Trumpet

trumpet

Me holding my trumpet. Credit to Qing Li, my best friend, also a trumpet player. Over my four years of in trumpet, I questioned many times if I should continue to waste my time in playing the trumpet. training I have been playing the trumpet in a community band for over four years now. In terms of playing the instrument, it has been very painful for me, until recently, something magical happened. I sounded terrible. And maybe because I can’t breathe properly, I always feel out of breath when I play more than 5 musical measure. So I cannot follow the proper tempo with my team members. (Can you imagine how embarrassing that is when playing in a band?!) When the has over high D, I can only play down the octave, because there is just no way for me to get to those notes and follow the tempo at the same time. music Can you imagine the sound of cutting metal with a saw? That is how my trumpet sounds. Me holding a trumpet during group practice. Credit to Qing Li. The peer pressure is probably the most disturbing thing. Everybody plays so much better! Even new members who joined a lot later than me are playing better and better, and are catching up fast. But I was not making much progress. I felt no matter how long I stay, or how I practice, I won’t play as well as other people. I would just be wasting time if I kept doing it. “Should I keep wasting more time playing the trumpet?” I asked myself many times. But I really like the band. We attended many parades around the bay area, playing music in different neighborhoods. I love seeing people’s smiles when they see us play. We even attended parades in Portland, SeatTle, LA. It was a lot of fun. Being in the band made me feel like I was in high school again. I am very close to the band members, and they are one of the important reasons why I didn’t want to quit. I am also very fortunate that I have a really good friend in my trumpet section alway encouraging me not to quit and just follow through. I wanted to be with them and grow with them. My lovely friends at the band who always encourage me to keep going. However, I still struggle a lot, since for four years, I hadn’t been making much progress. I couldn’t even practice a lot of band music because playing those just makes me out of breath and tired. We have a really good trumpet teacher, Matt. One day, I was again very frustrated, I really wanted to finish a matching music that was quite challenging to me, but it just seemed impossible. I couldn’t catch my breath so tempo was off, and there was a section that I couldn’t play completely, because it starts too high. I practiced a few months already, but it was not going anywhere. So I said to Matt, being very frustrated: “ You are a professional trumpet player, hearing beautiful music all the time. How can you stand hearing me play these awful sounds for so long?!” But Matt said, “Well, as a musician, a very important thing is accepting how we play. There is no need to compare with others as long as you are making progress, that is what matters.” Hearing that, I thought, “Wow, even professional players need to accept their own play. Maybe I shouldn’t be that anxious because I did play better than when I first started. I could only play up to three notes at the beginning. Now, I can at least play from C to the second C.” Practicing with Matt. Credit to Qing Li. So I tried not to feel bad, and just kept doing some really basic warm-up like scales, easy lip slurs, or just some breathing exercises for short period of time. And I completely avoided the high notes. At some point, I wasn’t playing at all since I was just not feeling well. But then one day, after haven’t touched my trumpet for a while since I had been weak, I picked it up and played a few notes. WOW… The sound was so much fuller, and the most important thing was, I wasn’t feeling very tired when I reached the higher notes like I was before. I wasn’t out of breath and I could feel my belly supporting it. Even though I wasn’t able to play the higher notes yet, but I could hear some good tones, like shimmering metal sound that the good players make! So I started to try some more scales that I couldn’t do before, and some band music. It was so much easier! It wasn’t that I could play music like The Stars and Stripes Forever all of a sudden, but I can feel a good leap from my previous plays. And many things taught by teachers were making more sense to me, meaning I started to know how to apply them now. The following days, I tried to practice a little every day. I am not perfect at every music yet, but I can feel the momentum is getting better and better. I didn’t know which part was fixed. I don’t know how they were fixed. I did learn something: no practice will be wasted, even if it is a very short practice, as long as we don’t give up. So, that requires one thing: accepting how we are at every stage of us. We cannot compare ourselves to others. We could be a bit slower in learning or in anything, but we can do it! I am not playing at a perfect level; in fact, I don’t think I can ever reach a level where I can stop practicing. I think this is the amazing part about music and our life. So I tell myself: accept every stage of my life, keep learning, keep practicing. No time is wasted. Even if there isn’t a big progress, life is still beautiful, and someday, life will show the flower that was planted along the journey.

Accept every stage of our life and keep going — what I learned from 4 years of training in trumpet.

Phineas Redux by Anthony Trollope, is part of the HackerNoon Books Series. You can jump to any chapter in this book . THE TRUMPETON FEUD IS SETTLED. here THE TRUMPETON FEUD IS SETTLED. In these fine early autumn days spent at Matching, the great Trumpeton Wood question was at last settled. During the summer considerable acerbity had been added to the matter by certain articles which had appeared in certain sporting papers, in which the new Duke of Omnium was accused of neglecting his duty to the county in which a portion of his property lay. The question was argued at considerable length. Is a landed proprietor bound, or is he not, to keep foxes for the amusement of his neighbours? To ordinary thinkers, to unprejudiced outsiders,—to Americans, let us say, or Frenchmen,—there does not seem to be room even for an argument. By what law of God or man can a man be bound to maintain a parcel of injurious vermin on his property, in the pursuit of which he finds no sport himself, and which are highly detrimental to another sport in which he takes, perhaps, the keenest interest? Trumpeton Wood was the Duke's own,—to do just as he pleased with it. Why should foxes be demanded from him then any more than a bear to be baited, or a badger to be drawn, in, let us say, his London dining-room? But a good deal had been said which, though not perhaps capable of convincing the unprejudiced American or Frenchman, had been regarded as cogent arguments to country-bred Englishmen. The Brake Hunt had been established for a great many years, and was the central attraction of a district well known for its hunting propensities. The preservation of foxes might be an open question in such counties as Norfolk and Suffolk, but could not be so in the Brake country. Many things are, no doubt, permissible under the law, which, if done, would show the doer of them to be the enemy of his species,—and this destruction of foxes in a hunting country may be named as one of them. The Duke might have his foxes destroyed if he pleased, but he could hardly do so and remain a popular magnate in England. If he chose to put himself in opposition to the desires and very instincts of the people among whom his property was situated, he must live as a "man forbid." That was the general argument, and then there was the argument special to this particular case. As it happened, Trumpeton Wood was, and always had been, the great nursery of foxes for that side of the Brake country. Gorse coverts make, no doubt, the charm of hunting, but gorse coverts will not hold foxes unless the woodlands be preserved. The fox is a travelling animal. Knowing well that "home-staying youths have ever homely wits," he goes out and sees the world. He is either born in the woodlands, or wanders thither in his early youth. If all foxes so wandering be doomed to death, if poison, and wires, and traps, and hostile keepers await them there instead of the tender welcome of the loving fox-preserver, the gorse coverts will soon be empty, and the whole country will be afflicted with a wild dismay. All which Lord Chiltern understood well when he became so loud in his complaint against the Duke. But our dear old friend, only the other day a duke, Planty Pall as he was lately called, devoted to work and to Parliament, an unselfish, friendly, wise man, who by no means wanted other men to cut their coats according to his pattern, was the last man in England to put himself forward as the enemy of an established delight. He did not hunt himself,—but neither did he shoot, or fish, or play cards. He recreated himself with Blue Books, and speculations on Adam Smith had been his distraction;—but he knew that he was himself peculiar, and he respected the habits of others. It had fallen out in this wise. As the old Duke had become very old, the old Duke's agent had gradually acquired more than an agent's proper influence in the property; and as the Duke's heir would not shoot himself, or pay attention to the shooting, and as the Duke would not let the shooting of his wood, Mr. Fothergill, the steward, had gradually become omnipotent. Now Mr. Fothergill was not a hunting man,—but the mischief did not at all lie there. Lord Chiltern would not communicate with Mr. Fothergill. Lord Chiltern would write to the Duke, and Mr. Fothergill became an established enemy. Hinc illæ iræ. From this source sprung all those powerfully argued articles in , , and ;—for on this matter all the sporting papers were of one mind. The Field Bell's Life Land and Water There is something doubtless absurd in the intensity of the worship paid to the fox by hunting communities. The animal becomes sacred, and his preservation is a religion. His irregular destruction is a profanity, and words spoken to his injury are blasphemous. Not long since a gentleman shot a fox running across a woodland ride in a hunting country. He had mistaken it for a hare, and had done the deed in the presence of keepers, owner, and friends. His feelings were so acute and his remorse so great that, in their pity, they had resolved to spare him; and then, on the spot, entered into a solemn compact that no one should be told. Encouraged by the forbearing tenderness, the unfortunate one ventured to return to the house of his friend, the owner of the wood, hoping that, in spite of the sacrilege committed, he might be able to face a world that would be ignorant of his crime. As the vulpicide, on the afternoon of the day of the deed, went along the corridor to his room, one maid-servant whispered to another, and the poor victim of an imperfect sight heard the words—"That's he as shot the fox!" The gentleman did not appear at dinner, nor was he ever again seen in those parts. Mr. Fothergill had become angry. Lord Chiltern, as we know, had been very angry. And even the Duke was angry. The Duke was angry because Lord Chiltern had been violent;—and Lord Chiltern had been violent because Mr. Fothergill's conduct had been, to his thinking, not only sacrilegious, but one continued course of wilful sacrilege. It may be said of Lord Chiltern that in his eagerness as a master of hounds he had almost abandoned his love of riding. To kill a certain number of foxes in the year, after the legitimate fashion, had become to him the one great study of life;—and he did it with an energy equal to that which the Duke devoted to decimal coinage. His huntsman was always well mounted, with two horses; but Lord Chiltern would give up his own to the man and take charge of a weary animal as a common groom when he found that he might thus further the object of the day's sport. He worked as men work only at pleasure. He never missed a day, even when cub-hunting required that he should leave his bed at 3 a.m. He was constant at his kennel. He was always thinking about it. He devoted his life to the Brake Hounds. And it was too much for him that such a one as Mr. Fothergill should be allowed to wire foxes in Trumpeton Wood! The Duke's property, indeed! Surely all that was understood in England by this time. Now he had consented to come to Matching, bringing his wife with him, in order that the matter might be settled. There had been a threat that he would give up the country, in which case it was declared that it would be impossible to carry on the Brake Hunt in a manner satisfactory to masters, subscribers, owners of coverts, or farmers, unless a different order of things should be made to prevail in regard to Trumpeton Wood. The Duke, however, had declined to interfere personally. He had told his wife that he should be delighted to welcome Lord and Lady Chiltern,—as he would any other friends of hers. The guests, indeed, at the Duke's house were never his guests, but always hers. But he could not allow himself to be brought into an argument with Lord Chiltern as to the management of his own property. The Duchess was made to understand that she must prevent any such awkwardness. And she did prevent it. "And now, Lord Chiltern," she said, "how about the foxes?" She had taken care there should be a council of war around her. Lady Chiltern and Madame Goesler were present, and also Phineas Finn. "Well;—how about them?" said the lord, showing by the fiery eagerness of his eye, and the increased redness of his face, that though the matter had been introduced somewhat jocosely, there could not really be any joke about it. "Why couldn't you keep it all out of the newspapers?" "I don't write the newspapers, Duchess. I can't help the newspapers. When two hundred men ride through Trumpeton Wood, and see one fox found, and that fox with only three pads, of course the newspapers will say that the foxes are trapped." "We may have traps if we like it, Lord Chiltern." "Certainly;—only say so, and we shall know where we are." He looked very angry, and poor Lady Chiltern was covered with dismay. "The Duke can destroy the hunt if he pleases, no doubt," said the lord. "But we don't like traps, Lord Chiltern;—nor yet poison, nor anything that is wicked. I'd go and nurse the foxes myself if I knew how, wouldn't I, Marie?" "They have robbed the Duchess of her sleep for the last six months," said Madame Goesler. "And if they go on being not properly brought up and educated, they'll make an old woman of me. As for the Duke, he can't be comfortable in his arithmetic for thinking of them. But what can one do?" "Change your keepers," said Lord Chiltern energetically. "It is easy to say,—change your keepers. How am I to set about it? To whom can I apply to appoint others? Don't you know what vested interests mean, Lord Chiltern?" "Then nobody can manage his own property as he pleases?" "Nobody can,—unless he does the work himself. If I were to go and live in Trumpeton Wood I could do it; but you see I have to live here. I vote that we have an officer of State, to go in and out with the Government,—with a seat in the Cabinet or not according as things go, and that we call him Foxmaster-General. It would be just the thing for Mr. Finn." "There would be a salary, of course," said Phineas. "Then I suppose that nothing can be done," said Lord Chiltern. "My dear Lord Chiltern, everything has been done. Vested interests have been attended to. Keepers shall prefer foxes to pheasants, wires shall be unheard of, and Trumpeton Wood shall once again be the glory of the Brake Hunt. It won't cost the Duke above a thousand or two a year." "I should be very sorry indeed to put the Duke to any unnecessary expense," said Lord Chiltern solemnly,—still fearing that the Duchess was only playing with him. It made him angry that he could not imbue other people with his idea of the seriousness of the amusement of a whole county. "Do not think of it. We have pensioned poor Mr. Fothergill, and he retires from the administration." "Then it'll be all right," said Lord Chiltern. "I am so glad," said his wife. "And so the great Mr. Fothergill falls from power, and goes down into obscurity," said Madame Goesler. "He was an impudent old man, and that's the truth," said the Duchess;—"and he has always been my thorough detestation. But if you only knew what I have gone through to get rid of him,—and all on account of Trumpeton Wood,—you'd send me every brush taken in the Brake country during the next season." "Your Grace shall at any rate have one of them," said Lord Chiltern. On the next day Lord and Lady Chiltern went back to Harrington Hall. When the end of August comes, a Master of Hounds,—who is really a master,—is wanted at home. Nothing short of an embassy on behalf of the great coverts of his country would have kept this master away at present; and now, his diplomacy having succeeded, he hurried back to make the most of its results. Lady Chiltern, before she went, made a little speech to Phineas Finn. "You'll come to us in the winter, Mr. Finn?" "I should like." "You must. No one was truer to you than we were, you know. Indeed, regarding you as we do, how should we not have been true? It was impossible to me that my old friend should have been—" "Oh, Lady Chiltern!" "Of course you'll come. You owe it to us to come. And may I say this? If there be anybody to come with you, that will make it only so much the better. If it should be so, of course there will be letters written?" To this question, however, Phineas Finn made no answer. 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 (2006). Phineas Redux. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/18640/pg18640-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 TRUMPETON FEUD IS SETTLED.

Scientific American Supplement, No. 711, August 17, 1889, by Various, is part of the HackerNoon Books Series. You can jump to any chapter in this book . THE ADER FLOURISH OF TRUMPETS. here THE ADER FLOURISH OF TRUMPETS. Although telephonic novelties are not numerous at the Universal Exposition, telephony—that quite young branch of electric science—is daily the object of curious and interesting experiments which we must make known to our readers, a large number of whom were not yet born to scientific life when the experiments were made for the first time at Paris in 1881; and it is proper to congratulate the Société Générale des Téléphones on having repeated them in 1889 to the great satisfaction of the rising generation. We allude to the Ader system of telephonic transmissions of sounds in such a way that they can be heard by an audience. The essential parts of this mode of transmission consist of two distinct systems—transmitters and receivers. The transmitters are four in number, and are actuated by the same number of musicians, each humming into them his part of the quartet (Fig. 1). This transmitter, represented apart in elevation and section in Fig. 2, is identical with the one used in the curious experiment with the singing condenser. At A is a mouthpiece before which the musician hums his part as upon a reed pipe. He causes the plate, B, to vibrate in unison with the sound that he emits, and this produces periodical interruptions of varying rapidity between the disk, B, and the point, C. The button, D, serves to regulate the distance in such a way that the breakings of the circuit shall be very complete and produce sounds in the receivers as pure as allowed by this special mode of transmission, in which all the harmonics are systematically suppressed in order to re-enforce the fundamental. This transmitter interrupter is interposed in the circuit of a battery of accumulators, with the five receivers that it actuates, in such a way that the four transmitters and five receivers form in reality four groups of distinct autonomous transmission, the accordance of which is absolutely dependent upon that of the artists who make them vibrate. The five receivers are arranged over the front door of the telephone pavilion, near the Eiffel tower (Fig. 3). Each consists of a horseshoe magnet provided, between its branches, with two small iron cores having a space of a few millimeters between them (Fig. 4). Each of these soft iron cores carries a copper wire bobbin, N, the number of spirals of which is properly calculated for the effect to be produced. Opposite the vacant space left by the two cores, there is a small piece, , of rectangular form, and also of soft iron, fixed to a vibrating strip of firwood, L, of about 4 inches section. The periodical breaking of the circuit produced by the transmitter causes a variation in the magnetization of the iron cores of the five receivers and makes the firwood strips vibrate energetically. These vibrations are received and poured forth as it were in front of the telephone pavilion, by large brass trumpets arranged in front of each receiver, as shown in Fig. 3. t It would be difficult for us to pass any judgment whatever upon the musical and artistic value of these transmissions of trumpet music to a distance; we prefer to confess our incompetency in the matter. But it is none the less certain that these experiments are having the same success that they had at their inception in 1881 at the Universal Exposition of Electricity, and they allow us to foresee that there is a time coming in which it will be possible to transmit speech to a distance with the same intensity that the present trumpet flourishes have. Although all the tentatives hitherto made in this direction have not given very brilliant results, we must not despair of attaining the end some day or other. Less than fifteen years ago the telephone did not exist; now it covers the world with its lines.— La Nature. 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. Various (2004). Scientific American Supplement, No. 711, August 17, 1889. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/16972/pg16972-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 ADER FLOURISH OF TRUMPETS

Phineas Redux by Anthony Trollope, is part of the HackerNoon Books Series. You can jump to any chapter in this book . TRUMPETON WOOD. here TRUMPETON WOOD. In the meantime the hunting season was going on in the Brake country with chequered success. There had arisen the great Trumpeton Wood question, about which the sporting world was doomed to hear so much for the next twelve months,—and Lord Chiltern was in an unhappy state of mind. Trumpeton Wood belonged to that old friend of ours, the Duke of Omnium, who had now almost fallen into second childhood. It was quite out of the question that the Duke should himself interfere in such a matter, or know anything about it; but Lord Chiltern, with headstrong resolution, had persisted in writing to the Duke himself. Foxes had always hitherto been preserved in Trumpeton Wood, and the earths had always been stopped on receipt of due notice by the keepers. During the cubbing season there had arisen quarrels. The keepers complained that no effort was made to kill the foxes. Lord Chiltern swore that the earths were not stopped. Then there came tidings of a terrible calamity. A dying fox, with a trap to its pad, was found in the outskirts of the Wood; and Lord Chiltern wrote to the Duke. He drew the Wood in regular course before any answer could be received,—and three of his hounds picked up poison, and died beneath his eyes. He wrote to the Duke again,—a cutting letter; and then came from the Duke's man of business, Mr. Fothergill, a very short reply, which Lord Chiltern regarded as an insult. Hitherto the affair had not got into the sporting papers, and was simply a matter of angry discussion at every meet in the neighbouring counties. Lord Chiltern was very full of wrath, and always looked as though he desired to avenge those poor hounds on the Duke and all belonging to him. To a Master of Hounds the poisoning of one of his pack is murder of the deepest dye. There probably never was a Master who in his heart of hearts would not think it right that a detected culprit should be hung for such an offence. And most Masters would go further than this, and declare that in the absence of such detection the owner of the covert in which the poison had been picked up should be held to be responsible. In this instance the condition of ownership was unfortunate. The Duke himself was old, feeble, and almost imbecile. He had never been eminent as a sportsman; but, in a not energetic manner, he had endeavoured to do his duty by the country. His heir, Plantagenet Palliser, was simply a statesman, who, as regarded himself, had never a day to spare for amusement; and who, in reference to sport, had unfortunate fantastic notions that pheasants and rabbits destroyed crops, and that foxes were injurious to old women's poultry. He, however, was not the owner, and had refused to interfere. There had been family quarrels too, adverse to the sporting interests of the younger Palliser scions, so that the shooting of this wood had drifted into the hands of Mr. Fothergill and his friends. Now, Lord Chiltern had settled it in his own mind that the hounds had been poisoned, if not in compliance with Mr. Fothergill's orders, at any rate in furtherance of his wishes, and, could he have had his way, he certainly would have sent Mr. Fothergill to the gallows. Now, Miss Palliser, who was still staying at Lord Chiltern's house, was niece to the old Duke, and first cousin to the heir. "They are nothing to me," she said once, when Lord Chiltern had attempted to apologise for the abuse he was heaping on her relatives. "I haven't seen the Duke since I was a little child, and I shouldn't know my cousin were I to meet him." "So much the more gracious is your condition," said Lady Chiltern,—"at any rate in Oswald's estimation." "I know them, and once spent a couple of days at Matching with them," said Lord Chiltern. "The Duke is an old fool, who always gave himself greater airs than any other man in England,—and as far as I can see, with less to excuse them. As for Planty Pall, he and I belong so essentially to different orders of things, that we can hardly be reckoned as being both men." "And which is the man, Lord Chiltern?" "Whichever you please, my dear; only not both. Doggett was over there yesterday, and found three separate traps." "What did he do with the traps?" said Lady Chiltern. "I wasn't fool enough to ask him, but I don't in the least doubt that he threw them into the water—or that he'd throw Palliser there too if he could get hold of him. As for taking the hounds to Trumpeton again, I wouldn't do it if there were not another covert in the country." "Then leave it so, and have done with it," said his wife. "I wouldn't fret as you do for what another man did with his own property, for all the foxes in England." "That is because you understand nothing of hunting, my dear. A man's property is his own in one sense, but isn't his own in another. A man can't do what he likes with his coverts." "He can cut them down." "But he can't let another pack hunt them, and he can't hunt them himself. If he's in a hunting county he is bound to preserve foxes." "What binds him, Oswald? A man can't be bound without a penalty." "I should think it penalty enough for everybody to hate me. What are you going to do about Phineas Finn?" "I have asked him to come on the 1st and stay till Parliament meets." "And is that woman coming?" "There are two or three women coming." "She with the German name, whom you made me dine with in Park Lane?" "Madame Max Goesler is coming. She brings her own horses, and they will stand at Doggett's." "They can't stand here, for there is not a stall." "I am so sorry that my poor little fellow should incommode you," said Miss Palliser. "You're a licensed offender,—though, upon my honour, I don't know whether I ought to give a feed of oats to any one having a connection with Trumpeton Wood. And what is Phineas to ride?" "He shall ride my horses," said Lady Chiltern, whose present condition in life rendered hunting inopportune to her. "Neither of them would carry him a mile. He wants about as good an animal as you can put him upon. I don't know what I'm to do. It's all very well for Laura to say that he must be mounted." "You wouldn't refuse to give Mr. Finn a mount!" said Lady Chiltern, almost with dismay. "I'd give him my right hand to ride, only it wouldn't carry him. I can't make horses. Harry brought home that brown mare on Tuesday with an overreach that she won't get over this season. What the deuce they do with their horses to knock them about so, I can't understand. I've killed horses in my time, and ridden them to a stand-still, but I never bruised them and battered them about as these fellows do." "Then I'd better write to Mr. Finn, and tell him," said Lady Chiltern, very gravely. "Oh, Phineas Finn!" said Lord Chiltern; "oh, Phineas Finn! what a pity it was that you and I didn't see the matter out when we stood opposite to each other on the sands at Blankenberg!" "Oswald," said his wife, getting up, and putting her arm over his shoulder, "you know you would give your best horse to Mr. Finn, as long as he chose to stay here, though you rode upon a donkey yourself." "I know that if I didn't, you would," said Lord Chiltern. And so the matter was settled. At night, when they were alone together, there was further discussion as to the visitors who were coming to Harrington Hall. "Is Gerard Maule to come back?" asked the husband. "I have asked him. He left his horses at Doggett's, you know." "I didn't know." "I certainly told you, Oswald. Do you object to his coming? You can't really mean that you care about his riding?" "It isn't that. You must have some whipping post, and he's as good as another. But he shilly-shallies about that girl. I hate all that stuff like poison." "All men are not so—abrupt shall I say?—as you were." "I had something to say, and I said it. When I had said it a dozen times, I got to have it believed. He doesn't say it as though he meant to have it believed." "You were always in earnest, Oswald." "I was." "To the extent of the three minutes which you allowed yourself. It sufficed, however;—did it not? You are glad you persevered?" "What fools women are." "Never mind that. Say you are glad. I like you to tell me so. Let me be a fool if I will." "What made you so obstinate?" "I don't know. I never could tell. It wasn't that I didn't dote upon you, and think about you, and feel quite sure that there never could be any other one than you." "I've no doubt it was all right;—only you very nearly made me shoot a fellow, and now I've got to find horses for him. I wonder whether he could ride Dandolo?" "Don't put him up on anything very hard." "Why not? His wife is dead, and he hasn't got a child, nor yet an acre of property. I don't know who is entitled to break his neck if he is not. And Dandolo is as good a horse as there is in the stable, if you can once get him to go. Mind, I have to start to-morrow at nine, for it's all eighteen miles." And so the Master of the Brake Hounds took himself to his repose. Lady Laura Kennedy had written to Barrington Erle respecting her friend's political interests, and to her sister-in-law, Lady Chiltern, as to his social comfort. She could not bear to think that he should be left alone in London till Parliament should meet, and had therefore appealed to Lady Chiltern as to the memory of many past events. The appeal had been unnecessary and superfluous. It cannot be said that Phineas and his affairs were matters of as close an interest to Lady Chiltern as to Lady Laura. If any woman loved her husband beyond all things Lord Chiltern's wife did, and ever had done so. But there had been a tenderness in regard to the young Irish Member of Parliament, which Violet Effingham had in old days shared with Lady Laura, and which made her now think that all good things should be done for him. She believed him to be addicted to hunting, and therefore horses must be provided for him. He was a widower, and she remembered of old that he was fond of pretty women, and she knew that in coming days he might probably want money;—and therefore she had asked Madame Max Goesler to spend a fortnight at Harrington Hall. Madame Max Goesler and Phineas Finn had been acquainted before, as Lady Chiltern was well aware. But perhaps Lady Chiltern, when she summoned Madame Max into the country, did not know how close the acquaintance had been. Madame Max came a couple of days before Phineas, and was taken out hunting on the morning after her arrival. She was a lady who could ride to hounds,—and who, indeed, could do nearly anything to which she set her mind. She was dark, thin, healthy, good-looking, clever, ambitious, rich, unsatisfied, perhaps unscrupulous,—but not without a conscience. As has been told in a former portion of this chronicle, she could always seem to be happy with her companion of the day, and yet there was ever present a gnawing desire to do something more and something better than she had as yet achieved. Of course, as he took her to the meet, Lord Chiltern told her his grievance respecting Trumpeton Wood. "But, my dear Lord Chiltern, you must not abuse the Duke of Omnium to me." "Why not to you?" "He and I are sworn friends." "He's a hundred years old." "And why shouldn't I have a friend a hundred years old? And as for Mr. Palliser, he knows no more of your foxes than I know of his taxes. Why don't you write to Lady Glencora? She understands everything." "Is she a friend of yours, too?" "My particular friend. She and I, you know, look after the poor dear Duke between us." "I can understand why she should sacrifice herself." "But not why I do. I can't explain it myself; but so it has come to pass, and I must not hear the Duke abused. May I write to Lady Glencora about it?" "Certainly,—if you please; but not as giving her any message from me. Her uncle's property is mismanaged most damnably. If you choose to tell her that I say so you can. I'm not going to ask anything as a favour. I never do ask favours. But the Duke or Planty Palliser among them should do one of two things. They should either stand by the hunting, or they should let it alone;—and they should say what they mean. I like to know my friends, and I like to know my enemies." "I am sure the Duke is not your enemy, Lord Chiltern." "These Pallisers have always been running with the hare and hunting with the hounds. They are great aristocrats, and yet are always going in for the people. I'm told that Planty Pall calls fox-hunting barbarous. Why doesn't he say so out loud, and stub up Trumpeton Wood and grow corn?" "Perhaps he will when Trumpeton Wood belongs to him." "I should like that much better than poisoning hounds and trapping foxes." When they got to the meet, conclaves of men might be seen gathered together here and there, and in each conclave they were telling something new or something old as to the iniquities perpetrated at Trumpeton Wood. On that evening before dinner Madame Goesler was told by her hostess that Phineas Finn was expected on the following day. The communication was made quite as a matter of course; but Lady Chiltern had chosen a time in which the lights were shaded, and the room was dark. Adelaide Palliser was present, as was also a certain Lady Baldock,—not that Lady Baldock who had abused all Papists to poor Phineas, but her son's wife. They were drinking tea together over the fire, and the dim lights were removed from the circle. This, no doubt, was simply an accident; but the gloom served Madame Goesler during one moment of embarrassment. "An old friend of yours is coming here to-morrow," said Lady Chiltern. "An old friend of mine! Shall I call my friend he or she?" "You remember Mr. Finn?" That was the moment in which Madame Goesler rejoiced that no strong glare of light fell upon her face. But she was a woman who would not long leave herself subject to any such embarrassment. "Surely," she said, confining herself at first to the single word. "He is coming here. He is a great friend of mine." "He always was a good friend of yours, Lady Chiltern." "And of yours, too, Madame Max. A sort of general friend, I think, was Mr. Finn in the old days. I hope you will be glad to see him." "Oh, dear, yes." "I thought him very nice," said Adelaide Palliser. "I remember mamma saying, before she was mamma, you know," said Lady Baldock, "that Mr. Finn was very nice indeed, only he was a Papist, and only he had got no money, and only he would fall in love with everybody. Does he go on falling in love with people, Violet?" "Never with married women, my dear. He has had a wife himself since that, Madame Goesler, and the poor thing died." "And now here he is beginning all over again," said Lady Baldock. "And as pleasant as ever," said her cousin. "You know he has done all manner of things for our family. He picked Oswald up once after one of those terrible hunting accidents; and he saved Mr. Kennedy when men were murdering him." "That was questionable kindness," said Lady Baldock. "And he sat for Lord Brentford's borough." "How good of him!" said Miss Palliser. "And he has done all manner of things," said Lady Chiltern. "Didn't he once fight a duel?" asked Madame Goesler. "That was the grandest thing of all," said his friend, "for he didn't shoot somebody whom perhaps he might have shot had he been as bloodthirsty as somebody else. And now he has come back to Parliament, and all that kind of thing, and he's coming here to hunt. I hope you'll be glad to see him, Madame Goesler." "I shall be very glad to see him," said Madame Goesler, slowly; "I heard about his success at that town, and I knew that I should meet him somewhere." 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 (2006). Phineas Redux. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/18640/pg18640-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

TRUMPETON WOOD.

Authors:
(1) Juan F. Montesinos, Department of Information and Communications Technologies Universitat Pompeu Fabra, Barcelona, Spain {juanfelipe.montesinos@upf.edu};
(2) Olga Slizovskaia, Department of Information and Communications Technologies Universitat Pompeu Fabra, Barcelona, Spain {olga.slizovskaia@upf.edu};
(3) Gloria Haro, Department of Information and Communications Technologies Universitat Pompeu Fabra, Barcelona, Spain {gloria.haro@upf.edu}. Table of Links Abstract and Intro
Related work
Dataset
Experiments
Conclusions and References II. RELATED WORK The University of Rochester Multi-Modal Music Performance Dataset (URMP) [1] is a dataset with 44 Multi-instrument video recordings of classical music pieces. Each instrument present in a piece was recorded separately, both with video and high-quality audio with a stand-alone microphone, in order to have ground-truth individual tracks. Although playing separately, the instruments were coordinated by using a conducting video with a pianist playing in order to set the common timing for the different players. After synchronization, the audio of the individual videos was replaced by the high-quality audio of the microphone and then different recordings were assembled to create the mixture: the individual high-quality audio recordings were added up to create the audio mixture and the visual content was composited in a single video with a common background where all players were arranged at the same level from left to right. For each piece, the dataset provides the musical score in MIDI format, the high-quality individual instrument audio recordings and the videos of the assembled pieces. The instruments present in the dataset, shown in Figure 1, are common instruments in chamber orchestras. In spite of all its good characteristics, it is a small dataset and thus not appropriate for training deep learning architectures. Two other datasets of audio-visual recordings of musical instruments performances have been presented recently: Music [23] and MusicES [31]. Music consists of 536 recordings of solos and 149 videos of duets across 11 categories: accordion, acoustic guitar, cello, clarinet, erhu, flute, saxophone, trumpet, tuba, violin and xylophone. This dataset was gathered by querying YouTube. MusicES [31] is an extension of MUSIC to around the triple of its original size with approximately 1475 recordings but spread in 9 categories instead: accordion, guitar, cello, flute, saxophone, trumpet, tuba, violin and xylophone. There are 7 common categories in MUSIC and Solos: violin, cello, flute, clarinet, saxophone, trumpet and tuba. The common categories between MusicES and Solos are 6 (the former ones except clarinet). Solos and MusicES are complementary. There is only an small intersection of 5% between both, which means both datasets can be combined into a bigger one. We can find in the literature several examples which show the utility of audio-visual datasets. The Sound of Pixels [23] performs audio source separation generating audio spectral components which are further smartly selected by using visual features coming from the video stream to obtain separated sources. This idea was further extended in [20] in order to separate the different sounds present in the mixture in a recursive way. At each stage, the system separates the most salient source from the ones remaining in the mixture. The Sound of Motions [19] uses dense trajectories obtained from optical flow to condition audio source separation, being able even to separate same-instrument mixtures. Visual conditioning is also used in [18] to separate different instruments; during training, a classification loss is used on the separated sounds to enforce object consistency and a co-separation loss forces the estimated individual sounds to produce the original mixtures once reassembled. In [17], the authors developed an energy-based method which minimizes a Non-Negative Matrix Factorization term with an activation matrix which is forced to be aligned to a matrix containing per-source motion information. This motion matrix contains the average magnitude velocities of the clustered motion trajectories in each player bounding box. Recent works show the rising use of skeletons in audiovisual tasks. In Audio to body dynamics [29] authors show it is possible to predict skeletons reproducing the movements of players playing instruments such as piano or violin. Skeletons have proven to be useful for establishing audio-visual correspondences, such as body or finger motion with note onsets or pitch fluctuations, in chamber music performances [21]. A recent work [32] tackles the source separation problem in a similar to Sound of Motions [19] but replacing the dense trajectories by skeleton information. This paper is available on arxiv under CC BY-NC-SA 4.0 DEED license. Authors: (1) Juan F. Montesinos, Department of Information and Communications Technologies Universitat Pompeu Fabra, Barcelona, Spain {juanfelipe.montesinos@upf.edu}; (2) Olga Slizovskaia, Department of Information and Communications Technologies Universitat Pompeu Fabra, Barcelona, Spain {olga.slizovskaia@upf.edu}; (3) Gloria Haro, Department of Information and Communications Technologies Universitat Pompeu Fabra, Barcelona, Spain {gloria.haro@upf.edu}. Authors: Authors: (1) Juan F. Montesinos, Department of Information and Communications Technologies Universitat Pompeu Fabra, Barcelona, Spain {juanfelipe.montesinos@upf.edu}; (2) Olga Slizovskaia, Department of Information and Communications Technologies Universitat Pompeu Fabra, Barcelona, Spain {olga.slizovskaia@upf.edu}; (3) Gloria Haro, Department of Information and Communications Technologies Universitat Pompeu Fabra, Barcelona, Spain {gloria.haro@upf.edu}. Table of Links Abstract and Intro Related work Dataset Experiments Conclusions and References Abstract and Intro Abstract and Intro Related work Related work Dataset Dataset Experiments Experiments Conclusions and References Conclusions and References II. RELATED WORK The University of Rochester Multi-Modal Music Performance Dataset (URMP) [1] is a dataset with 44 Multi-instrument video recordings of classical music pieces. Each instrument present in a piece was recorded separately, both with video and high-quality audio with a stand-alone microphone, in order to have ground-truth individual tracks. Although playing separately, the instruments were coordinated by using a conducting video with a pianist playing in order to set the common timing for the different players. After synchronization, the audio of the individual videos was replaced by the high-quality audio of the microphone and then different recordings were assembled to create the mixture: the individual high-quality audio recordings were added up to create the audio mixture and the visual content was composited in a single video with a common background where all players were arranged at the same level from left to right. For each piece, the dataset provides the musical score in MIDI format, the high-quality individual instrument audio recordings and the videos of the assembled pieces. The instruments present in the dataset, shown in Figure 1, are common instruments in chamber orchestras. In spite of all its good characteristics, it is a small dataset and thus not appropriate for training deep learning architectures. Two other datasets of audio-visual recordings of musical instruments performances have been presented recently: Music [23] and MusicES [31]. Music consists of 536 recordings of solos and 149 videos of duets across 11 categories: accordion, acoustic guitar, cello, clarinet, erhu, flute, saxophone, trumpet, tuba, violin and xylophone. This dataset was gathered by querying YouTube. MusicES [31] is an extension of MUSIC to around the triple of its original size with approximately 1475 recordings but spread in 9 categories instead: accordion, guitar, cello, flute, saxophone, trumpet, tuba, violin and xylophone. There are 7 common categories in MUSIC and Solos: violin, cello, flute, clarinet, saxophone, trumpet and tuba. The common categories between MusicES and Solos are 6 (the former ones except clarinet). Solos and MusicES are complementary. There is only an small intersection of 5% between both, which means both datasets can be combined into a bigger one. We can find in the literature several examples which show the utility of audio-visual datasets. The Sound of Pixels [23] performs audio source separation generating audio spectral components which are further smartly selected by using visual features coming from the video stream to obtain separated sources. This idea was further extended in [20] in order to separate the different sounds present in the mixture in a recursive way. At each stage, the system separates the most salient source from the ones remaining in the mixture. The Sound of Motions [19] uses dense trajectories obtained from optical flow to condition audio source separation, being able even to separate same-instrument mixtures. Visual conditioning is also used in [18] to separate different instruments; during training, a classification loss is used on the separated sounds to enforce object consistency and a co-separation loss forces the estimated individual sounds to produce the original mixtures once reassembled. In [17], the authors developed an energy-based method which minimizes a Non-Negative Matrix Factorization term with an activation matrix which is forced to be aligned to a matrix containing per-source motion information. This motion matrix contains the average magnitude velocities of the clustered motion trajectories in each player bounding box. Recent works show the rising use of skeletons in audiovisual tasks. In Audio to body dynamics [29] authors show it is possible to predict skeletons reproducing the movements of players playing instruments such as piano or violin. Skeletons have proven to be useful for establishing audio-visual correspondences, such as body or finger motion with note onsets or pitch fluctuations, in chamber music performances [21]. A recent work [32] tackles the source separation problem in a similar to Sound of Motions [19] but replacing the dense trajectories by skeleton information. This paper is available on arxiv under CC BY-NC-SA 4.0 DEED license. This paper is available on arxiv under CC BY-NC-SA 4.0 DEED license. available on arxiv

Solos: A Dataset for Audio-Visual Music Analysis - Related work

একক: অডিও-ভিজ্যুয়াল সঙ্গীত বিশ্লেষণের জন্য একটি ডেটাসেট - সম্পর্কিত কাজ

Solos: Ein Datensatz für audiovisuelle Musikanalyse - Verwandte Arbeiten

Solos: un conjunto de datos para el análisis de música audiovisual - Trabajo relacionado

Solos : un ensemble de données pour l'analyse de la musique audiovisuelle - Travaux connexes

सोलोस: ऑडियो-विज़ुअल संगीत विश्लेषण के लिए एक डेटासेट - संबंधित कार्य

Solos: オーディオビジュアル音楽分析のためのデータセット - 関連研究

Solos: 시청각 음악 분석을 위한 데이터세트 - 관련 작업

Solos: um conjunto de dados para análise musical audiovisual - Trabalhos relacionados

Соло: набор данных для аудиовизуального музыкального анализа — соответствующая работа

Sololar: Görsel-İşitsel Müzik Analizi için Bir Veri Kümesi - İlgili çalışma

Solos: Bộ dữ liệu để phân tích âm nhạc nghe nhìn - Công việc liên quan

Solos：视听音乐分析数据集 - 相关工作

Where the agora meets the blockchain. It's not a revolution with blaring trumpets; it's the quiet evolution of governance. In the timeless drama of "Antigone" (442 BCE), King Creon faces the paradox of enforcing city laws at the expense of divine mandates. A tale that underscores the need for collective wisdom in navigating the complexities of governance. Now, imagine blending this ancient wisdom with a sprinkle of cutting-edge tech magic. That's the future I sketch here—one where the agora meets the blockchain, and democracy gets a contemporary makeover. Unveiling a Modern Agora: Athenian Vibes in a Digital Forum This vision begins by reviving the spirit of Athenian direct democracy in a digital agora—a virtual gathering place. Echoing the days when citizens actively shaped their city's fate, our agora is a nod to the ancient forums, now translated into digital conversations where citizens can voice their opinions and make decisions collectively. Building Trust in the Digital Age: The Subtle Magic of Blockchain Now, here's where the tech magic quietly slips in. Behind the scenes is blockchain, a digital ledger that ensures transparency and security without much fuss. Think of it as the quiet custodian of our democratic decisions, recording each move without the drama. It's the backstage hero, keeping our democratic show tamper-proof and trustworthy. Economic Empowerment: Councils for Every Voice Shifting gears to the economic stage, we introduce worker and consumer councils for democratic economic planning—modern assemblies inspired by the Athenian ethos of direct democracy, not the liberal representative “democracies” that function more like oligarchies. These councils give individuals a seat at the economic table, where they can shape production, influence working conditions, and even have a say in product design and distribution. It's democracy at work, quite literally. AI: The Wise Sidekick in Decision-Making This vision doesn't stop at historical echoes; it embraces the future with artificial intelligence (AI). AI algorithms work behind the scenes, offering councils a helping hand in decision-making. It's not about replacing human insights but enhancing them. The councils get a digital sidekick, making informed decisions a breeze. Governance in Layers: Nested Federated Assemblies In the governance realm, we're introducing nested federated assemblies—a multilayered approach inspired by ancient Greek polis. Local autonomy meshes seamlessly with global collaboration. It's a subtle self-reflective dance of decentralized decision-making that ensures decisions are finely tuned to local needs while tackling broader societal challenges, expressing self-awareness, and placing sustainable limitations on economic growth. Equity in Action: A Classless Society in the Making Addressing societal imbalances, this vision champions balanced divisions of labor and fair compensation. Automation steps in to handle the mundane, freeing individuals to pursue more fulfilling roles. It's a quiet revolution, striving to close the wealth and power gap and reimagine societal structures without much fanfare. Education: Nurturing the Informed Citizens of Tomorrow Education becomes the cornerstone, mirroring the essence of Athenian paideia, the city, and broader society. We're fostering critical thinking, technology literacy, and civic responsibility. Citizens graduate not just with degrees but with the tools and experiences to navigate the nuanced world of self-governance and economics. It's education as an invisible superpower. A Decisive Moment for Democracy: A Nudge from Castoriadis As we stand at this crossroads, philosopher Cornelius Castoriadis offers a gentle nudge. It's a call to shift perspectives, a subtle rebellion against the dominance of the economic sphere. Castoriadis invites us to reconnect with our essential mortality, shaping a future where autonomy triumphs over barbarism. A quiet revolution in the making, on the ontological plane. In conclusion, this future society weaves together the wisdom of antiquity with a sprinkle of contemporary tech enchantment. The agora meets the blockchain, and democracy gets a fundamental, yet low-key, makeover. It's not a revolution with blaring trumpets; it's the quiet evolution of governance, where ancient ideals dance with modern possibilities. Welcome to the future—a place where democracy isn't just a system but a subtle symphony of voices shaping our collective destiny. delegat0x is a libertarian anti-capitalist R&D Engineer in the crypto space. They write about the intersections between philosophy, politics, media, alternatives to capitalism, social movements, and collective autonomy. Image produced by delegate0x using DALL-E Also published here

How Democracy Can Be Revitalized With an Ancient Twist and a Tech Upgrade: A Peek Into the Future

How to Write Clearly: Rules and Exercises on English Composition by Edwin Abbott Abbott, is part of the HackerNoon Books Series. You can jump to any chapter in this book . BURNET. here BURNET. The principal faults in Burnet's style are ( ) the use of heterogeneous sentences (see 43); ( ) the want of suspense (see 30); ( ) the ambiguous use of pronouns (see 5); ( ) the omission of connecting adverbs and conjunctions, and an excessive use of (see 44); and ( ) an abruptness in passing from one topic to another (see 45). The correction of these faults necessarily lengthens the altered version. a b c d and e ORIGINAL VERSION. PARALLEL VERSION. And his maintaining the honour of He also gratified the English the nation in all foreign feeling of self-respect by countries gratified the (1) maintaining the honour of the nation in all foreign countries. (50) ; (30) (43) of So jealous was he on this point which he was (15) (17 ) that, though he was not a crowned that, though he was not head, he yet secured for his a crowned head, yet his (40 ) ambassadors all the respect that ambassadors had all the respects had been paid to the ambassadors paid them which our (15) of our kings. The king, he said, ambassadors ever had: he said (6 received respect simply as the ) the dignity of the crown nation's representative head, was upon the account of the and, since the nation was the nation, same, the same respect should (50) ; so, the nation being the ministers. same, he would have the same regards paid to (41) his ministers. vanity which is very natural to Englishmen so a careful a kings' b of which the king was only the representative be paid to the[28] nation's head Another[29] instance of (5) The following instance of jealousy pleased much. Blake with the for the national honour pleased fleet (50) at him much. When Blake was at Malaga Malaga before he made war upon with his fleet, before his war Spain: (44) some of his with Spain, it happened that some seamen went ashore, met the of his sailors going ashore and Host carried about; (44) not meeting the procession of the only paid no respect to it, but Host, not only paid no respect to laughed at those who did; (43) it, but even laughed at those who (30) (51) so one of the priests did. Incited by one of the priests put the people upon resenting this to resent the indignity, the indignity; they fell upon people fell on the scoffers and (5) beat them severely. beat them severely. On their When they returned to their ship return to the ship the seamen (5) complained of (5) complained of this ill-usage, usage; and upon that Blake whereupon Blake sent a messenger sent a trumpet to the viceroy to to the viceroy to demand the demand the priest who was the priest who was the instigator of chief (1) in that the outrage. The viceroy answered ill-usage. The viceroy answered that he could not touch him, as he had no authority over the had no authority over the priests. (15) , and so could not To this Blake replied, that he did dispose of him. Blake upon that not intend to inquire to whom the sent him word that would not authority belonged, but, if the inquire who had the (1) power to priest were not sent within three send the priest to him, but if hours, he would burn the town. The were not sent within three townspeople being in no condition hours, would burn their town; to resist, the priest was at once (43) and (5) , being in no sent. On his arrival, he defended condition to resist , sent himself, alleging the insolence of the priest to , (43) (44) who the sailors. But the English (50) justified himself upon the Admiral replied that a complaint petulant behaviour of the seamen. should have been forwarded to him, and then he would have punished (44) Blake answered that, if (5) them severely, for none of his had sent a complaint to (5) sailors should be allowed to (5) , (5) would affront the established religion have punished them severely, since of any place where they touched. (5) would not suffer "But," he added, "I take it ill men to affront the established that you should set on your religion of any place at which (5) countrymen to do my work; for I touched; but (5) (6) will have all the world know that took it ill, that set on the an Englishman is only to be Spaniards to do (5) ; for punished, by an Englishman." Then, would have all the world to know satisfied with having had the (50) that an Englishman was only to be offender at his mercy, Blake punished by an Englishman; (43) entertained him civilly and sent (44) and so he treated the priest him back. civilly, and sent him back (30), being satisfied that he had him at his mercy. this him happened to be and and and and them and they this instrument he priests he he he they him him he him of it he he his he he he it he Cromwell was much delighted with Cromwell was much delighted with (5) , (43) and read the Blake's conduct. Reading the letters in council with great letters in council with great satisfaction; said he (6) satisfaction, he said, "I hope I hoped he should make the name of shall make the name of an an Englishman as great as ever Englishman as much respected as that of a Roman (15 ) . (44) The States of Holland Among other countries the States were in such dread of (5) him that of Holland were in such dread of they took care to give him no sort Cromwell that they took care to of umbrage; (43) (44) when give him no sort of umbrage. at any time the king or his Accordingly, whenever the king or brothers came to see their sister his brothers came to see the the Princess Royal, (23) within a Princess Royal their sister, they day or two after, (5) used were always warned in a day or two to send a deputation to let by a deputation that Cromwell had know that Cromwell had required of required of the States to give the States that (5) should them no harbourage. give no harbour. this and a had ever was the name of Roman." been and they them they them * * * * * * * * * * Cromwell's favourite alliance was The free kingdom of Sweden was Sweden.[30] (44) Carolus Gustavus Cromwell's favourite ally; not and he lived in great conjunction only under Charles Gustavus, with of counsels. (44) Even Algernon whom he was on most confidential Sydney, (10 ) was not terms, but also under Christina. inclined to think or speak well of Both these sovereigns had just kings, commended (5) to me; notions of public liberty; at and said (5) had just least, Algernon Sydney, a man notions of public liberty; (44) certainly not prejudiced in favour (43) added, that Queen of royalty, assured me this was Christina seemed to have true of Gustavus. He also held the likewise. But (44) she was same opinion of Queen Christina; much changed from that, when but, if so, she was much changed I waited on her at Rome; for when I waited on her at Rome; for she complained of us as a factious she then complained of the factious nation, (47 ) . (44) All Italy All Italy, no less than trembled at the name of Cromwell, Holland,[31] trembled at the name and seemed under a (1) as of Cromwell, and dreaded him till long as he lived; (43) his fleet he died. Nor durst the Turks scoured the Mediterranean; and the offend the great (50) Protector Turks durst not offend him; but whose fleet scoured the delivered up Hyde, who kept up the Mediterranean; and they even gave character of an ambassador from up Hyde, who, for keeping up in the king there (23) (43), and was Turkey the character of ambassador brought over and executed for (5) from the king, was brought to . England and executed. a who him he and them that did not readily and unruly spirit of our nation. comply with the commands a of our princes panic it (44) (11 ) The the In another instance of severity brother of the king of Portugal's towards foreigners—the execution ambassador to death for murder, of the brother of the Portuguese was (11 ) justice ambassador for murder—Cromwell very far; (43) since, though in carried justice very far. For, the strictness of the law of though in strictness the law of nations, it is only the nations exempts from foreign ambassador's own person that is jurisdiction the ambassador alone, exempted from (4) yet in practice the exemption has (47 ) , yet the practice has ambassador's suite. gone in favour of (47 ) . (41) (44) Cromwell less successful at home in showed his good (11) selecting able and worthy men for in nothing more public duties, especially for the than in seeking[32] out capable courts of law. In nothing did he and worthy men for all employments, show more clearly his great but most particularly for the natural insight, and nothing courts of law, (43) (30 ) contributed more to his popularity. (10 ) which gave a general satisfaction. a putting a carrying any authority a but his master's that extended to the whole of the sends him all that the ambassador owned a to Successful abroad, Cromwell was no belong to him understanding a a FOOTNOTES: [28] The meaning is " , and therefore , ministers." There is a kind of antithesis between "the nation" and "the nation's ministers." his the nation's [29] No instance has yet been mentioned. [30] The thought that is implied, and should be expressed, by the words, is this: "Cromwell's favourite ally was a free country." [31] The remarks about Christina are a digression, and Burnet is now returning to the respect in which Cromwell was held by foreign nations. [32] He not only sought, but sought successfully. That "find" is not necessarily implied by "seek out" seems proved by the use of the word in the Authorized Version, 2 Tim. ii. 17: "He me very diligently, and me." sought out found 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. Edwin Abbott Abbott (2007). How to Write Clearly: Rules and Exercises on English Composition. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/22600/pg22600.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 principal faults in Burnet's style

BRIDAL VISITS AND ADIEUX.

Phineas Redux by Anthony Trollope, is part of the HackerNoon Books Series. You can jump to any chapter in this book . CONCLUSION. here CONCLUSION. There remains to us the very easy task of collecting together the ends of the thread of our narrative, and tying them into a simple knot, so that there may be no unravelling. Of Mr. Emilius it has been already said that his good fortune clung to him so far that it was found impossible to connect him with the tragedy of Bolton Row. But he was made to vanish for a certain number of years from the world, and dear little Lizzie Eustace was left a free woman. When last we heard of her she was at Naples, and there was then a rumour that she was about to join her fate to that of Lord George de Bruce Carruthers, with whom pecuniary matters had lately not been going comfortably. Let us hope that the match, should it be a match, may lead to the happiness and respectability of both of them. As all the world knows, Lord and Lady Chiltern still live at Harrington Hall, and he has been considered to do very well with the Brake country. He still grumbles about Trumpeton Wood, and says that it will take a lifetime to repair the injuries done by Mr. Fothergill;—but then who ever knew a Master of Hounds who wasn't ill-treated by the owners of coverts? Of Mr. Tom Spooner it can only be said that he is still a bachelor, living with his cousin Ned, and that none of the neighbours expect to see a lady at Spoon Hall. In one winter, after the period of his misfortune, he became slack about his hunting, and there were rumours that he was carrying out that terrible threat of his as to the crusade which he would go to find a cure for his love. But his cousin took him in hand somewhat sharply, made him travel abroad during the summer, and brought him out the next season, "as fresh as paint," as the members of the Brake Hunt declared. It was known to every sportsman in the country that poor Mr. Spooner had been in love; but the affair was allowed to be a mystery, and no one ever spoke to Spooner himself upon the subject. It is probable that he now reaps no slight amount of gratification from his memory of the romance. The marriage between Gerard Maule and Adelaide Palliser was celebrated with great glory at Matching, and was mentioned in all the leading papers as an alliance in high life. When it became known to Mr. Maule, Senior, that this would be so, and that the lady would have a very considerable fortune from the old Duke, he reconciled himself to the marriage altogether, and at once gave way in that matter of Maule Abbey. Nothing he thought would be more suitable than that the young people should live at the old family place. So Maule Abbey was fitted up, and Mr. and Mrs. Maule have taken up their residence there. Under the influence of his wife he has promised to attend to his farming, and proposes to do no more than go out and see the hounds when they come into his neighbourhood. Let us hope that he may prosper. Should the farming come to a good end more will probably have been due to his wife's enterprise than to his own. The energetic father is, as all the world knows, now in pursuit of a widow with three thousand a year who has lately come out in Cavendish Square. Of poor Lord Fawn no good account can be given. To his thinking, official life had none of those drawbacks with which the fantastic feelings of Phineas Finn had invested it. He could have been happy for ever at the India Board or at the Colonial Office;—but his life was made a burden to him by the affair of the Bonteen murder. He was charged with having nearly led to the fatal catastrophe of Phineas Finn's condemnation by his erroneous evidence, and he could not bear the accusation. Then came the further affair of Mr. Emilius, and his mind gave way;—and he disappeared. Let us hope that he may return some day with renewed health, and again be of service to his country. Poetical justice reached Mr. Quintus Slide of The People's Banner. The acquittal and following glories of Phineas Finn were gall and wormwood to him; and he continued his attack upon the member for Tankerville even after it was known that he had refused office, and was about to be married to Madame Goesler. In these attacks he made allusions to Lady Laura which brought Lord Chiltern down upon him, and there was an action for libel. The paper had to pay damages and costs, and the proprietors resolved that Mr. Quintus Slide was too energetic for their purposes. He is now earning his bread in some humble capacity on the staff of The Ballot Box,—which is supposed to be the most democratic daily newspaper published in London. Mr. Slide has, however, expressed his intention of seeking his fortune in New York. Laurence Fitzgibbon certainly did himself a good turn by his obliging deference to the opinion of the Chancellor of the Exchequer. He has been in office ever since. It must be acknowledged of all our leading statesmen that gratitude for such services is their characteristic. It is said that he spends much of his eloquence in endeavouring to make his wife believe that the air of County Mayo is the sweetest in the world. Hitherto, since his marriage, this eloquence has been thrown away, for she has always been his companion through the Session in London. It is rumoured that Barrington Erle is to be made Secretary for Ireland, but his friends doubt whether the office will suit him. The marriage between Marie Goesler and our hero did not take place till October, and then they went abroad for the greater part of the winter, Phineas having received leave of absence officially from the Speaker and unofficially from his constituents. After all that he had gone through it was acknowledged that so much ease should be permitted to him. They went first to Vienna, and then back into Italy, and were unheard of by their English friends for nearly six months. In April they reappeared in London, and the house in Park Lane was opened with great . Of Phineas every one says that of all living men he has been the most fortunate. The present writer will not think so unless he shall soon turn his hand to some useful task. Those who know him best say that he will of course go into office before long. éclat Of poor Lady Laura hardly a word need be said. She lives at Saulsby the life of a recluse, and the old Earl her father is still alive. The Duke, as all the world knows, is on the very eve of success with the decimal coinage. But his hair is becoming grey, and his back is becoming bent; and men say that he will never live as long as his uncle. But then he will have done a great thing,—and his uncle did only little things. Of the Duchess no word need be said. Nothing will ever change the Duchess. 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 (2006). Phineas Redux. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/18640/pg18640-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

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