. "Anyhow, I really cannot go about with a man who behaves as you do. You made us both ridiculous on Wednesday. Frankly, I dislike you, as you are now. I met you here to tell you so—as it's about the only place where we can be sure of being alone together——" "Delia!" said I, with intensity, knuckles of clenched hands white. "You don't mean——" "I do," said Delia. "A woman's lot is sad enough at the best of times. But with you——" I clapped my hand on my brow. "So, good-bye," said Delia, without emotion. "Oh, Delia!" I said. "Not this?" "Good-bye, Mr. Cummins," she said. By a violent effort I controlled myself and touched her hand. I tried to say some word of explanation to her. She looked into my working face and winced. "I must do it," she said hopelessly. Then she turned from me and began walking rapidly down the gallery. Heavens! How the human agony cried within me! I loved Delia. But nothing found expression—I was already too deeply crusted with my acquired self. "Good-baye!" I said at last, watching her retreating figure. How I hated myself for doing it! After she had vanished, I repeated in a dreamy way, "Good-baye!" looking hopelessly round me. Then, with a kind of heart-broken cry, I shook my clenched fists in the air, staggered to the pedestal of a winged figure, buried my face in my arms, and made my shoulders heave. Something within me said "Ass!" as I did so. (I had the greatest difficulty in persuading the Museum policeman, who was attracted by my cry of agony, that I was not intoxicated, but merely suffering from a transient indisposition.) But even this great sorrow has not availed to save me from my fate. I see it; everyone sees it: I grow more "theatrical" every day. And no one could be more painfully aware of the pungent silliness of theatrical ways. The quiet, nervous, but pleasing E.C. Cummins vanishes. I cannot save him. I am driven like a dead leaf before the winds of March. My tailor even enters into the spirit of my disorder. He has a peculiar sense of what is fitting. I tried to get a dull grey suit from him this spring, and he foisted a brilliant blue upon me, and I see he has put braid down the sides of my new dress trousers. My hairdresser insists upon giving me a "wave." I am beginning to associate with actors. I detest them, but it is only in their company that I can feel I am not glaringly conspicuous. Their talk infects me. I notice a growing tendency to dramatic brevity, to dashes and pauses in my style, to a punctuation of bows and attitudes. Barnaby has remarked it too. I offended Wembly by calling him "Dear Boy" yesterday. I dread the end, but I cannot escape from it. The fact is, I am being obliterated. Living a grey, retired life all my youth, I came to the theatre a delicate sketch of a man, a thing of tints and faint lines. Their gorgeous colouring has effaced me altogether. People forget how much mode of expression, method of movement, are a matter of contagion. I have heard of stage-struck people before, and thought it a figure of speech. I spoke of it jestingly, as a disease. It is no jest. It is a disease. And I have got it badly! Deep down within me I protest against the wrong done to my personality—unavailingly. For three hours or more a week I have to go and concentrate my attention on some fresh play, and the suggestions of the drama strengthen their awful hold upon me. My manners grow so flamboyant, my passions so professional, that I doubt, as I said at the outset, whether it is really myself that behaves in such a manner. I feel merely the core to this dramatic casing, that grows thicker and presses upon me—me and mine. I feel like King John's abbot in his cope of lead. I doubt, indeed, whether I should not abandon the struggle altogether— leave this sad world of ordinary life for which I am so ill fitted, abandon the name of Cummins for some professional pseudonym, complete my self-effacement, and—a thing of tricks and tatters, of posing and pretence—go upon the stage. It seems my only resort—"to hold the mirror up to Nature." For in the ordinary life, I will confess, no one now seems to regard me as both sane and sober. Only upon the stage, I feel convinced, will people take me seriously. That will be the end of it. I know that will be the end of it. And yet ... I will frankly confess ... all that marks off your actor from your common man ... I detest. I am still largely of my Aunt Charlotte's opinion, that play-acting is unworthy of a pure-minded man's attention, much more participation. Even now I would resign my dramatic criticism and try a rest. Only I can't get hold of Barnaby. Letters of resignation he never notices. He says it is against the etiquette of journalism to write to your Editor. And when I go to see him, he gives me another big cigar and some strong whisky and soda, and then something always turns up to prevent my explanation. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. H. G. Wells (2004). The Country of the Blind, And Other Stories. Urbana, Illinois: Project Gutenberg. Retrieved October 2022, from https://www.gutenberg.org/files/11870/11870-h/11870-h.htm This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org , located at . https://www.gutenberg.org/policy/license.html

THE OBLITERATED MAN

The Plattner Story, by H. G. Wells, is part of the HackerNoon Books Series. You can jump to any chapter in this book here . THE SAD STORY OF A DRAMATIC CRITIC THE SAD STORY OF A DRAMATIC CRITIC I was—you shall hear immediately why I am not now—Egbert Craddock Cummins. The name remains. I am still (Heaven help me!) Dramatic Critic to the Fiery Cross. What I shall be in a little while I do not know. I write in great trouble and confusion of mind. I will do what I can to make myself clear in the face of terrible difficulties. You must bear with me a little. When a man is rapidly losing his own identity, he naturally finds a difficulty in expressing himself. I will make it perfectly plain in a minute, when once I get my grip upon the story. Let me see—where I? I wish I knew. Ah, I have it! Dead self! Egbert Craddock Cummins! am In the past I should have disliked writing anything quite so full of “I” as this story must be. It is full of “I’s” before and behind, like the beast in Revelation—the one with a head like a calf, I am afraid. But my tastes have changed since I became a Dramatic Critic and studied the masters—G.R.S., G.B.S., G.A.S., and the others. Everything has changed since then. At least the story is about myself—so that there is some excuse for me. And it is really not egotism, because, as I say, since those days my identity has undergone an entire alteration. That past!... I was—in those days—rather a nice fellow, rather shy—taste for grey in my clothes, weedy little moustache, face “interesting,” slight stutter which I had caught in early life from a schoolfellow. Engaged to a very nice girl, named Delia. Fairly new, she was—cigarettes—liked me because I was human and original. Considered I was like Lamb—on the strength of the stutter, I believe. Father, an eminent authority on postage stamps. She read a great deal in the British Museum. (A perfect pairing ground for literary people, that British Museum—you should read George Egerton and Justin Huntly M’Carthy and Gissing and the rest of them.) We loved in our intellectual way, and shared the brightest hopes. (All gone now.) And her father liked me because I seemed honestly eager to hear about stamps. She had no mother. Indeed, I had the happiest prospects a young man could have. I never went to theatres in those days. My Aunt Charlotte before she died had told me not to. Then Barnaby, the editor of the Fiery Cross, made me—in spite of my spasmodic efforts to escape—Dramatic Critic. He is a fine, healthy man, Barnaby, with an enormous head of frizzy black hair and a convincing manner, and he caught me on the staircase going to see Wembly. He had been dining, and was more than usually buoyant. “Hullo, Cummins!” he said. “The very man I want!” He caught me by the shoulder or the collar or something, ran me up the little passage, and flung me over the waste-paper basket into the arm-chair in his office. “Pray be seated,” he said, as he did so. Then he ran across the room and came back with some pink and yellow tickets and pushed them into my hand. “Opera Comique,” he said, “Thursday; Friday, the Surrey; Saturday, the Frivolity. That’s all, I think.” “But”—I began. “Glad you’re free,” he said, snatching some proofs off the desk and beginning to read. “I don’t quite understand,” I said. “ ” he said, at the top of his voice, as though he thought I had gone, and was startled at my remark. Eigh? “Do you want me to criticise these plays?” “Do something with ’em.... Did you think it was a treat?” “But I can’t.” “Did you call me a fool?” “Well, I’ve never been to a theatre in my life.” “Virgin soil.” “But I don’t know anything about it, you know.” “That’s just it. New view. No habits. No clichés in stock. Ours is a live paper, not a bag of tricks. None of your clockwork professional journalism in this office. And I can rely on your integrity”— “But I’ve conscientious scruples”— He caught me up suddenly and put me outside his door. “Go and talk to Wembly about that,” he said. “He’ll explain.” As I stood perplexed, he opened the door again, said, “I forgot this,” thrust a fourth ticket into my hand (it was for that night—in twenty minutes’ time), and slammed the door upon me. His expression was quite calm, but I caught his eye. I hate arguments. I decided that I would take his hint and become (to my own destruction) a Dramatic Critic. I walked slowly down the passage to Wembly. That Barnaby has a remarkably persuasive way. He has made few suggestions during our very pleasant intercourse of four years that he has not ultimately won me round to adopting. It may be, of course, that I am of a yielding disposition; certainly I am too apt to take my colour from my circumstances. It is, indeed, to my unfortunate susceptibility to vivid impressions that all my misfortunes are due. I have already alluded to the slight stammer I had acquired from a schoolfellow in my youth. However, this is a digression.... I went home in a cab to dress. I will not trouble the reader with my thoughts about the first-night audience, strange assembly as it is,—those I reserve for my Memoirs,—nor the humiliating story of how I got lost during the entr’acte in a lot of red plush passages, and saw the third act from the gallery. The only point upon which I wish to lay stress was the remarkable effect of the acting upon me. You must remember I had lived a quiet and retired life, and had never been to the theatre before, and that I am extremely sensitive to vivid impressions. At the risk of repetition I must insist upon these points. The first effect was a profound amazement, not untinctured by alarm. The phenomenal unnaturalness of acting is a thing discounted in the minds of most people by early visits to the theatre. They get used to the fantastic gestures, the flamboyant emotions, the weird mouthings, melodious snortings, agonising yelps, lip-gnawings, glaring horrors, and other emotional symbolism of the stage. It becomes at last a mere deaf-and-dumb language to them, which they read intelligently pari passu with the hearing of the dialogue. But all this was new to me. The thing was called a modern comedy, the people were supposed to be English and were dressed like fashionable Americans of the current epoch, and I fell into the natural error of supposing that the actors were trying to represent human beings. I looked round on my first-night audience with a kind of wonder, discovered—as all new Dramatic Critics do—that it rested with me to reform the Drama, and, after a supper choked with emotion, went off to the office to write a column, piebald with “new paragraphs” (as all my stuff is—it fills out so) and purple with indignation. Barnaby was delighted. But I could not sleep that night. I dreamt of actors—actors glaring, actors smiting their chests, actors flinging out a handful of extended fingers, actors smiling bitterly, laughing despairingly, falling hopelessly, dying idiotically. I got up at eleven with a slight headache, read my notice in the Fiery Cross, breakfasted, and went back to my room to shave. (It’s my habit to do so.) Then an odd thing happened. I could not find my razor. Suddenly it occurred to me that I had not unpacked it the day before. “Ah!” said I, in front of the looking-glass. Then “Hullo!” Quite involuntarily, when I had thought of my portmanteau, I had flung up the left arm (fingers fully extended) and clutched at my diaphragm with my right hand. I am an acutely self-conscious man at all times. The gesture struck me as absolutely novel for me. I repeated it, for my own satisfaction. “Odd!” Then (rather puzzled) I turned to my portmanteau. After shaving, my mind reverted to the acting I had seen, and I entertained myself before the cheval glass with some imitations of Jafferay’s more exaggerated gestures. “Really, one might think it a disease,” I said—“Stage-Walkitis!” (There’s many a truth spoken in jest.) Then, if I remember rightly, I went off to see Wembly, and afterwards lunched at the British Museum with Delia. We actually spoke about our prospects, in the light of my new appointment. But that appointment was the beginning of my downfall. From that day I necessarily became a persistent theatre-goer, and almost insensibly I began to change. The next thing I noticed after the gesture about the razor, was to catch myself bowing ineffably when I met Delia, and stooping in an old-fashioned, courtly way over her hand. Directly I caught myself, I straightened myself up and became very uncomfortable. I remember she looked at me curiously. Then, in the office, I found myself doing “nervous business,” fingers on teeth, when Barnaby asked me a question I could not very well answer. Then, in some trifling difference with Delia, I clasped my hand to my brow. And I pranced through my social transactions at times singularly like an actor! I tried not to—no one could be more keenly alive to the arrant absurdity of the histrionic bearing. And I did! It began to dawn on me what it all meant. The acting, I saw, was too much for my delicately-strung nervous system. I have always, I know, been too amenable to the suggestions of my circumstances. Night after night of concentrated attention to the conventional attitudes and intonation of the English stage was gradually affecting my speech and carriage. I was giving way to the infection of sympathetic imitation. Night after night my plastic nervous system took the print of some new amazing gesture, some new emotional exaggeration—and retained it. A kind of theatrical veneer threatened to plate over and obliterate my private individuality altogether. I saw myself in a kind of vision. Sitting by myself one night, my new self seemed to me to glide, posing and gesticulating, across the room. He clutched his throat, he opened his fingers, he opened his legs in walking like a high-class marionette. He went from attitude to attitude. He might have been clockwork. Directly after this I made an ineffectual attempt to resign my theatrical work. But Barnaby persisted in talking about the Polywhiddle Divorce all the time I was with him, and I could get no opportunity of saying what I wished. And then Delia’s manner began to change towards me. The ease of our intercourse vanished. I felt she was learning to dislike me. I grinned, and capered, and scowled, and posed at her in a thousand ways, and knew—with what a voiceless agony!—that I did it all the time. I tried to resign again, and Barnaby talked about “X” and “Z” and “Y” in the New Review, and gave me a strong cigar to smoke, and so routed me. And then I walked up the Assyrian Gallery in the manner of Irving to meet Delia, and so precipitated the crisis. “Ah!— ” I said, with more sprightliness and emotion in my voice than had ever been in all my life before I became (to my own undoing) a Dramatic Critic. Dear! She held out her hand rather coldly, scrutinising my face as she did so. I prepared, with a new-won grace, to walk by her side. “Egbert,” she said, standing still, and thought. Then she looked at me. I said nothing. I felt what was coming. I tried to be the old Egbert Craddock Cummins of shambling gait and stammering sincerity, whom she loved, but I felt even as I did so that I was a new thing, a thing of surging emotions and mysterious fixity—like no human being that ever lived, except upon the stage. “Egbert,” she said, “you are not yourself.” “Ah!” Involuntarily I clutched my diaphragm and averted my head (as is the way with them). “There!” she said. “ ” I said, whispering in vocal italics—you know how they do it—turning on her, perplexity on face, right hand down, left on brow. I knew quite well what she meant. I knew quite well the dramatic unreality of my behaviour. But I struggled against it in vain. “What do you mean?” I said, and, in a kind of hoarse whisper, “I don’t understand!” What do you mean? She really looked as though she disliked me. “What do you keep on posing for?” she said. “I don’t like it. You didn’t use to.” “Didn’t use to!” I said slowly, repeating this twice. I glared up and down the gallery, with short, sharp glances. “We are alone,” I said swiftly. “ ” I poked my forefinger towards her, and glared at her. “I am under a curse.” Listen! I saw her hand tighten upon her sunshade. “You are under some bad influence or other,” said Delia. “You should give it up. I never knew anyone change as you have done.” “Delia!” I said, lapsing into the pathetic. “Pity me. Augh! Delia! —y me!” Pit She eyed me critically. “ you keep playing the fool like this I don’t know,” she said. “Anyhow, I really cannot go about with a man who behaves as you do. You made us both ridiculous on Wednesday. Frankly, I dislike you, as you are now. I met you here to tell you so—as it’s about the only place where we can be sure of being alone together”— Why “Delia!” said I, with intensity, knuckles of clenched hands white. “You don’t mean”— “I do,” said Delia. “A woman’s lot is sad enough at the best of times. But with you”— I clapped my hand on my brow. “So, good-bye,” said Delia, without emotion. “Oh, Delia!” I said. “Not ?” this “Good-bye, Mr. Cummins,” she said. By a violent effort I controlled myself and touched her hand. I tried to say some word of explanation to her. She looked into my working face and winced. “I do it,” she said hopelessly. Then she turned from me and began walking rapidly down the gallery. must Heavens! How the human agony cried within me! I loved Delia. But nothing found expression—I was already too deeply crusted with my acquired self. “Good-baye!” I said at last, watching her retreating figure. How I hated myself for doing it! After she had vanished, I repeated in a dreamy way, “Good-baye!” looking hopelessly round me. Then, with a kind of heart-broken cry, I shook my clenched fists in the air, staggered to the pedestal of a winged figure, buried my face in my arms, and made my shoulders heave. Something within me said “Ass!” as I did so. (I had the greatest difficulty in persuading the Museum policeman, who was attracted by my cry of agony, that I was not intoxicated, but merely suffering from a transient indisposition.) But even this great sorrow has not availed to save me from my fate. I see it, everyone sees it; I grow more “theatrical” every day. And no one could be more painfully aware of the pungent silliness of theatrical ways. The quiet, nervous, but pleasing E. C. Cummins vanishes. I cannot save him. I am driven like a dead leaf before the winds of March. My tailor even enters into the spirit of my disorder. He has a peculiar sense of what is fitting. I tried to get a dull grey suit from him this spring, and he foisted a brilliant blue upon me, and I see he has put braid down the sides of my new dress trousers. My hairdresser insists upon giving me a “wave.” I am beginning to associate with actors. I detest them, but it is only in their company that I can feel I am not glaringly conspicuous. Their talk infects me. I notice a growing tendency to dramatic brevity, to dashes and pauses in my style, to a punctuation of bows and attitudes. Barnaby has remarked it too. I offended Wembly by calling him “Dear Boy” yesterday. I dread the end, but I cannot escape from it. The fact is, I am being obliterated. Living a grey, retired life all my youth, I came to the theatre a delicate sketch of a man, a thing of tints and faint lines. Their gorgeous colouring has effaced me altogether. People forget how much mode of expression, method of movement, are a matter of contagion. I have heard of stage-struck people before, and thought it a figure of speech. I spoke of it jestingly, as a disease. It is no jest. It a disease. And I have got it bad! Deep down within me I protest against the wrong done to my personality—unavailingly. For three hours or more a week I have to go and concentrate my attention on some fresh play, and the suggestions of the drama strengthen their awful hold upon me. My manners grow so flamboyant, my passions so professional, that I doubt, as I said at the outset, whether it is really myself that behaves in such a manner. I feel merely the core to this dramatic casing, that grows thicker and presses upon me—me and mine. I feel like King John’s abbot in his cope of lead. is I doubt, indeed, whether I should not abandon the struggle altogether—leave this sad world of ordinary life for which I am so ill-fitted, abandon the name of Cummins for some professional pseudonym, complete my self-effacement, and—a thing of tricks and tatters, of posing and pretence—go upon the stage. It seems my only resort—“to hold the mirror up to Nature.” For in the ordinary life, I will confess, no one now seems to regard me as both sane and sober. Only upon the stage, I feel convinced, will people take me seriously. That will be the end of it. I that will be the end of it. And yet ... I will frankly confess ... all that marks off your actor from your common man ... I . I am still largely of my Aunt Charlotte’s opinion, that playacting is unworthy of a pure-minded man’s attention, much more participation. Even now I would resign my dramatic criticism and try a rest. Only I can’t get hold of Barnaby. Letters of resignation he never notices. He says it is against the etiquette of journalism to write to your Editor. And when I go to see him, he gives me another big cigar and some strong whisky and soda, and then something always turns up to prevent my explanation. know detest About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. H. G. Wells (2013). The Plattner Story. Urbana, Illinois: Project Gutenberg. Retrieved October 2022, from https://www.gutenberg.org/files/42989/42989-h/42989-h.htm This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org , located at https://www.gutenberg.org/policy/license.html.

THE SAD STORY OF A DRAMATIC CRITIC

Top Software Development Companies 2022 That Are Growing Fast

Photo by on Hope House Press - Leather Diary Studio Unsplash Hello devs, If you are a Java programmer and are wondering what to read to improve your knowledge of Java or , then you have come to the right place. become a better Java developer In this article, I am going to share some of the best Java books ever written. These books have withstood the test of time, becoming more and more relevant as the years go by. It doesn't matter if you read them now or plan on reading them later, you will always have a lot to learn, and that's why I think they are the most outstanding Java books of all time. I am a big fan of reading books. I have hundreds of books and eBooks in my library. When I was a kid, I read many comics, and my passion for books continued when I became a programmer. Apart from textbooks in college, the first Java book I read was Head First Design Pattern. This book completely changed my knowledge of Java and my understanding of object-oriented programming. Until then, I didn't understand the actual use of the interface. To me, they look useless because you can't write code to do anything there. But, after reading the book, I realized how awesome they are in reducing the coupling between different parts of your program. From that point, I have read many mainly related to Java. Today, I will share the . Even if some knowledge is outdated, most of the stuff you learn will help build upon your knowledge and a lifetime career. programming books 10 best Java books that every Java developer should read 10 Best Java Books for Beginners and Intermediate Developers Here is my list of some of the most popular and essential books for Java programmers without further ado. If you have been doing , then it's a good chance that you have read these books already. Java programming for 2 to 3 years But, if you haven't, now is the best time to read them. I am 100% sure that You will not regret investing your time and money in these books because what you will learn is worth much more than and last for years to come. 1. Effective Java There should not be any surprise here. by Joshua Bloch is hands down the best Java book ever. This is a definite must-read book for Java programmers of any experience level. You will learn so much about Java and its API than you could imagine. Effective Java Joshua Bloch himself is the author of several key Java classes and API, like and , is enough reason to read this book. Along with that, his writing style is also fantastic. java.lang Java Collection framework You can read this book on a beach, while traveling, or just at your desk. It's awesome. There is no doubt that you would emerge as a better Java programmer after reading this book. And the best thing is that a is available now, which covers Java 7, 8, and 9. There cannot be a better time to read this book. new edition of Effective Java 2. Clean Code Another timeless classic for Java programmers is . As the title suggests, it teaches you to write better code, which is such a difficult thing to learn. It's easy to learn Java, but writing better Java code that uses strong , and that's where this book helps. Clean Code OOP principles Like Joshua Bloch, Robert C. Martin, also known as Uncle Bob, is an excellent author and shares a lot of his experience as a software developer, teaching you various programming techniques and practices that help a lot in your day-to-day job as a programmer. If you follow Clean Code, there is also a course on Udemy called By Ranga Karnam, which effectively complements this book. Clean Code with Java 3. Java Concurrency in Practice Multithreading and concurrency are essential parts of Java programming. There is no better book than Brian Goetz's to learn and master this tricky topic. Java Concurrency in Practice Even though the book only covers Java 5, it's still a relevant and must-read book for any serious Java developer. Some of you may find that some of the sections are a bit difficult to understand, especially sections 3.5.1 through 3.5.6, And if that's the case, I suggest you go through the course by Dr. Heinz Kabutz. This will help you to better digest and comprehend those topics. Extreme Java --- Concurrency Performance 4. Head First Design Patterns Good knowledge of OOP and design patterns are important for writing any Java application. is the best book for learning to do that. This was one of the first books I ever read on Java, apart from textbooks, as I have said before. After reading this book, I was very impressed. Head First Design Patterns This book taught me and how you can change the runtime behavior of a class without touching the already tried and tested code. why Composition is better than Inheritance You might think it's just another old book, but you don't need to worry; an updated copy covers was released a couple of years ago. Java S.E. 8 If you are serious about learning design patterns in Java, this is the book you should read! And, if you need an online course, The course on Udemy is also an excellent resource to get yourself familiar with basic design patterns and their modern implementations in Java and object-oriented programming. You can follow that course along with this book to get the best of both worlds. Design Pattern in Java 5. Spring in Action Sorry, but I have to include one Spring book, , in this list of classic books for Java programmers. Spring is the most popular Java framework ever, and this is the best book to learn about the Spring framework, but this book is much more than a Spring book. Spring in Action After reading the 4th Edition of this book, I realized much about Java and writing better code that I can't begin to explain. The books take a topic, like JDBC, and explain where JDK went wrong and how Spring corrects that mistake, like SQLException, a one-size-fits-all exception that says something is wrong but not exactly what is wrong or how to deal with that. Like Josuha Bloch and Uncle Bob, Craig Walls is another great author, and you will learn much more than just Spring by reading this book. The great news is now the is also available, one of the books on my reading list. 5th Edition of Spring in Action Btw, if your goal is to learn Spring, I also suggest you join a great online course like along with this book. You will learn quickly and better than many developers, who try to learn by themselves. Spring Framework 5: Beginner to Guru 6. Test-Driven Automation testing is an important skill. For developers, it all starts with unit testing. Java has been blessed to have the JUnit from the start, but knowing the library doesn't make you a professional programmer who can write tests. It takes much more than knowing a unit testing library, like or , and that's where this book helps. JUnit Mockito If you are serious about code quality and writing unit, integration, and automation test, is the book to read now. Test-Driven If we talk about libraries, JUnit and Mockito are a must for any Java developer. If you are not familiar with them, I suggest you go through this along with the above book to master the art of unit testing in Java. JUnit and Mockito Crash Course 7. The Definitive Guide to Java Performance Another aspect of becoming a better Java developer is knowing about JVM, Garbage collection, and performance tuning. Though there have been several good books on this topic, like the by Binu John and Charlie Hunt, by Scott Oaks is my favorite. Java Performance The Definitive Guide of Java Performance Even though it only covers JDK 7, you will learn a lot about performance tuning and in general, which justifies the time and money you will spend on this book. JVM You can also join course on Udemy to learn some practical tips to improve the performance of your Java application. Java Multithreading, Concurrency & Performance Optimization 8. Head First Java How many of you started learning Java by reading this book? Well, I did. After I learned about , I also found this book, , and I enjoyed reading it. I learned a lot of Java concepts, and many of my misconceptions were also corrected. Head First Design Pattern Head First Java Though many feel this is an out-of-date book, I still think it's the best book for anyone just starting with Java because of its unique style and content. You can quickly learn about , , and changes on other versions once you know Java by reading this book. Java 8 Java 9 Java 10 If you like online courses and are looking for some of the best Java courses to start your journey, then on Udemy is simply the most up-to-date and the best route, to begin with. The Java MasterClass 9. Head First Object-Oriented Analysis and Design Here is another "Head First" book in the list of the greatest Java books. Yup, they are simply awesome. form a trilogy of the "Head First" books for Java programmers, i.e. , , and . Head First Object-Oriented Analysis and Design Head First Java Head First Design Patterns Head First OOAD It complements by explaining the techniques of object-oriented programming and design. Head First Design Patterns The most important technique that I learned from this book was coding for interfaces and encapsulating what changes. This book changed how I write Java code. If you like courses, by Steve Smith on Pluralsight is excellent, and you can follow that along with this book for a better understanding of object-oriented design principles. SOLID Principles of Object-Oriented Design Btw, you would need a Pluralsight membership to get access to this course, which costs around $29 per month or $299 annually ( ). 14% discount If you don't have , I encourage you to get one because it allows you to access their 5000+ online courses on all the latest topics like front-end and back-end development, machine learning, etc. Pluralsight membership It also includes interactive quizzes, exercises, and the latest certification material. It's more like Netflix for Software Developers, and Since learning is an essential part of our job, Pluralsight membership is a great way to stay ahead of your competition. They also provide a without any commitment, which is a great way to not just access this course for free but also to check the quality of systems before joining Pluralsight. 10-day free trial 10. Java: A Beginner's Guide If you ever need a comprehensive Java book, this should be it. Even though the title says , it's one of the complete books for learning Java. Java: A Beginner's Guide Sir Herbert Schildt has also done a commendable job keeping the book up-to-date, like the 7th Edition of this book now covers Java 9. However, I don't know how he will keep this book up-to-date going forward since Java's new 6-month release cycle started with Java 10 Btw, they have released a supplement to cover . I think that would be the way in the future. JDK 10 new features 11. 97 Things Every Java Programmer Should Know: Collective Wisdom from the Experts This is one of its kind of book where you will learn 97 important things from Java experts around the world. This book is compiled by Trisha Gee and Kevlin Henney. this book includes Java programming advice from 97 experts likeMala Gupta, Jeanne Boyarsky, Sanker Mak, etc. A few of the 97 things you should know: "Behavior Is Easy, State Is Hard" by [Edson Yanaga] "Learn Java Idioms and Cache in Your Brain" by Jeanne Boyarsky "Java Programming from a JVM Performance Perspective" by[Monica Beckwith] "Garbage Collection Is Your Friend" --- @Holly K Cummins "Java's Unspeakable Types" --- [Ben Evans] "The Rebirth of Java" --- [Sander Mak] "Do You Know What Time It Is?" --- [Christin Gorman] If you want to just read one book, I think you should read this book now, it will certainly leave a lasting impression on you and help you to make a better developer. A big thanks to the Java community for creating this awesome book. There you go! These are some of the best books for Java programmers. If you are a passionate Java programmer, there is a good chance that you have already read most of these books. But, if you haven't, then this year may be just the right time to read these books. They are awesome. You can choose the latest version of the text wherever possible, like or the 7th Edition of Effective Java 3rd Edition Java: A Beginner's Guide. Other to Explore Articles You May Like The Complete DevOps RoadMap 10 Things Java and Web Developer Should Learn 10 Testing Tools Java Developers Should Know 5 Essential Frameworks Java Developers Should Learn 10 Advanced Java Books for Experienced Programmers 10 Essential skills to become a software developer 10 Algorithms Books Every Programmer Should Read 10 Advanced Spring Boot Courses for Java Developers 10 Free Online Courses to learn Spring Boot 7 Best Courses to learn Microservices in Java with Spring Boot My favorite courses to learn Spring Boot Closing Notes Thanks, You made it to the end of the article ... Good luck with your Java Programming adventure. It's certainly not easy, but you will get some helpful experience by going through these books. If you like this article, please share it with your friends and colleagues, and don't forget to follow on Twitter! javinpaul P.S. --- If you like online courses and looking for some of the best Java courses to start your journey, then** on Udemy is the best course, to begin with. The Java MasterClass

What are the 10 Best Java Books For New Coders? 

Ishan Pandey: Hi Kirill, welcome to our series “Behind the Startup” . Please tell us about yourself and the story behind FuelGems? While in undergrad doing business at UC Berkeley, I realized there is no better job than cleantech startups because they help people and the environment and make money. Kirill Gichunts: With this in mind, I went on a career journey to build my knowledge base. I joined a Silicon Valley startup which achieved an exit. Then I did investment banking where I worked on deals worth over $2 billion. Later I became a partner at a venture capital accelerator fund (part of a $3.5 billion investment company), invested in over 15 startups, and achieved an exit. After this, I began operating in the cleantech space and was fortunate to meet a group of truly brilliant scientists. We joined forces, and FuelGems was born. I was the driving force for the business side, and they were the driving force for the technology.  It was a perfect mix of business and science, and after extensive and groundbreaking R&D, we were able to give life to this incredible product and bring it to market. Ishan Pandey: According to you, what is the future of energy after COVID-19 and how is it going to impact industries worldwide? Energy is the driving force of all economic sectors. While there has been an economic slowdown due to COVID-19, with time markets will recover, and the energy space will rebound and grow. Kirill Gichunts: Even today, cars, ships, trains, and trucks are still heavily used to transport goods and raw materials. Ishan Pandey: How can fuel nanotechnology reduce greenhouse gasses and emissions? The nanoparticles that we designed were shown to increase engine efficiency while reducing fuel consumption by 9%. Kirill Gichunts: Our nanoparticles enable more fuel molecules to burn inside the engine and release more energy rather than escaping the combustion process as pollutants. We showed a of by 9%, by 15%, and by 6% and by 50%. reduction CO2 CO particulate matter reduced unburnt hydrocarbons Besides, our nanotechnology improves lubricity and keeps fuel fresh. Ishan Pandey: Organizations want to be sustainable and reduce their carbon footprint. According to you, what is the potential quantifiable upside of nanoparticle additives for ride-sharing, supply chains, and logistics companies? Our technology enables us to manufacture nanoparticles at a very cheap cost. Only a tiny amount of our nanoparticles is needed to treat a massive amount of fuel. Kirill Gichunts: Unlike some nanoparticles that are added to fuel are toxic, the nanoparticles that we have developed are completely safe because they are made from carbon. Given the low price and safety of FuelGems’ technology, it can be used extensively in the $3.5 trillion fuel market. This means that our nanoparticles can be added to fuel at the refinery level, used for fleets, ride-sharing companies, and in any mode of transport using diesel, gasoline, or biofuel. FuelGems could potentially expand the fuel additive market by $5-10 billion or more. Think of our product as Intel. The same way Intel is inside computers, FuelGems is inside the fuel. Ishan Pandey: What is the market size and who are the key vendors in the fuel additives market? The fuel additive market is over $45 billion. Kirill Gichunts: Ethanol replaced MTBE to improve gasoline’s cleanliness and is currently added as 10% of gasoline in the US. The ethanol market in the US is over $40 billion annually. Research shows that the classic fuel additive market is about $6 billion. The key players are Afton Chemical Corporation, Innospec, and The Lubrizol Corporation and few others are Chevron Oronite, Evonik, BASF, Lanxess, Dorf Ketal Chemicals, Infineum, Cummins, Huntsman Corporation, ENI, Dow, and QAFAC. It’s interesting to note that ethanol produces less energy than gasoline; however, when FuelGems is added to ethanol, its performance level is par with gasoline. Ishan Pandey: According to you, what are the key factors driving the fuel additives market? Further, what would be the impact of electric cars' adoption on the consumption of oil worldwide? Stringent environmental regulations drive the need to make fuel cleaner and increase fuel additives' demand. Also increasing the number of cars and trucks will increase fuel consumption as well as fuel additives. Kirill Gichunts: Research shows that electric vehicles will replace gasoline and diesel cars by about 30% by 2050, thus driving down oil consumption. Overall, the decline in light vehicles will make a dent in the $3.5 trillion fuel market. Even if the market shrinks to $2.5 trillion, it is negligible for FuelGems because at this size it is still enormous. Ships, trains, aeroplanes, trucks and heavy machinery will likely be powered by gasoline or diesel. From a cleantech perspective, electric cars are as clean as the electricity they use. Over 60% of the world gets its electricity from coal and natural gas and about 20% from nuclear power. Thus, electric cars are powered mostly by coal and nuclear. Moreover, the coal and natural gas that produce the electricity for electric vehicles spew about 0.6 pounds of CO2 per mile into the air, while gasoline-powered cars release about 0.7 pounds of CO2 per mile. Using FuelGems fuel additive would make gasoline cars almost as clean as electric cars. Ishan Pandey: In the Netherlands, organizations are now storing CO2/carbon underground on the ocean floor. Do you think this experiment is safe and a sustainable idea? This looks like a novel concept in the initial experimental stage. Much more data on the practical implementation is needed. Kirill Gichunts: Other promising approaches are available, such as converting CO2 to graphite or using biofuel instead of fossil fuels—plants convert CO2 to oxygen. All of these approaches need to be implemented right away, in parallel, to make an impact. FuelGems is ready to go today, providing excellent possibilities for environmental and economic benefits for diesel, gasoline and biofuel users. Disclaimer: The purpose of this article is to remove informational asymmetry existing today in our digital markets by performing due diligence by asking the right questions and equipping readers with better opinions to make informed decisions. The material does not constitute any investment, financial, or legal advice. Please do your research before investing in any digital assets or tokens, etc. The writer does not have any vested interest in the company. Interviewer - Ishan Pandey.

Why Nanoparticle Technology is the Key for a Clean Future with Kirill Gichunts, CEO at FuelGems

This article aims to provide the basics of LSTMs (Long Short Term Memory) and implements a word detector using the architecture. The detector implemented in this article is a cuss word detector that detects a custom set of cuss words. What are LSTMs ??? LSTMs or Long Short term memory cells are a long term memory units that were designed to solve the vanishing gradient problem with the RNNs. Normally the memory in the RNNs is short lived. We cannot store data 8 - 9 time steps behind using an RNN. To store data for longer periods like 1000 time steps we use a LSTM. LSTM History : LSTM was proposed by and . By introducing Constant Error Carousel (CEC) units, LSTM deals with the . The initial version of LSTM block included cells, input and output gates. 1997 Sepp Hochreiter Jürgen Schmidhuber [1] vanishing gradient problem [5] : and his advisor and Fred Cummins introduced the forget gate (also called “keep gate”) into LSTM architecture, enabling the LSTM to reset its own state. 1999 Felix Gers Jürgen Schmidhuber [6] [5] : Gers & Schmidhuber & Cummins added peephole connections (connections from the cell to the gates) into the architecture. Additionally, the output activation function was omitted. 2000 [7] [5] : An LSTM based model won the connected handwriting recognition competition. Three such models were submitted by a team lead by . One was the most accurate model in the competition and another was the fastest. 2009 ICDAR Alex Graves [8] [9] : LSTM networks were a major component of a network that achieved a record 17.7% error rate on the classic natural speech dataset. 2013 phoneme TIMIT [10] : Kyunghyun Cho et al. put forward a simplified variant called (GRU). 2014 Gated recurrent unit [11] : Google started using an LSTM for speech recognition on Google Voice. According to the official blog post, the new model cut transcription errors by 49%. 2015 [12] [13] [14] : Google started using an LSTM to suggest messages in the Allo conversation app. In the same year, Google released the system for Google Translate which used LSTMs to reduce translation errors by 60%. 2016 [15] Google Neural Machine Translation [16] [17] [18] Apple announced in its that it would start using the LSTM for quicktype in the iPhone and for Siri. Worldwide Developers Conference [19] [20] [21] [22] [23] Amazon released , which generates the voices behind Alexa, using a bidirectional LSTM for the text-to-speech technology. Polly [24] : Facebook performed some 4.5 billion automatic translations every day using long short-term memory networks. 2017 [25] Researchers from , , and published a study in the Knowledge Discovery and Data Mining (KDD) conference. Their study describes a novel neural network that performs better on certain data sets than the widely used long short-term memory neural network. Michigan State University IBM Research Cornell University [26] [27] [28] Microsoft reported reaching 94.9% recognition accuracy on the , incorporating a vocabulary of 165,000 words. The approach used "dialog session-based long-short-term memory". Switchboard corpus [29] : Researchers from the proposed a related RNN architecture which represents continuous windows of time. It was derived using the and outperforms the LSTM on some memory-related benchmarks. 2019 University of Waterloo Legendre polynomials [30] An LSTM model climbed to third place on the in Large Text Compression Benchmark. [31] [32] LSTM Architecture But all of the above diagram is complex math. To simplify all of it we can view their functions i.e. what all that math represents. So, simplifying it we can represent it as In the article we are now going to use some abbreviations. LTM : Long term memory STM : Short term memory NLTM : New long term memory NSTM : New short term memory Working 1. The data from the LTM is pushed into the forget gate which remembers only certain features. 2. Then this data is pushed into the use and remember gate. 3.  Now data from the STM and the event is pushed into the learn gate 4. This data is again pushed into remember and use gates. 5. The combined data in the remember gate from the learn gate and forget gate is the NLTM 6. The data in the use gate which is a combination of data from forget and learn gate is the NSTM. In case you wish to get into the core mathematics behind the LSTM make sure you check out this beautiful article. Link : https://colah.github.io/posts/2015-08-Understanding-LSTMs/ Our Model Architecture LSTM Requirements In the case of an LSTM, for each piece of data in a sequence (say, for a word in a given sentence), there is a corresponding ℎ𝑡ht. This hidden state is a function of the pieces of data that an LSTM has seen over time; it contains some weights and, represents both the short term and long term memory components for the data that the LSTM has already seen. hidden state So, for an LSTM that is looking at words in a sentence, or help identify the type of word in a language model, and lots of other things! the hidden state of the LSTM will change based on each new word it sees. And, we can use the hidden state to predict the next word in a sequence To create an LSTM in PyTorch we use nn.LSTM(input_size=input_dim, hidden_size=hidden_dim, num_layers=n_layers) input_dim = the number of inputs (a dimension of 20 could represent 20 inputs) hidden_dim = the size of the hidden state; this will be the number of outputs that each LSTM cell produces at each time step. n_layers = the number of hidden LSTM layers to use; this is typically a value between 1 and 3; a value of 1 means that each LSTM cell has one hidden state. This has a default value of 1. Hidden State Once an LSTM has been defined with input and hidden dimensions, we can call it and retrieve the output and hidden state at every time step. out, hidden = lstm(input.view(1, 1, -1), (h0, c0)) The inputs to an LSTM are . (input, (h0, c0)) input = a Tensor containing the values in an input sequence; this has values: (seq_len, batch, input_size) h0 = a Tensor containing the initial hidden state for each element in a batch c0 = a Tensor containing the initial cell memory for each element in the batch h0 nd c0 will default to 0, if they are not specified. Their dimensions are: (n_layers, batch, hidden_dim). We know that an LSTM takes in an expected input size and hidden_dim, but sentences are rarely of a consistent size, so how can we define the input of our LSTM? Well, at the very start of this net, we'll create an Embedding layer that takes in the size of our vocabulary and returns a vector of a specified size, embedding_dim, for each word in an input sequence of words. It's important that this be the first layer in this net. You can read more about this embedding layer in . the PyTorch documentation Pictured below is the expected architecture for this tagger model. Code import torch
import torch.nn nn
import torch.nn.functional import torch.optim optim
import matplotlib.pyplot ply
import numpy np

data = [( . (). () , [ , , ]),
        ( . (). () ,[ , , , , , ]),
        ( . (). () , [ , , , ]),
        ( . (). (),[ , , , ]),
        ( . (). (),[ , ]),
        ( . (). () , [ , , , , ]),
        ( . (). (),[ , , , ])]

word2idx = {} sent , tag data: word sent: word not word2idx:
      word2idx[word] = len(word2idx)

tag2idx = { : 0 , : 1}
tag2rev = {0 : , 1 : }

def prepare_sequence(seq , to_idx):
  idxs = [to_idx[word] word seq]
  idxs = np.array(idxs) torch.tensor(idxs)

testsent = . (). () = prepare_sequence(testsent , word2idx) ( . (testsent , )) LSTMTagger(nn.Module):

  def __init__(self,embedding_dim,hidden_dim,vocab_size,tagset_size):

    super(LSTMTagger , self).__init__()

    self.hidden_dim = hidden_dim

    self.word_embedding = nn.Embedding(vocab_size , embedding_dim= embedding_dim)

    self.lstm = nn.LSTM(input_size= embedding_dim , hidden_size = hidden_dim)

    self.hidden2tag = nn.Linear(hidden_dim , tagset_size)

    self.hidden = self.init_hidden()

  def init_hidden(self): (torch.randn(1 , 1 , self.hidden_dim),
           torch.randn(1 , 1 , self.hidden_dim))

  def forward(self , sentence):

    embeds = self.word_embedding(sentence)

    lstm_out , hidden_out = self.lstm(embeds. (len(sentence) , 1 , -1) , self.hidden) 

    tag_outputs = self.hidden2tag(lstm_out. (len(sentence) , -1))
    tag_scores = F.log_softmax(tag_outputs , dim = 1) tag_scores   

EMBEDDING_DIM = 6
HIDDEN_DIM = 6
model = LSTMTagger(EMBEDDING_DIM , HIDDEN_DIM , len(word2idx) , len(tag2idx))
loss_function = nn.NLLLoss()
optimizer = optim.SGD(model.parameters() , lr = 0.1)

n_epochs = 300 epoch (n_epochs):

  epoch_loss = 0.0 sent , tags data:

    model.zero_grad()

    input_sent = prepare_sequence(sent , word2idx)
    tag = prepare_sequence(tags , tag2idx)

    model.hidden = model.init_hidden()

    output = model(input_sent)

    loss = loss_function(output , tag)

    epoch_loss += loss.item()

    loss.backward()

    optimizer.step() epoch % 20 == 19: ( . (epoch , epoch_loss / len(data)))

testsent = . (). () = prepare_sequence(testsent , word2idx) ( . (testsent))
tags = model( )
_,pred_tags = torch. (tags , 1) ( . (pred_tags))
pred = np.array(pred_tags) i (len(testsent)): ( . (testsent[i] , tag2rev[pred[i]])) as as F as as as "What the fuck" lower split "O" "O" "CS" "The boy asked him to fuckoff" lower split "O" "O" "O" "O" "O" "CS" "I hate that bastard" lower split "O" "O" "O" "CS" "He is a dicked" lower split "O" "O" "O" "CS" "Hey prick" lower split "O" "CS" "What a pussy you are" lower split "O" "O" "CS" "O" "O" "Dont be a cock" lower split "O" "O" "O" "CS" for in for in if in "O" "CS" "O" "CS" for in return "fuckoff boy" lower split inp print "The test sentence {} is tranlated to {}\r\n" format inp class return view view return for in range for in if print "Epoch : {} , loss : {}" format "You " lower split inp print "Input sent : {}" format inp max print "Pred tag : {}" format for in range print "Word : {} , Predicted tag : {}" format For more well documented code kindly check this GitHub repository which contains detailed instructions. Link : https://github.com/srimanthtenneti/Cuss-Word-Detector---LSTM Conclusion This is how we use LSTMs to make a word detector. Contact Feel free to connect. Link : https://www.linkedin.com/in/srimanth-tenneti-662b7117b/

LSTM Based Word Detectors

The Restaurant Association of Ireland (RAI) has launched a universal gift voucher, redeemable in up to 3000 participating member restaurants and the first known voucher to be powered by Blockchain technology. The platform was developed by eosDublin and is powered by Europechain, which offers a level of trust needed to ensure users and their customers funds are safe and secure. The Gift Voucher platform is an industry first, utilizing the latest blockchain technology to secure the unique voucher codes to the Europechain Blockchain. Blockchain is a technology which is changing the world, as the world is going digital, blockchain will enable data immutability, security and transparency. “ ," Adrian Cummins - CEO RAI The RAI is proud to offer a nationwide restaurant voucher for all participating members. We were excited to hear that the platform was being built using the latest class leading technology and are happy to be part of this initiative. We look forward to building on our initial success for the years to come “ ,” adds Adrian Cummings, chief executive of the RAI. .” Currently it can be difficult for individual restaurants to offer gift vouchers. They can be tricky to track, manage and process “In addition, when giving a gift of a meal, it is fantastic to offer a choice of restaurant, so your recipient can make the choice of dining The allows users to see participating restaurants by location broken down by province. Vouchers can be purchased online with instant email verification. RAI Listings site The voucher system includes a sales dashboard for members with real time sales, drill-down monthly reports and an ability to forecast incoming revenue. The system can also be used to track performance, redemption and refund ratios, as well as breakdown of sales by member. Adam Bouktila, of Europechain said “ At the moment, the system is super easy to use, restaurants can add their logos, have one click profile creation and also offer individual promotions and offers.” The RAI voucher platform consists of a listing website with a voucher purchase link using for simple integration of payment processing. The platform is integrated with the to protect against fraud and double spending. Blockchain technology ensures transparency and immutability – no voucher need ever be lost, double spent or unaccounted for again. Stripe Europechain blockchain " We at eosDublin and Europechain are very proud to have worked with the RAI to develop such a progressive voucher platform which will deliver huge benefits to members and diners. This year, we will be exploring further enhancements to the voucher tool using blockchain technology such as NFT (non-Fungible Token) voucher creation, Escrow Smart Contracts and Incentive models. 2020 is going to be exciting,” he says.

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