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Baseball, anyone? - Prodigal_SOB - Jun 25, 2019 - 9:40am
 
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Android App DLNA - - Jun 25, 2019 - 7:42am
 
President Elizabeth Warren - sirdroseph - Jun 25, 2019 - 7:32am
 
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• • • The Once-a-Day • • •  - Red_Dragon - Jun 25, 2019 - 6:20am
 
Today in History - Red_Dragon - Jun 25, 2019 - 6:10am
 
Radio Paradise Comments - Coaxial - Jun 25, 2019 - 5:36am
 
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ear worm - need help lol - Proclivities - Jun 24, 2019 - 6:53am
 
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What happened to the Rockin' & Groovy mixes??? - Roguewarer - Jun 23, 2019 - 3:32pm
 
Iran - R_P - Jun 23, 2019 - 10:58am
 
What Are You Going To Do Today? - Steely_D - Jun 23, 2019 - 10:23am
 
Cool & Interesting Signs, Billboards, etc. as Opposed to ... - SeriousLee - Jun 23, 2019 - 9:57am
 
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What are you listening to now? - SeriousLee - Jun 23, 2019 - 9:00am
 
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Things You Thought Today - Antigone - Jun 23, 2019 - 5:49am
 
Track Transition cutting Out - siskinbob - Jun 23, 2019 - 2:11am
 
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Favorite wine? - SeriousLee - Jun 22, 2019 - 1:18pm
 
Country Up The Bumpkin - sirdroseph - Jun 22, 2019 - 12:15pm
 
Loudness Wars - islander - Jun 22, 2019 - 9:09am
 
Bob Dylan - sirdroseph - Jun 22, 2019 - 5:02am
 
Gotta Get Your Drink On - SeriousLee - Jun 21, 2019 - 1:51pm
 
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Congress - R_P - Jun 21, 2019 - 11:53am
 
260,000 Posts in one thread? - SeriousLee - Jun 21, 2019 - 9:58am
 
How's the weather? - SeriousLee - Jun 21, 2019 - 9:56am
 
Graphs, Charts & Maps - Proclivities - Jun 21, 2019 - 9:04am
 
Sunrise, Sunset - islander - Jun 21, 2019 - 8:14am
 
Lyrics that strike a chord today... - oldviolin - Jun 21, 2019 - 7:19am
 
What Makes You Laugh? - sirdroseph - Jun 21, 2019 - 5:38am
 
Nuclear power - saviour or scourge? - miamizsun - Jun 21, 2019 - 3:52am
 
New song submissions - Krane - Jun 20, 2019 - 4:37pm
 
Latin Music - rhahl - Jun 20, 2019 - 1:16pm
 
Mellow Mix Fan Club - - Jun 20, 2019 - 10:47am
 
Pernicious Pious Proclivities Particularized Prodigiously - R_P - Jun 20, 2019 - 10:39am
 
You're doing it wrong! - miamizsun - Jun 20, 2019 - 9:26am
 
volcano! - miamizsun - Jun 20, 2019 - 9:11am
 
Mystery Topic #10590 - Proclivities - Jun 20, 2019 - 6:45am
 
Name My Band - Red_Dragon - Jun 19, 2019 - 6:56pm
 
Export rated songs playlist - ruby2zday - Jun 19, 2019 - 6:43pm
 
Redundancy - oldviolin - Jun 19, 2019 - 3:15pm
 
Installing Dishwashers is NOT Easy - Or in Our Case, Even... - oldviolin - Jun 19, 2019 - 1:03pm
 
OUR CATS!! - Proclivities - Jun 19, 2019 - 10:40am
 
Thorium Power - miamizsun - Jun 19, 2019 - 7:44am
 
Derplahoma Questions and Points of Interest - Red_Dragon - Jun 19, 2019 - 6:39am
 
Things I Saw Today... - - Jun 19, 2019 - 4:26am
 
Song Lyrics - sirdroseph - Jun 19, 2019 - 3:07am
 
Flower Pictures - yuel - Jun 19, 2019 - 12:29am
 
Way Cool Video - miamizsun - Jun 18, 2019 - 2:54pm
 
Banksy! - - Jun 18, 2019 - 2:37pm
 
Dangerous Bus Stop - - Jun 18, 2019 - 2:10pm
 
Why Everything You Believe Is Immoral, Irresponsible, Irr... - Proclivities - Jun 18, 2019 - 6:41am
 
American Oil Strikes Again - westslope - Jun 18, 2019 - 2:20am
 
HomeKit HomePod AppleTV - gtufano - Jun 18, 2019 - 12:57am
 
Music News - R_P - Jun 17, 2019 - 3:07pm
 
Live Music - R_P - Jun 17, 2019 - 2:47pm
 
Tesla (motors, batteries, etc) - miamizsun - Jun 17, 2019 - 12:41pm
 
Getting RP in For iPad Mini 2 - Ian_and_Annie - Jun 17, 2019 - 10:12am
 
Recommended documentaries - sirdroseph - Jun 17, 2019 - 10:02am
 
Great guitar faces - Proclivities - Jun 17, 2019 - 7:02am
 
Other Medical Stuff - Antigone - Jun 17, 2019 - 2:56am
 
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then there's this
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Posted: Oct 26, 2018 - 12:03pm



 
 

The Translation For Once-A-Day-Yesterday 
Is Now A Matter Of Once-A-Yesterday-Day 


AM 
YOU 
+/- 
THE 
COEFFICIENT- 
any of the factors of a product considered in relation to a specific factor; especially : a constant factor of a term as distinguished from a variable 
OF 
INDIVIDUALITY- 
total character peculiar to and distinguishing an individual from others 
TO 
THE 
POWER- 
capacity for being acted upon or undergoing an effect 
OF 
LIFE- 
the quality that distinguishes a vital and functional being from a dead body 
LIBERTY- 
freedom from arbitrary or despotic control 
AND 
THE 
PURSUIT- 
a search for an alternative that meets cognitive criteria 
OF 
VISIONARY- 
having or marked by foresight and imagination 
STANDARDS- 
the ideal in terms of which something can be judged 
IN 
THE 
REALM- 
A field, sphere, or province 
OF 
DISTINCT- 
presenting a clear unmistakable impression 
POSSIBILITIES- 
capability of existing or happening or being true 

 


 


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Posted: Nov 14, 2017 - 9:03am


Hamlet:
To be, or not to be, that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And by opposing end them. To die—to sleep,
No more; and by a sleep to say we end
The heart-ache and the thousand natural shocks
That flesh is heir to: 'tis a consummation
Devoutly to be wish'd. To die, to sleep;
To sleep, perchance to dream—ay, there's the rub:
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause—there's the respect
That makes calamity of so long life.
For who would bear the whips and scorns of time,
Th'oppressor's wrong, the proud man's contumely,
The pangs of dispriz'd love, the law's delay,
The insolence of office, and the spurns
That patient merit of th'unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscovere'd country, from whose bourn
No traveller returns, puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of?
Thus conscience does make cowards of us all,
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pitch and moment
With this regard their currents turn awry
And lose the name of action.

Hamlet Act 3, scene 1, 55–87
To be, or not to be

Probably the best-known lines in English literature, Hamlet's greatest soliloquy is the source of more than a dozen everyday (or everymonth) expressions—the stuff that newspaper editorials and florid speeches are made on. Rather than address every one of these gems, I've selected a few of the richer ones for comment. But rest assured that you can quote any line and people will recognize your erudition.

Hamlet, in contemplating the nature of action, characteristically waxes existential, and it is this quality—the sense that here we have Shakespeare's own ideas on the meaning of life and death—that has made the speech so quotable. Whether or not Shakespeare endorsed Hamlet's sentiments, he rose to the occasion with a very great speech on the very great topic of human "being."

The subtle twists and turns of the prince's language I shall leave to the critics. My focus will be on the isolated images Hamlet invokes, the forgotten pictures behind the words, the parts we ignore when we quote the sum.

TO BE, OR NOT TO BE, THAT IS THE QUESTION

If you follow Hamlet's speech carefully, you'll notice that his notions of "being" and "not being" are rather complex. He doesn't simply ask whether life or death is preferable; it's hard to clearly distinguish the two—"being" comes to look a lot like "not being," and vice versa. To be, in Hamlet's eyes, is a passive state, to "suffer" outrageous fortune's blows, while not being is the action of opposing those blows. Living is, in effect, a kind of slow death, a submission to fortune's power. On the other hand, death is initiated by a life of action, rushing armed against a sea of troubles—a pretty hopeless project, if you think about it.

TO SLEEP, PERCHANCE TO DREAM

Hamlet tries to take comfort in the idea that death is really "no more" than a kind of sleep, with the advantage of one's never having to get up in the morning. This is a "consummation"—a completion or perfection—"devoutly to be wish'd," or piously prayed for. What disturbs Hamlet, however, is that if death is a kind of sleep, then it might entail its own dreams, which would become a new life—these dreams are the hereafter, and the hereafter is a frightening unknown. Hamlet's hesitation is akin to that of the condemned hero Claudio in Measure for Measure, written a few years after Hamlet. "Ay, but to die," he considers, "and go we know not where;/ To lie in cold obstruction, and to rot . . ." (Act 3, scene 1). Hamlet's fear is less clearly visualized, but is of the same type. No matter how miserable life is, both heroes suppose, people prefer it to death because there's always a chance that the life after death will be worse.

THERE'S THE RUB

We say "there's the rub" and think we communicate perfectly well—but do we? I mean "there's the catch" while you might think "there's the essence"—the meanings can be close, yet they're not identical. Shakespeare implies both senses, but calls up a concrete picture which would have been familiar to his audience. "Rub" is the sportsman's name for an obstacle which, in the game of bowls, diverts a ball from its true course. The Bard was obviously fond of the sport (he played on lawns, not lanes): he uses bowling analogies frequently and expertly. This is the most famous of such analogies, though not as elaborate as "Like to a bowl upon a subtle ground,/ I have tumbled past the throw" (Coriolanus, Act 5, scene 2). Although "rub" is used figuratively here, the image that leaps to Hamlet's mind is vivid and homely. Hamlet is often homely at odd moments, especially when the topic is death. "I'll lug the guts into the neighbor room" is another good example.

THIS MORTAL COIL

Shakespeare is really twisting syntax with this one. "Coil" generally means a "fuss" or a "to-do"—as in the line, "for the wedding being here to-morrow, there is a great coil tonight" (Much Ado about Nothing, Act 3, scene 3). But a to-do can't be "mortal," so what Hamlet must mean is "this tumultuous world of mortals."

HIS QUIETUS MAKE WITH A BARE BODKIN

This phrase succinctly illustrates the power Shakespeare can achieve by employing words with radically different origins and uses. "Quietus" is Latinate and legalistic; "bodkin" is concrete and probably Celtic in origin. Here, "his quietus make" means something like "even the balance" or "settle his accounts for good." That he might do this with a "bodkin"—elsewhere in Shakespeare a kind of knitting-needle, here a dagger—puts more menace in the abstract, almost clinical "quietus." "Fardels," "grunt," and "sweat" pick up on the grunting and sweating sound of "bodkin." "Fardel," a pack or bundle, is derived from the Arabic fardah (package): "grunt" and "sweat" are rooted in good old Anglo-Saxon. Hamlet's "fardels" are the wearying burdens of a weary life.

THE UNDISCOVERED COUNTRY, FROM WHOSE BOURN NO TRAVELLER RETURNS

Comfortably back in the high diction appropriate to a noble soliloquizer, Hamlet pulls out all the stops. He may be likening the unimaginable "something after death" to the New World, from which, in this Age of Exploration, some travelers were returning and some weren't. "Bourn" literally means "limit" or "boundary"; to cross the border into the country of death, he says, is an irreversible act. But Hamlet forgets that he has had a personal conversation with one traveler who has returned—his father, whose ghost has disclosed the details of his own murder <see THERE ARE MORE THINGS IN HEAVEN AND EARTH, HORATIO>.

THUS CONSCIENCE DOES MAKE COWARDS OF US ALL Hamlet's phrase is certainly the most famous judgment on fear of the unknown. But he was not the first of Shakespeare's characters to utter such words: King Richard III, on the verge of his downfall, had said that "Conscience is but a word that cowards use,/ Devis'd at first to keep the strong in awe" (Richard III, Act 5, scene 3). The difference is that Machiavellian Richard professes not to believe in (or even have) a conscience, though his bad dreams ought to have convinced him otherwise. Hamlet believes in conscience; he just questions whether it's always appropriate
Proclivities

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Posted: Nov 13, 2017 - 1:11pm

halloween 60s
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