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Encore

encore

Welcome to the digital stage, a dazzling world where you, the streamer, take the spotlight, weaving stories and sharing moments in real-time. Here, speed isn't just a feature; it's the very essence of your performance, the heartbeat of your connection with a global audience. Yet, lurking in the shadows of this dynamic landscape is a notorious villain, a showstopper dreaded by performers and audiences alike: "Buffering." This unwelcome guest introduces annoying pauses during your live streams, holding your viewers in suspense, but for all the wrong reasons. It's the hiccup in your performance you didn't script, the unintended cliffhanger that can turn cheers into jeers. Not quite the dramatic twist you were aiming for, right? Enter the Hero: CDN to the Rescue! So, how do you keep the show going smoothly? The secret weapon against this pesky interruption is something called a Content Delivery Network (CDN). Picture a CDN as your behind-the-scenes crew, strategically positioned worldwide. Their mission? To ensure your live performance reaches the audience super fast, no matter where they're seated in the digital auditorium. How Does This Behind-the-Scenes Crew Work?(CDN) When you go live, rather than your performance trekking from a distant server (which gives buffering a chance to crash your show), it's broadcasted from the CDN team member nearest to your viewers. It's like having a local stage in every city, ensuring your performance is live and direct, without delay. Why This Matters to You, the Performer In a world where the audience's patience wears thinner than a tightrope, even a slight hiccup in your stream can lead to a mass exodus from your digital venue. That's where CDNs shine. They're the unsung heroes keeping the digital stage lit, ensuring your show flows without a hitch and your audience stays captivated. The Secret Sauce: 5centsCDN Among the cadre of digital stagehands, 5centsCDN steals the spotlight. With an extensive network ensuring your performance is as smooth as a rehearsed Broadway number, buffering doesn't stand a chance. Think of as your personal stage manager, guaranteeing a seamless show from curtain rise to curtain call. 5centsCDN Encore! The Standing Ovation Benefits Adopting a CDN isn't just about dodging buffering; it's like unlocking a chest of performance-enhancing treasures: : Like a world tour, a CDN takes your show to viewers far and wide, ensuring no fan misses out, no matter their locale. Global Audience Reach : Keep your audience's eyes glued with crystal-clear streaming, as vivid as live theater, making every detail and emotion pop off the screen. HD Quality : Your performance hits the stage faster than a tap dancer's feet, with nary a pause, keeping the rhythm and energy of your stream alive. Supercharged Speed : Safeguard your content like a backstage pass, keeping digital gatecrashers at bay and ensuring your exclusive content remains exclusive. Fort Knox Security : More show for less dough because an efficient stream doesn't drain your production budget, leaving more resources for creative endeavors. Cost Efficiency Casting Your CDN Sidekick Not all CDNs are ready for the limelight. When scouting for your streaming co-star, consider their global network, ability to dodge internet traffic jams, and, of course, the ticket price. It's like choosing the best supporting actor for your blockbuster show—a crucial decision that can elevate your performance. The Final Bow In the vast theater of the internet, your live stream deserves the main stage. Thanks to CDNs, you can give your audience the seamless, high-definition performance they came for. When it comes to ensuring that no single act is missed, 5centsCDN is the wingman every streamer dreams of. So, here's to uninterrupted streaming, standing ovations, and encores galore! As the curtain falls, remember, in the digital era, every streamer has the potential to be a global sensation. With CDNs like 5centsCDN in your corner, the world is your audience, and every stream is a chance to shine.

No Pause, All Applause: Elevating Your Live Streams with CDN Brilliance

কোন বিরতি নেই, সমস্ত করতালি: CDN ব্রিলিয়ান্সের সাথে আপনার লাইভ স্ট্রিমগুলিকে উন্নত করা৷

Keine Pause, nur Applaus: Verbessern Sie Ihre Live-Streams mit CDN Brilliance

Sin pausas, todo aplausos: eleva tus transmisiones en vivo con CDN Brilliance

Pas de pause, tous des applaudissements : améliorez vos diffusions en direct avec CDN Brilliance

कोई विराम नहीं, पूरी तालियाँ: सीडीएन ब्रिलियंस के साथ अपनी लाइव स्ट्रीम को उन्नत करना

一時停止なし、すべての拍手: CDN の輝きでライブ ストリームを向上

일시 정지 없이 모든 박수 갈채: CDN Brilliance로 라이브 스트림 향상

Sem pausa, todos aplausos: elevando suas transmissões ao vivo com CDN Brilliance

Никаких пауз, одни аплодисменты: улучшите качество своих прямых трансляций с помощью CDN Brilliance

Duraklatma Yok, Alkışlar: Canlı Yayınlarınızı CDN Mükemmelliğiyle Yükseltiyoruz

Không tạm dừng, tất cả đều vỗ tay: Nâng tầm luồng trực tiếp của bạn với CDN rực rỡ

没有停顿，掌声不断：利用 CDN 提升您的直播水平

Unleashing RBAC's Might in CI/CD Pipelines: Ensuring Security and Efficiency "RBAC is the backstage bouncer in the DevOps dance hall, ensuring the security and harmony of the CI/CD pipeline, while allowing only authorized maestros to orchestrate the development symphony." 🎉 Envision is hosting a prodigious event in the DevOps realm 🌐, buzzing with the ethos of synergy and advancement 🚀. In this scenario, RBAC (Role-Based Access Control) 🛂 emerges as an essential safeguard, an adept bouncer 💂‍♂️ maintaining the sanctity of your backstage: the 🏭, the conduit of innovation within your organization. CI/CD pipeline Within the bustling arena 🎪 of CI/CD pipelines, It is the discerning gatekeeper 🗝️, validating credentials and granting exclusive access 🎫 to key players 🎵 in your development symphony. RBAC is instrumental in instilling security 🔒 and preserving workflow integrity 🔎. Just as exclusive venues 🏛️ impose policies to prevent infractions, . It enforces strategic access controls 🔐 to ensure conformance with organizational and regulatory mandates 📊, conserving the sanctity of your DevOps processes. RBAC instigates a structured governance framework 📜 in your deployment arena Embracing the least privilege strategy 🛡️, RBAC diligently assigns access rights, paralleling a stage crew's tailored permissions 🎚️. This approach not only curtails inadvertent system anomalies 🚫 but also optimizes operational functionality ✅. RBAC: ⚓️ Anchor of Precision in CI/CD Workflows 🔄 Consider your CI/CD pipeline a prestigious club where innovation pulsates through each phase. RBAC bolsters this environment, preserving serene order by solely allowing the authorized maestros (developers) behind the scenes (critical developmental phases). The Mechanics of RBAC in CI/CD Pipelines Hosting an immense DevOps event analogizes to safeguarding privileged areas of concert venues. RBAC rises as the effective sentry, thoroughly authenticating individuals and endorsing only those with rightful claims to influence pivotal elements of the development lifecycle. Just as regulations manage club entry to ensure safety, R Codified rules and access rights are exactingly enforced, safeguarding the deployment conduit against malpractices that could precipitate operational disruption. BAC integrates equivalent compliance and supervisory protocols within your deployment processes. The least privilege principle aligns with stagehands' specific access to their jobs, with RBAC ensuring that each team member has the necessary access for their tasks, avoiding unintended disruptions. RBAC's 🎭 Strategic Roles in CI/CD Platforms 🛠️💻 In the grand symphony of CI/CD pipelines, RBAC assumes strategic roles akin to virtuoso musicians, each playing Let's take a closer look at how RBAC shines on three popular platforms: a vital part in orchestrating the harmonious development flow. Jenkins is an essential component in the CI/CD pipeline, working alongside RBAC (Role-Based Access Control) to ensure the security and efficiency of the development process. With Jenkins, you can enjoy a robust and flexible CI/CD experience, where RBAC acts as a discerning gatekeeper, granting access only to authorized individuals. This powerful combination guarantees that your development environment remains secure and optimized, allowing you to confidently deliver high-quality software releases. Jenkins: GitLab CI/CD, another prominent player in the CI/CD realm, elevates access controls beyond the ordinary. It provides a highly secure and exclusive backstage experience, ensuring that only deserving contributors can make changes to your code repository. With GitLab CI/CD and RBAC working hand in hand, you can rest assured that your development process is safeguarded by strict access protocols, maintaining the integrity and confidentiality of your codebase. GitLab CI/CD: Similar to its counterparts, Circle CI stands as a reliable partner in CI/CD pipelines. With its streamlined interface and powerful features, Circle CI ensures a seamless and efficient development process. By embracing RBAC, Circle CI enables precise access control, assigning tailored permissions to each team member based on their roles and responsibilities. This collaboration between Circle CI and RBAC ensures that your development environment remains secure while empowering your team to work efficiently and collaborate effectively. Circle CI: To optimize RBAC in different CI/CD pipelines, developers can adopt the following approaches: Understand RBAC Capabilities: Gain a thorough understanding of RBAC capabilities in your specific CI/CD pipeline and how they align with your organization's access control policies. Define Roles and Permissions: Assign specific roles, such as developers, testers, and project managers, based on responsibilities. Define access permissions for each role, ensuring that team members have the necessary access rights for their tasks. Configure RBAC Settings: Implement RBAC settings in the chosen CI/CD pipeline to enforce access controls and allow only authorized individuals to make changes to the pipeline. Regularly Review and Update RBAC: Periodically review RBAC settings to ensure compliance with organizational and regulatory requirements. Update roles and permissions as needed to reflect changes in team structure or responsibilities. Monitor RBAC Access: Keep track of RBAC access logs to detect unauthorized access attempts or anomalies. This helps maintain the security of your development environment and ensures that only authorized individuals have access to critical resources. Ensuring Harmony 🎶 with RBAC Tuning 🛠 in DevOps 🌐 RBAC (Role-Based Access Control) plays a crucial role in DevOps, ensuring the secure and efficient flow of operations within the CI/CD pipeline. To achieve this, RBAC relies on various strategies and practices that maintain the integrity of the development space and facilitate collaboration. Let's explore some key aspects of RBAC tuning in DevOps: Similar to checking for gatecrashers at a concert, conducting regular audits of access logs is essential to detect any unauthorized access to sensitive areas. These audits help maintain the integrity of the development environment and ensure that only authorized individuals have access to critical resources. Audits: Just like a stage crew knowing their boundaries and responsibilities, it is crucial to equip team members with a clear understanding of their permitted areas within the CI/CD pipeline. This allows for specialization without overreach and ensures that each team member knows their role and responsibilities within the development process. Training: Imagine a script that serves as the ultimate guide to access privileges, outlining which roles can engage with each aspect of the infrastructure. This is the concept of "policy as code" in RBAC. By codifying access rules and permissions, organizations can enforce access controls with precision and ensure that the right individuals have the necessary privileges to perform their tasks. This policy as code acts as a rulebook that makes RBAC a powerful and flexible force in the DevOps environment. Policy as Code: Streamlining access management is crucial for maintaining security and simplifying entrance criteria. By integrating identity providers (IdPs) with single sign-on (SSO) capabilities, organizations can centrally manage and secure the ledger of permissions. This integration simplifies the authentication process and ensures that access is granted based on verified identities, enhancing the overall security posture of the CI/CD pipeline. Integration with Identity Providers (IdPs) and Single Sign-On (SSO): By implementing RBAC tuning strategies in DevOps, organizations can optimize their CI/CD workflows, promote collaboration, and ensure the security of their software development processes. These practices, such as conducting audits, providing training, implementing policy as code, and integrating with IdPs and SSO, collectively contribute to the success of RBAC in maintaining a progressive and secure DevOps environment. Remember, RBAC is not merely a regulatory mechanism but a strategic linchpin in the CI/CD suite. It silently maintains the flow and integrity of the development lifecycle, ensuring that operations run smoothly and securely. With RBAC as the enduring beat underlying your CI/CD processes, you can deliver high-quality software releases that meet the exacting standards of your customer base. RBAC's Critical Role in Security and Compliance Risk Mitigation: RBAC assists in minimizing security risks by restricting access to sensitive systems and data solely to necessary personnel. [ ] Governance and Compliance: A robust RBAC system helps sustain governance and adhere to compliance standards by providing a clear framework for who has access to what within your organization. [ ] Security Posture: Implementing RBAC enhances your security posture by offering a defend-able access control infrastructure, reducing the attack surface available to potential malicious actors. [ ] Operational Efficiency: Well-defined roles and precise access permissions streamline operations, reducing the risk of errors and increasing the rate of successful deployments. [ ] Maximizing RBAC's Potential 🔐: Strategies for Securing CI/CD 🛠️🔗 RBAC (Role-Based Access Control) has immense potential to enhance the security of CI/CD pipelines. By implementing the following strategies, you can fully harness the power of RBAC to safeguard your development processes: Tailor access rights to the specific needs of each team member, ensuring optimal performance without granting excessive permissions that could be exploited. Customized Permissions: Utilize dynamic RBAC systems that adjust permissions in real-time, reflecting immediate organizational changes and maintaining a secure and up-to-date access landscape. Real-Time Access Control: Continuously reinforce RBAC policies, creating a culture of security and discipline similar to a well-rehearsed band that performs seamlessly. Policy Reinforcement: Incorporate RBAC within a DevSecOps approach to ensure that security is an integral part of every stage of the development pipeline, reinforcing the infrastructure against vulnerabilities. Integration with DevSecOps: These strategies will bolster the effectiveness of RBAC in securing your CI/CD processes, enabling you to confidently deliver high-quality software releases. Tips: Optimizing the CI/CD Experience with RBAC Controls To create a truly efficient and secure CI/CD pipeline, it is important to implement advanced RBAC controls that go beyond basic role recognition. Here are some strategies to enhance RBAC and optimize the CI/CD experience: Take a deep dive into understanding the specific roles within your team and finely tune access to different environments such as development, testing, and production. By defining granular roles, you can ensure that each team member has the appropriate level of access needed for their specific responsibilities. For example, developers may require full access to the development environment, while testers may only need access to the testing environment. Define Granular Roles: It is crucial to clearly understand who needs access to different segments of your infrastructure. By meticulously aligning permissions to areas of responsibility, you can prevent unauthorized access and minimize the risk of conflicts of interest or security breaches. For instance, granting only the necessary access to production environments to specific team members who are responsible for deployment can reduce the chances of accidental changes or unauthorized modifications. Precision in Access Mapping: Implementing robust SoD mechanisms ensures that team roles do not overlap in areas that could lead to conflicts or compromise security. By clearly defining and separating responsibilities, you can prevent any single individual or team from having excessive control or access that could potentially jeopardize the integrity of the CI/CD pipeline. For example, separating the responsibilities of code development and code deployment can help maintain a clear separation of duties and reduce the risk of errors or unauthorized actions. Enhanced Segregation of Duties (SoD): Integrating automation tools into your RBAC system can greatly enhance the real-time enforcement of access policies. By automating the verification and updating of credentials, you can ensure that access is continually verified and that any changes in team roles or permissions are promptly reflected. This helps maintain the security and efficiency of the CI/CD pipeline by eliminating manual processes and reducing the risk of human error. Incorporate Automation: RBAC: Your DevOps Rockstar 🌟🎸 RBAC plays a crucial role in orchestrating the flow of operations within the CI/CD pipeline. It's not just a boring regulatory mechanism but a key player that fine-tunes each individual’s access. This ensures that the collective effort leads to a harmonious and secure software development process, just like a sound engineer who fine-tunes each track to create the perfect mix in a concert. While it may not get all the attention, its role is essential. The meticulous management of access rights prevents the chaos of unauthorized commits and merges, acting as the cornerstone for stable and reliable releases. Implementing RBAC is as critical as the preliminary preparation of a sold-out concert. By inviting RBAC into your CI/CD pipeline, you secure the heart of your DevOps realm with a guardian who knows the rules and enforces them with precision. This ensures that the spotlight shines brightly on the end product, resonating with the audience without unwanted interruptions. Now, you can have peace of mind knowing that the watchful eye of RBAC protects your CI/CD infrastructure, and your deliverables will perform like the rockstars they are meant to be. With RBAC, you maintain the rhythm of secure releases, ensuring each feature drop is a headliner that meets the high standards of your customer base. , a role that quietly, yet powerfully, maintains the flow and integrity of the development lifecycle. Encoded with security and compliance principles, RBAC stands as the gatekeeper that never sleeps, always ready to enforce the access protocols that keep the DevOps environment in a state of progressive harmony. The goal is to establish RBAC as the strategic linchpin in your CI/CD suite In conclusion, let RBAC be the enduring beat that underpins your CI/CD processes, the foundation that keeps your operations running smoothly and securely. Ensure that when the curtain falls on each release, it is met with stakeholders’ satisfaction and the ovation of industry acclaim. With RBAC, every commit, merge, and deployment is a performance worthy of an encore. 🤘👨‍💻🎸 May Infosec be with you. ✨🔒

RBAC: The Bouncer With a Code of Conduct in the DevOps Dance Hall

Build Your Own Chatbot For An Enhanced DevOps Experience

The Way We Live Now by Anthony Trollope is part of the HackerNoon Books Series. You can jump to any chapter in this book . ALL PREPARED here ALL PREPARED. During all these days Miss Melmotte was by no means contented with her lover's prowess, though she would not allow herself to doubt his sincerity. She had not only assured him of her undying affection in the presence of her father and mother, had not only offered to be chopped in pieces on his behalf, but had also written to him, telling how she had a large sum of her father's money within her power, and how willing she was to make it her own, to throw over her father and mother, and give herself and her fortune to her lover. She felt that she had been very gracious to her lover, and that her lover was a little slow in acknowledging the favours conferred upon him. But, nevertheless, she was true to her lover, and believed that he was true to her. Didon had been hitherto faithful. Marie had written various letters to Sir Felix, and had received two or three very short notes in reply, containing hardly more than a word or two each. But now she was told that a day was absolutely fixed for her marriage with Lord Nidderdale, and that her things were to be got ready. She was to be married in the middle of August, and here they were, approaching the end of June. "You may buy what you like, mamma," she said; "and if papa agrees about Felix, why then I suppose they'll do. But they'll never be of any use about Lord Nidderdale. If you were to sew me up in the things by main force, I wouldn't have him." Madame Melmotte groaned, and scolded in English, French, and German, and wished that she were dead; she told Marie that she was a pig, and ass, and a toad, and a dog. And ended, as she always did end, by swearing that Melmotte must manage the matter himself. "Nobody shall manage this matter for me," said Marie. "I know what I'm about now, and I won't marry anybody just because it will suit papa." "Que nous étions encore à Francfort, ou New York," said the elder lady, remembering the humbler but less troubled times of her earlier life. Marie did not care for Francfort or New York; for Paris or for London;—but she did care for Sir Felix Carbury. While her father on Sunday morning was transacting business in his own house with Paul Montague and the great commercial magnates of the city,—though it may be doubted whether that very respectable gentleman Sir Gregory Gribe was really in Grosvenor Square when his name was mentioned,—Marie was walking inside the gardens; Didon was also there at some distance from her; and Sir Felix Carbury was there also close along side of her. Marie had the key of the gardens for her own use; and had already learned that her neighbours in the square did not much frequent the place during church time on Sunday morning. Her lover's letter to her father had of course been shown to her, and she had taxed him with it immediately. Sir Felix, who had thought much of the letter as he came from Welbeck Street to keep his appointment,—having been assured by Didon that the gate should be left unlocked, and that she would be there to close it after he had come in,—was of course ready with a lie. "It was the only thing to do, Marie;—it was indeed." "But you said you had accepted some offer." "You don't suppose I wrote the letter?" "It was your handwriting, Felix." "Of course it was. I copied just what he put down. He'd have sent you clean away where I couldn't have got near you if I hadn't written it." "And you have accepted nothing?" "Not at all. As it is, he owes me money. Is not that odd? I gave him a thousand pounds to buy shares, and I haven't got anything from him yet." Sir Felix, no doubt, forgot the cheque for £200. "Nobody ever does who gives papa money," said the observant daughter. "Don't they? Dear me! But I just wrote it because I thought anything better than a downright quarrel." "I wouldn't have written it, if it had been ever so." "It's no good scolding, Marie. I did it for the best. What do you think we'd best do now?" Marie looked at him, almost with scorn. Surely it was for him to propose and for her to yield. "I wonder whether you're sure you're right about that money which you say is settled." "I'm quite sure. Mamma told me in Paris,—just when we were coming away,—that it was done so that there might be something if things went wrong. And papa told me that he should want me to sign something from time to time; and of course I said I would. But of course I won't,—if I should have a husband of my own." Felix walked along, pondering the matter, with his hands in his trowsers pockets. He entertained those very fears which had latterly fallen upon Lord Nidderdale. There would be no "cropper" which a man could "come" so bad as would be his cropper were he to marry Marie Melmotte, and then find that he was not to have a shilling! And, were he now to run off with Marie, after having written that letter, the father would certainly not forgive him. This assurance of Marie's as to the settled money was too doubtful! The game to be played was too full of danger! And in that case he would certainly get neither his £800, nor the shares. And if he were true to Melmotte, Melmotte would probably supply him with ready money. But then here was the girl at his elbow, and he no more dared to tell her to her face that he meant to give her up, than he dared to tell Melmotte that he intended to stick to his engagement. Some half promise would be the only escape for the present. "What are you thinking of, Felix?" she asked. "It's d—— difficult to know what to do." "But you do love me?" "Of course I do. If I didn't love you why should I be here walking round this stupid place? They talk of your being married to Nidderdale about the end of August." "Some day in August. But that's all nonsense, you know. They can't take me up and marry me, as they used to do the girls ever so long ago. I won't marry him. He don't care a bit for me, and never did. I don't think you care much, Felix." "Yes, I do. A fellow can't go on saying so over and over again in a beastly place like this. If we were anywhere jolly together, then I could say it often enough." "I wish we were, Felix. I wonder whether we ever shall be." "Upon my word I hardly see my way as yet." "You're not going to give it up!" "Oh no;—not give it up; certainly not. But the bother is a fellow doesn't know what to do." "You've heard of young Mr. Goldsheiner, haven't you?" suggested Marie. "He's one of those city chaps." "And Lady Julia Start?" "She's old Lady Catchboy's daughter. Yes; I've heard of them. They got spliced last winter." "Yes,—somewhere in Switzerland, I think. At any rate they went to Switzerland, and now they've got a house close to Albert Gate." "How jolly for them! He is awfully rich, isn't he?" "I don't suppose he's half so rich as papa. They did all they could to prevent her going, but she met him down at Folkestone just as the tidal boat was starting. Didon says that nothing was easier." "Oh;—ah. Didon knows all about it." "That she does." "But she'd lose her place." "There are plenty of places. She could come and live with us, and be my maid. If you would give her £50 for herself, she'd arrange it all." "And would you come to Folkestone?" "I think that would be stupid, because Lady Julia did that. We should make it a little different. If you liked I wouldn't mind going to—New York. And then, perhaps, we might—get—married, you know, on board. That's what Didon thinks." "And would Didon go too?" "That's what she proposes. She could go as my aunt, and I'd call myself by her name;—any French name you know. I should go as a French girl. And you could call yourself Smith, and be an American. We wouldn't go together, but we'd get on board just at the last moment. If they wouldn't—marry us on board, they would at New York, instantly." "That's Didon's plan?" "That's what she thinks best,—and she'll do it, if you'll give her £50 for herself, you know. The 'Adriatic,'—that's a White Star boat, goes on Thursday week at noon. There's an early train that would take us down that morning. You had better go and sleep at Liverpool, and take no notice of us at all till we meet on board. We could be back in a month,—and then papa would be obliged to make the best of it." Sir Felix at once felt that it would be quite unnecessary for him to go to Herr Vossner or to any other male counsellor for advice as to the best means of carrying off his love. The young lady had it all at her fingers' ends,—even to the amount of the fee required by the female counsellor. But Thursday week was very near, and the whole thing was taking uncomfortably defined proportions. Where was he to get funds if he were to resolve that he would do this thing? He had been fool enough to intrust his ready money to Melmotte, and now he was told that when Melmotte got hold of ready money he was not apt to release it. And he had nothing to show;—no security that he could offer to Vossner. And then,—this idea of starting to New York with Melmotte's daughter immediately after he had written to Melmotte renouncing the girl, frightened him. "There is a tide in the affairs of men, Which taken at the flood leads on to fortune." Sir Felix did not know these lines, but the lesson taught by them came home to him at this moment. Now was the tide in his affairs at which he might make himself, or utterly mar himself. "It's deuced important," he said at last with a groan. "It's not more important for you than me," said Marie. "If you're wrong about the money, and he shouldn't come round, where should we be then?" "Nothing venture, nothing have," said the heiress. "That's all very well; but one might venture everything and get nothing after all." "You'd get me," said Marie with a pout. "Yes;—and I'm awfully fond of you. Of course I should get you! But—" "Very well then;—if that's your love," said Marie, turning back from him. Sir Felix gave a great sigh, and then announced his resolution. "I'll venture it." "Oh, Felix, how grand it will be!" "There's a great deal to do, you know. I don't know whether it can be Thursday week." He was putting in the coward's plea for a reprieve. "I shall be afraid of Didon if it's delayed long." "There's the money to get, and all that." "I can get some money. Mamma has money in the house." "How much?" asked the baronet eagerly. "A hundred pounds, perhaps;—perhaps two hundred." "That would help certainly. I must go to your father for money. Won't that be a sell? To get it from him, to take you away!" It was decided that they were to go to New York, on a Thursday,—on Thursday week if possible, but as to that he was to let her know in a day or two. Didon was to pack up the clothes and get it sent out of the house. Didon was to have £50 before she went on board; and as one of the men must know about it, and must assist in having the trunks smuggled out of the house, he was to have £10. All had been settled beforehand, so that Sir Felix really had no need to think about anything. "And now," said Marie, "there's Didon. Nobody's looking and she can open that gate for you. When we're gone, do you creep out. The gate can be left, you know. Then we'll get out on the other side." Marie Melmotte was certainly a clever girl. 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 (2004). The Way We Live Now. Urbana, Illinois: Project Gutenberg. Retrieved October 2022 https://www.gutenberg.org/cache/epub/5231/pg5231-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

ALL PREPARED

The International Subversives.

Psychology of the Unconscious by C. G. Jung, is part of the HackerNoon Books Series. You can jump to any chapter in this book . THE MILLER PHANTASIES here CHAPTER II - THE MILLER PHANTASIES We know, from much psychoanalytic experience, that whenever one recounts his phantasies or his dreams, he deals not only with the most important and intimate of his problems, but with the one the most painful at that moment. [57] Since in the case of Miss Miller we have to do with a complicated system, we must give our attention carefully to the particulars which I will discuss, following as best I can Miss Miller’s presentation. In the first chapter, “Phénomènes de suggestion passagère ou d’autosuggestion instantanée,” Miss Miller gives a list of examples of her unusual suggestibility, which she herself considers as a symptom of her nervous temperament; for example, she is excessively fond of caviar, whereas some of her relatives loathe it. However, as soon as any one expresses his loathing, she herself feels momentarily the same loathing. I do not need to emphasize especially the fact that such examples are very important in individual psychology; that caviar is a food for which nervous women frequently have an especial predilection, is a fact well known to the psychoanalyst. Miss Miller has an extraordinary faculty for taking 43other people’s feelings upon herself, and of identification; for example, she identifies herself to such a degree in “Cyrano” with the wounded Christian de Neuvillette, that she feels in her own breast a truly piercing pain at that place where Christian received the deadly blow. From the viewpoint of analytic psychology, the theatre, aside from any esthetic value, may be considered as an institution for the treatment of the mass complex. The enjoyment of the comedy, or of the dramatic plot ending happily is produced by an unreserved identification of one’s own complexes with the play. The enjoyment of tragedy lies in the thrilling yet satisfactory feeling that something which might occur to one’s self is happening to another. The sympathy of our author with the dying Christian means that there is in her a complex awaiting a similar solution, which whispers softly to her “hodie tibi, cras mihi,” and that one may know exactly what is considered the effectual moment Miss Miller adds that she felt a pain in her breast, “Lorsque Sarah Bernhardt se précipite sur lui pour étancher le sang de sa blessure.” Therefore the effectual moment is when the love between Christian and Roxane comes to a sudden end. If we glance over the whole of Rostand’s play, we come upon certain moments, the effect of which one cannot easily escape and which we will emphasize here because they have meaning for all that follows. Cyrano de Bergerac, with the long ugly nose, on account of which he undertakes countless duels, loves Roxane, who, for her part unaware of it, loves Christian, because of the beautiful verses which really originate from Cyrano’s 44pen, but which apparently come from Christian. Cyrano is the misunderstood one, whose passionate love and noble soul no one suspects; the hero who sacrifices himself for others, and, dying, just in the evening of life, reads to her once more Christian’s last letter, the verses which he himself had composed. “Roxane, adieu, je vais mourir! C’est pour ce soir, je crois, ma bien-aimée! J’ai l’âme lourde encore d’amour inexprimé. Et je meurs! Jamais plus, jamais mes yeux grisés, Mes regards dont c’était les frémissantes fêtes, Ne baiseront au vol les gestes que vous faites; J’en revois un petit qui vous est familier Pour toucher votre front et je voudrais crier—. Et je crie: Adieu!—Ma chère, ma chérie, Mon trésor—mon amour! Mon coeur ne vous quitta jamais une seconde, Et je suis et je serai jusque dans l’autre monde Celui qui vous aime sans mesure, celui—” Whereupon Roxane recognizes in him the real loved one. It is already too late; death comes; and in agonized delirium, Cyrano raises himself, and draws his sword: “Je crois, qu’elle regarde.... Qu’elle ose regarder mon nez, la camarde! (Il lève son épée.) Que dites-vous?... C’est inutile! Je le sais! Mais on ne se bat pas dans l’espoir du succès! Non! Non! C’est bien plus beau, lorsque c’est inutile! —Qu’est-ce que c’est que tous ceux-là?—Vous êtes mille? Ah! je vous reconnais, tous mes vieux ennemis! Le mensonge! (Il frappe de son épée le vide.) 45Tiens, tiens, ha! ha! les Compromis, Les Préjugés, les Lâchetés!... (Il frappe.) Que je pactise? Jamais, jamais!—Ah, te voilà, toi, la Sottise! —Je sais bien qu’à la fin vous me mettrez à bas; N’importe: je me bats! je me bats! je me bats! Oui, vous m’arrachez tout, le laurier et la rose! Arrachez! Il y a malgré vous quelque chose Que j’emporte, et ce soir, quand j’entrerai chez Dieu, Mon salut balaiera largement le seuil bleu. Quelque chose que sans un pli, sans une tache, J’emporte malgré vous, et c’est—mon panache.” Cyrano, who under the hateful exterior of his body hid a soul so much more beautiful, is a yearner and one misunderstood, and his last triumph is that he departs, at least, with a clean shield—“Sans un pli et sans une tache.” The identification of the author with the dying Christian, who in himself is a figure but little impressive and sympathetic, expresses clearly that a sudden end is destined for her love just as for Christian’s love. The tragic intermezzo with Christian, however, is played as we have seen upon a background of much wider significance, viz., the misunderstood love of Cyrano for Roxane. Therefore, the identification with Christian has only the significance of a substitute memory (“deckerinnerung”), and is really intended for Cyrano. That this is just what we might expect will be seen in the further course of our analysis. Besides this story of identification with Christian, there follows as a further example an extraordinarily plastic 46memory of the sea, evoked by the sight of a photograph of a steamboat on the high seas. (“Je sentis les pulsations des machines, le soulèvement des vagues, le balancement du navire.”) We may mention here the supposition that there are connected with sea journeys particularly impressive and strong memories which penetrate deeply into the soul and give an especially strong character to the surface memories through unconscious harmony. To what extent the memories assumed here agree with the above mentioned problem we shall see in the following pages. This example, following at this time, is singular: Once, while in bathing, Miss Miller wound a towel around her hair, in order to protect it from a wetting. At the same moment she had the following strong impression: “Il me sembla que j’étais sur un piédestal, une véritable statue égyptienne, avec tous ses détails: membres raides, un pied en avant, la main tenant des insignes,” and so on. Miss Miller identified herself, therefore, with an Egyptian statue, and naturally the foundation for this was a subjective pretension. That is to say, “I am like an Egyptian statue, just as stiff, wooden, sublime and impassive,” qualities for which the Egyptian statue is proverbial. One does not make such an assertion to one’s self without an inner compulsion, and the correct formula might just as well be, “as stiff, wooden, etc., as an Egyptian statue I might indeed be.” The sight of one’s own unclothed body in a bath has undeniable effects for the phantasy, which can be set at rest by the above formula. [58] 47The example which follows this, emphasizes the author’s personal influence upon an artist: “J’ai réussi à lui faire rendre des paysages, comme ceux du lac Léman, où il n’a jamais été, et il prétendait que je pouvais lui faire rendre des choses qu’il n’avait jamais vues, et lui donner la sensation d’une atmosphère ambiante qu’il n’avait jamais sentie; bref que je me servais de lui comme lui-même se servait de son crayon, c’est à dire comme d’un simple instrument.” This observation stands in abrupt contrast to the phantasy of the Egyptian statue. Miss Miller had here the unspoken need of emphasizing her almost magic effect upon another person. This could not have happened, either, without an unconscious need, which is particularly felt by one who does not often succeed in making an emotional impression upon a fellow being. With that, the list of examples which are to picture Miss Miller’s autosuggestibility and suggestive effect, is exhausted. In this respect, the examples are neither especially striking nor interesting. From an analytical viewpoint, on the contrary, they are much more important, since they afford us a glance into the soul of the writer. Ferenczi has taught us in an excellent work what is to be thought about suggestibility, that is to say, that these phenomena win new aspects in the light of the Freudian libido theory, in so much as their effects become clear through “Libido-besetzungen.” This was already indicated above in the discussion of the examples, and in the greatest detail regarding the identification with Christian. The identification becomes effective by its receiving an influx of energy from the strongly accentuated 48thought and emotional feeling underlying the Christian motif. Just the reverse is the suggestive effect of the individual in an especial capacity for concentrating interest (that is to say, libido) upon another person, by which the other is unconsciously compelled to reaction (the same or opposed). The majority of the examples concern cases where Miss Miller is put under the effects of suggestion; that is to say, when the libido has spontaneously gained possession of certain impressions, and this is impossible if the libido is dammed up to an unusual degree by the lack of application to reality. Miss Miller’s observations about suggestibility inform us, therefore, of the fact that the author is pleased to tell us in her following phantasies something of the history of her love. [59] 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. C. G. Jung (2021). Psychology of the Unconscious. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/65903/pg65903-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

THE MILLER PHANTASIES

Baby Worship

In a world that never stands still, two captivating narratives beckon us to join their dance. One spins the whimsical saga of an iconic doll, while the other charts the groundbreaking domain of digital advancements. Both stories, seemingly set on distinct canvases, weave themes of transformation, overcoming challenges, and braving new frontiers. Imagine, if you will, a grand theater. On its stage, profound acts unfold, their orchestrators masked, lending precedence to the action over the actor. This mysterious world mirrors the intricate dynamics of blockchain – where every interaction, every transaction stands distinct, unbound by its creator. Now, cast your gaze on another stage: Barbie's vibrant realm. A universe filled with colors, dreams, and intricate tales of evolution. While it may seem a world away from the digital depths of blockchain, surprising parallels emerge, waiting to be unearthed. Could Barbie's metamorphosis hold the key to deciphering the complexities of blockchain? This isn't just an article; it's a dance—a rhythmic journey between two realms, seemingly poles apart, but deeply connected in spirit. As you traverse these narratives, be prepared to challenge what you know, unearth hidden correlations, and perhaps, foster a deep appreciation for the legacies of both Barbie and blockchain. As the curtain falls on our exploration, the tales of Barbie's world and blockchain's potential won't remain isolated. They'll meld into a harmonious story, a testament to the power of change, vision, and innovation. Ready yourself for an expedition where age-old tales meet cutting-edge technology, where imagination entwines with innovation, and where the past receives a modern-day makeover. Barbieland & Blockchain: Foundations and Flux Dive into the core of any culture or system, and you'll unearth its bedrock principles. For blockchain aficionados, the genesis block marks this pivotal point. It's not just the first link but a prologue, setting the tone for the vast digital tapestry that follows. Paralleling this, in the sprawling world of Barbie, lies Barbieland. A vibrant domain with its own set of unwavering laws signifies the dawn of a universe where each character fits a distinct mold. Roles Set in Stone... and Plastic In Barbieland's pastel boulevards, each Barbie assumes her place with poise. Leaders, pioneers, and trendsetters - they chart the course of this whimsical world. While Barbie reigns supreme, Ken dolls, with their laid-back vibes, seem destined for endless leisure. Everything appears to be orchestrated to perfection, leaving scant room for change or challenge. Similarly, the nascent days of blockchain bore a stark semblance. It showcased nodes, each performing a scripted role. Customization wasn't in its vocabulary; each block merely shadowed its predecessor's steps. Whispers of Winds of Change But no narrative, no matter how well-scripted, is immune to change. Beneath Barbieland's serene facade, whispers of change rustled. Despite their picturesque lives, Kens yearned for more than just another day at the beach. Parallelly, blockchain, facing newer applications and an evolving user demographic, felt its foundational seams stretch. Turning Points Beckon Barbie's identity quandary wasn't personal; it signaled a broader shake-up. As blockchain ventured beyond its primary cryptocurrency confines, the limitations of its rigid design became palpable. Both worlds, whether plastic or digital, were on the brink of transformation. The Dance of Dichotomies As Barbieland felt the tremors of change, inhabitants split into factions: traditionalists versus trailblazers. The blockchain universe, too, echoed these sentiments. While some sought solace in the familiar, others championed a flexible future. In both realms, the balance was delicate, poised between the allure of the past and the promise of the future. With this backdrop, join us as we delve deeper into these narratives, witnessing firsthand the revolutions that reshape worlds, whether in pixels or plastic. From Barbie's Feet to Blockchain's Flex: Pivoting in a Changing World Throughout her storied history, Barbie has donned countless hats — from the stars as an astronaut to the wilds as a zoologist. But beneath these evolving roles, a societal tide was turning. The dialogue on body positivity, inclusivity, and representation was amplifying. Suddenly, Barbie's iconic silhouette was under scrutiny. Among the debated details, her flat feet became symbolic, representing a larger challenge: harmonizing a beloved icon with the diverse voice of a new generation. In a parallel universe, blockchain, initially hailed as the revolution in decentralized systems, was grappling with growing pains. Challenges like transaction lags and scalability concerns surfaced. The blockchain blueprint, once its strength, now appeared too rigid for a diverse, global audience. It was evident: to remain pivotal, blockchain, much like Barbie, needed a fresh perspective. Flat Feet, Deep Reverberations To many, Barbie's feet might seem trivial. But in the realm of societal perception, they held profound significance. A chorus emerged, seeking a Barbie that mirrored contemporary life's versatility — shifting seamlessly from heels to flats, embodying today's women's myriad roles. Responding to this, Mattel, Barbie's creators, embarked on a transformative path. Introducing diverse body types, varied complexions, and, most notably, flexible feet, they showcased an evolved Barbie — one who wasn't just aesthetically diverse but functionally dynamic, much like her diverse fanbase. Blockchain's Paradigm Shift: Account Abstraction Drawing analogies, the tech sphere, encountering blockchain's intrinsic challenges, identified a critical need: making blockchain more intuitive for users. This insight birthed account abstraction. By streamlining transaction intricacies, this move marked the onset of a more adaptive blockchain era. No longer a mere chain of blocks, blockchain emerged as a versatile platform ready for myriad applications. Connecting the Dots Both tales — Barbie's transformation and blockchain's pivot — emphasize the essence of adaptability. As Barbie's evolution reflects a keen ear to societal resonances, blockchain's metamorphosis showcases a response to tech demands and user-centricity. These narratives, at their core, celebrate the undying spirit of innovation, reaffirming that when faced with change, true icons evolve. Venice Beach & Blockchain: Unlikely Twins in Evolution Set against the vivid backdrop of Venice Beach, an eclectic haven for artists, dreamers, and mavericks, Barbie steps out of her conventional cocoon. Beyond the borders of the familiar Barbieland, Venice pulses with originality, diversity, and the spirit of evolution. Barbie's immersion into this lively milieu symbolizes her foray into new worlds, her willingness to absorb diverse cultures, and challenge preconceptions. Blockchain's Decentralized Dance: In the tech realm, blockchain's shift from centralized to decentralized systems mirrors Barbie's Venice Beach experience. No longer under a single dominion, the decentralized model thrives on a tapestry of voices, ideas, and inputs. This isn't about a solitary narrative; it's a polyphonic symphony of innovation and collaboration. Enter Sasha: Challenging the New Norms: During Barbie's Venice sojourn, Sasha emerges, questioning the essence of Venice Beach. Her skepticism and probing questions bring the critics of transformative systems like blockchain to mind. Much like Sasha prods Barbie to reassess her viewpoints, blockchain's skeptics push its proponents for clarity, validation, and relevance, refining the discourse around it. Gloria: An Ode to Visionaries: In sharp contrast, Gloria is Venice Beach's guiding luminary for Barbie. Her conviction in the transformative aura of Venice mirrors the passion of blockchain's early believers. Her unwavering optimism and faith in unexplored paths resonate with those visionaries who foresaw the game-changing potential of decentralized technologies. Gloria is more than a mentor for Barbie; she reflects the pioneering spirit, just as initial blockchain champions illuminated the path for many. When Worlds Collide: Barbie's Venice escapades and blockchain's unfolding journey may seem worlds apart, but they share a universal theme at their heart. Both narratives celebrate the transition from confined structures to vast, inclusive landscapes. They underline a poignant message: True evolution thrives on diversity, active dialogues, and embracing new horizons. Whether it's the shimmer of sand and sun or the ethereal world of digital chains, the essence remains — growth and transformation are birthed from openness and exploration. Ken & Code: Smart Contracts and Self-Discovery Ken felt a stirring, no longer content with playing second fiddle in Barbieland's picaresque narrative. Beyond the golden beaches and behind Barbie's spotlight, Ken yearned for more. Seeking to step beyond the scripted roles and predictable strolls, he embarked on a transformative journey. No longer just Barbie's sidekick, Ken was ready to craft his own legacy. While the world lauded blockchain as revolutionary, innovation didn’t stop there. Enter smart contracts. More than just digital agreements, they became trust's new standard bearers. Starting as mere transactional aids, they soon took center stage, transforming how blockchain functioned and guaranteeing an efficiency previously unimagined. When Ken Met Code: A Parallel Evolution: At a glance, Ken's self-discovery and the rise of smart contracts might seem worlds apart. But dig deeper, and a mirrored journey of evolution emerges. As Ken ventured out from Barbie's shadow, smart contracts, with the power of account abstraction, evolved beyond mere facilitators. They became transformative forces, echoing Ken's own transition from the background to the forefront. Discovering and Redefining: A Universal Theme: Both Ken's redefinition and smart contracts’ rise are tales of tapping into hidden potential. They showcase the beauty of evolution when the dormant awakens, heralding change and charting new courses. Adapting to the Ebb and Flow: Life in Barbieland, much like the tech world, isn't static. Ken's transformation wasn't an overnight sensation. It was a journey paved with introspection and a desire to evolve. Similarly, blockchain's narrative, with smart contracts at its core, evolves continuously, driven by innovation and feedback. The Essence of Symbiosis: Ken's quest for identity and the prowess of smart contracts both illuminate a vital truth: everything holds within it the potential for growth. Whether it's a classic toy or cutting-edge technology, transformation awaits when potential meets opportunity. While the worlds of Barbieland and blockchain seem divergent, they converge on a shared theme of evolution and reinvention. Ken’s newfound depth and the game-changing role of smart contracts serve as reminders: that growth and self-realization are intrinsic to all narratives. As we continue to delve deeper into these journeys, let us be inspired to recognize the transformations around us, embrace change, and remain ever-curious about the stories still unfolding. Stay tuned as we explore more intersections between the familiar and the futuristic. Barbieland & Blockchain: Unearthing Echoes of Evolution Within Barbieland's vibrant realm, once defined by its predictable tales, a revolution is afoot. Home to Barbie's myriad adventures, this world is now alive with burgeoning conversations and groundbreaking changes. As our iconic heroine finds herself amidst this evolution, she's not just a spectator but a key influencer. Alongside allies like Gloria, Barbie is not only navigating but actively sculpting Barbieland's new narrative. The land is transitioning from a fixed stage to an imaginative realm of possibilities. Blockchain’s Renaissance: In the digital labyrinth of technology, blockchain, too, stands on the brink of monumental change. Celebrated for its groundbreaking decentralized ethos and unchanging records, it soon faced the growing pains of a maturing innovation. As it grappled with scalability issues and transactional intricacies, the tech visionaries, inspired by possibilities like account abstraction, began reimagining a system unburdened from its earlier limitations. A vision of a blockchain, more agile, adaptive, and in harmony with its expanding user base began to take shape. The Universal Dance of Balance: At the heart of both worlds, there's a clear, echoing quest for balance. In Barbieland, Barbie, with the wisdom of figures like Gloria, is striving to weave a tapestry where every voice and narrative finds its rightful resonance. Similarly, in the blockchain sphere, pioneers aim to craft an ecosystem where technical complexities become seamless, and user interactions are intuitive, yet the essence of decentralization remains untouched. Encore of Evolution: At first glance, Barbie's colorful world and the complex realm of blockchain seem miles apart. But like dancers in a duet, they have a shared story: the importance of change and growth. Both these worlds, one of imagination and the other of cutting-edge technology highlight the need to evolve, to adapt, and to embrace new ways. As we delve into the narratives of Barbie's vibrant world and the sophisticated realm of blockchain, we're beckoned to . Both domains tell of an ever-evolving landscape—Barbie, with her ever-adapting colors and tales, and blockchain, with its relentless quest for new solutions. embrace change Amidst this, there's a strong message to value diversity. In the myriad voices and stories that populate Barbieland and the decentralized nodes of blockchain, lies the power of inclusivity and collaboration. Their intertwined tales make it clear: This brings us to another key insight: the spirit of continuous evolution. diversity isn't merely beneficial—it's the cornerstone of growth and innovation. Neither Barbieland nor blockchain is content with stagnation; they constantly . It's a testament to the imperative of progress and the pitfalls of complacency. push boundaries, innovate, and transform As we wrap up this exploration, we're left with a profound realization: In the grand dance of life, it's essential to adapt, grow, and embrace new rhythms. Barbie and blockchain, in their own unique ways, inspire us to remain curious, be open to change, and always strive for a better version of our world.

Barbie and Blockchain: A Symbiotic Dance

বার্বি এবং ব্লকচেইন: একটি সিম্বিওটিক ডান্স

Barbie und Blockchain: Ein symbiotischer Tanz

Barbie y Blockchain: una danza simbiótica

Barbie et Blockchain : une danse symbiotique

बार्बी और ब्लॉकचेन: एक सहजीवी नृत्य

バービーとブロックチェーン: 共生ダンス

Barbie와 블록체인: 공생적인 춤

Barbie e Blockchain: uma dança simbiótica

Barbie ve Blockchain: Simbiyotik Bir Dans

Barbie và Blockchain: Vũ điệu cộng sinh

芭比娃娃和区块链：共生之舞

A Floating City and The Blockade Runners by Jules Verne, is part of the HackerNoon Books Series. You can jump to any chapter in this book Chapter XVI here. CHAPTER XVI. Going back to the grand saloon, I saw the following programme posted on the door:— THIS NIGHT! Part First “Ocean Time” Mr. Mac Alpine. Song: “Beautiful Isle of the Sea” Mr. Ewing. Reading Mr. Affleet. Piano solo: “Chant du Berger” Mrs. Alloway. Scotch Song Doctor T——. ( ) Ten minutes interval. Part Second. Piano solo Mr. Paul V——. Burlesque: “Lady of Lyons” Doctor T——. Entertainment Sir James Anderson. Song: “Happy Moment” Mr. Norville. Song: “You Remember” Mr. Ewing. Finale. “God Save the Queen.” As may be seen, it was a complete concert, with a first part, entr’acte, second part, and finale; but it seems there was something wanting in the programme; for I heard some one mutter behind me, “What! no Mendelssohn.” I turned, and saw that it was a steward, who thus protested against the omission of his favourite music. I went on deck, and began to look for Mac Elwin. Corsican had just told me that Fabian had left his cabin, and I wanted, without intruding myself on him, to draw him out of his isolation. I found him at the bows; we talked for some time, but he made no allusion to his past life. At times he was silent and pensive, absorbed in his thoughts, no longer listening to me, and pressing his breast, as if to restrain a painful spasm. Whilst we were walking together, Harry Drake passed us several times, always the same noisy, gesticulating man, obstructive as would be a windmill in a ball-room. Was I mistaken? I could not say; for I had already anticipated it in my mind; but it seemed to me that Harry Drake stared at Fabian with a persistency which the latter must have noticed; for he said to me,— “Who is that man?” “I don’t know,” I replied. “I don’t like his looks,” added Fabian. Put two ships in the open sea, without wind or tide, and, at last, they will come together. Throw two planets into space, and they will fall one on the other. Place two enemies in the midst of a crowd, and they will inevitably meet; it is a fatality, a question of time, that is all. In the evening the concert took place according to the programme; the grand saloon, filled with the audience, was brilliantly lighted. Through the half-open hatchways might be seen the broad, sunburnt faces, and the great black hands of the sailors; the doorways were crowded with stewards; the greater part of the audience—men and women—were seated on side sofas, and in the centre of the saloon, in arm-chairs and lounges, all facing the piano, firmly fastened between the two doors, which opened into the ladies’ saloon. From time to time a rolling motion disturbed the audience; arm-chairs and folding-chairs glided about, a kind of swell caused a similar undulatory movement to all; they caught hold of one another silently, and without making any joke; but upon the whole there was not much fear of falling, thanks to the subsidence. The concert opened with the “Ocean Times.” The “Ocean Times” was a daily newspaper, political, commercial, and literary, which certain passengers had started for the requirements on board. Americans and English took to this sort of pastime; they wrote out their sheet during the day; and let me say, that if the editors were not particular, as to the quality of their articles, their readers were not more so. They were content with little, even with “not enough.” This number for the 1st of April contained a “Great Eastern” leader—tame enough, on general politics—also various facts quite uninteresting to a Frenchman; articles on the money-markets, not particularly comic; curious telegrams, and some rather insipid home news. After all this kind of fun is only amusing to those who make it. The Honourable Mac Alpine, a dogmatical American, read, with earnest gravity, some rather dull lucubrations, which were received by his audience with great applause. He finished his reading with the following news:— “It is announced that President Johnson has resigned in favour of General Grant.” “It is said that Fernando Cortez is going to attack the Emperor Napoleon the Third, piratically, out of revenge for the latter’s conquest of Mexico.” “We are told for a certainty that Pope Pius IX. has designated the Prince Imperial as his successor.” When the “Ocean Times” had been sufficiently applauded, the Honourable Mr. Ewing, a fine-looking young fellow, with a tenor voice, warbled “Beautiful Isle of the Sea,” with all the harshness of an English throat. The “reading” appeared to me to have a questionable charm; it was simply two or three pages of a book, read by a worthy Texian, who began in a low voice, and gradually got higher and higher; he also was very much applauded. The “Shepherd’s Song,” a piano solo, by Mrs. Alloway, and a Scotch song, sung by Doctor T——, concluded the first part of the programme. After the ten minutes’ interval, during which some of the audience left their seats, the second part of the concert began. The Frenchman, Paul V——, played some charming waltzes, which were noisily encored. One of the ship’s doctors on board, a very conceited young man, recited a burlesque scene, a kind of parody on the “Lady of Lyons,” a drama very much in vogue in England. The “burlesque” was succeeded by the “entertainment.” What had Sir James Anderson prepared under this name? Was it a conference or a sermon? Neither the one nor the other. Sir James Anderson rose smilingly, drew a pack of cards from his pocket, turned back his white cuffs, and performed some tricks, the simplicity of which was redeemed by the graceful manner in which they were done. Hurrahs and applause. After the “Happy Moment,” and “You Remember,” sung by Mr. Norville and Mr. Ewing, the programme announced “God Save the Queen;” but some Americans begged Paul V——, as he was a Frenchman, to play the national French Anthem. Immediately my agreeable countryman began the inevitable “Partant pour la Syrie.” Energetic demands from a party of north-men, who wished to hear the “Marseillaise,” and without being pressed further, the obedient pianist, with a compliance which betokened rather a musical facility than political convictions, vigorously attacked the song of Rouget de l’Ile. This was the grand success of the evening, and the assembly, standing, slowly sang the “National Anthem,” which prays God to bless the Queen. Upon the whole this soirée was as good as amateur soirées generally are; that is to say, it was chiefly a success for the performers and their friends. Fabian did not show himself there at all. 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. Jules Verne (2022). A Floating City and The Blockade Runners. Urbana, Illinois: Project Gutenberg. Retrieved October 2022 https://www.gutenberg.org/files/67829/67829-h/67829-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 , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

Going back to the grand saloon

A cool way to wait for NGU Bitcoiners should learn quantum mechanics as they wait for NGU. Because quantum mechanics will learn about Bitcoin. Hola, Welcome to August! Since my last month, I have been grinding gears to up the ante in my technical skills a la Quantum Computing, running on the heels of the highly prestigious Womanium Global Quantum and Entrepreneurship program. top post on HackerNoon Sorry, I’ve kept you waiting but today, I will gladly (briefly) share with you my milestones. To start, I was awarded the Womanium Scholarship. It went for $900. Although, I didn’t believe it till I met with daily 2-hour graduate-level lectures from 14 prestigious quantum computing companies who have all secured tens of millions of dollars in round 1, round 2, … funding. The content was detailed, and my mind went a spinning with neutral atoms, quantum dots, Rydberg states, holomorphic states, and “squeezed light”. But I soon found my ground and breezed through the 20+ quizzes. Those certificates will be bagged. Cap it with the Career Fair in which we were given a chance to pitch for jobs from all of these companies, and well, what can I say? This Womanium course is great! However, while studying all that, I happened to also get started on this great idea to explore the mutual benefits between Bitcoin and The idea was formed even before the Womanium course had started but 7 of the currently 8-person team I have all came from Womanium. Quantum Computing. Together, we have successfully; Modeled Bitcoin’s supply equation with 5 qubits. FYI, 5 qubits could be 5 neutral atoms or 5 (spin) electrons. Goes to show just how powerful a quantum computer is. 5 classical bits on 5 transistors can absolutely NOT model this equation. Even if a transistor today is really tiny (with billions fitting on thumbnail-sized chips), it still makes use of thousands of electrons. What a waste of electrons 🙂. Created a simple quantum secure communication protocol using Qiskit for transferring a Bitcoin public key (or private key) from one person to another. This greatly helps with “proof of reserves” without any money actually having to move. This might come in handy, in the near future, to transfer Bitcoin keys between parties and not real bitcoins especially when the network traffic is incredibly high and the transactions fees in sats/vb are looking scammy. The Bitcoin lightning network sort of does this already since settlements are made without actual settlements on the layer 1 blockchain, but that is a story for another time. Gotten the idea to write a book! (cover picture). Gotten the idea to translate the (Classical) Bitcoin blockchain and its into its Quantum Blockchain Equivalent. Lightning Network Teaching Quantum Mechanics to Bitcoiners I know this is not a 100% Bitcoin space but after , you have got to take your hat off for this orange cryptocurrency. It deserves an encore. last year’s SEC ruling deeming Bitcoin a commodity I know, I know. Bitcoiners shill the thing a damn lot. So much it hurts the ears of many an innovator in the blockchain space. Also, some are #toxic. However, as we all understand, the concept of money was devised to minimize the complexities of pricing in various alternative stores of value. This unlocks exponential efficiencies in recording, communicating, and working with pricing information done in terms of one special good we all call money. So having a proliferation of cryptocurrencies means the competition is going to be really skewed toward one winner (Pareto has nothing to do with this one). Otherwise, that’s like saying Barter trade was a smarter play. And we all know . what mathematics says about that Anyhow, not to get too much in the faces of Ethereum fans, Solana fans, et al., we all know that the greatest asset any cryptocurrency holder has is their cryptocurrency. The keys to this cash could be their greatest secret in fact. So the ability of quantum algorithms like Shor’s algorithm to crack RSA encryption and similar technologies (ECC) means a cryptocurrency holder, Bitcoiner to be precise, is going to be the one person who is most interested in learning how to build/leverage quantum-resistant encryption technologies. But, before one learns how to stop anything, one needs to learn how it works. And that is how the idea for a book – – was born. fast-approaching Quantum Mechanics for Bitcoiners Now, the final milestone came just yesterday when I pitched the idea for a course explaining Shor’s algorithm in detail to Bitcoiners and , I got a student! drum roll So I will say, I have officially launched my course – Shor’s Algorithm for Bitcoiners – as a first step towards writing ‘Quantum Mechanics for Bitcoiners’. Shilling Bitcoin x Quantum Computing (verb) – to sing a thing’s praises. Shill Obviously for your own benefit. Bitcoin x Quantum Computing seems totally new, but that is only the computing in quantum computing. Bitcoin is currently running on the insights of quantum mechanics uncovered in the 20th century (in the ) such as the quantized energy levels of atoms, energy wells for quantum particles, and quantum tunneling. All these three currently play a role in each and every single transistor operating in the world, and this is crucial because it is transistors, more than any other electronic component, that put the “oo” in the oomph behind CPUs, GPUs, TPUs, FPGAs. first quantum revolution We also got lasers and atomic clocks. To reiterate, the difference between quantum computing and classical technologies leveraging quantum mechanics is that in quantum computing, we are working with individual quantum particles. Turns out Schrödinger thought it was impossible. This unlocks capabilities impossible in the classical realm such as superposition and entanglement. For all their tininess and super speed, classical transistors can only mimic quantum interference where they do analog processing using wave-like properties. But superposition and entanglement, remain supremely quantum powers. Why, classical transistors are working with a collection of quantum particles, i.e., a cascade of electrons. When bunched together, the magical capabilities of individual particles disappear. The unique idea is to work with currently underway by finding ways to leverage superposition and entanglement in getting insights into Bitcoin. Because transistors are getting down to being as small as a few atoms in size, Moore’s law is reaching its limits, and therefore systems that make use of quantum particles with their full range of powers (Quantum Computers) are the next big thing to work on. And Bitcoin is well-suited to benefit because it is one computationally-hungry computer network asking for . the second quantum revolution Mooore The use cases are simply fascinating. Bitcoin in particular promises to anybody, individually, hence truly . Unlike the case where the world is on a dollar standard and the USA is in the grand position of getting financing opportunities first (because US dollars are owned by the USA. Duh). financial sovereignty democratizing financial opportunity Bitcoin’s use of the cheapest energy sources means it puts pressure on humans to innovate cheap energy sources with low carbon footprints. E.g. using flared methane and methane released during oil mining instead of simply blowing it into the atmosphere where it causes a 25x bigger greenhouse effect than carbon dioxide. Now quantum computing is well positioned to answer questions such as which can non-invasively explore underground methane deposits with high precision. “Where is methane sneakily escaping into the atmosphere” for example using quantum sensing This computing could also assist in the recovery of lost bitcoins trapped in outdated legacy wallets, including the elusive Satoshi's bitcoins. This approach avoids resorting to hacking newer, more secure Segwit wallets or any potential super-wallet formats that may emerge in the future. T , and it will be the Quantum Computer’s job to dig it out for us. here is a lot of valuable crypto treasure lost in cyberspace TLDR; There is buried treasure in cryptocurrency cyberspace, energy efficiency space, medical drug space, network effects space, … basically, Hilbert space. So Bitcoin x Quantum Computing = Billion and Billions and … Final Thoughts Thank you and have a good time. Remember to stack your cash/bitcoins. Might be announcing the IPO for my start-up real soon. Let me know what you think in the comments.

Quantum Mechanics for Bitcoiners

Sylvie and Bruno by Lewis Carroll, is part of the HackerNoon Books Series. You can jump to any chapter in this book . AN OUTLANDISH WATCH here CHAPTER XXIII. AN OUTLANDISH WATCH As I entered the little town, I came upon two of the fishermen's wives interchanging that last word “which never was the last”: and it occurred to me, as an experiment with the Magic Watch, to wait till the little scene was over, and then to 'encore' it. “Well, good night t'ye! And ye winna forget to send us word when your Martha writes?” “Nay, ah winna forget. An' if she isn't suited, she can but coom back. Good night t'ye!” A casual observer might have thought “and there ends the dialogue!” That casual observer would have been mistaken. “Ah, she'll like 'em, I war'n' ye! They'll not treat her bad, yer may depend. They're varry canny fowk. Good night!” “Ay, they are that! Good night!” “Good night! And ye'll send us word if she writes?” “Aye, ah will, yer may depend! Good night t'ye!” And at last they parted. I waited till they were some twenty yards apart, and then put the Watch a minute back. The instantaneous change was startling: the two figures seemed to flash back into their former places. “—isn't suited, she can but coom back. Good night t'ye!” one of them was saying: and so the whole dialogue was repeated, and, when they had parted for the second time, I let them go their several ways, and strolled on through the town. “But the real usefulness of this magic power,” I thought, “would be to undo some harm, some painful event, some accident—” I had not long to wait for an opportunity of testing this property also of the Magic Watch, for, even as the thought passed through my mind, the accident I was imagining occurred. A light cart was standing at the door of the 'Great Millinery Depot' of Elveston, laden with card-board packing-cases, which the driver was carrying into the shop, one by one. One of the cases had fallen into the street, but it scarcely seemed worth while to step forward and pick it up, as the man would be back again in a moment. Yet, in that moment, a young man riding a bicycle came sharp round the corner of the street and, in trying to avoid running over the box, upset his machine, and was thrown headlong against the wheel of the spring-cart. The driver ran out to his assistance, and he and I together raised the unfortunate cyclist and carried him into the shop. His head was cut and bleeding; and one knee seemed to be badly injured; and it was speedily settled that he had better be conveyed at once to the only Surgery in the place. I helped them in emptying the cart, and placing in it some pillows for the wounded man to rest on; and it was only when the driver had mounted to his place, and was starting for the Surgery, that I bethought me of the strange power I possessed of undoing all this harm. “Now is my time!” I said to myself, as I moved back the hand of the Watch, and saw, almost without surprise this time, all things restored to the places they had occupied at the critical moment when I had first noticed the fallen packing-case. Instantly I stepped out into the street, picked up the box, and replaced it in the cart: in the next moment the bicycle had spun round the corner, passed the cart without let or hindrance, and soon vanished in the distance, in a cloud of dust. “Delightful power of magic!” I thought. “How much of human suffering I have—not only relieved, but actually annihilated!” And, in a glow of conscious virtue, I stood watching the unloading of the cart, still holding the Magic Watch open in my hand, as I was curious to see what would happen when we again reached the exact time at which I had put back the hand. The result was one that, if only I had considered the thing carefully, I might have foreseen: as the hand of the Watch touched the mark, the spring-cart—which had driven off, and was by this time half-way down the street, was back again at the door, and in the act of starting, while—oh woe for the golden dream of world-wide benevolence that had dazzled my dreaming fancy!—the wounded youth was once more reclining on the heap of pillows, his pale face set rigidly in the hard lines that told of pain resolutely endured. “Oh mocking Magic Watch!” I said to myself, as I passed out of the little town, and took the seaward road that led to my lodgings. “The good I fancied I could do is vanished like a dream: the evil of this troublesome world is the only abiding reality!” And now I must record an experience so strange, that I think it only fair, before beginning to relate it, to release my much-enduring reader from any obligation he may feel to believe this part of my story. I would not have believed it, I freely confess, if I had not seen it with my own eyes: then why should I expect it of my reader, who, quite possibly, has never seen anything of the sort? I was passing a pretty little villa, which stood rather back from the road, in its own grounds, with bright flower-beds in front—-creepers wandering over the walls and hanging in festoons about the bow-windows—an easy-chair forgotten on the lawn, with a newspaper lying near it—a small pug-dog “couchant” before it, resolved to guard the treasure even at the sacrifice of life—and a front-door standing invitingly half-open. “Here is my chance,” I thought, “for testing the reverse action of the Magic Watch!” I pressed the 'reversal-peg' and walked in. In another house, the entrance of a stranger might cause surprise—perhaps anger, even going so far as to expel the said stranger with violence: but here, I knew, nothing of the sort could happen. The ordinary course of events first, to think nothing about me; then, hearing my footsteps to look up and see me; and then to wonder what business I had there—would be reversed by the action of my Watch. They would first wonder who I was, then see me, then look down, and think no more about me. And as to being expelled with violence, that event would necessarily come first in this case. “So, if I can once get in,” I said to myself, “all risk of expulsion will be over!” {Image...'The pug-dog sat up'} The pug-dog sat up, as a precautionary measure, as I passed; but, as I took no notice of the treasure he was guarding, he let me go by without even one remonstrant bark. “He that takes my life,” he seemed to be saying, wheezily, to himself, “takes trash: But he that takes the Daily Telegraph—!” But this awful contingency I did not face. The party in the drawing-room—I had walked straight in, you understand, without ringing the bell, or giving any notice of my approach—consisted of four laughing rosy children, of ages from about fourteen down to ten, who were, apparently, all coming towards the door (I found they were really walking backwards), while their mother, seated by the fire with some needlework on her lap, was saying, just as I entered the room, “Now, girls, you may get your things on for a walk.” To my utter astonishment—for I was not yet accustomed to the action of the Watch “all smiles ceased,” (as Browning says) on the four pretty faces, and they all got out pieces of needle-work, and sat down. No one noticed me in the least, as I quietly took a chair and sat down to watch them. When the needle-work had been unfolded, and they were all ready to begin, their mother said “Come, that's done, at last! You may fold up your work, girls.” But the children took no notice whatever of the remark; on the contrary, they set to work at once sewing—if that is the proper word to describe an operation such as I had never before witnessed. Each of them threaded her needle with a short end of thread attached to the work, which was instantly pulled by an invisible force through the stuff, dragging the needle after it: the nimble fingers of the little sempstress caught it at the other side, but only to lose it again the next moment. And so the work went on, steadily undoing itself, and the neatly-stitched little dresses, or whatever they were, steadily falling to pieces. Now and then one of the children would pause, as the recovered thread became inconveniently long, wind it on a bobbin, and start again with another short end. At last all the work was picked to pieces and put away, and the lady led the way into the next room, walking backwards, and making the insane remark “Not yet, dear: we must get the sewing done first.” After which, I was not surprised to see the children skipping backwards after her, exclaiming “Oh, mother, it is such a lovely day for a walk!” In the dining-room, the table had only dirty plates and empty dishes on it. However the party—with the addition of a gentleman, as good-natured, and as rosy, as the children—seated themselves at it very contentedly. You have seen people eating cherry-tart, and every now and then cautiously conveying a cherry-stone from their lips to their plates? Well, something like that went on all through this ghastly—or shall we say 'ghostly'?—-banquet. An empty fork is raised to the lips: there it receives a neatly-cut piece of mutton, and swiftly conveys it to the plate, where it instantly attaches itself to the mutton already there. Soon one of the plates, furnished with a complete slice of mutton and two potatoes, was handed up to the presiding gentleman, who quietly replaced the slice on the joint, and the potatoes in the dish. Their conversation was, if possible, more bewildering than their mode of dining. It began by the youngest girl suddenly, and without provocation, addressing her eldest sister. “Oh, you wicked story-teller!” she said. I expected a sharp reply from the sister; but, instead of this, she turned laughingly to her father, and said, in a very loud stage-whisper, “To be a bride!” The father, in order to do his part in a conversation that seemed only fit for lunatics, replied “Whisper it to me, dear.” But she didn't whisper (these children never did anything they were told): she said, quite loud, “Of course not! Everybody knows what Dotty wants!” And little Dolly shrugged her shoulders, and said, with a pretty pettishness, “Now, Father, you're not to tease! You know I don't want to be bride's-maid to anybody!” “And Dolly's to be the fourth,” was her father's idiotic reply. Here Number Three put in her oar. “Oh, it is settled, Mother dear, really and truly! Mary told us all about it. It's to be next Tuesday four weeks—and three of her cousins are coming; to be bride's-maids—and—” “She doesn't forget it, Minnie!” the Mother laughingly replied. “I do wish they'd get it settled! I don't like long engagements.” And Minnie wound up the conversation—if so chaotic a series of remarks deserves the name—with “Only think! We passed the Cedars this morning, just exactly as Mary Davenant was standing at the gate, wishing good-bye to Mister—-I forget his name. Of course we looked the other way.” By this time I was so hopelessly confused that I gave up listening, and followed the dinner down into the kitchen. But to you, O hypercritical reader, resolute to believe no item of this weird adventure, what need to tell how the mutton was placed on the spit, and slowly unroasted—how the potatoes were wrapped in their skins, and handed over to the gardener to be buried—how, when the mutton had at length attained to rawness, the fire, which had gradually changed from red-heat to a mere blaze, died down so suddenly that the cook had only just time to catch its last flicker on the end of a match—or how the maid, having taken the mutton off the spit, carried it (backwards, of course) out of the house, to meet the butcher, who was coming (also backwards) down the road? The longer I thought over this strange adventure, the more hopelessly tangled the mystery became: and it was a real relief to meet Arthur in the road, and get him to go with me up to the Hall, to learn what news the telegraph had brought. I told him, as we went, what had happened at the Station, but as to my further adventures I thought it best, for the present, to say nothing. The Earl was sitting alone when we entered. “I am glad you are come in to keep me company,” he said. “Muriel is gone to bed—the excitement of that terrible scene was too much for her—and Eric has gone to the hotel to pack his things, to start for London by the early train.” “Then the telegram has come?” I said. “Did you not hear? Oh, I had forgotten: it came in after you left the Station. Yes, it's all right: Eric has got his commission; and, now that he has arranged matters with Muriel, he has business in town that must be seen to at once.” “What arrangement do you mean?” I asked with a sinking heart, as the thought of Arthur's crushed hopes came to my mind. “Do you mean that they are engaged?” “They have been engaged—in a sense—for two years,” the old man gently replied: “that is, he has had my promise to consent to it, so soon as he could secure a permanent and settled line in life. I could never be happy with my child married to a man without an object to live for—without even an object to die for!” “I hope they will be happy,” a strange voice said. The speaker was evidently in the room, but I had not heard the door open, and I looked round in some astonishment. The Earl seemed to share my surprise. “Who spoke?” he exclaimed. “It was I,” said Arthur, looking at us with a worn, haggard face, and eyes from which the light of life seemed suddenly to have faded. “And let me wish you joy also, dear friend,” he added, looking sadly at the Earl, and speaking in the same hollow tones that had startled us so much. “Thank you,” the old man said, simply and heartily. A silence followed: then I rose, feeling sure that Arthur would wish to be alone, and bade our gentle host 'Good night': Arthur took his hand, but said nothing: nor did he speak again, as we went home till we were in the house and had lit our bed-room candles. Then he said more to himself than to me, “The heart knoweth its own bitterness. I never understood those words till now.” The next few days passed wearily enough. I felt no inclination to call by myself at the Hall; still less to propose that Arthur should go with me: it seemed better to wait till Time—that gentle healer of our bitterest sorrows should have helped him to recover from the first shock of the disappointment that had blighted his life. Business however soon demanded my presence in town; and I had to announce to Arthur that I must leave him for a while. “But I hope to run down again in a month,” I added. “I would stay now, if I could. I don't think it's good for you to be alone.” “No, I ca'n't face solitude, here, for long,” said Arthur. “But don't think about me. I have made up my mind to accept a post in India, that has been offered me. Out there, I suppose I shall find something to live for; I ca'n't see anything at present. 'This life of mine I guard, as God's high gift, from scathe and wrong, Not greatly care to lose!'” “Yes,” I said: “your name-sake bore as heavy a blow, and lived through it.” “A far heavier one than mine,” said Arthur. “The woman he loved proved false. There is no such cloud as that on my memory of—of—” He left the name unuttered, and went on hurriedly. “But you will return, will you not?” “Yes, I shall come back for a short time.” “Do,” said Arthur: “and you shall write and tell me of our friends. I'll send you my address when I'm settled down.” 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. Lewis Carroll (1996). Sylvie and Bruno. Urbana, Illinois: Project Gutenberg. Retrieved October 2022 https://www.gutenberg.org/cache/epub/620/pg620-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

AN OUTLANDISH WATCH

Head and Shoulders

The Ice Palace

Friends, fellow adventurers, lend me your ears (or eyes)! Today, we’ll take a joyride into the world of RxJS to tame the sneaky gremlin known as memory leaks. Fasten your seatbelts as we unveil the mystic arts of keeping our code clean and our spirits high. JavaScript The What: Memory Leaks, The Unseen Culprits Alright, before we dive into our detective toolkit, it’s worth taking a moment to truly understand our adversary. . They might sound like something that sprouts in your garden after a heavy downpour, but trust me, they’re a lot less fun. Memory leaks Think of your application’s memory as a high-end, all-you-can-eat buffet. Your Observables are the patrons, consuming memory instead of the latest chef’s special. Normally, they’d eat their fill (perform their operations) and then leave, making room for the next hungry Observable. All’s well in our digital eatery. But here’s where memory leaks, the sneaky critters, slink in. Imagine a patron who eats, and then sits there. And sits. And sits some more. They’re not eating anymore, but they’re taking up valuable space, preventing new patrons from getting a seat. This squatter is our memory leak. In the world of RxJS, memory leaks happen when Observables linger around in memory, long after they’ve finished their tasks. They’re no longer needed, but they stick around anyway, taking up precious space. But why is this such a big deal? Well, the more memory leaks you have, the less memory is available for the parts of your application that genuinely need it. This can lead to slower processing times, and in severe cases, can even cause your application to crash altogether. Imagine your buffet getting so crowded with non-eating patrons that there’s no room left for new customers, or even for the staff to move. Chaos ensues, orders pile up, the kitchen gets overwhelmed, and eventually, the whole place could grind to a halt. That’s the kind of digital disaster we’re looking to avoid. And armed with the right tools and know-how, it’s a disaster we’re going to sidestep with grace and style. So let’s roll up our sleeves and prepare to banish these sneaky squatters once and for all! The How: Gearing Up Against Memory Leaks Now that we’ve identified the culprit, it’s time to arm ourselves with some techy tools to prevent those notorious memory leaks in RxJS. We’ve got five tried-and-true techniques here, each ready to tackle memory leaks in its unique way. Ready? Let’s dive right in! Async Pipe: The Auto-Handler users, rejoice! If you’re using Angular, you can call in the pipe in your templates to handle subscribing and unsubscribing from Observables. Angular oversees the lifecycle of the async pipe, automatically unsubscribing when the component is destroyed. Here's a glance at how this works: Angular async <div>{{ source$ | async }}</div> In this snippet, Angular is taking the wheel, managing the Observable via the pipe and ensures the Observable isn’t left unattended, preventing any mischief. As you might have already noticed, using it requires one main condition to be met. The observable has to be rendered in the template, but this is not always the case. This brings us to the trusty ‘unsubscribe’. source$ async The Trusty Unsubscribe Unsubscribing from Observables is like finishing a good book: you close it, return it to the shelf, and then move on to the next one. And just like the end of a book, you’ve got to know when to say “that’s a wrap” to your Observables. When you subscribe to an Observable, you get back a Subscription object. And this Subscription object carries an method. You'll typically want to call this method in the lifecycle hook if you're using Angular or in the case of React ( for VueJS and etc.). Here's how you do it: unsubscribe ngOnDestroy componentWillUnmount unmounted class MyComponent implements OnDestroy {

  ...

  private subscription: Subscription;

  constructor() {
    this.subscription = source$.subscribe();
  }

  ngOnDestroy() {
    this.subscription.unsubscribe();
  }
} In this Angular snippet, we tell our Observable to halt in its tracks when we're done with it by calling . It's like giving a gentle nudge, reminding it to let go. But what if you are managing a large number of subscriptions and don’t want to write repetitive code for storing subscriptions and unsubscribing? source$ .unsubscribe() The Multi-tasking Combination of takeUntil and Subject: If you’re juggling multiple subscriptions within a component, operator with a Subject has got your back. The concept here is to create a Subject that emits a value whenever subscriptions are no longer needed, for example when the component is destroyed or some other event has happened. Then, you use on every subscription. This way, you're instructing all your Observables to wrap things up when the component is on its way out. takeUntil takeUntil(this.destroy$) class MyComponent implements OnDestroy {
  private destroy$ = new Subject<void>();

  ...

  constructor() {
    observableOne$.pipe(takeUntil(this.destroy$)).subscribe();
    observableTwo$.pipe(takeUntil(this.destroy$)).subscribe();
    ...
    observableNinetyNine$.pipe(takeUntil(this.destroy$)).subscribe();
  }

  ngOnDestroy() {
    this.destroy$.next();
    this.destroy$.complete();
  }
} The tells , and others to keep on keeping on until sends a signal. Once it does, the game is up. No more precious memory is being taken! takeUntil observableOne$ observableTwo$ destroy$ Important to remember that it doesn’t have to happen only when the component is destroyed Here are two example cases: class MyComponent {
  private stop$ = new Subject<void>();
  ...

  constructor() {
    sourceOne$.pipe(takeUntil(this.stop$)).subscribe();
    sourceTwo$.pipe(takeUntil(this.stop$)).subscribe();
    ...
    sourceNinetyNine$.pipe(takeUntil(this.stop$)).subscribe();
  }

  onStopStreaming() {
    this.stop$.next();
    this.stop$.complete();
  }

} In the first one, is being triggered by event method. stop$ onStopStreaming() class MyComponent {
  private stop$ = new Subject<void>();
  ...

  constructor() {
    sourceOne$.pipe(takeUntil(this.destroy$)).subscribe();
    sourceTwo$.pipe(takeUntil(this.destroy$)).subscribe();
    ...
    
    finalise$.pipe(
      tap(() => this.stop$.next()),
      tap(() => this.stop$.complete())
    ).subscribe().unsubscribe();
  }

} And in the other one, it’s being triggered by another observable called . You can probably think of other use cases where this legendary combo can do the job greatly. finalise$ Auto-Complete Operators: The Effortless Unsubscribers Alright, code aficionados, let’s talk about some real gems from the world of RxJS: the auto-complete operators. These operators are like the unsung heroes of your Observable sequences, providing an effortless way to handle subscriptions and ensure graceful unsubscription. Get ready to let these operators take the wheel while you sit back and relax! I’ll cover each operator briefly and provide links where you can read more so that you don’t get too bored and eventually reach the end of an article. first() : The Early Bird First up, we have the trusty . Just like the eager early bird, it swiftly grabs the first emitted value from the Observable sequence and then gracefully completes, bidding adieu to any lingering subscriptions. It's all about getting a head start! first() elementAt() : The Precise Selection Sometimes, you need to be precise, like when you’re searching for your favorite song in a playlist (still can’t come up with a better example). The operator comes to your rescue by allowing you to select a specific element from an Observable sequence based on its index. Once that desired element is emitted, the sequence is automatically completed. It's like having a direct line to the value you want, ensuring your subscribers get exactly what they're looking for. elementAt() take() : The Limited Edition Next on the list is the versatile . Think of it as a limited edition collector's item. With , you can specify the number of values you want to pluck from the Observable sequence. Once it reaches that magic number, it gracefully exits the stage, leaving the spotlight on the chosen few. take() take() takeWhile() : The Conditional Watcher Last but not least, we have the observant . This operator acts as a watchful sentinel, keeping an eye on the values emitted by the Observable sequence. As long as a specific condition holds true, it dutifully passes the values along. But the moment the condition evaluates to false, it exits the stage with a graceful bow. takeWhile() These auto-complete operators are like your trusty sidekicks, taking care of the subscription lifecycle and ensuring you don’t have to worry about memory leaks. So go ahead, embrace the simplicity, and let these operators do the heavy lifting for you! Rock ’n’ Roll with Hot Observables But what if you have multiple subscriptions to one Observable? Here comes our next super start. Picture this: you’re at a concert and the band is jamming. Regardless of when you or other fans join in, the band doesn’t start the song over, right? The melody (data) keeps flowing! That’s the beauty of hot observables. They’re the cool rock stars of the RxJS world, belting out data, whether anyone is there to groove to it (subscribe) or not. The charm of hot observables is their easy-going nature. Their data production doesn’t care for the formalities of subscription; it’s like they’re in their own world, performing data sequences independently. This means you’re not stuck initiating a new data sequence for each new fan (subscriber). Sounds like a pretty sweet gig for memory and processing power, eh? Now, in the RxJS band, you’ve got some built-in functions like , , , , etc., that are born hot observables. But guess what? You can also turn a cold observable into a hot one using the or other similar operators ( , , , etc). Check this out: fromEvent() interval() of() timer() share() shareReplay() connect() connectable() // cold observable, chilling alone
const cold$ = new Observable((observer) => {
  observer.next(Math.random());
});

// hot observable, ready to rock
const hot$ = cold$.pipe(share());

// Fans (subscribers) join the party
const subscription1 = hot$.subscribe(val => console.log(`Fan 1: ${val}`));
const subscription2 = hot$.subscribe(val => console.log(`Fan 2: ${val}`));

setTimeout(() => {
  // A late fan gets the same experience
  const subscription3 = hot$.subscribe(val => console.log(`Fashionably late fan 3: ${val}`));
}, 1000); See what we did there? We transformed a lone, cold observable into a hot one with the operator. Now, no matter when the fans (subscribers) decide to join the party, they're jamming to the same data, reducing the need for multiple encores (executions). share() There you go, code rockstars! You’ve got the power of hot observables at your fingertips. Ready to rock ’n’ roll with memory efficiency? Let’s hit it! Let’s view a bit more boring example that is very common in daily life: getUserData() {...} // makes api request and returns user data as Observable
getUserAccounts() {...} // makes api request and returns user accounts as Observable
getUserTransactions() {...} // makes api request and returns user transactions as Observable
const user$ = getUserData();

// option 1: using cold observable 
const coldUser$ = user$; // API will be called 2 times
const userAccounts$ = coldUser$.pipe(concatMap((user)=>getUserAccounts(user)));
const userTransactions$ = coldUser$.pipe(concatMap((user)=>getUserTransactions(user)));

// option 2: using hot observable case
const hotUser$ = user$.pipe(share()); // API will be called once and result will be shared
const userAccounts$ = hotUser$.pipe(concatMap((user)=>getUserAccounts(user)));
const userTransactions$ = hotUser$.pipe(concatMap((user)=>getUserTransactions(user))); <div>{{ userAccounts$ | async }}</div>
<div>{{ userTransactions$ | async }}</div> Both and utilize a response from a common observable. The advantage of using the observable (as in option 2) is that the API for fetching user data will be called only once since there will be a single subscription, and the response will be shared. userAccounts$ userTransactions$ hotUser$ The Wrap: You’re Now a ‘Leak Detective’ And that’s a wrap, folks! Armed with , , , and many others, you're now a certified RxJS memory leak detective. You're ready to charge into the battlefield, slaying memory leaks left and right. async unsubscribe takeUntil Just remember, the secret to keeping your code clean is understanding and vigilance. With these trusty tools and strategies, you’re on your way to crafting efficient, leak-free code. Good luck, fellow code warriors. May your code be bug-free and your coffee strong! Also published here. Lead image by Lokajit Tikayatray

Mastering RxJS Memory Leaks: The Leak Detective Handbook

Anne of Green Gables by L. M. Montgomery, is part of the HackerNoon Books Series. You can jump to any chapter in this book here . The Hotel Concert CHAPTER XXXIII. The Hotel Concert PUT on your white organdy, by all means, Anne,” advised Diana decidedly. They were together in the east gable chamber; outside it was only twilight—a lovely yellowish-green twilight with a clear-blue cloudless sky. A big round moon, slowly deepening from her pallid luster into burnished silver, hung over the Haunted Wood; the air was full of sweet summer sounds—sleepy birds twittering, freakish breezes, faraway voices and laughter. But in Anne’s room the blind was drawn and the lamp lighted, for an important toilet was being made. The east gable was a very different place from what it had been on that night four years before, when Anne had felt its bareness penetrate to the marrow of her spirit with its inhospitable chill. Changes had crept in, Marilla conniving at them resignedly, until it was as sweet and dainty a nest as a young girl could desire. The velvet carpet with the pink roses and the pink silk curtains of Anne’s early visions had certainly never materialized; but her dreams had kept pace with her growth, and it is not probable she lamented them. The floor was covered with a pretty matting, and the curtains that softened the high window and fluttered in the vagrant breezes were of pale-green art muslin. The walls, hung not with gold and silver brocade tapestry, but with a dainty apple-blossom paper, were adorned with a few good pictures given Anne by Mrs. Allan. Miss Stacy’s photograph occupied the place of honor, and Anne made a sentimental point of keeping fresh flowers on the bracket under it. Tonight a spike of white lilies faintly perfumed the room like the dream of a fragrance. There was no “mahogany furniture,” but there was a white-painted bookcase filled with books, a cushioned wicker rocker, a toilet table befrilled with white muslin, a quaint, gilt-framed mirror with chubby pink Cupids and purple grapes painted over its arched top, that used to hang in the spare room, and a low white bed. Anne was dressing for a concert at the White Sands Hotel. The guests had got it up in aid of the Charlottetown hospital, and had hunted out all the available amateur talent in the surrounding districts to help it along. Bertha Sampson and Pearl Clay of the White Sands Baptist choir had been asked to sing a duet; Milton Clark of Newbridge was to give a violin solo; Winnie Adella Blair of Carmody was to sing a Scotch ballad; and Laura Spencer of Spencervale and Anne Shirley of Avonlea were to recite. As Anne would have said at one time, it was “an epoch in her life,” and she was deliciously athrill with the excitement of it. Matthew was in the seventh heaven of gratified pride over the honor conferred on his Anne and Marilla was not far behind, although she would have died rather than admit it, and said she didn’t think it was very proper for a lot of young folks to be gadding over to the hotel without any responsible person with them. Anne and Diana were to drive over with Jane Andrews and her brother Billy in their double-seated buggy; and several other Avonlea girls and boys were going too. There was a party of visitors expected out from town, and after the concert a supper was to be given to the performers. “Do you really think the organdy will be best?” queried Anne anxiously. “I don’t think it’s as pretty as my blue-flowered muslin—and it certainly isn’t so fashionable.” “But it suits you ever so much better,” said Diana. “It’s so soft and frilly and clinging. The muslin is stiff, and makes you look too dressed up. But the organdy seems as if it grew on you.” Anne sighed and yielded. Diana was beginning to have a reputation for notable taste in dressing, and her advice on such subjects was much sought after. She was looking very pretty herself on this particular night in a dress of the lovely wild-rose pink, from which Anne was forever debarred; but she was not to take any part in the concert, so her appearance was of minor importance. All her pains were bestowed upon Anne, who, she vowed, must, for the credit of Avonlea, be dressed and combed and adorned to the Queen’s taste. “Pull out that frill a little more—so; here, let me tie your sash; now for your slippers. I’m going to braid your hair in two thick braids, and tie them halfway up with big white bows—no, don’t pull out a single curl over your forehead—just have the soft part. There is no way you do your hair suits you so well, Anne, and Mrs. Allan says you look like a Madonna when you part it so. I shall fasten this little white house rose just behind your ear. There was just one on my bush, and I saved it for you.” “Shall I put my pearl beads on?” asked Anne. “Matthew brought me a string from town last week, and I know he’d like to see them on me.” Diana pursed up her lips, put her black head on one side critically, and finally pronounced in favor of the beads, which were thereupon tied around Anne’s slim milk-white throat. “There’s something so stylish about you, Anne,” said Diana, with unenvious admiration. “You hold your head with such an air. I suppose it’s your figure. I am just a dumpling. I’ve always been afraid of it, and now I know it is so. Well, I suppose I shall just have to resign myself to it.” “But you have such dimples,” said Anne, smiling affectionately into the pretty, vivacious face so near her own. “Lovely dimples, like little dents in cream. I have given up all hope of dimples. My dimple-dream will never come true; but so many of my dreams have that I mustn’t complain. Am I all ready now?” “All ready,” assured Diana, as Marilla appeared in the doorway, a gaunt figure with grayer hair than of yore and no fewer angles, but with a much softer face. “Come right in and look at our elocutionist, Marilla. Doesn’t she look lovely?” Marilla emitted a sound between a sniff and a grunt. “She looks neat and proper. I like that way of fixing her hair. But I expect she’ll ruin that dress driving over there in the dust and dew with it, and it looks most too thin for these damp nights. Organdy’s the most unserviceable stuff in the world anyhow, and I told Matthew so when he got it. But there is no use in saying anything to Matthew nowadays. Time was when he would take my advice, but now he just buys things for Anne regardless, and the clerks at Carmody know they can palm anything off on him. Just let them tell him a thing is pretty and fashionable, and Matthew plunks his money down for it. Mind you keep your skirt clear of the wheel, Anne, and put your warm jacket on.” Then Marilla stalked downstairs, thinking proudly how sweet Anne looked, with that “One moonbeam from the forehead to the crown” and regretting that she could not go to the concert herself to hear her girl recite. “I wonder if it is too damp for my dress,” said Anne anxiously. “Not a bit of it,” said Diana, pulling up the window blind. “It’s a perfect night, and there won’t be any dew. Look at the moonlight.” “I’m so glad my window looks east into the sun rising,” said Anne, going over to Diana. “It’s so splendid to see the morning coming up over those long hills and glowing through those sharp fir tops. It’s new every morning, and I feel as if I washed my very soul in that bath of earliest sunshine. Oh, Diana, I love this little room so dearly. I don’t know how I’ll get along without it when I go to town next month.” “Don’t speak of your going away tonight,” begged Diana. “I don’t want to think of it, it makes me so miserable, and I do want to have a good time this evening. What are you going to recite, Anne? And are you nervous?” “Not a bit. I’ve recited so often in public I don’t mind at all now. I’ve decided to give ‘The Maiden’s Vow.’ It’s so pathetic. Laura Spencer is going to give a comic recitation, but I’d rather make people cry than laugh.” “What will you recite if they encore you?” “They won’t dream of encoring me,” scoffed Anne, who was not without her own secret hopes that they would, and already visioned herself telling Matthew all about it at the next morning’s breakfast table. “There are Billy and Jane now—I hear the wheels. Come on.” Billy Andrews insisted that Anne should ride on the front seat with him, so she unwillingly climbed up. She would have much preferred to sit back with the girls, where she could have laughed and chattered to her heart’s content. There was not much of either laughter or chatter in Billy. He was a big, fat, stolid youth of twenty, with a round, expressionless face, and a painful lack of conversational gifts. But he admired Anne immensely, and was puffed up with pride over the prospect of driving to White Sands with that slim, upright figure beside him. Anne, by dint of talking over her shoulder to the girls and occasionally passing a sop of civility to Billy—who grinned and chuckled and never could think of any reply until it was too late—contrived to enjoy the drive in spite of all. It was a night for enjoyment. The road was full of buggies, all bound for the hotel, and laughter, silver clear, echoed and reechoed along it. When they reached the hotel it was a blaze of light from top to bottom. They were met by the ladies of the concert committee, one of whom took Anne off to the performers’ dressing room which was filled with the members of a Charlottetown Symphony Club, among whom Anne felt suddenly shy and frightened and countrified. Her dress, which, in the east gable, had seemed so dainty and pretty, now seemed simple and plain—too simple and plain, she thought, among all the silks and laces that glistened and rustled around her. What were her pearl beads compared to the diamonds of the big, handsome lady near her? And how poor her one wee white rose must look beside all the hothouse flowers the others wore! Anne laid her hat and jacket away, and shrank miserably into a corner. She wished herself back in the white room at Green Gables. It was still worse on the platform of the big concert hall of the hotel, where she presently found herself. The electric lights dazzled her eyes, the perfume and hum bewildered her. She wished she were sitting down in the audience with Diana and Jane, who seemed to be having a splendid time away at the back. She was wedged in between a stout lady in pink silk and a tall, scornful-looking girl in a white-lace dress. The stout lady occasionally turned her head squarely around and surveyed Anne through her eyeglasses until Anne, acutely sensitive of being so scrutinized, felt that she must scream aloud; and the white-lace girl kept talking audibly to her next neighbor about the “country bumpkins” and “rustic belles” in the audience, languidly anticipating “such fun” from the displays of local talent on the program. Anne believed that she would hate that white-lace girl to the end of life. Unfortunately for Anne, a professional elocutionist was staying at the hotel and had consented to recite. She was a lithe, dark-eyed woman in a wonderful gown of shimmering gray stuff like woven moonbeams, with gems on her neck and in her dark hair. She had a marvelously flexible voice and wonderful power of expression; the audience went wild over her selection. Anne, forgetting all about herself and her troubles for the time, listened with rapt and shining eyes; but when the recitation ended she suddenly put her hands over her face. She could never get up and recite after that—never. Had she ever thought she could recite? Oh, if she were only back at Green Gables! At this unpropitious moment her name was called. Somehow Anne—who did not notice the rather guilty little start of surprise the white-lace girl gave, and would not have understood the subtle compliment implied therein if she had—got on her feet, and moved dizzily out to the front. She was so pale that Diana and Jane, down in the audience, clasped each other’s hands in nervous sympathy. Anne was the victim of an overwhelming attack of stage fright. Often as she had recited in public, she had never before faced such an audience as this, and the sight of it paralyzed her energies completely. Everything was so strange, so brilliant, so bewildering—the rows of ladies in evening dress, the critical faces, the whole atmosphere of wealth and culture about her. Very different this from the plain benches at the Debating Club, filled with the homely, sympathetic faces of friends and neighbors. These people, she thought, would be merciless critics. Perhaps, like the white-lace girl, they anticipated amusement from her “rustic” efforts. She felt hopelessly, helplessly ashamed and miserable. Her knees trembled, her heart fluttered, a horrible faintness came over her; not a word could she utter, and the next moment she would have fled from the platform despite the humiliation which, she felt, must ever after be her portion if she did so. But suddenly, as her dilated, frightened eyes gazed out over the audience, she saw Gilbert Blythe away at the back of the room, bending forward with a smile on his face—a smile which seemed to Anne at once triumphant and taunting. In reality it was nothing of the kind. Gilbert was merely smiling with appreciation of the whole affair in general and of the effect produced by Anne’s slender white form and spiritual face against a background of palms in particular. Josie Pye, whom he had driven over, sat beside him, and her face certainly was both triumphant and taunting. But Anne did not see Josie, and would not have cared if she had. She drew a long breath and flung her head up proudly, courage and determination tingling over her like an electric shock. She would not fail before Gilbert Blythe—he should never be able to laugh at her, never, never! Her fright and nervousness vanished; and she began her recitation, her clear, sweet voice reaching to the farthest corner of the room without a tremor or a break. Self-possession was fully restored to her, and in the reaction from that horrible moment of powerlessness she recited as she had never done before. When she finished there were bursts of honest applause. Anne, stepping back to her seat, blushing with shyness and delight, found her hand vigorously clasped and shaken by the stout lady in pink silk. “My dear, you did splendidly,” she puffed. “I’ve been crying like a baby, actually I have. There, they’re encoring you—they’re bound to have you back!” “Oh, I can’t go,” said Anne confusedly. “But yet—I must, or Matthew will be disappointed. He said they would encore me.” “Then don’t disappoint Matthew,” said the pink lady, laughing. Smiling, blushing, limpid eyed, Anne tripped back and gave a quaint, funny little selection that captivated her audience still further. The rest of the evening was quite a little triumph for her. When the concert was over, the stout, pink lady—who was the wife of an American millionaire—took her under her wing, and introduced her to everybody; and everybody was very nice to her. The professional elocutionist, Mrs. Evans, came and chatted with her, telling her that she had a charming voice and “interpreted” her selections beautifully. Even the white-lace girl paid her a languid little compliment. They had supper in the big, beautifully decorated dining room; Diana and Jane were invited to partake of this, also, since they had come with Anne, but Billy was nowhere to be found, having decamped in mortal fear of some such invitation. He was in waiting for them, with the team, however, when it was all over, and the three girls came merrily out into the calm, white moonshine radiance. Anne breathed deeply, and looked into the clear sky beyond the dark boughs of the firs. Oh, it was good to be out again in the purity and silence of the night! How great and still and wonderful everything was, with the murmur of the sea sounding through it and the darkling cliffs beyond like grim giants guarding enchanted coasts. “Hasn’t it been a perfectly splendid time?” sighed Jane, as they drove away. “I just wish I was a rich American and could spend my summer at a hotel and wear jewels and low-necked dresses and have ice cream and chicken salad every blessed day. I’m sure it would be ever so much more fun than teaching school. Anne, your recitation was simply great, although I thought at first you were never going to begin. I think it was better than Mrs. Evans’s.” “Oh, no, don’t say things like that, Jane,” said Anne quickly, “because it sounds silly. It couldn’t be better than Mrs. Evans’s, you know, for she is a professional, and I’m only a schoolgirl, with a little knack of reciting. I’m quite satisfied if the people just liked mine pretty well.” “I’ve a compliment for you, Anne,” said Diana. “At least I think it must be a compliment because of the tone he said it in. Part of it was anyhow. There was an American sitting behind Jane and me—such a romantic-looking man, with coal-black hair and eyes. Josie Pye says he is a distinguished artist, and that her mother’s cousin in Boston is married to a man that used to go to school with him. Well, we heard him say—didn’t we, Jane?—‘Who is that girl on the platform with the splendid Titian hair? She has a face I should like to paint.’ There now, Anne. But what does Titian hair mean?” “Being interpreted it means plain red, I guess,” laughed Anne. “Titian was a very famous artist who liked to paint red-haired women.” “Did you see all the diamonds those ladies wore?” sighed Jane. “They were simply dazzling. Wouldn’t you just love to be rich, girls?” “We are rich,” said Anne staunchly. “Why, we have sixteen years to our credit, and we’re happy as queens, and we’ve all got imaginations, more or less. Look at that sea, girls—all silver and shadow and vision of things not seen. We couldn’t enjoy its loveliness any more if we had millions of dollars and ropes of diamonds. You wouldn’t change into any of those women if you could. Would you want to be that white-lace girl and wear a sour look all your life, as if you’d been born turning up your nose at the world? Or the pink lady, kind and nice as she is, so stout and short that you’d really no figure at all? Or even Mrs. Evans, with that sad, sad look in her eyes? She must have been dreadfully unhappy sometime to have such a look. You know you wouldn’t, Jane Andrews!” “I don’t know—exactly,” said Jane unconvinced. “I think diamonds would comfort a person for a good deal.” “Well, I don’t want to be anyone but myself, even if I go uncomforted by diamonds all my life,” declared Anne. “I’m quite content to be Anne of Green Gables, with my string of pearl beads. I know Matthew gave me as much love with them as ever went with Madame the Pink Lady’s jewels.” 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. L. M. Montgomery (2008). Anne of Green Gables. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/45/pg45-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 at https://www.gutenberg.org/policy/license.html . The lead image was generated using HackerNoon's Stable Disffusion Al Image Generator feature, via the prompt "Anne of Green Fables".

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