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How does understanding the elements of music impact the analysis of a narrative poem?
Scaringly difficult subject to write about, and surely, just as ambivalent. I possess no expertise on poetry nor on music, only what a curious & interested mind gathers over these past few years. Hastily point out mistakes or any others short-comings & fallacies.I will be quick to mention Milton, perhaps a little of Eliot, and lastly, Ezra Pound. The effect & connection between music and poetry has definitively varied throughout history. Sung epos & folklore songs, Provençal & Troubadour poetry,... roughly speaking, and this is my observation, the first wedge between the two has been made when poetry became much more erudite, soaked in words-meaning, and forgot the musical rhythms little behind, not that I value one over another.-- Anyway, 19. & 20. century welcomed the revival of the two, and again established connections. French symbolism, Modernism & new musical techniques ( revolution of style both in literature & music, the avant-garde was united across all fields ). Of course, one of the issues is how much of modern poetry can be marked as "narrative" in the obvious sense. The elements of music is such a vague term indeed…To start off with a quotation from Poe`s The Poetic Principle:Contenting myself with the certainty that Music, in its various modes of metre, rhythm and rhyme, is of so vast a moment in Poetry as never to be wisely rejected - is so vitally important an adjunct, that he is simply silly who declines its assistance, I will not now pause to maintain its absolute essentiality. It is in Music perhaps that the soul most nearly attains the great end for which, when inspired by the Poetic Sentiment, it struggles - the creation of supernal Beauty. It may be, indeed, that here this sublime end is, now and then, attained in fact. We are often made to feel, with a shivering delight, that from an earthly harp are stricken notes which cannot have been unfamiliar to the angels. And thus there can be little doubt that in the union of Poetry with Music in its popular sense, we shall find the widest field for the Poetic development. The old Bards and Minnesingers had advantages which we do not possess - and Thomas Moore, singing his own songs, was, in the most legitimate manner, perfecting them as poems.&A poem, in my opinion, is opposed to a work of science by having, for its immediate object, pleasure, not truth; to romance, by having, for its object, an indefinite instead of a definite pleasure, being a poem only so far as this object is attained; romance presenting perceptible images with definite, poetry with definite sensations, to which end music is an essential, since the comprehension of sweet sound is our most indefinite conception. Music, when combined with a pleasurable idea, is poetry; music, without the idea, is simply music; the idea, without the music, is prose, from its very definitiveness.And to finish, a section from a letter to James R. Lowell:I am profoundly excited by music and by some poems - those of Tennyson especially - whom with Keats, Shelley, Coleridge (occasionally) and a few others of like thought and expression, I regard as the sole poets. Music is the perfection of the soul or idea of Poetry. The vagueness of exultation aroused by a sweet air which should be strictly indefinite and never too strongly suggestive is precisely what we should aim at in poetry. Affectation which is thus no blemishMustek and Poetry have ever been acknowledg'd Sisters. As Poetry is the harmony of Words, so Mustek is that of Notes... Sure they are most excellent when they are join 'd. Blest pair of Sirens, pledges of Heav'ns joy, Sphere-born harmonious Sisters, Voice, and Vers, Wed your divine sounds, and mixt power employ Dead things with inbreath'd sense able to pierceMilton could have very well be a musician, -his father was-, and his music appeared in print from time to time, one notable contribution was Fair Orian in collection of madrigals in Honour of queen Elizabeth, The Triumphs of Oriana.He was a close friend with a composer Henry Lawes, and the two collaborated on The Masque of Comus, 1634.There is also a distinction to be made between Greek & Roman musica practica, which was performed & sung, and the Pythagorean musica speculativa, theoretical & mathematical understanding, — changed to Christianised harmonia mundi during the Renaissance revival ). Harmonica mundi can definitely be encountered in Milton`s early poetry, At solemn music, Ad Patrem, & passages from 'Arcades', Comus, and 'On the Morning of Christ's Nativity'.From At solemn music:“ … disproportioned sinJarred against nature's chime, and with harsh dinBroke the fair music that all creatures madeTo their great Lord.”See how disproportioned resonates with Pythagorean proportions, and it became disproportioned with the Original Sin and the fall from Eden. The reconciliation between the Classical/Pagan & Christian aesthetics and tradition was one of the foremost issues of early Milton. A passage from On the Morning of Christ's Nativity';The lonely mountains o’er, And the resounding shore, A voice of weeping heard and loud lament; Edgèd with poplar pale, From haunted spring, and dale The parting Genius is with sighing sent; With flower-inwoven tresses torn The Nymphs in twilight shade of tangled thickets mourn.From Paradise Lost:Celestial voices to the midnight air [...]With heavenly touch of instrumental soundsIn full harmonic number joined, their songsDivide the night, and lift our thoughts to heaven.& in Hell:Their song was partial, but the harmony(What could it less when spirits immortal sing?)Suspended hell, and took with ravishment The thronging audience.Partial music of fallen Angels & Broken music of man. And Book V:Mystical dance, which yonder starry sphereOf planets and of fixed in all her wheelsResembles nearest, mazes intricate,Eccentric, intervolved, yet regularThen most, when most irregular they seem;And in their motions harmony divineSo smooths her charming tones, that God's own earListens delighted.A quick stop with T.S. Eliot and modernism before Pound.Modernism was a turbulent period, literature was chasing music, music was chasing language, and both were born out of impulse to restore expressivity & eloquence that the formality has lost. An important shift has happened, there is no absolute, right or left, right is not the opposite of left, ocean does not kill the fire.Poe & French symbolism played a pivotal role, and I am not confident nor do I know enough to speak about French climate and the effects of Poe in the second half of the 19. century here.Just as literature changed, so did music. Even the so called more traditional composers, like Ravel, are less formulaic and more abrupt, not to mention the likes of Stravinsky. What is very intriguing to me is how well does modern art produce tensions despite the loss of totality & coherence, and how idiosyncratic arbitration took over without losing the profound and human effect of tensity. In this sense, music was not longer a music in musical forms, but rather that of consciousness and its fragmentation.The seeming homelessness of arts in the period is a precondition of the changes that occurred, and this is what T. Hardy called the ache of modernism. There are no happy ends, formulaic tragedies ethically victorious, nor obvious redemption ( debatable, Last part of The Waste Land is an example ). The widening canyon of separation & inability of pristine connectivity is a precondition of the age, and in itself, its product - Postmodernism, a headless human still digging in a graveyard of modernity, seeking hopelessly for a regenerative bone & praying not to find it - he would have to leave. This is why modernism has no green heritage, only skeletons. In Joyce`s terms, Scrupulous meanness. Even the Hegelian aesthetics “in the suspension of equilibrium lies the tendency to return to a condition of equilibrium”, even musical form through dissonance to consonance, is depleted. If one here remembers the quotes from Poe and his posture of indefinitiveness, how it went from his to symbolism and from there to modernism, acclaiming the suggestive aspect.One of the drives of modernism was to thrust poetry back from the street, or jungle, to the sublime, the rightful place, to perform the duties it deserves. The restoration called for a path through prickly subjects, even ironic and laughable, like Prufrock`s underwhelming question, but it manages to pass exactly due to that vagueness, and we sense it as our own.Perhaps all this has been rather imprecise, let me speak about Eliot.So, while poetry attempts to convey something beyond what can be conveyed in prose rhythms, it remains, all the same, one person talking to another; and this is just as true if you sing it, for singing is another way of talking. The immediacy of poetry to conversation is not a matter on which we can lay down exact laws. Every revolution in poetry is apt to be, and sometimes to announce itself to be a return to common speech.... The music of poetry, then, must be a music latent in the common speech of its time.The Use of Poetry and The Use of Criticism: “Poetry begins, I dare say, with a savage beating a drum in a jungle, and it retains that essential of percussion and rhythm” - like music.Fairly, music of poetry may differ from music of music, an awkward saying that while musical elements are important for analysis, but the musical elements in poetry categorically & theoretically & applicably differ from those that we apply to music per se.'From Poe to Valery´, essay:Poetry, of different kinds, may be said to range from that in which the attention of the reader is directed primarily to the sound, to that in which it is directed primarily to the sense. With the former kind, the sense may be apprehended almost unconsciously; with the latter kind - at these two extremes - it is the sound, of the operation of which upon us we are unconscious. But, with either type, sound and sense must cooperate; in even the most purely incantatory poem, the dictionary meaning of the words cannot be disregarded with impunity.Precisely, from The music of Poetry;[m]y purpose here is to insist that a 'musical poem' is a poem which has a musical pattern of sound and a musical pattern of the secondary meanings of the words that compose it, and that these two patterns are indissoluble and one.Simply a level beside the denotation of words. In`The Music of Poetry´ another inspect of this climate is presented:The music of a word is, so to speak, at a point of intersection: it arises from its relation first to the words immediately preceding and following it, and indefinitely to the rest of its context; and from another relation, that of its immediate meaning in that context to all the other meanings which it has had in other contexts, to its greater or less wealth of association.Which can be directly linked to his writings On Dante:In English poetry words have a kind of opacity which is part of their beauty. I do not mean that the beauty of English poetry is what is called mere 'verbal beauty'. It is rather that words have associations, and the groups of words in association have associations, which is a kind of local self-consciousness, because they are the growth of a particular civilization.As many words, music ferries such a rich history of meanings, definitions, and relations that is difficult to analyse the impact. Music in one of the Archetypes, and they are hard to contain. Music is a structure separate of understanding, insofar as it escapes the restraints of conventional meanings. The Music of Poetry is, if one takes a leap of imagination, an objective correlative, if I dare expand the term. If I use a line from D. Davie; "It is language which happens through the speaker and not the speaker who expresses himself through language.”-— Can this also be said about music, when it comes to early Eliot?In an 'Aspects of Rhythm and Rhyme in Eliot's Early Poems', J. Chalker, in sum, `The Use “the steadiness and predictability of musical rhythm” is to produce psychological reassurance in the midst of emotional disturbance.´—Such irony, after reading Prufrock, if I thinks solemnly of rhythm, I would say it conveys anything but the reassurance and predictability, yes, the irony that is serves as a distraction from emotional disturbances, and in this fact lays reassurance.Quite enough of Eliot…Ezra Pound!''The idea that music and poetry can be separated,'' he wrote, ''is an idea current in ages of degradation and decadence when both arts are in the hands of lazy imbeciles.''Opera Le Testament De Villon:He started at least two unfinished operas, Cavalcanti and COLLIS O HELICONII.( Two short recordings of the latter can be found here )Rhythm & Music, “the hardest quality of a man's style to counterfeit”.In his three essays about Music in Transatlantic Review, he strongly focuses & advocates time and time-intervals, arguing:“A sound of any pitch, or any combination of such sounds, may be followed by a sound, or any combination of sounds, providing the time interval between them is properly gauged; and this is true for any series of sounds, chords, or arpeggios”Emphasization of space and rhythm was, by space - `space in between concise images - in juxtaposition´ - one of prime concerns of Imagisme. Reader`s interaction is needed to form a connection between them. ( A short answer about In A Station of the Metro ) Another short poem, Alba:As cool as the pale wet leaves of lily-of-the-valleyShe lay beside me in the dawn.Pound˙s poetry, rhythm & music was always more about reaction than explanation, which, I think, anyone who has read him can agree, and that might very well be the only thing on which we can agree. Therefore Poetry & Music are two in one to achieving this reaction.I will briefly present his own attempt to compose a work based on his own poem, Sestina Altaforte (1909 )Loquitur: En Bertrans de Born.Dante Alighieri put this man in hell for that he was a stirrer-up of strife.Eccovi!Judge ye!Have I dug him up again?The scene in at his castle, Altaforte. "Papiols" is his jongleur."The Leopard," the device of Richard (Cúur de Lion).IDamn it all! all this our South stinks peace.You whoreson dog, Papiols, come! Let's to music!I have no life save when the swords clash.But ah! when I see the standards gold, vair, purple, opposingAnd the broad fields beneath them turn crimson,Then howl I my heart nigh mad with rejoicing.IIIn hot summer have I great rejoicingWhen the tempests kill the earth's foul peace,And the lightnings from black heav'n flash crimson,And the fierce thunders roar me their musicAnd the winds shriek through the clouds mad, opposing,And through all the riven skies God's swords clash.IIIHell grant soon we hear again the swords clash!And the shrill neighs of destriers in battle rejoicing,Spiked breast to spiked breast opposing!Better one hour's stour than a year's peaceWith fat boards, bawds, wine and frail music!Bah! there's no wine like the blood's crimson!IVAnd I love to see the sun rise blood-crimson.And I watch his spears through the dark clashAnd it fills all my heart with rejoicingAnd pries wide my mouth with fast musicWhen I see him so scorn and defy peace,His lone might 'gainst all darkness opposing.VThe man who fears war and squats opposingMy words for stour, hath no blood of crimsonBut is fit only to rot in womanish peaceFar from where worth's won and the swords clashFor the death of such sluts I go rejoicing;Yea, I fill all the air with my music.VIPapiols, Papiols, to the music!There's no sound like to swords swords opposing,No cry like the battle's rejoicingWhen our elbows and swords drip the crimsonAnd our charges 'gainst "The Leopard's" rush clash.May God damn for ever all who cry "Peace!"VIIAnd let the music of the swords make them crimson!Hell grant soon we hear again the swords clash!Hell blot black for always the thought "Peace!"As a remainder, poem’s speaker is the Gascon nobleman and war-loving troubadour Bertran de Born, who lived in the second half of the twelfth century. There is no way Pound would have wrote the poem in 1914, even 1913, with its pro-war orientation, but in the end, it is a traditional subject of epic.If one isolates the ending words of each stanza:peace – music – clash – opposing – crimson – rejoicing [Stanza I]rejoicing – peace – crimson – music – opposing – clash [Stanza II]clash – rejoicing – opposing – peace – music – crimson [Stanza III]crimson – clash – rejoicing – music – peace – opposing [Stanza IV]opposing – crimson – peace – clash – rejoicing – music [Stanza V]music – opposing – rejoicing – crimson – clash – Peace [Stanza VI]crimson – clash – Peace [Envoi]Not to get into a detailed analysis of this one poem and its technical mastery of Anglo-Saxon metre & alliteration, more famous in his translation The Seafarer.“The phrases are short (two to six small, quick bars), often similar but generally asymmetric, and impetuous with anapest driven leaps, creating an almost flickering quality. The sestina form, however, is used for purely structural function. There is no attempt at word painting or at a sonic/cognitive equivalent. The music matches the original poem, one note or chord per syllable, through the third line of the second sestet. From this point musical irregularities gradually encroach upon the monosyllabic relationship with the text. His formal method was to assign one or two extremely brief music segments (each segment consisting of a different chord, or two or three chords with or without a unison note) as a “sonic signifier” to identify each line of Altaforte’s six end words. When the end word appeared in its new position in the following sestet its sonic signifier would appear as a recognizable determinant. . . .“Remembering category #4 concerning “Criticism via music” in Pound’s essay “Date Line,” we can reflect upon the interpretive insights given us when Pound interrelates music and verse.2 As can be seen above, the temptation to read “Damn it all!” as a colloquial emphatic anapest is dissuaded by Pound’s more pungent cretic ( – ˘– ), giving equal emphasis to “Damn-all.” At the end of the line a spondee (two quarter notes) gives accentuation to “stinks peace,” correcting a tendency to slight “stinks” as a moderately unstressed syllable if giving “South stinks peace” the quite natural reading of a cretic. Similarly, in line six of the same stanza, “heart nigh mad” might be rendered a cretic, yet Pound’s musical setting as three stressed syllables heightens the emotional pitch of the poem by raising the tension on “nigh.” . . .“Under the influence of Antheil’s constantly changing time signatures and note durations[applied to the opera Le Testament] the solo violin sestina utilizes a constant shifting of the number of microbeats per bar from 1/4 to 21/32, with a frequency of triple and quintuple meters presaging the metric simplification of his music over the next two years. Yet Pound’s notation is not secure enough to avoid frequent miscalculations of the note lengths versus the time signatures.“A chordal piece with almost no single notes, frequently using triple- and quadruple-stops with one to three open strings, it repeatedly necessitates the use of “broken chords” or arpeggiation. The result is often a scratchy, disjointed, leaping quality as the player prepares the fingers to approach each new multiple stop. Yet the “breaking” of the chord also favors a clarification of the harmony by lessening the biting dissonance to produce a more consonant sound, often focusing on open fifths or, in arpeggiation, the sweetened effect of an incomplete major seventh chord. Although aesthetically clarified by a few interpretive markings (bowings, accents, staccati, glissandi, sordino, string specification), technically the piece is filled with impracticalities: jagged, wide leaps; constant multiple stops; and some extremely difficult quadruple- stops, which at best render the work barely playable, if not unplayable. (These challenging famous last words often eventually offer an extremely good performance!)” . . . ( Sestina Altaforte” Ezra Pound sets his poem to music )Aforementioned unfinished COLLIS O HELICONII;HYMN TO APHRODITEAphrodite subtle of soul and deathless, Daughter of God, weaver of wiles, I pray thee Neither with care, dread Mistress, nor with anguish Slay thou my spirit. But in pity hasten, come now if ever! From afar, of old, when my voice implored thee, Thou hast deigned to listen leaving the golden House of thy father With thy chariot yoked, and with doves that drew thee Fair and fleet around the dark earth from heaven, Dipping vibrant wings down the azure distance Through the mid ether: Very swift they came; and thou gracious Vision Leaned with face that smiled in immortal beauty, Leaned to me and asked, “What misfortune threatened?” Why I had called thee? “What my frenzied heart craved in utter yearning, Whom its wild desire would persuade to passion? What disdainful charms madly worshipped, slight thee? Who wrongs thee, Sappho? “She that fain would fly, she shall quickly follow She that now rejects, yet with gifts shall woo thee, She that heeds thee not, soon shall love to madness, Love thee, the loth one.”( John Myers O’Hara translation 1910, which Pound recommended )Scenario/librettoPound described his third opera as half-finished (GK 368). A libretto, two arias, and three instrumental works are the sum of materials we have to inform the staging of the opera Collis O Heliconii. Pound’s libretto refers only to the Catullus poem (see my comments and transcription of Pound’s libretto, COLLIS xvi–xix; 102–111). The joining of the opera’s central aria in Latin—Catullus’ carmen 61—and a secondary aria in Greek—Sappho’s “Poikilothron”—continued the pairing of languages heard in the second opera Cavalcanti (Italian and Provençal). The composer’s principal motivation for relating the Latin and Greek poems in an opera was to anchor modern English lyrics in the Greek rhythms while demonstrating how a grasp of Latin will refine a poet’s style.The four key actions of Sappho’s Poem 1 are Sappho’s invocation to the goddess Aphrodite; the goddess’s descent from heaven; Aphrodite’s direct address to Sappho regarding her dominance over human will; and Sappho’s invitation to Aphrodite to take action side by side to reverse an unrequited love.The relationship of the Sappho invocation to the Catullan poem, which is widely accepted as an epithalamium, is not an obvious one. But even if we overlook recent scholarship that depicts carmen 61 as a lampoon of an epithalamium, we can find structural resemblances between the two poems. Sappho’s poem provides an authorial match to Catullus’ carmen 61: each poet inserts her- or himself into the poem; each writes in a way that distances the poet as author from the passions written about; and each poem includes a theme of same-sex preference. It was Henry Wharton who first introduced the English reader to Sappho’s love for a female and possibly Theodor Bergk who earlier had done the same for the German reader (Williamson 51–52).2For contrast and drama in his opera, Pound would develop the literary relationship between Sappho and Catullus. He had named them in his 1929 essay “How to Read” as among the essential canon of authors "who actually invented something" (LE 27). In 1934, Pound praised Catullus for his treatment of sapphics: “. . . the only man who has ever mastered the lady’s metre” (ABCR 47). He published the essay “Date Line” the same year, claiming that the musical setting of a poet’s words was a fourth form of criticism (LE 74). Had Pound’s attempts at setting the two poets’ words to music led him to these declarations?Pound’s preference was for us to hear the two poets’ words in the original language, their rhythms and styles brought directly to our ear through the music—the successful formula he had used to dramatize the Cavalcanti–Sordello literary relationship in his second opera. Pound’s pairing of Sappho’s 1 with Catullus 61 removes Sappho from the sphere of influence of Ovid, where most readers became acquainted with her through reading the Heroides. The opera was to place her Latin legacy clearly on the side of Catullus. For more on this, see COLLIS, chapter V, “Sappho.”SapphicsEzra Pound's holograph score of his setting of Sappho Poem 1 from his 3rd opera,Collis O Heliconii.Shown: Introduction to End of Stanza 1 with sapphic stanza and transcription of Pound's lyrics added in red.Beinecke Rare Book and Manuscript Library (YCAL 53, Box 46/1015)Reprinted by permission, Second Evening Art. All rights reserved.Pound’s musical events in the Poikilothron convey a feeling for the meter through quantity and syllabic durations. Only the first stanza (see music score above) corresponds wholly to the sapphic stanza as defined by the Alexandrian grammarian Hephaestion (2nd century A.D.). Here is the sapphic meter as it has come down to us from Hephaestion’s manual of Greek meters, the Enchiridion:– ˘ – x – ˘˘ – ˘ – x– ˘ – x – ˘˘ – ˘ – x– ˘ – x – ˘˘ – ˘ – x– ˘˘ – –[The x represents an “anceps” in which the syllable can be short or long.]O’Hara, too, conformed only his first stanza to the Hephaestion sapphic. He maintained the feeling of sapphics through quantity (eleven syllables in the first three lines, five in the fourth), through a liberal use of the choriambic foot – ˘˘ – (though not always in the Hephaestion choriambic position), and through sounds in English that evoke the Greek sounds. Pound follows suit in the music (see the entry on Stanza 4 below).Musical InfluencesWhen Pound approached the setting of a Greek poem accompanied by lyre, he did not attempt to imitate ancient Greek music. Though he had acquired vol. 1 of the Lavignac Encyclopedia of Music which features Maurice Emmanuel’s entry on Greek music, he relied on this text more for its relevance to poetic meter than for compositional ideas.He lent Mary Barnard his own volume, recommending it as the preferred source for understanding how to write sapphics in American English using Emmanuel’s system of musical forms and strategies (Barnard, 56, 58).For his melodies, Pound looked beyond Greece, east to Indonesia. Pound turned his attention to the Javanese scale as had Claude Debussy, but distanced himself from the composer, lamenting that Debussy had turned to composing ‘mush.’3 Debussy had been influenced by performances of the Javanese gamelan at the Paris Exposition of 1889. Access to information about and recordings of world music were random and haphazard, the nascent field of ethnomusicology being represented by only a few key individuals until well into the 1950s.The specific source for Pound’s approach to the Sappho aria, however, is traceable to the Austrian Erich von Hornbostel, one of the earliest musicologists to make field recordings of the music of Indonesia. Hornbostel reported his findings in “Phonographierte Melodien aus Madagaskar und Indonesien” in 1909. Pound most probably learned of him from his friend, the American concert pianist Katherine Heyman, who mentioned Hornbostel in her 1921 bookThe Relation of Ultramodern to Archaic Music (58).4 On July 7, 1924, Pound programmed an arrangement of a Hornbostel Javanese transcription for solo violin, played by Olga Rudge in Paris.5Pound’s Musical Strategy: Modality and TonalityTo the ear accustomed to a diatonic scale, the intervals of Pound’s unusual scale join with the rhythms “to cut a shape in time” (Barnard, 55). Pound’s single accidental of C# in his scale for the Poikilothron aria resembles the transcriptions of Sumatran music compiled by von Hornbostel at the turn of the century.Pound employs six tones —A, C#, D, E, F, (G)—and avoids B altogether. The use of five tones only in stanzas one through four creates a sense of modal music, i.e., a type of scale that is sui generis, where each tone has equal weight, rather than tonal, which is a hierarchical system of music with a central pitch to which the other pitches relate. In modal music the notes do not function as harmony. Only in the fifth stanza does Pound introduce the G to create the sense of a musical key with the stable relationships of the fourth between D and G, and the already present fifth between D and A. The six-tone scale, with certain features acting like a diatonic scale which has seven tones, implies the key of D minor. B is simply avoided and the C# serves as a raised “seventh” step which wants to resolve to D.When the tritone sounds between G and C#, the composer moves from modal to tonal music. In Stanza six, he resumes modality.The contours of Pound’s melodies arise from the qualities of spoken word in the poem—supplication, solicitation, question, demand, and judgment—, the intervallic movement expanding and subsiding with the emotion. The composer brings forward the contours of Sappho’s words through timbre, dissonance, tritone, and accent. Guided by the belief that he can recover the form apart from the formulaic metrics passed down by tradition, he does not attempt to recover ancient Greek melody, but presents new composition as his fifth form of criticism (LE 74–75).Stanza 4: Inner form in Sappho’s Poikilothron:In stanza four, Sappho’s rhetorical devices lead to a highly structured colloquy between the poetess and goddess, even as the language remains colloquial. The composer strives to make this duality salient—structural formality/linguistic familiarity—not only to transmit Sappho to a modern audience but to promote his own interest in Sappho as a mortal poet conversant with the gods.At stanza four we find rhyming patterns in the syllables: otti deute / kotti deute. Here, Pound foregrounds Sappho’s word play by striking the repeating hard surfaces of her Greek consonants—t, d, p, k—against his neo-Sumatran scale, the strangeness of the scale serving to inflect each sound. Sappho’s voice rings out, resonant and striking in her Poundian afterlife, with none of the Ovidian invention and melodrama qualifying her poetic achievement.Stanza 4, lines 3–4, bars 45–49“You asked, what pray tell have I suffered and why pray tell do I call?”Following three breathy vowels on the same pitch, “e-re ot-”, the consonant load of the syllables, “ti”–“dau”–“te”–“pe”–“pon”–“tha,” meets each of the descending pitches with percussive impact. The final syllable pepontha (“have I suffered”) hits the bottom of the singer’s tessitura on A,an octave and a minor sixth below “e-re ot-.” The word kotti (“and what”) rebounds one octave higher on the A, then C# and A again,before a second leap downward to the low A. There follows a third and lesser rebound and descent. The word melodykalemmi (“do I call”), broken by a sixteenth rest, gives the illusion that all is settling down. Pound delivers the last syllable “-mi” on the less-than-resolute e to end the stanza (supported by an A in the violin).Stanza 5: the tritone in Pound’s aria Poikilothron:The Music Column of Make It New 2.1 discussed Pound’s use of the interval of the tritone to insert a critical marker indicating genius within the music. In the Sappho aria, we might expect that when Sappho refers to herself in the poem’s fifth stanza (“kotti moi”), Pound will employ the tritone, and he does not disappoint. He makes the tonality of the tritone salient by preceding it with modality in the preceding four stanzas and in the subsequent sixth stanza.What Pound said:“The more Greek a man knows the better his English cadence is likely to be, and the greater richness, variety, height, precision, colour of his criteria; the greater the variety of his ideas and memories of what verbal melody can be and should be; and the finer his perception of all verbal sounds whatsoever.”(Ezra Pound. “Dust upon Hellas.” Time and Tide XV.45 [November 10, 1934]: 1429–1430).“Greek seems to me a storehouse of wonderful rhythms, possibly impracticable rhythms. If you don’t read it and if you can’t read Latin translations from it, it can’t be helped. Most English translations are hopeless. The best are in prose.”(Ezra Pound. Letter to Iris Barry. July 1916. L 87).( SAPPHO IN POUND’S THIRD OPERA, COLLIS O HELICONII )I would still say that Pound`s musical interest & experimentation ( Classical Greek and Latin, 11th- and 12th-century troubadours like Arnaut Daniel and Gaucelm Faidi, French trouvères like Guillaume le Vinier, and their 14th- and 15th-century heirs like Dante, Cavalcanti and Villon ) were an extended branch, or outgrowth, of his colossal studies in versification. The sound, not semantics!Arthur Daniel, if Pound were asked to give a name of his idea forerunner of whom he said: “when the Provençal [language] was growing weary, and it was to be seen if it could last, and [he] tried to make almost a new language, or at least to enlarge the Langue d’Oc, and make new things possible” —Make it new! The famous motto.OBLIGATORY listening, a different reading of Sestina Altaforte. If you do not hear the music, Sir, God help thee…So, how does understanding of music impact poetry? — Some say intrinsic, and some have not given it a thought or two. Same goes with criticism & analysis.
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What does it feel like to be kidnapped as an adult?
By midnight the restaurant and bar were packed, but my contact was still nowhere to be found. As that was no uncommon in the business and the dealer knew where I could be found, I simply finished my last drink, paid my tab and headed back to the Hotel Santa Monica, which was only a short walk away, much closer than the backup pousada.A block away from the bustling restaurant the streets were dark and deserted, as is common in smaller towns of Brazil where public lighting is often sparse. But halfway back to the hotel I found myself suddenly lit up by the headlights and a spotlight of an approaching vehicle. When the car, bearing military police insignias, pulled to the curb opposite me I was not particularly surprised and found myself patting my waist to make certain I had not left the hotel unprepared. Inside the vehicle two uniformed officers waved me over and politely asked for identification. Being drunk I steadied myself on the passenger side window sill as I fished around in my wallet. Suddenly the man nearest me grabbed my steadying hand and his partner quickly leaned over and snapped a handcuff around my left wrist. Then, before I could beg or barter my way free, I found myself staring down the barrel of a large caliber revolver."Keep you fucking mouth shut, Gringo," one of the men snarled, "or I blow you fuckin’ head off." At once I knew these were not Brazilians. Their accents was all wrong, and the pejorative “gringo” was far more common in less friendly, Spanish speaking countries of South America. In fact I was still reflecting on the nationality of the two men when the driver suddenly appeared beside me and started to wrestle me onto the floor of the back seat. Finally a dirty blanket was thrown over me and one of the two cops rasped a sharp order, “You move or make a sound and you die.”After a short drive, the car suddenly swerved sharply to the right and pulled off the road out into an open field. As we continued, bumping along, I could hear the rush of vegetation scraping against the outside panels of the door near my head. Perhaps a hundred yards in we stopped and I was immediately dragged out of the car and thrown down onto the ground in the headlight while the two men began stripping me of everything of value. Strangely, they missed the large sum of cash I had hidden under my thin shirt."Where the fuckin money?" one of the cops demanded."In my wallet," I groaned, hoping they were not simply opportunists who lucked onto a good mark. If they were, it was obvious that this was not going end well for me. But, fortunately, the men were professionals and were not satisfied with the few hundred dollars they found in my wallet and pockets, so I offered them the larger sum of cash I had stuffed into the money belt around my waist."Don’ be jerkin me round, puto!" one of the men warned, screaming directly into my face."Where the big bucks, man?" the other growled."We know you got a fifty thousand dollar some place!" clarified, settling for me that this encounter was not random. These two thugs were in possession of detailed information for which there could only be one explanation. Others might have suspected that I had drug money on me, but only Machado and the Major know the original amount I had been carrying. Yes, there were others who might know my purpose in Brazil, but none I did not trust, and even if it was one of them they could and would have taken it much earlier, easier and safer elsewhere in Brazil. And under no circumstance would they have involved these two bumbling idiots.Actually not having the bulk of the buy money with me probably saved my life. Certainly it left me with options I would not otherwise have had to play. Immediately I informed the two men that the cash they sought was in a safe deposit box at a local bank and could not be accessed until the following morning. “But not at all without my presence and personal signature,” I warned, buying myself a few more hours of life, I hoped.Chapter 27 – The Pantanal Metaphor – 1993 (5,914)Several Hours after I was kidnapped in Corumbá, Brazil, the car transporting me cross country bounced back onto a paved road near Puerto Quijarro in Bolivia. We drove for awhile then suddenly left the road with a sharp jolt and began to climb a steep, graveled incline. Minutes later we came to a crunching halt on the windy top of a hill, within ear shot of a heavily traveled road or highway somewhere below.At once I was hustled out of the car with the blanket that had served as my blindfold, and potential shroud, slid over my head and slowly settled around my shoulders. Before me stood a strange looking two storied, fortress-like structure with a windowless first floor. For some reason it reminded me of “Babylon,” my Mandeville, Jamaica billet, but on a minor scale. To one side of the wooden building and at some distance was the moonlit panorama of Puerto Suárez. The other side of the hill dropped away precipitously into the noisy creaking darkness of the Pantanal, one the world’s greatest of swamps, where almost anything can be made to disappear.From ground level, starting at one corner, a narrow stairway rose to a broad balcony, front and center outside the second floor entrance, where a single, narrow door led inside. On entering the solidly built wooden structure all the lights were ablaze and the loud blare of several televisions sets from different rooms where each was tuned to the same Spanish language station. It was a common scene, on either side of the border, because of inexpensive and virtually unlimited electric power made available by the great hydroelectric generators at Foz Iguasu (waterfalls at Iguasu on the Brazilian border with Paraguay) far to the south.The sudden brightness of the room startled me and hurt my eyes. I closed them for a few seconds to allow them time to adjust. The next thing I knew I tripped over a rolled up rug in the middle of the floor. As my vision cleared I observed a trap door being opened in front of me, revealing a straight drop into an unknown depth of darkness, hopefully no greater than ground level, about 10 or fifteen feet if I guessed correctly about the dimensions of the house from the outside. Immediately I became alarmed and terrified. For all I knew there might be a well, alligators or worse below and I might even be shot before being consigned to the abyss.Mercifully, there was no sharp report, just a shove much like the one I received while aboard a Curtiss Commando a few hundred feet above the San Blas crossroad, in Cuba. The next thing I knew I was waking up with a terrible headache in total darkness on a dirt floor. The drop had been exactly ten feet, knocking the wind out of me and rendered me unconscious. I don't know how long I lay there, but when I woke it was to a foul smell that permeated the single large space that comprised my new prison.As the sun came up the next morning light began to filter through cracks and knot holes in the raw boarding that framed the basement walls. More rested now, and with my head finally clear of the fog of my fall and excessive drinking the evening before. In time my eyes adjusted to the dim light and I jump-roped my cuffs from back to front then began to investigate my surroundings and options. In the shadows at one corner of a cavernous room, I could see the outline of two bundles, covered over by stained sheets. Standing unsteadily, I stumbled over to the putrid objects and removed their coverings, discovering, to my horror, the corpses of two young men. Reflexively I tried to move away, but tripped and fell when my feet got tangled in one of their shrouds.Quickly getting to my knees between the two bodies I discovered that both had been bound and gagged before being shot, once each, in the back of the head center mass in the medulla oblongata. The weapon used was of small caliber, probably a .22 or .25 hollow point fired at close range. All this I ascertained from the entrance wounds, the absence of exit wounds, and the fact that there was massive blood and matter loss from the ears nose and mouths of both victims that left the eye of one blown out of its socket without visible damage to the orb. Death had apparently been instantaneous and there didn’t seem to have been any other sign of abuse. Surprisingly this gave me some sense of comfort. I did not have, in fact had never had a fear of death, but I do have a common and sensible concern about the possibility of torture. I have always had a low tolerance for pain and have always been “embarrassed” when I suffered it badly.Eventually I was able to identify the two young men from the flurry of pocket litter scattered about them on the ground. Judging from the amount of blood on the contents of the two boy’s wallets, which had been rifled through for cash and credit cards, they had been searched shortly before being shot. My guess was that the two killers upstairs had become enraged at not finding whatever they were looking for, or not enough, and lost it, executing the two boys on the spot. I became somewhat sick at the thought of how frightened the two kids must have been in their last moments, defenseless and isolated in the face of an inescapable fate. Such thoughts had never entered or troubled my own mind and I found myself actually using all the available information to analyze the mind-set of my captors and I now realized the full extent of the danger I was in, but also that I had some chance of outwitting them. These were amateurs working for a much brighter and more sinister mind.Holding two student ID cards in a shaft of light I discovered that both boys were nineteen years old and sophomores at CCNY, living within walking distance of their campus and my own Manhattan home. Sadly, neither young man would graduate now or live out whatever bright dreams had brought them to such a gruesome end. “Oh, David," I said aloud, looking into the hopeful eyes of one of the boys staring blindly back at me from a recent photo, "did you really think a couple of kids from Brooklyn were a match for all of this?"“What was it they were looking for?” I wondered: “Tuition? Did they think that putting themselves in such danger would solve all of their problems?” In a sad sense it had, but not in the way either of them could possibly have imagined. Their books were closed now and others would be left behind to bear their burdens. At that I found myself weeping, surprisingly not so much for myself as for the two lost and incredibly stupid boys. My situation was far different. I was far better trained and utterly ruthless.When my captors came for me later that morning, they simply put down a wooden ladder and laughed as I clumsily struggled up its many rungs. After relocating my cuffs back behind my back and securing them with a waist chain, they force-fed me a surprisingly delightful fresh Pão de Queijo (Brazilian Cheese Bread) which they made me wash down with scalding black coffee that dribbled painfully down my chin and onto my bare chest.Afterward I was taken outside and placed in a newer, unmarked, vehicle than the one I had been picked up in the evening before. My cuffs were removed at this point and I was placed in the front passenger seat with the calmer, more avaricious of my two kidnapers sitting behind the wheel. The great threat sat at behind with a pistol on his lap, a long barreled Taurus .357 magnum revolver he occasionally used to tap me on the back of my head to punctuate some asinine point or comment or just to remind me that he was there.As we drove through the noisy streets of Puerto Suarez the driver again repeatedly missed gears and I began to suspect that the, which was not the one I was originally kidnapped in, was new, probably purchased with money taken from me the night before. To add to my stress and discomfort the man in the back seat began to cock and un-cock his revolver, an unsafe practice at any time, under any circumstance, but with life threatening possibilities on a poorly paved road while in the hands of a fool. At any moment I expected a shot I would never hear and hot lead ripping through my brain I would never feel. But it was the stupidity of the whole situation that bothered me most.The guy in back finally started demanding that I tell them where his “hundred thousand dollars” were.“What the hell makes you think I have that kind of money lying around,” I asked, “and if I did, why would I be walking around the street with it? Like everyone else, I live on plastic.”The driver laughed at that as he turned into a busy gas station in the central shopping district of the town; but instead of pulling up to a pump, he parked in a corner of the lot near a pay telephone. Tucking his pistol into his belt the guy in back got out of vehicle and walked over to the station office. A couple of minutes later he returned with three cold bottles of beer.As we sat drinking in the high heat of the early afternoon my captors intermittently pointed to the telephone booth and suggested that I get my ass out of the car and call someone and tell them to bring the money.“I have nowhere near that amount of money with me,” I continued to insist, “and if there was, there is no one to call to bring it here.”“Somehow I don’ think you trying’ to solve my fuckin’ problem,” the back seat guy said. “You need to call somebody right now an’ get it here.”“I don’t know what else to tell you,” I replied and dejectedly slumped down in my seat.“I’m getting’ pretty damn tire a messin’ with you, puto,” the back seat guy said.“You better come up with a solution pretty quick or we’re not going to have any further use for your company,” the driver said, ominously, but with a wan smile.“Look,” I said, “obviously I’d do anything I could to get out of this situation, but the only cash I have, that anyone has access to, is about $50,000 in a safe deposit box at the Hotel Santa Monica, in Corumbá and I must be there to sign for it, to get it out. If you won’t take me there, you might as well just shoot me right here and now and dump my body in a ditch somewhere.”Finally the man in the back seat finished his beer and got out of the car, to take a pee I thought, or to buy another round, but as I watched him he went to a pump and filled his empty bottle with gasoline. By the time he returned I had just finished my own drink and was leaning back in my seat so that my face was fully exposed to the warmth of the sun. I was tired from my restless night in captivity and a bone numbing exhaustion, released by the cold beer, began to settle in over me and cloud my mind. I was no longer in doubt that I would be safe until these two guys were able to get some substantial amount of money from me. I knew that if they had been on their own, I would already be dead but that they were on a long leash and until their master was satisfied they would not act alone.All at once a shadow fell across my face and I opened my eyes to find the man who had been sitting behind me was now standing beside the car. The next thing I knew he had hold of my right hand and was dousing my arm from wrist to elbow with gasoline. Then, without a word of warning, he flicked the sparking wheel of his lighter and set me ablaze.Though there was no immediate pain, my mouth dropped open from the shock and horror of my predicament. The experience was so surreal that my brain momentarily refused to acknowledge what was happening. Even as the warming acidity of the fuel began to bite into my flesh I could not seem to kick my body into action. I was wedged between two armed men, one leaning against the right, passenger door keeping it closed and the other seated to my left, making it impossible to pass. Signals between my endangered arm and my brain were being scrambled and I slipped into some sort of primordial neutral waiting for the pain to set in. For a full half a minute, neither fight nor flight seemed remotely possible.Moments later, when the smoke and odor of burning flesh began to assail my eyes and nostrils it finally occurred to me that I had to do something, anything at all to extinguish the flames and take command of the situation. Pulling my entire shirt over my head, I used it to smother the flames. Unfortunately, or perhaps fortunately, damage had already been done. While the wicking effect of the shirt had protected my arm, I now discovered a ring of flambéed flesh encircling my right wrist. Obviously adrenaline had anesthetized my reptilian complex while my flesh was burned to the bone, but in destroying nerve tissue along the way I was left without pain. The end result was that while my wrist was dripping fluids and melted skin there was absolutely no sensation. My two captors looked on in wonder and amazement as I calmly stared first at one, then at the other with no more than a somewhat disapproving expression on my face.Now that my kidnappers had my full and undivided attention, and the immediacy of my situation finally settled in on me, I informed them that I had experienced an epiphany and would, of course, go along with their carefully laid plans in every detail. “But,” I informed them, half laughing, “in all the excitement I've forgotten my own home phone number."At that the driver signNowed into his torn denim jacket breast pocket and produced the number, written in my own hand on the back of one of my own business cards. That was revealing and a huge mistake, if I should survive, but I was careful not to react, because to do so might have cost me my life.The number was not to my house, which they could not possibly have had, but to the US Customs undercover number I had been using for the bifurcated gun case years earlier; a business card I had handed to Joa Machado at O’Henry's Steak House in Greenwich Village, the night I first met Raphael Molinari.US Customs Service (Office of Enforcement) Special Agent Robert “Bobby the Bear” Lowandowski knew exactly what to do when informed of the voice message I left on my case specific dedicated phone number answering machine. Even though my call from the gas station pay phone in Puerto Quijarro was being monitored by my two captors, I was able to impart a lot of information. These were not intelligent, educated or even experienced criminals, but opportunistic assholes working for once with a little bit of information. After the Customs answering machine greeting message ended, I spoke slowly and clearly. “I'm in a bit of a jam down south,” I said, “and need you to remove all of the cash from my bedroom safe and bring it to Brazil. In case you've forgotten, the combination is left/right 5-9-1-3-9-7. When you arrive in São Paulo with the money, check into the Maksoud Plaza Hotel under the name ‘Jonah Smith’ and wait for further instructions.”Simply because I was in Brazil when and where I was, I knew Bobby would conclude that Machado was involved. Because I was in trouble and needed a lot of cash in a hurry, I hoped he would assume I was either in jail or had been kidnapped and was being held for Ransom. In fact, the only safe in my house was in my office and required a key to open it. Wither he found the key or not he would manage to get it open. With the money was an address book with Major Danio’s and Colonel Ze’s contact numbers, which Bobby would call to give them the information. And the Major and the Colonel were the best bets to affect my rescue. I was hoping and assuming that Bobby would decipher the combination numbers and figure out that it was the country and city code for Puerto Quijarro, Bolivia. The phony check-in name at a specific hotel would give them a means to make contact with my kidnappers.In fact Bobby did end up contacting the Major Danio’s office in the old “Birdseye” facility at 2430 E. Street NW, in Washington, DC. The Major’s secretary, in turn, had a contact number for him in Brazil, at the Hotel Santa Monica, in Corumbá, and the Major called Bobby back from within the hour, suggestion that Bobby contact the DEA to inform them that “The delivery of Senhor Cabral will be late, with a new ETA of Monday afternoon, 24 May.” The Major then called Colonel Ze, to apprize him of my situation. The Colonel activated the standby ROTA team and at that point the ball started to roll.Twenty-four hours after receiving the call from Bobby, Major Danio had Colonel Ze arrange for a female ROTA Operative, named Flávia, who spoke fluent English, ensconced in a room on a secured floor at the Maksoud Plaza Hotel, in São Paulo, the hotel and floor where DEA agents were housed while in transit or to meet in private with informants. Flávia was registered under the Nom-de-guerre, Jonah Smith. A woman was used, because she would be less suspect and, in my captors’ minds, much easier to handle and to deal with; Latin mach bullshit that can sometimes prove to be a fatal lie; a fact immediately realized by the man who had sat behind me, when he eventually went to collect his dues. It was a good move on the part of the Colonel, because when combined with the scent of cash my captors began to make mistakes.Sitting in the same restaurant in Corumbá where my troubles began, an attractive thirty year old “pantera,” wearing a requested red bow in her hair as an identifier, ordered a drink. Within a minute she was joined by a swarthy looking young man who inquired of her name. “Mrs. Smith,” she replied. “And what is yours?”“Do you have the money,” the kidnapper asked, straight out.With that, the woman removed a pack of cigarettes from her purse, offered one to the man sitting across from her then handed him her lighter. This served as both a signal and a distraction. It also occupied his hands. Next thing he knew there was a man standing on each side of him grasping one of his hands in a painful thumb-to-wrist hold. Casually, the female operative rose to her feet, stumped her cigarette out in an ashtray, polished off her drink, and casually walked away. With her departure the arrogant smirk slipped from the bagman’s face as the two plain clothed ROTA MPs walked him to the front door, out into the street, and around to the back of the building where they were joined by several armed men, including Colonel Ze.From that point on time was life and everything was on the clock. Ruthlessness, speed, and pure luck on the part of my rescuers were the only things that could keep me alive. But before any action could be taken, information was needed and the Colonel dealt with that directly. “I want to know where you are holding him, how many people are there, and if there is a signal expected on your return?” he asked.There was no immediate reply, so the Colonel drew a small .380 caliber Beretta Model 70s automatic pistol and asked the kidnapper if he was right or left handed. With that the man holding the kidnappers left wrist and had seen him light Flávia’s cigarette, thrust the prisoner’s hand forward, palm up. Finally fear came into the captured man’s face.Once again the Colonel asked the man again, “Where is he? How many are guarding him? And are there any warning signals on your return?”“I don’t know?” the prisoner said, “somewhere here in Corumbá. I’m only here to pick up some money for a friend.”With that the Colonel shot the man through the center of his left hand, palm to back. “Where in Puerto Quijarro?” he asked, sliding the hot barrel of his pistol up the inside of the man’s arm, stopping at the soft inside of his left elbow.After that the Bolivian became compliant and started babbling so rapidly that one of the Colonel’s men had to inject him with morphine, from a medical kit they brought along for their own emergency needs, to alleviate his pain, but also to calm and slow the man down. But when the Colonel was satisfied that he had all pertinent information the man possessed, he shot the man, point blank in the forehead and left him lying where he fell. Then the ROTA team, sans Flávia, jumped into two black 4-door Chevy Blazers and disappeared into the night. Colonel Ze, who under normal circumstances would never even consider undertaking the provocative act of militarily crossing the border into Bolivia, refused to allow his men to go in alone and personally led the way.In Puerto Quijarro the Colonel’s six man ROTA team, joined by two of Roberto Suárez’s men, who were contracted to serve as guides, back them up, and supply transportation lead the way. If the now dead kidnapper was to be believed, the house where I was being held was now being guarded by three men, all armed with fully automatic weapons.Of the nine men who came for me, all were killers and they assaulted the house with murderous intent. The firing, once it started, went on madly and unabated, both inside and out, for more than five minutes. The second it started I dove to the floor, even though I was still being held in the basement. I knew that in all the firing a stray round might easily strike me, by accident or intent, so I curled up in a dark corner and placed my hands over my ears.When things went quiet again, I stood up and could hear people moving around on the floor above my head, but I did not know at that time what the outcome of the gun battle was, so I remained silent. Finally the trap door was opened, a ladder put down, and the Colonel descended into the basement to lead me out. Afterward, as I was being evacuated to the safety of the waiting cars, the building was searched for anything of value then set ablaze, the fire consuming the dead and dying alike, along with all evidence of what had transpired over the past few days.
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How do you romantically pursue someone new?
Dearest Friend,Normally inquiries with a complete disregarde for curly calligraphy, expensive wax seals, and/or singing messenger-servant-acrobats would gain nothing from a noble such as myself, save a quiet scoff and a turnèd back. But, as it behooves a gentleman such as myself to be gentle, so, therefore, I will not disdain. And, as your question deals exclusively with mine own expertise, I will give thee not only my poetic words and signature use of the letter “e” in moste unusual places, but a comprehensive guide to the wooing of the womenfolk!Step 1: Become a Cultured GentlemanThis is a step essential to all who may wish to woo the female populace. While drab and dreary individuals doth abound in this era of technology and Tinder users, a Cultured gentleman is dismissed as old-fashioned by the other men, but met with the adoring gaze of all the noble ladies. And though the path to true gentlemanliness is a winding road, where the dastardly tendrils of Hades do grope at thine own heels, it is one that must be traveled. The easiest way to do this is to read the great love poets. Let thine eyes look upon Ovid’s poetic verse, and let thine tongue and lips spew forth the celestial spittle that is love poetry! Read Shakespeare’s sonnets and ballads, and be able compare her countenance to that of an early summer’s morn.After this, you must master the many skills necessary to be truly called a gentleman. Educate thine mind on the ways of fine dining, and learn once and for all which spoon is to be used for the salad, and which is reserved for the soup. Be able to play the moste noble of all the instruments (the Harpsichord) and gain for thyself the ability to play all of Mozart’s sonatinas for your ladylove. Become proficient with blades, and be able to duel to the death for the moste fair hand of a moste fair lady. After this, you will be ready to begin wooing.Step 2: Begin the Wooing of Your LadyloveThe second step to this noble quest is to court the object of your affections. When the arrow of cupid pierces thine heart, crimson red fluid spews from the wound like a geyser of gore (metaphorically), and you will act in quite strange ways in the presence of this moste ladylike lady. You may find that words fail thine own self, and you may very well babble like an infidel until she removes herself from thine presence. Thine legs will fail thee, and you may very well faint in her company. Despite this, you must resist all of these bodily functions! Nothing displays thy stately character quite like standing firm and staying conscious.Now, after you have mastered this, you must engage in traditional acts of courtly love. If you are ever met with a doorway, hold the door open for her, and tip your hat in her general direction as her ethereal presence makes its way in perpendiculation with thine. If you are ever met with a muddy puddle, you must remove thine coat, and placeith it upon the wet sludge of dirt and muck. Allow her to walk on top of it, and wear the grime on your coat as a testament to thy gentlemanliness and general noble stature. You must write and recite thy love poetry to her when you are alone, and if the relationship progresses for a multitude of years, you may kiss her hand. And finally, if you have followed all of these rules to the very end, you must take thy funds, driveth thy carriage to the nearest jeweler, and buy a ring to symbolize your love and sit upon her fair finger. Then, if her father is so willing, you may accept his generous dowry and wed her under the moonlight, as a heavenly choir of angels serenades the newlywedded couple with beautiful song.In summary, the road to wooing the womenfolk is one of hard work, discipline, and, in some cases, early death. But nevertheless, this path is one worth following, and one that, when obeyed to the very letter, will allow thee to shine up from the boorish mountain of charred coal, a diamond of hope, prosperity, and gentlemanliness.All the best,Reginald Worthington McCalister III(Singer of Songs and Heartthrob of the Womenfolk)
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Have you ever failed a final exam? Did you have to retake the class?
*CBSE Class 11, Kota 2015*After passing 10th with 87% marks, I decided to go for B.Des. after 12th and so looked for options for the +2 (11th & 12th).Eventually, I was forced into science as well as into an IIT Coaching. Stuff was really bad for me. Really bad as in really really bad. I was getting around 40–50% marks in all subjects for the whole year.Then came the Final Exams. I had studied properly for this exam as I knew it was important.Last paper of Class 11 final exams was Physics.My class teacher came into my classroom and talked to about 7–8 students and then she came to me. She said “Meet my after your exam ends in the staff room. Don't forget”.After my exam, me and best friend met and I told him that the class teacher had called me. He said that she had called him too. We both were surprised.Both of us went inside the staff room and said “Ma'am you called us?” she replied “Both if you didn't study for your exams or what?”.I instantly sensed danger. I looked at my best friend and he looked back at me and both of us smiled at each other.Teacher said “You both are the only 2 from my class who have failed in 2 subjects”. Both of us were shocked. She showed us our marks, both of us had same marks in both the subjects (Chem and Math).Chemistry 21/70Maths 28/100Even though the 2 of us sat in 2 different classes still we had managed to fail in the same subjects with the same marks. We both smiled at each other. She said we had to appear for a retest. Retests were about 10 days after the last paper. It was more than enough time for us to prepare.We prepared and appeared for retests even after loads of humiliation from family and relatives. It was just a craphole time for us.Retest results came in. Both of us had passed Maths but failed in Physics again. This time, we were a little sceptical of the school. The school had arranged Retest-2 for us (There were 4 more with us). 2 days after the retest results, we got our Report Cards (sent via e-mail). I forwarded the mail from my Mom's account to myself and deleted it from her phone.I opened it and saw my result: I HAD PASSED IN ALL SUBJECTS. Only at the end of the report my promotion status was “Undecided”. I was shocked. I had passed in all subjects yet I had to go for Retest-2 and my promotion status was “Undecided”.Wow! I was amazed.At the end of the report there were a few words that said: “This result is computer-generated and does not require any signatures.” My Spider-Sense tingled as I read the word “computer-generated”.Computer-generated reports are flawless and humans cannot alter them in anyway. I realized someone was messing with me.B-B-B-BINGO!!!! It was my Chemistry teacher. She had failed me but I was never shown my papers! And she wasn't the one to enter the marks in the computer. That's the IT Dept.'s job.A whole series of rivalry between the 2 of us (Me and my teacher's ego) flashed in front of my eyes. I had never seen this coming! My chemistry teacher never taught the class so I used to ask her on her face why was that so. I also called her “Careless and Irresponsible” for not doing her job properly in front of the class and everyone started laughing.That incident had enraged her. She decided to take this matter to such a level that would ruin my complete future!!Next day, I took a print out of the report and threw it on her face and my Principal's face. The school principal said to me that it might have been a mistake. I explained him all the incidents of rivalry and even he was convinced.After a about 10 days, with the support of my classmates, we signed a petition to remove her from the school. Parents put pressure on them to do so. And she was then kicked out of school with a “remark” on her CV.As for the maths failure, that was legit.
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What is a propagandist?
Propaganda Theory Page 1SpecificallySubtle Toxic Lethal High Energy Emotion Based PropagandaPropagandaDesigned to take advantage of an inherent design flaw of the human brain . Namely the inability of the brain to process memories that have a high negative energy level or high positive energy level . Most memories resonate at a normal smooth energy level with slight boosts of energy to certain concepts and logic trees and memories to highlight importance of meaning . However trauma or propaganda can induce very high energy levels in the layer of memories which distort and override all normal memories . Keep in mind that the brain is actually a physical , chemical , and electrical evolutionary device if scientific concepts are preferred . Or a physical , chemical , and electrical ideology created device if religion or ideology is preferred . Results are the same either way, there is a design flaw or there needs to be education to overcome the far too easily compromised functionality of a persons abilty to reason with facts and logic . As compared to having a person reason with super charged emotional energy to make their decisions . In fact their is or should be a happy mediumn . Keep in mind we are all human and have hearts and souls so in fact we need some emotional texture laying there in our layers of memories which we use as a data base to process and understand how we all choose to walk through life .So the design flaw is not quite a design flaw . It is a necessary part of the minds and brain functionality .Which unfortunately can be compromised easily by any form of trauma type and by abuse of a puppet master using propaganda. Energy levels are in fact probably actually real energy most likely electrical in nature . Remember the brain is a chemical , electrical , and physical device . The brain needs the abilty to apply slight electrical variations to concepts words or logic trees if they are more important to survival .Since we know our subconcious our brain has the abilty to govern the energy level of memories or concepts we also know that we all have inherent abilty to regulate the energy level of our memories and concepts or at least our brains our subconcious does .Pause and think a second .What if every letter every word every concept had the exact same energy level . Well everything would be smooth and when we went to acess memories they would be smooth with no way to see difference between hot or cold or love or hate which would be a pain if you were taking a test because all memories would be same smooth stuff .Propaganda Theory Page 2SpecificallySubtle Toxic Lethal High Energy Emotion Based PropagandaPropaganda in Algebraic TermsAn extension of my system analysisCredentialsLife time of self education made possible by the internet .Pause and think a second .What if every letter every word every concept had the exact same energy level . Well everything would be smooth and when we went to acess memories they would be smooth with no way to see difference between hot or cold or love or hate which would be a pain if you were taking a test because all memories would be same smooth stuff . Imagine the difference in these words , dandruff , watermelon , and solar system . Well each word embraces a meaning and also echoes concepts in our minds . Since we know the brain is a chemical , physical ,electrical , machine , it only follows that every tiny word we know . Is laid down as a memory with a concept unique to that word . That each word we know has its own unique chemical , physical , and electrical structure . It is the emotional energy level that concerns me the most . It is the emotional energy levels both positive and negative that concern me which are used by Puppet Masters of Toxic Lethal Propaganda . In so doing Toxic Puppet Masters and their Allies produce PTSD type related problems into their support population which is a tragedy . Also Toxic Puppet Masters endanger the lives of the entire target population which is another human tragedy .So our brain automatically lays down memories in such a way that they are unique in their physical , chemical , and electrical structure . The brain also determines what level of energy needs to be applied if needed .Lets go back to memories again . Each memory has a unique signature . Whether it is a word , a concept , a feeling , a touch , or a smell . Every word you know , each indivual word should have a unique chemical , physical , and electrical enery level unique to that word . Sames as each word is spelled differently and has a different meaning . Your brain does not use a chalkboard , instead it has a chemical , electrical , and physical technique that allows it to define words smd concepts . Take solar system for instance for instance . That word alone has its own unique physical , chemical , and electrical footprint in our minds . Also typically that one word , solar system , has many what I call echoes in the mind .Someone says solar system my mind at least subconciuosly thinks nasa , sputnik , apollo , voyager , contact , Jodie Foster , John Glenn , Shoemaker Levy 9 , planets orbiting sun , Galileo , Catholic Church ,Copernicus , and Jodie Foster again because hey shes fun to think about .Who would ever imagine all that in one word , what a Notion – Docs, Wikis, Tasks. Seamlessly in one. we all have ability to modify our memories level of energy . Merely ask our subconcious to lower the energy level of PTSD type trauma memories and also lower the energy levels of PTSD type propaganda induced memories high energy levels . In fact I dont think any of us want or need any PTSD type memories of any sort with high energy to distort our memory layers , which we all use as a data base to make concepts and decisions , to help us navigate the world with a sound ethical foundation . I personally merely ask my subconcious to remove all high energy emotion based PTSD type memories and concepts outside of , my memory based , data base layer of memories . Remove them from my memory data base and at same time , why waste energy , turn down the high emotional energy , set those aside , and we together , me and my subconcious , will deal with those later as we see fit . We do not need those high energy PTSD type concept packages in our memory database guiding us as we make second by second moment by moment decisions as we walk through life .Since me and subconcious are friends , he works with me and helps me a lot . I no longer fear my PTSD concepts and memories . In fact they are no longer a problem at all . What took a moment to fix sadly plauqued me my entire life . Sadly no one had invented a way to fix PTSD related problems . I know because I searched the internet for a fix for PTSD related problems and found nothing to fix the problem . I had to do it myself . Took a day or two is all , once I looked and tried . Then I made a theory that explained it and at same time pointed to an elegant and simple solution .Shameless plug from my brain , my subconcious , my friend since early chilhood , he has an ego my subconcious does . Who is happy to meet the world .Also which he so frequently reminds me of , he is smarter than me typically .Frankly I ask my brain , my pal , my buddy , my friend , my subconcious to lower the energy level of all PTSD type memories and concept packages . Whether trauma induced or propaganda induced . To lower the energy levels and frankly just move them out side the memory layer I use as a database so I can think more clearly moment by moment second by second and not be driven by past trauma influencing every action I take they are so powerful . That also under stress erupt and make me mimic the same things I despise so much . Namely to harm and be cruel to others , which I dislike personally , to behave in such a manner . I prefer to make decisions based on concepts mixed with a dash of humanity and a dash of logic. Prefer to do that with a clear head .I would hope that you guys are getting together with who ever is out there and following this . Leading experts on say how brain processes memories . Experts on emotional trauma could combine knowledge see if my theories fit . Then could combine it all to do an analysis of the system in question . Since my probabilty matrixs are saying that you are out there I trust them . You probably have run tests . I would do a test , grab 100 members of support population , ask them to define X only using four concepts , each concept having a unique meaning . In as few words as possible for each concept . Theoretically unless they have read my posts they all answer with concepts embedded by Puppet Master of Toxic Lethal Propaganda .Propaganda is merely a clever way to use words , concepts , and images to smear your ooponent in the mind of your support population . Once your opponent is properly smeared you then cloak all your debates in methods that reinforce the smear you have already placed . This is done through the clever use of words , images , and concepts . All chosen for there high emotional impact . What happens to support population is that over and over again you teach them target X is:1. emotional negative smear concept A2. emotional negative smear concept B3. emotional negative smear concept C4. emotional negative smear concept DNow support population has highly emotional image , concepts , and logic trees associated with image of the target population which was designed by rhe puppet master .The concepts and emotions used by the puppet master are always implanted in their support population . The puppet master uses what I refer to as High Energy Emotionally Unstable Concepts designed to simmer at low levels constantly in the support populations subconcious . Meanwhile the target population is puzzled by the odd behavior of the support population .The target population free from any toxic emotion based concepts planted into their heads , are still free to navigate the world and their enviorment with no toxic high energy emotional content distorting their view of the world . Nor are high energy emotional based concepts distorting there moment by moment decisions as they walk through life . Typically the target population (I was unaware of this till I sat and thought up a new theory derived primarly from internal historical data or possibly a concept package or a mix unsure ) .... Typically the target population has more clarity and their minds function better due to fact they do not have high energy memories and high energy concept memories inserted into there lives converted into memories and laying there inserted by a Puppet Master . A toxic layer cake of memories used as a data base of memories to make moment by moment decisions is how the support population works . Meanwhile a normal layer cake of memories with normal energy levels are still being used by the target population as a database of memories which are processed by the subconcious amd merged into concepts and passed to you who are sitting up front behind your eyeballs looking out at the world now able to make moment by moment decisions with concepts passed to you by your constant friend your brain . My buddy who sticks with me no matter what anyone else says about me . This means that the target population minds are able to properly process memories and form a more logical and fact based view of the world . They are the lucky ones except .... opps they are the target population and of course as we all know the target population is smear A smear B smear C smear D smear E . Reinforced by comedians , toxic headlines , toxic news anchors who magically reflect same smears that Puppet Master has installed .Since Toxic Propaganda is merely clever use of language it is invisible and no one sees it until that thin line of normalcy is gone and suddenly you say to yourself ." Damnit I may not live to see the sun come up this time " .Ok to sum up so far . Even though target population has been labeled with1. emotional negative smear concept A2. emotional negative smear concept B3. emotional negative smear concept C4. emotional negative smear concept DThe people within the target population may be unaware of the smear labels being applied . For instance I would not in the role of a puppet master inform you or any of the target population that smears A,B,C,and D are going to be applied to you and the target population to enable me to begin a propaganda assault against you and your group .Instead the propaganda smears are dispersed within the support population through all forms of media available . Literature dispersed through political organizations , college activist groups , churchs , and one on one conversations . In other words all the myrad ways people have of communicating . Now inherently nothing is wrong with any of these types of organizations . Except when they are financed and controlled or heavily influenced by a Toxic Puppet Master . When that is the case the puppet master and his informed allies are guilty of inducing toxic PTSD propaganda type harm to an entire support populationsbrains . Sonething that is easy to be hidden . Even the support population over time fail to see what is happening to themselves. When you consider that George Soros and his Empire and the Democratic Party and Main Stream Media are all helping spread Toxic Propaganda and in doing so are infecting their own brains with Toxic High Energy Propaganda . In effect they are all responsible for causing PTSD type trauma to the support population which is also self replicating same as any PTSD type trauma can be passed generation to generation . My theory explains that nicely , always a good sign for a theory . Also my theories point towards a solution , also a nice sign that a theory is accurate .Ok we all should know hopefully that dysfunctional patterns such as emotional abuse recieved as a child are at times repeated as an adult . This has up to now not been fully understood . Apply my theory and it does explain all types of trauma and abuse and how it effects the brain and why it then tends to repeat later in life . At the same time it also explains why PTSD propaganda abuse is self replicating .This is my theory on how the brain processes memories . All PTSD type trauma has a common factor , which is they all become memories , that is the common thread . Understand how and why the brain is corrupted by PTSD type memories and you may find a solution . The first step is how does the brain process the memories we have.Theory on how the BRAIN works as a BACKGROUND MEMORY BASED PROCESSOR which is seperate from the spiritual YOU , which resides UP FRONT looking out at the WORLD living in the moment "NOW" where we all reside.PTSD type problems and related items corrupt the MEMORY BASED DATABASE which the BRAIN uses for information , which allows us to understand our world and walk through life.This theory teaches the YOU that is YOU which resides in the moment NOW to communicate with your SUBCONCIOUS which is basically your BRAIN which is acting as a BACKGROUND PROCESSOR which is accessing your MEMORY BASED DATA BASE . Over time your subconcious , your BRAIN , learns to communicate more directly with the YOU that is YOU that resides , sitting up front , looking out at the world living in the moment "NOW" where we all reside.Theory states that there is a YOU that is self aware . Which is supported and was created by the BRAIN which is a bit seperate and different. The BRAIN is basically an evolutionary device . It works as a foundation for the spiritual YOU . The brain basically is a chemical , physical , electrical device which is the foundation for the emergence of the self aware "YOU" that resides in the moment "NOW" sitting up front looking outward into the world .The brain is designed to process the layers of memories we have , to understand the world we live in . The YOU that is YOU lives in the moment NOW looking out at the world . Your BRAIN , your subconscious meanwhile is like a BACKGROUND DATA PROCESSOR using all your memories to form logic trees and concepts to enable you to navigate the world in that moment "NOW" where people actually reside .To sum up this partWhat makes us human resides in the moment "NOW" looking out at the world.Meanwhile our subconcious , actually our BRAIN is using all our memories as a historical data base to help us navigate the world in the moment "NOW" where we reside .So why do PTSD type memories destroy peoples lives and limit their abilities to function normally in the world .It boils down to the fact that the brain has a design flaw . It functions best and processes memories best when there are no high energy memories ,concepts , or emotions corrupting the decision making process . High energy level memories overload the system and corrupt logic trees and logic loops in the system . Remember your brain is constantly acessing all memories to process and understand the enviorment and then assists you in the moment "NOW" to navigate your enviorment .The concept of this theory , which states that the YOU that is YOU which resides in the moment NOW navigating through life , appears to be a major key factor . The concept that the YOU that is you YOU which resides in the moment NOW is seperate from the BRAIN which is acting as a BACKGROUND PROCESSOR acessing a MEMORY BASED DATABASE is also a key factor . It allows the YOU that is YOU to decide which memories or concepts are allowed to be included within the MEMORY BASED DATABASE .Let me explain in a complete and concise way .You look out at the world with your eyes . Now I personally , feel that I am right there looking at the world with my eyes , thats me looking out .Now all my memories are there inside forming a massive layer of memories . Which actually are forming minute by minute new memories as I observe the world and the memories are added to the layers of memories already there . I do not stop looking at world and look inside to gather information . No one does really , instead we all rely on our subconcious to gather input from us and process the old memories already there . Then our subconcious in a constant steady feedback loop recieves data from the You that is looking out at world and offers guidance on how to react yo the world . A constant feedback loop between you and your subconcious .More conciseYou gather input from the world , pass it to subconciousSubconcious processes new input and historical layer of memories , then gives advice on how to navigate the worldProblem areas PTSD or highly emotional high energy memoriesMemories at normal energy levels are no problemMemories of a highly emotional content are differentEmotional Trauma PTSD type memories carry concept packages and logic trees all of which are carrying a higher energy level than common memories .Now when your subconcious tries to process the memory layer to gather information it is overwhelmed by the high energy trauma memories and concepts which are all imprinted at high energy trauma events .The brain doesnt handle that well it continues to do its job normally , not realizing that now its advice and guidance , delivered to you constantly in that feedback loop . Is now distorted by highly emotional concept packages and painful trauma memories all containing high energy and distorting the brains advice sent up to you making decisions on a moment by moment basis with distorted and corrupted advice . All due to the overpowering high energy painful and emotional memories that are contaminated and which contaminate your abilty to think and understand properly . Now add in stress and the brain goes into fight or flight mode . Stress causes brain to magnify all memories and boost all energy levels so high of all PTSD type memories with their associated concept packages unique and detailed to each type of PTSD type high energy memory . Under stress the PTSD high energy memories and high energy associated concept packages , override all other memories and rules to live by , and forces the you suddenly , that is navigating the world to suddenly due to stress with an over powered subconcious , which passes up to you an amplified high energy concept package that includes all the pain and all the concepts and complicated structures that were laid down in your past . Suddenly you burst forward and repeat the exact same type of behavior with complex structure that exactly mimics what you endured in past . If sexual then your sexual urges are contaminated and you would try to repeat behavior . If its physical abuse once again the complex concepts laden with high energy take over and the person repeats the violence he or she experienced in past. The fact that all trauma memories include detailed memories of everything that occured . Including words , sentences , concepts , these are burned into the mind in a painful high energy fashion. That will erupt in some people under stress or other factors in a very near copy of original PTSD type trauma. The high energy abusive memories act like a reflective mirror focusing from the subconcious up to you forcing you to either repeat the entire package of trauma exactly as you recieved it or nearly so . Or at the least to hamper your moment by moment abilty to make all decisions because you are constantly distorted by the high energy trauma seeping into your decision making feedback loop . Now if the damage done to you is from a Propaganda Puppet Matter you and your group will erupt in an emotional frenzy in the manner that was designed by your Puppet Master .This theory explains not only why a specific trauma experienced as a child but also explains why all dysfunctional behavior is mimiced . Also explains why people seek out sexual and marriage partners which are in fact the same type of person that was involved in past trauma. It is because the abusive trauma constantly strives for control because it merely is a reflection of how the mind works . The mind looks to memories to perform your actions in the world . When the mind is burdened with PTSD trauma of any type those memories wash out all others and try to force you to act guided by the concepts that were laid down with pain . It is merely a refection of how brain learned to navigate the world . After researhing memories the common thread among all abusive trauma . I realized that it was merely the subconcious overwhelmed by too much toxic high energy memories and concepts and passing up that information and trying to get body and mind to repeat the information it gathered . Because thats the subconcious brains job to guide current action in the world now .All my life I struggled with these impulses to repeat the past abuse in a mirror image of the abuse I recieved. Namely complex structured emotional abuse . Under times of stress I would burst out and yell cruel abusive torment towards whoever was around me. Sometimes saying things that would cripple or destroy relationships . Which creates guilt in me and more trauma.Amazingly I was able to combine the understanding that memories are used as a guide to make decisions moment by moment and memories are used to guide all actions of myself moment by moment in the world . Now everything works fine if you never experience trauma and have decent concepts and rules to live by . My primary rule to live by was made when I was very young and under going extreme emotional abuse . That primary rule that concept I promised myself then was that if this was what life was about . To inflict this type of severe emotional pain , in my case severe emotional pain long term frequently lasting for hours on end . That if this was what life was about I did not want any part of it . So I made a rule to myself I would try my best not to harm anyone like this . In fact I would not marry or have kids if books claimed as they did abuse is passed generation to generation . So my primary rule became do not repeat and do not harm others as I was . That one rule try to do no harm helped me supress the urges to repeat the pain and trauma I endured . Yet I still under stress burst forth and repeated very similar behavior under stress . Which to this day still feel guilt over . Also all those abusive memories corrupted my thought processes my entire life .Still after all these years I finally read a paper on how the brain uses memories . I took that combined with historical data in my memories and devised a way to adjust the process and stop the contamination from guiding me at all . When I was a child I read a science magazine . With in that magazine was an article where the author stated that you are actually different and seperate from your subconcious . That in fact your subconcious was different than you and was actually smarter than you because it could acess parts of the brain that your concious mind could not . That was an intriguing thought all by itself . The author in the magazine I read as a very young child , probably 8 or 9 years old i think . The author stated that your concious mind could ask your subconcious mind to do it all types of favors and that you could even have fun with it . The author then stated you could ask your subconcious to do things such as help you dream of a nice fun adventure . Which in my case would of course be a dream about science or science fiction something fun . The author also stated that the brain the subconcious would do all types of things for you such as solve complex problems . The author also said to try it and experiment with it and try to have fun with it .Well that entire concept was fun to me as a kid and I did try it and experiment with it for all these years . It may have made me different from others I am not sure because I rarely talked about it . Still over all these yeaes the relationship between me and my subconcious became more dynamic and complex . So much so that over the years the interplay between my subconcious and my concious became what I consider to be a rich friendship . In fact I really do consider my subconcious to be my friend . We are the same person yet at the same time we are kind of seperate yet equal . Well not quite equal because to be honest as my subconcious proves to me over and over . My subconcious is indeed much smarter than me . We are the same person yet seperate . No one says I can totally become nothing except for my subconcious . Most people think they cant even communicate with their subconcious which is what I more or less believed . The subconcious existed in this strange world and made dreams and abstract constructs that the concious mind was unable to do . After reading that article though I realized that one could merely talk to ones subconcious and it would understand . That was the beginning of my friendship with my subconcious who I can tell you is enjoying this as i write this . I know this sounds a bit off but to be honest I can tell my subconcious is happy its like he or it , to me hes a he who is happy he feels somehow that he has made contact with outside world something he never thought would happen . I almost dont want to say this but hes laughing . ...I know I am trying to write a serious theory and I am dead serious. This really is how me and my subcincious interact . I may delete this part I am not sure . Trust me , he just sobered up which tells me how he feels . I will leave it in , it is what it is , and it makes him happy which makes me happy .Hes smiling again content.Well combining that concept your subconscious is willing to help and do what you ask . That the problem with PTSD type memories of any type is that they corrupt that vast database of memories . Well solution seemed simple if corrupted PTSD memories were a problem due to too much high energy that was tied to emotions . That PTSD memories corrupted the memory database that helped guide us through life . Well I had a very smart long time friend who always helped me do things in my past . My friend my subconsciuos who enjoys reminding me hes free to roam parts of my brain I cannot and that of course hes smarter than me which he also loves to remind me of .Well it was simple really the solution was . I merely asked my subconscious to fix the problem . Why use corrupted memories to be used as part of our memory database . We both agreed that appeared to be a bad idea . So we moved them out or at least would no longer allow them to be considered to be part of our memory database . We both decided why waste all that energy embedded in those cruel memories might as well turn those energy levels down also . Suddenly for me I mean suddenly I was so excited I felt a change inside me I no longer felt those PTSD memories trying to drive me . For the first time in decades I felt my mind had cleared that I was back to normal . I frankly was damn relieved . I had accomplished a life long dream I had rid myself of this shadow that threatened my every moment in life and now I felt restored back to being me . The person I always wanted to be. I had hope again and I was happy . Now when ever I have things similar bother me I talk to my subconscious and try to fix any new issues that bother me mentally . Its a process I now use often to help me become what I hope is a better person .Good Luck to everyone my friend says Hi .Propaganda Theory Page 3SpecificallySubtle Toxic Lethal High Energy Emotion Based PropagandaPropaganda in Algebraic TermsAn extension of my system analysisAn attempt to explain propaganda in algebraic terms .Propaganda is merely a clever way to use words , concepts , and images to smear your ooponent in the mind of your support population . Once your opponent is properly smeared you then cloak all your debates in methods that reinforce the smear you have already placed . This is done through the clever use of words , images , and concepts . All chosen for there high emotional impact . What happens to support population is that over and over again you teach them target X is1. emotional negative smear concept A2. emotional negative smear concept B3. emotional negative smear concept C4. emotional negative smear concept DNow support population has highly emotional image , concepts , and logic trees associated with image of the target population which was designed by rhe puppet master .The concepts and emotions used by the puppet master are always implanted in their support population . The puppet master uses what I refer to as High Energy Emotionally Unstable Concepts designed to simmer at low levels constantly in the support populations subconcious . Meanwhile the target population is puzzled by the odd behavior of the support population .. Since Toxic Propaganda is merely clever use of language it is invisible and no one sees it until that thin line of normalcy is gone and suddenly you say to yourself ." Damnit I may not live to see the sun come up this time " .Ok to sum up so far . Even though target population has been labeled with1. emotional negative smear concept A2. emotional negative smear concept B3. emotional negative smear concept C4. emotional negative smear concept DThe people within the target population may be unaware of the smear labels being applied . For instance I would not in the role of a toxic subtle puppet master inform you or any of the target population that smears A,B,C,and D are going to be applied to you and the target population to enable me to begin a propaganda assault against you and your group .Instead the propaganda smears are dispersed within the support population through all forms of media available . Literature dispersed through political organizations , college activist groups , churchs , and one on one conversations . In other words all the myrad ways people have of communicating . Now inherently nothing is wrong with any of these types of organizations . Except when they are financed and controlled or heavily influenced by a Toxic Puppet Master . When that is the case the puppet master and his informed allies are guilty of inducing toxic PTSD propaganda type harm to an entire support populationsbrains . Sonething that is easy to be hidden . Even the support population over time fail to see what is happening to themselves. When you consider that George Soros and his Empire and the Democratic Party and Main Stream Media are all helping spread Toxic Propaganda and in doing so are infecting their own brains with Toxic High Energy Propaganda . In effect they are all responsible for causing PTSD type trauma to the support population which is also self replicating same as any PTSD type trauma can be passed generation to generation . My theory explains that nicely , always a good sign for a theory . Also my theories point towards a solution , also a nice sign that a theory is accurate .System Goals3. Create a story using only images .4. Explain how Puppet Master creates a propaganda machineMy entire project is designed to stop a human tragedy from unfolding . It is designed to stop human suffering and is designed to prevent human killing . Maybe I am naive but I think my project will work , everyone wins . For decades I was searching for the key that would enable me to begin . In February 2017 I found that key . That key was in fact propaganda . It was both the problem and the key to the solution . Combined with all my theories . Good luck everyone , my friend says hi , he is happy .1. emotional negative smear concept A2. emotional negative smear concept B3. emotional negative smear concept C4. emotional negative smear concept DEveryone do your self a favor . Study propaganda , please , I beg you study propaganda or all my work is in vain . Propaganda is the key to everything . Ok only a few people know what is happening really . Me and my support group ( very small group ) , and the Puppet Masters . Everyone else is a tool for Puppet Masters . I could vanish , reinvent myself and use my knowledge of propaganda to steer you like a herd of cattle . Thats what a puppet master does . You , everyone who does not see what I see is a puppet . Enjoy yourselves you are pawns and puppets . Study propaganda help me open your eyes or be a stupid puppet your choice .Its simple propaganda is emotion based .Overload the brain with propaganda or emotions and you become an idiot .Puppet Masters do it every day .The brain does not function well overcharged with emotions good or bad .You do not understand , then most likely you are under control of a puppet master or soon will be , good luck with that .Puppet masters do not care about you or your children .Good luck with that .EditReplyJust nowAnne W Zahra, M.Ed. Language Teaching69 upvotesBigotry is one of the worst obstacles to social progress in majority Muslim cultures.Lots of people talk and talk about the sinful West, but everyo...
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