Good afternoon. My name is Ina Hensel. Welcome to the Phonework workshop. I will guide you to create your own Phonework geometry. We first have a look at what you can expect. I show you the current user interface of Phonework and then we make a Phonework with text on path. Then we make a Phonework with warp mode. I tell you something about the size of the text. I have some examples and tips. This is a appendix. There are some things about markup in file source. Who has worked already in the file source of shapes? I think I cannot skip it but we have to look at it. This is, for example, a Phonework with text here. Look at the user interface. You see the icons for the custom shapes. Here or here in the menu. Here you have an icon with an F. This F generates a predefined Phonework shape. The separation here gives the expression, as if custom shapes on Phonework shapes are different things. But that is not the case. In fact, a Phonework is only a special mode of a custom shape. Here you have things you can collect. You can click on and it will be positioned in the middle of the view area. That are only suggestions for styling.  It should be somewhere on your screen, likely in the bottom of where the status bar is. That has a flow term for geometries. There are 30 predefined ones here in the flow term. This workshop is how to create an own geometry for a Phonework. We start with text on paths. The predefined ones have only a few, which are really text on paths that are these six predefined ones. We will create a wave as a geometry. This image shows a wave as it is created with a curve tool. It is a cubic bezier curve, such as a start point and an end point, and has control points to determine how the curve is formed. But before we convert this to a Phonework, we look in the marker. We will work on the file itself. It is good to have it in a form that is readable, such as a pretty print printing, and you should enable it. That is in an options dialog. Then there in advanced. Then there is a button with open export configuration. In the search line, you enter pretty. That gives one result, and you only double click on it to set it to true. That is not normal when it is false. Then there are compact forms where all line ends and superfluous blanks are removed. It is hard to find the things which we need. We need a file to start with. So you should start draw and insert a rectangle from the basic shape category. Double click and enter a short text, and then it is important to do not a simple serve. Save it, but save it in the flat file format. Why I suggest to start with such a file is that you do not need to care about all the surrounding parts. You need not know what a draw page is, and you need not know how to style something, but that is already all in the file itself. We can focus really on the shape and see what changes we need to do to the shape. That is where you, as I have shown in the beginning, here. Here that are on the basic shape that are here in this drop down there is a rectangle. It is slow, and in this floater you have here a rectangle. For example, draw it and write some text. And when you save it in a flat format, that is here, flat XML format. Where can I save it? So, when you have saved it, you should open it in an editor. You can take any editor you like. Of course, if you have an editor which has some features concerning XML, that is nice. But even in Windows, the Notepad does what you want. Yes, please let me first open the... And the next, that was for pre-printing. And the next was we make a file which we can use. One way to go, slow everybody down. When you open it in an editor, it might be that you have very long lines. You can enter some line feeds. You find this part which we need at the end of the file. When you scroll down, you will find this text draw custom shape. Here at the very end of the shape, you will find this draw custom shape. You have found it? In general, this is a workshop, so if you have questions, please ask immediately. And not at the end. I first explain a little bit about this markup that you know what you see. I have here entered some line breaks so that it is not a long line. But the parts are beneath another. So markup consists of XML elements. If you know HTML, it's similar. An element has a starting. A check starts with this angel bracket. It has an end text that has the same name but with a slash before it. Between this text, there is a content of the element. The content can be simple text, as in this case, but it can contain other elements. Questions? There exist elements which have no content. They have only a starting, but it has this slash immediately before closing part. An element has attributes. And the custom shape has some attributes which are common to nearly all kind of shapes. You have reference to a style for the graphic. You have a reference to a style for the text. You have attributes which determine the size of the shape. And attributes for the position. And you have a sub-element p from a paragraph which contains the text that is seen on the shape. Unique for custom shapes is this element and hence geometry. This enhanced geometry has a viewbox. This viewbox determines an internal coordinate system. The meaning is left top. That is the origin of the coordinate system. And this is the width and that is the height of the box. A custom shape has a type. LibreOffice uses a type to assign some default values. So if you make your own shape, you need to replace it with something type and then non-primitive. That is a fixed word which indicates that it is a shape which you have done yourself. It's not a predefined somewhere. If you have that found in your text, you can already do that and replace this text rectangle with the text non-primitive. And then we have an attribute and hence path that describes the geometry itself. It has commands with a single letter. And behind that in most cases coordinates, I have here a list. Here for example, M means move to and sets the pan on point 00. We have an L for a line tool and in this case not only one line tool but several. And we have a command set for closing. We do not need it for fun work shapes. And N which says this path is finished. So for our curve, you need to know what commands you need to make a curve. Let us go back and look. We start with a few books. The few books, this internal coordinate system is free to what you use for it. But it makes things a lot easier if you really start with a left top with zero. And besides that, sometimes I don't like these large numbers, but you should use a value which fits to your drawing. And when I suggest here is to use a few books which goes with a width of 60 and a height of 30. So when you define this coordinate system, you should use for the width and height of the shape the same ratio. That makes it easier to understand what you have drawn. I read a moment so that you can change the text where you have an editor. So for width you enter 6 cm, for height 3 cm and you change the viewbox to these values. A viewbox is an attribute which is aligned with SVG. Therefore it has the prefix SVG here. ODF uses some attributes similar as in SVG. It's not original SVG, but if you know SVG you can understand that. Now we need the enhanced path. For the start point, we simply move to it. And this is in the middle of the height, so it is 15 cm. You would change the move to 0.15 cm. The command for drawing a bezier curve is C, the cubic bezier curve. The first pair of values is the coordinate of the first control point. And the second are the coordinates of the second control point here. And the last one are the coordinates of the endpoint. The enhanced path had a large number of different curve types. I have chosen here the bezier curve because you know it already from the curve command which we have in the UI. You will learn another one, hopefully, but this is for this wave. And when it is all went right, you can save your file. You should use a new name, of course, and save it still in FODT. And then you can open it in your Librovis and hopefully you get such a story. If it doesn't look like that, then you could go back and look whether you have already all these parts really changed in that way. That is a normal shape, and now we make a homework shape of it. That is the same markup, but only there is an additional attribute that is draw text path equals true. So you need to open the editor and add this attribute, save it again and open it in Librovis and homework. And then it should look this way. That means that the text now follows the curve we have drawn. When you have created such shape, you can style it in several ways. For example, here selecting another form and adding a shadow. This is a bitmap fill. Here I have turned it in 3D. That is all the same as with the predefined shapes. When you do that and you will keep the files for other documents, you should make your changes as really as hard, direct formatting. Then you can drag the shape and put it into your gallery. When you make it with a style, it will be lost when you drag it into the gallery. So to make files to collect in a gallery, make your styles all as direct styles. That means you open the area fill, drop down and select what you want for example. That is your first formwork shape. Questions so far? Microsoft OXML has a fixed set of formwork shapes and gives the user no ability to make their own formwork shapes. So you cannot export this in PPGX. But this enhanced path has no relative commands. They are all absolute, but you find the same kind of describing a path already in VML in the same way. It is always a command followed by a coordinate. There is surely one. I need to search for it, otherwise I can write one. Then we go to the next tab. You still need to open your file again in the editor. Now we change the geometry a little bit. Behind the part which makes the curve, you enter a new part which is a move to this point and then a line to this point. Which means it stores a straight line in addition to this curve. What do you expect? What happens? It's a real question. What do you expect when I have a second line in my path? I show you what happened. It looks like this. What happens there? Here is a screenshot. Here is an illustration. This brown dashed line that is a curve and the blue dashed line that is this line here. And the text is stretched between these lines. This is connected here and that here and so on. Here is this gap here that is a small letter that doesn't reach to the top. And here the y that goes down to here. This is called warp mode. When you stretch the text between two lines. It's more an example from the existing shapes. We have the open circle. We have in a mode called pull. It has six lines. And the text is stretched between. That is a general rule. If we have an even number of lines, then we have a warp mode. And we have the same with a cold open circle in the UI2. Which is an addition curve. It has three lines. And when we have an odd line of numbers, then the text follows the line. I don't know. I thought to make a practice with a warp mode too, but I think it's from time here not so good. What you should do is you define here a coordinate system. You have to look what your coordinates you need. You need a move, then a line, a line and so on. That gives such a markup. And when you have really finished, then it can look this way. I have a simple text alphabet here. And you see when you draw a line from left to right, then your letters are seen from front. And when you draw your lines from right to left, then you see the letters from the back. This is made with lines, a move tool and a line, a line, a line. When you exchange the line with y, then you get quarter ellipses. And then you have here really a round text. That does not exist in the predefined question so far. If you should have learned, a single line gives text online. Two lines give text between lines. What you need, you need only to enter the path in the enhanced path. You need to enter the geometry and you need to enter an additional attribute text path. Let us look at what we have in addition. There exists an additional attribute in ODF for which LibreOffice has no user interface. And that is an attribute text path scale. It determines how the text is fit to the path. Here, for example, is a text with a set to 50 points and the dashed line shows the path. When I now drag the shape wider, then I get this here. The text keeps the size and the path is longer than the text. That is, the text uses the size which is defined for the shape. This attribute is a simple edit where you have added the other attribute to the nominal size of the shape. This attribute has a second value. That value is called path. When you use that value, it looks this way. This is the same, but when you make it wider, you see that now the text really fills the whole path. To do that, the font size is drawn larger. That does not mean that the nominal font size is changed, but for rendering it is increased so that it fills the entire path. I want to point you to one problem in the user interface. The user interface has icons for alignment. Most people think that is alignment of a paragraph, but that is not the case. It has nothing to do with the paragraph alignment, but it is the settings which you make in text attributes. But you will find it. That means that this icon has a text justify that is nonsense. There exists no justify for phoneworks. We have a vertical alignment, but we have some command. You have seen I have here a text with two lines. That is possible, but you need to enter each text as own paragraph. That means you make a line, click enter, write the next line and enter. You cannot use shift enter and there is no wrap that text breaks at the end of a line. Of course you can make tricks when this is a predefined curve and when you do not like it that way, but you both want your text going here, then you can enter an empty paragraph. Or here that is still our wave, but I have used two paragraphs, one with Libre Office Components and one with the text Milan 20. The same is what you need to know is you cannot change the start of a text by using blanks. Or paragraph index. The text always starts at the start of the line. Even if you have entered blanks, they are ignored. You cannot align the text by using a center paragraph. Then what you need to center it in the text attributes. I can show some examples if you like or have any questions already. I show you some more examples. An interesting example is a straight line as a geometry. The geometry is really very simple, you have a move on the line. What do I get when I have this? When you have an ordinary shape and have a text on it. And when you then flip it vertically, do you know what then happened with the text? You have not worked with it. Yes, but you can flip it. And what do you get? When you flip it vertically, then your text is rotated by 180 degrees. It is not flipped the text. Straight, yes.  It is a very simple formwork shape which allowed you to flip the text. In the beginning, in the start page, there was a spiral. This spiral is a Fibonacci spiral. How it is defined is described in Wikipedia. It is built from quarter ellipses. And it is very easy to convert that into a formwork shape because we have a command for a quarter ellipse. In this case, it is the y. And then you simply need to add the target point of the quarter ellipse. I think that is something that you should try when you are at home to get the markup is here. Then some of the existing shapes can be used as a formwork by simply adding this text path like true into the markup. And one of them is for example this five point star. And you can show, let your text follow this star outline. You see here, you need to be to trick a little bit. Here is a blank and here is a symbol from the from the phone. It belongs to the phone so that you get the words not broken in the corners of the shape but you can get this round. The same is possible with a heart. That's the same one. I skip the and show you what you can get. You can get some for example this one. That's the original heart only that is here at its text path too. And the type as I mentioned in the beginning is changed to non primitive. So that the developers get not confused with the predefined ones. Here I had added a dot to get the text at the right position. That's too long to explain. Sometimes you can change an existing shape by simply removing. Here I have removed the straight parts and then you get text here. But have still the handles to start and end position of the text. The needed markup is here all on the slide. So when you can download it already where the speakers are listened on that side there are all these parts. The uploaded files contain in addition a collection of all the shapes which I have talked about here. So you can take that file and when you like them you can drag them into your gallery. And it contains a file which has a macro library included so that you can enable or disable the formwork mode with a macro. And you can set the text switch between a modal shape and paths also with a macro. It's not an extension but you need to save the copy the files into your normal basic macro. I would prefer to go with an ono command on the user interface. Instead of opening a flat ODG and then writing... That is only about enabling or disabling a text path. We have to define the geometry you still need to go into the markup and edit the markup. We have no user interface to define our own... Not even writing a basic macro with a dialogue? Possible of course. That's not the question but it's a lot of work. Possible is it. If someone likes to make a full extension of it, that is possible. One addition, if you want to learn the other commands which are possible in this enhance path, there is a book about that which is under documentation as all the other documentation parts. And when you have a question after you have played around it at home, you can write an email to our users mailing this. Or you can ask on LibreOffice when you are at ask. I do not read it regularly, but when you enter at Regina in your post, then I'm notified and I can respond to it to you.


The Vice President Yami Ushimbajou has stressed the need for peaceful coexistence among Nigerians regardless of our differences. Ushimbajou stated this while delivering a goodwill message at the 120th Founders' Day anniversary lecture of the African child held in Lagos. Plus TV Africa's correspondent Lovie Kukou Oedukou tells us more. It is the 120th Founders' Day anniversary of the African Church. The theme is the role of the Church in the face of insecurity in the nation. Vice President Yami Ushimbajou wants Nigerians to key into peaceful coexistence. We need to embrace peaceful coexistence, build, of course, on the principles of equity and fairness towards building a brave nation. We cannot achieve this without justice. We cannot coexist without equity. This is something that is expensive, totally specific, to put in there as a good will message. The guest lecturer, writer Remifi Kuka, described Nigeria as a crime scene. He believes it has nothing to do with where you live but by the grace of God. Kuka strongly opposed self-defense and advised Christians time to God in times like this. There can never be any meaningful development either in the church or in the society without peace. Therefore, it is our responsibility to always seek the face of the Lord on behalf of the Church and also on behalf of the society. We also, the Bible says we should pray for the peace of Jerusalem. So it is by that peace that we also will also have peace. But the bit on how Christians or people of other faith should react in face of life-threatening dangers is unending. No matter the side of the divide you may belong, peace should be our word. From Lagos, love Ikuku Uyiduku reporting for Plus TV, Africa.


Item number, SCP-174, Object Class, Euclid. Special Containment Procedures. SCP-174 is to be contained within storage unit 7 at Site-19. Removal of SCP-174 from containment requires the approval of two Level 4 personnel, familiar with the entity. It is preferable to use personnel with high psychic resistance scale scores when interacting with SCP-174. All personnel in contact with SCP-174 are to undergo psychological evaluation. Those who display obsessive or protective tendencies toward the item are to be treated with Class B amnestics and monitored for 72 hours. Addendum to Containment Procedures. Following incident 174-A, SCP-174 and the main chamber of storage unit 7 are to be monitored at all times via video surveillance. Abnormal activity must be reported to Dr. A immediately. Furthermore, a GPS tracking device is to be installed on SCP-174 in order to expedite recovery, should the item translocate outside of Foundation custody. Description. SCP-174 is a woodenventure locale figure measuring 53 cm from head to toe, with somewhat ragged clothing and slight damage to several sections. Judging by the item's style and state of repair, it dates from the early 20th century. The eyes and mouth of SCP-174 can be manipulated by means of a mechanism inside the figure. When viewed in peripheral vision, subjects report on occasion that SCP-174 is looking directly at them, with an expression of longing or sadness. When subjects look directly at SCP-174, this anomalous expression is not visible. Viewing SCP-174 indirectly, such as in a mirror or a live video feed, appears to increase the likelihood of this effect manifesting itself. Personnel in the vicinity of SCP-174 report a general feeling of sadness or sympathy directed toward the figure, but cannot explain any reason for these feelings. Prolonged exposure can lead to personnel personifying the figure to greater extents. Those with particularly low psychic resistance scale scores will in some cases begin to act as if SCP-174 were a living being, e.g. cradling it as if it were a baby. When informed of their abnormal behavior, all personnel revert to standard behavior patterns for at least several minutes. Subjects who place SCP-174 on their hand report an urge to converse with it. When questioned, they frequently report that the figure is lonely and needs companionship. The subject will also begin speaking for SCP-174 and manipulating its expression. When speaking for their figure, the subject's voice will take on a higher-pitched, child-like tone. Recordings taken with high sensitivity microphones have determined that at no point does the figure itself actually speak or make any discernible noise. Regardless of the subject's experience, the act will be almost perfect. The conversation will quickly move toward a discussion of the figure's emotional state, particularly in relation to its past, in most cases leading to the retelling by the figure of a story of how it was abandoned or mistreated. No one story has ever been repeated, and therefore which, if any, is true, is unknown. Researchers have theorized that SCP-174 may have low-level telepathic abilities, as each story seems to be based around a theme that will have particular resonance with the current subject. Past this point, subjects will show great affection for SCP-174 and will attempt to protect it from people who come too close or try to interact with it, in some cases, with deadly force. Subjects often refer to SCP-174 as their baby, or use similarly strong terms of endearment when referring to it. This effect persists for several hours after SCP-174 and the subject have been separated, and in at least one case the effect had not dissipated two weeks after final interaction. Whether the effect would ever have lessened is unknown, as the subject in question was terminated, owing to lack of compelling reason for further study. Subjects who are completely isolated from SCP-174 will become paranoid as to the figure's safety, and often undergo a mental collapse, similar to that observed in mothers separated from young children. Class B or stronger amnestics have been shown to be effective in curing both the obsessive effect and the majority of any resultant mental trauma. However, almost all who undergo such treatment complain of feelings of loss and can become depressive. Addendum 174-1 Experiment Log Transcription of Video Footage Subject D-14285 Female 21 No History of Violent Crime Supervising Researcher Dr. A Location Containment Cell A-4 Researcher and Staff Observing from Behind Two-Way Mirror Site-19 D-14285 is ordered to place SCP-174 on their hand. Subject does so after initial hesitation. After several seconds, subject begins a mundane conversation with SCP-174. After roughly two minutes, the subject asks SCP-174, what happened to you? At which point, the figure begins to recount a story of how it was left behind and damaged in a house fire and subsequently discarded by its original owner. Note, subject's records indicate that her house was the victim of an arson attack in 19... Subject begins to console the figure and reassure it with standard positive statements. Figure remarks that it is lonely and wants to find friends. Subject begins to punch and pound the door with their free hand. When guards enter the cell, side arms raised. The subject recoils to the corner of the cell, cradling the figure and whispering to it, exact words not picked up by microphone. Guards succeed in removing SCP-174 from the subject and leave the cell. At this point, the subject screams they have him, my wonderful baby, and begins punching and kicking the door in a futile escape attempt. Note, at this point, Dr. A ordered the experiment concluded. D-14285 was terminated after attempts to calm her failed. This experiment was one of the first conducted with SCP-174 before the efficacy of amnestics had become apparent. Addendum 174-2, Incident 174-A, On route 2000, Dr. A entered storage unit 7 to find SCP-174 sitting on the floor next to its containment unit, looking directly at the main entrance door. The door to SCP-174's unit had been sealed shut, with no access having been logged in the previous week. After being replaced in containment, video surveillance was installed within storage unit 7 as a precaution against future translocations, and a GPS tracking unit was attached to SCP-174. Lesson complete. If you missed the previous orientation, go watch SCP-173, The Sculpture, right now. Or for the complete course, watch this playlist.


I will now make a statement on behalf of the committee. The committee has agreed that I will make a short statement setting out our current consideration of the rules regarding sexual harassment and the recent complaint made to the committee by James Dornan MSP. The committee is currently conducting an inquiry into whether the MSP code of conduct is fit for purpose when dealing with complaints about sexual harassment and inappropriate conduct. There is still some way to go with our inquiry but there appears to be an early consensus that a more robust process is required. There needs to be recognition of the sensitivities required when handling such cases and further to be fairness to everyone concerned. Any new process will have to try to reconcile openness and transparency with privacy and a duty of care towards potentially vulnerable people. Against the backdrop of reviewing our existing procedures and the code of conduct, I will now turn to the later of complaint from Mr Dornan. Under the commissioners act, the committee may refer certain complaints to the commissioner for ethical standards in public life for an investigation. Broadly speaking, the role of the commissioner is to independently establish the facts of a complaint. The committee will then consider whether it agrees with the commissioner's findings and any question of sanctions. We believe that this is the most appropriate way of handling the complaint. The commissioner is resourced to carry out this type of investigatory work, although we appreciate the sensitivities associated with this unique area. We do not think that it would be appropriate for the committee to undertake its own investigation and that there is no procedure or precedent for the committee to do so. We understand that due process must be followed and that will take time regardless of who carries out the investigation. It is in no one's interest that this process becomes drawn out. We are confident that the commissioner will recognise that. We have therefore agreed today that we will issue a direction to the ethical standards commissioner to conduct an investigation into this complaint. It is clear that there will be considerable on-going interest in the case and in the investigation process. The committee will not make any further public comments until we have considered the commissioner's report. In order to ensure a robust outcome, proper processes must be observed. The commissioner must be allowed to carry out this investigation without any interference. It will be for the commissioner to determine what evidence is relevant and necessary for the investigation. We also believe that it is necessary to draw attention to another aspect of this situation. The code of conduct states that members must not disclose, communicate or discuss any complaint or intention to make a complaint to or with members of the press or other media prior to lodging of the complaint or during stages 1 and 2 of the procedure for dealing with complaints. The committee reminds all members of this requirement. The rule-covering disclosure is important because it allows investigations by the commissioner and the committee to be conducted fairly and without external influence. The committee admonished a member earlier this session for a breach of this rule and all business managers were reminded accordingly.


Rocky IV, small, lightweight, versatile, is the latest in a series of planetary rovers that tests the possibility of exploring the surfaces of other planets with robots. This is Robby, an earlier rover experiment. Robby is as long as a pickup truck and weighs two tons. It is not meant for space travel, but is a valuable test bed for semi-autonomous navigation concepts. Rocky III, closer to the idea of a real space explorer, weighs about 56 pounds. This mini rover evolved from many years of robotics and automation development at the NASA Jet Propulsion Laboratory. Small but capable, planetary rovers have been made possible by the development of micro technologies from computer chips to sensors. Dr. Lonnie Lane. The plan is to have a rover of this kind, about 7 kilograms, 15-16 pounds, built for a small lander in the measure system to be able to do these kinds of tasks for scientific and exploration. Rocky's final performance test was on a rock-strewn Mars-like location in a dry riverbed near JPL in Pasadena, California. In the background is a surveyor spacecraft of the type that landed on the moon 25 years ago. This demonstration celebrates that historic surveyor landing. A camera on the lander notes locations and is used by the operators to select targets for the rover. When viewed with special goggles, the images appear in three dimensions. The operator designates a series of waypoints for Rocky to follow on its way to the target rock. Activities are programmed in Rocky's onboard computer and they are triggered by the operator's command.  The smallest quake a human can feel is about eight one-thousandths of a G, so the instrument is 125 billion times more sensitive than a human being. We're ready to go? Hey, we're ready to go. Launch. As Rocky travels between points, the operator has identified. It is guided by a new computing technique called behavior control. Sensors tell Rocky about its pitch and roll and modifies the vehicle direction to avoid dangerous situations. The rover's camera scans the view ahead and Rocky moves to its next task to chip the weathered surface from a rock so a sensitive spectrometer can determine the content of the rock. Next, Rocky has to collect a soil sample and deliver it to the lander where it will be analyzed by science instruments. Rocky IV is a prototype for an even smaller, lighter rover, one that will weigh only about 11 pounds. It will carry science instruments capable of testing the surface and atmosphere of Mars. That rover will be sent to Mars as mankind's science emissary in 1996 as part of a NASA mission called Pathfinder.


Felly, yn dal ein bod yn cysylltu, rwyf wedi'i ei wneud ar gyf게idio gog�ai'r gweithio'r gweithio'r gweithio. Raewen nhw'n clwb, y éw peirwn i dynnu ar gyfer'u gweithio. Glowad o hynny, yna'r cysylltu yn gwneud mewn bydd y gweithio a gweithio. Felly, iddo yn cysylltu'n rhaid o'r cwlaethau gwaith, o fathor i'r newydd. Fe wnaeth yma rhywbeth dangos ateb o gymuned wedi gwneud y gweithio. gan llawer o'i gwas 무�on. Mae'n meddwl gwaith yn ymddangos o'r ymddangos. Do i'r wybodaeth. Mae'n meddwl llawer o fewn iawn, mae'r b Förreu gwaith yn meddwl llawer o fewn llawer, ac mae'n meddwl i'n meddwl yn fwy gwybodaeth am ychydig. shipwyr fi'n meddwl eich holl fyddwyd. Maeًn i wneud eu gw flechau'r gwaith, mae'n mynd i chi nad oeddech chi i'w gofyn i'w ddweud y dywedig. Ac mae gennym yn cael ei gweld yn cyfnod yn ffwrdd. Mae'r gwrs yn ymddangos ei ddweud. Efallai rhai oed yn gwrs, sy'n ddigonwch, a rwy'n gweithio, mae'r newid yn gweithio'r newid yn gwneud yn y fwy, yn gweithio'r newid yn gwybod, ac yn gweithio'r newid, yn gweithio'r newid, mae'n gweithio'n gwneud i'n gweithio'r newid. A yna y clywb hynny yn gweithio'r newid, er mwyn i ddau i ddau o dweud. Mae'n ddau, rwy'n hynny, oes yn no bwysig. Ac mae'r clwb oeddu! Felly, y hybrid. A'i ddau'n ddi'n ddau, ddaw'r hybrid o'r ddau. Felly, i'r gweithio ddweud, yna'n gwybod y gallwn gwneud y syniad y cyfeirio ar gyfer y hybrid ac mae'n rheswm i wneud i'w ddweud eich bod arall o'r ffordd eich llwerion, rhai o'r ffordd. It's also gone. Yeah, the longest iron in my bag is now a 6 iron, I've replaced not one iron, but two. That means I've replaced it with two hybids. What are they and why do I think these particular hybids are so special and why you should also be considering doing exactly the same with your bag set up? Yn ymdyn ni'n cwestiynau hynny yn ffac o'r PXG, mae'r L6 L1, ond yna ydych chi'n wneud yn fwy o wneud o'r cyffredinol, ac rwy'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio, rwy'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio'n gweithio. Ac mae'r ddweud o'r stymau a'r tyf o'r profiol yw'r cyffredinol, ond mae'r L6 L1 o'r ddweud o'r llyfrin. I 말u'n gweithio'n gweithio o'r F3 o11. Rwy'n dweud gydawn o'i tunnwyr ein llyfrûr yw'r digwydd. Rhyw yw'r fai'r yum drinks iawn. I wrthwng o'r ddot depois o'r w overly F3 o11 neb. Ach sef yn torque fuller dwi'n dreithio'n ddych chi'n buGiveSmEl a lwy Яddedd ni'n dangos. Fawr o gweithio'n s友 pleidio, ac dwi'n ddefnyddio'n dweud hynny byddai yn mwneud o和fodol. Yn allan o achwelio fy llwydd sonraeth a gyffredinol, Alwe oキwch mae leolol yn fwy gylio'r llun, rhai dwi'n blwyddiadol, ond mae'n bwrdd bwrdd yn ddweud yna, mae fe yw yr amser hynny eich stymnau a'r gwahodd brinddiol, oherwydd mae'n gweithio'r ddysgu ar黴 dymian.  Ac mae'n rhaid i'n gwneud o'r cyflwyniad o'r aelod, felly mae'n rhaid i'ch gweithio. Dwi'n adnod ystod o asthetych. a'n dweud o'r cyflwyniad, ond mae'n ddysgu'r bwysigau ar hyn o'r rhaid i'r rhaid i'r fath. Rhaid o'r fath o'r fath rhaid i'r math o'r maen nhw, oherwydd mae'r ddafodd, gyda ffairwyr, a'r hwyl fyddiwyd, a'r hybed. Ond wrth gwrs, mae'n gynch o'r ffyrdiadau yn mynd i'r wneud. Rwy'n meddwl, ac rwy'n meddwl, mae'r ffordd iawn, mae'r ffordd iawn i ddalun yn y ddweud ymddangos, mae'r ex-march ei ddweud yn y ddweud y ddweud yw'r cyffredin ar y ddweud ymddangos, yn unig, a'r ddweud. Ond, mae'n helpu i'r ddweud yw ddweud datbwys.  And then in that backside, when they've just done that sort of matte carbon-like look, as I always describe it as. And then there's a little bit of... Well, a few lines is the simplest way of explaining it. A bit of detail around the backside of the shaping which, again, accentuates the profile. I just think it looks absolutely superb. I cannot criticise that in one bit and like I said, I think it's the best hybrid that is on the market visually right now. But I said it wasn't just about aesthetics and what I was referring to was the shape and profile of the XF model in particular. The standard 0311 which you're looking at right now is what I call a traditional hybrid. The better players hybrid if you like smaller, more compact and maybe a little bit more like what we're used to seeing. What I like what manufacturers have done of later and what PXG have done with the 0311XF is they've made the shaping and the profile almost like a mini fairway wood. So there's a little bit more bulk and mass and when I'm looking at that what I'm feeling first of all is a huge amount of confidence. It says to me one thing and just go easy with this thing, let the club do the work. I'm going to five iron in your hand, you've got a five hybrid in your hand and this thing has got some bulk and mass. It's got some CG, some forgiveness that's going to do all the things that you would love your five iron to do, but you just do not have the club head speed to make that thing perform any more. So step up with this XF 0311 hybrid and trust me, as we've seen with a couple of shots so far, it is an unbelievably good club to have in the bag from an aesthetics point of view and from a confidence inspiring point of view in terms of that shape and profile. Today's video is brought to you in partnership with HotGolf, the online golf mega store bringing you the hottest deals in golf and of course the club's featured in today's video. Find a link to the HotGolf website in the description below and check out some incredible giveaways and offers. Now I did mention in that clip that I referred to a five hybrid, which is what I've got underneath this head cover, which I've mentioned on numerous occasions as well, are the best head covers there are right now. They're super soft, great quality and others should be taking a leave from this. But I've got two hybrids as I mentioned in a bag. This five hybrid is replacing my five iron, it's 25 degrees in loft and then I've got another hybrid in the bag, which is 22 degrees in loft, a four hybrid. Obvious changes in terms of direct replacements in terms of loft, but what each of them do is, like I've said on numerous occasions, replace those long nions with the same carry distance, but with a far different launch, a far different descent angle and a far different spin number to be quite honest with you. And they hit all the parameters that like I said, I would ideally like to be able to achieve with a five or a four iron, but I've got to that stage in my own personal game where I'm thinking and you keep telling people make this game easier and yet for some reason you continue to carry well a five iron at least and many times a four as well. But these clubs, oh my word, I cannot believe just how easy these things pick the ball up and how fast the ball speeds are. The ball flight is exactly what you'd want it to be. The control is there, hopefully you notice from the tempo and rhythm of the swing that I'm not forcing these things at all. And I just know if I had my five iron in that same situation, I'm swinging a whole lot faster to try and generate the distance and ball speed that I require. And do you know what that comment I made about rhythm and tempo when using hybrids as opposed to long irons? There's another good reason to change the depth as it sounds and that's irrelevant of which model you go for, but like I said, it's a mentality thing where you just start to slow down a bit and let the club head do all the work and you've got the confidence in the head which I have right now in terms of ball speed. I know I don't need to put a great deal of effort into this thing and like I said, it's going to launch high, it's going to land soft and it's going to cover the distance that I'm looking for. I mean it's just so much fun, it's just easier.  I've got to admit out the two hybrids that I've got in the bag, the one that I keep reaching for is this number 5, 25 degrees because it's an absolute weapon in terms of its performance. Just all round, everything you'd want from a golf club is packed into this thing and the number one thing that it breeds is confidence. I'd also like to bring up the point about, well people's fear of using hybrids because they struggle to not get them going left if you like. There can be certainly a lot of clothes to face hybrids about and it can be an issue. I understand that but I will also say that in this year's release from every brand, I think there's been a difference in terms of the way these clubs have been put together. They've recognised that's been an issue in the past and without doubt, that is for the large majority of what I've tested, that is not a big deal and I would urge anyone, don't dismiss hybrids based on your previous experience, maybe try out one of these newer models from, like I said, any brand and I'm sure you'll find that they've done their very best to stop that being an issue, which I think everybody recognises it was. I ain't finding that anymore. Now one other point to reference and certainly why I chose this XF model was the soul of this club and not certainly aesthetics on this occasion, although I would certainly pick this one up off the shelf, but it's those two silver raised elements, those little bars that certainly we've seen in other clubs in the past and what they do is they're slightly raised from the soul and they supposedly help with turf interaction. Now I've no scientific proof or data that I can tell you that is a concept that works but I know from me on a personal level and we've seen a few picked up off the fairway. I certainly like the way this thing sort of slides, interacts with that turf, who knows, could be a purely mental issue, but also that weighting system that has become a very predominant feature in what PXG do. These two weights have basically been pushed back as far as they can in a heel and toe position to give extreme forgiveness and that CG has far back as they can place it to aid in terms of launch. Now I'm not saying I'm a player that necessarily requires that assistance in launch, I hit a high ball anyway, but for me the setup, like I said, absolutely perfect, but there are in the O311 a number of other different permutations that can make it a very different performing club if you wish, but for me, like I said, extreme forgiveness is what most average golfers should be looking for. Now this video is supposed to be sort of two-fold almost in the sense that, one, it's a review of the PXG Gen 6 hybrid, but also an explanation as to why I think hybrids in general and in particular like this one, lost hybrids are so important for average golfers and I always thought about flexibility in your bag. The 5 hybrid to me has got a lot of flexibility in terms of par 3s, par 4s, long shots into greens and then in and around greens in terms of a chip shot. Now I always say that a hybrid in general is a good option for this type of shot, but the fact that this has got 25 degrees of loft, it just presents so much more at the ball that it becomes perhaps again a little bit more confidence inspiring and even though I got a little bit of ground before ball that is pin high and gives me a chance of making up and down. If you've got any issues with your short game and that type of shot can be a little bit scary, you certainly wouldn't be using your 5 iron and chances are if you're struggling with your 9 or your wedge, that might be a little stabby one, which is what I essentially just hit there, but those little rails help me out, slid across the turf and now we've got a chance of making par. So not only are hybrids good for the obvious parts of the game, they also offer plenty of flexibility in your bag. Now as ever, I always like input from you and so do your fellow golfers, so get on that comment section below. A, tell me what you think of these PXC Gen 6 hybrids. Maybe some of you have tried them, so I'd love feedback there. But also tell me your thoughts on what hybrid you've got in the bag at the moment, how are they performing well? And I suppose essentially would you recommend that your fellow golfer tries them because that's all I ever want to do in this comment section, is get everybody communicating together and if you found a particularly good product, then share it with your fellow golfers and let them know what's going on. Right, this next tee shot you're going to see me hit is with the 4, the 22 and again, good ball flight, nothing too different to what you'd expect like I said from hybrids in terms of ball flight, but distance covered on ball speed with such an easy swing, timing tempo has been the one key takeaway for me on the course this morning and really, really good and pleased with the performance. And I will just mention the gap in between the 4 and the 5 is again good yardage difference, again what you'd expect. I've got sort of 15 yards maybe difference between the two and I just can't do that with a 5 and a 4 iron anymore. My distances are very, very similar with those two clubs in hand. So again, there's a bit of gap in there that also really works, but I used to think what PXG have done right now, I would say possibly produce the perfect hybrid and what I mean by that, they've took every element that you as a golfer would ask for, put it into a package and delivered because and maybe that's my ultimate request to suppose then, maybe it's not yours, but in terms of that profile, massive box ticked a little bit bigger shaping superb, looks wise, aesthetics from above, unreal. Then you've got that rail system which helps with the turf interaction which I firmly believe is a thing and then you've got that waiting system particularly in the XF that allows for ultimate forgiveness and that placement of CG to help with launch. In the 03-11 range you've got maybe a little bit more tinkering that can be done in terms of that custom fifth element getting it exactly right for you. These are adjustable in terms of their loft sleeve. I'm not really sure what else we could ask for in a hybrid which begs the question where do we go next because I don't think there's much room for improvement if any in these things in my opinion. Sound and feel again is really, really good. So yeah, they've done a great job, but my thing is right now as we got with drivers, we've now moved into fairways and hybrids where brands have paid a lot of attention in maximising potential and performance and I think we're pretty much there with this hybrid is the ultimate hybrid in my opinion and one that you should definitely give a go. Anyway, that's what you've done. As ever, I always appreciate you watching, supporting the channel. If you don't subscribe then please consider doing so. It's an unreal stat but I think something like 65, maybe 70% of people who watch the channel on a regular basis don't subscribe and just to remind you, it is free and it's a huge help if you would consider doing that. As ever, get involved in that comment section below and that's me done. I'll see you tomorrow night.


We have very few examples of Mesopotamian multiplication. Most of them are multiply and get the answer. So here a scribe might have multiplied 4, 10, 50 by 3 and gotten the answer 12, 32, 30. They probably did something like this. So again, it's helpful to think about 4, 10, 50 as a time like 4 hours, 10 minutes, 50 seconds, and we're multiplying this by 3. So 4 hours times 3 is 12 hours, 10 minutes times 3 is 30 minutes, and 50 seconds times 3 is 150 seconds. And now let's trade. 150 seconds, well our trade rate is 60 seconds will give us a minute. So instead of 150 seconds, well that's 60, 60, and 30 seconds. But the 60 seconds, they're both 1 minutes. And arithmetic is bookkeeping. Where we had 150 seconds, we now have 2 minutes, 30 seconds. So we'll trade out that 150 seconds for 2 minutes, 30 seconds. Arithmetic is bookkeeping. So we have 12 hours, 30 minutes and 2 minutes, or 32 minutes, and 30 seconds. Which gives us our final answer, 12, 32, 30. Now on division, we're on slightly more solid ground in that we actually know how the Mesopotamians did division. And to approach Mesopotamian division, it's useful to remember the following idea. A divided by B, well that's equivalent to the fraction A over B, which is equivalent to the product A times 1 over B. And this means we can divide by multiplying by the reciprocal of the divisor. Now to see how this works, let's consider how that plays out in base 10. Suppose we want to divide by 25. So dividing by 25 is the same as multiplying by 1, 25th. But 1, 25th is 0.04. So instead of dividing by 25, we can multiply by 0.04. And what makes this useful is to multiply by 0.04, we can just multiply by 4, and then move the decimal point to places to the left. So let's say I want to divide by multiplying by the reciprocal, 853 divided by 25. So 853 divided by 25 is the same thing as 853 times 0.04. And that's really 853 times 4 is 3, 4, 1, 2. And now we have to figure out where that decimal point is. Since we have two decimals in our factor, we'll move the decimal point to places to the left. And it ends up here. We have to guess the answer, 34.12. Now to find the reciprocal in base 10, we need to rewrite 1 over b as a fraction with a denominator of 10 to the n. So for example, 1 half is 5 tenths. 1 fourth is 25 one hundredths. 1 25th is 4 one hundredths. And well, the problem is, unfortunately, very few divisors can be written this way. And here's the value of base 60. To divide in base 60 this way, we want to rewrite 1 over b as a fraction with a denominator of 60 to the n. And this could be done with many divisors. It's helpful to think of time. 1 half of an hour is 30 minutes. And so 1 half is 30 sixtieth. 1 third of an hour is 20 minutes. And so 1 third is 20 sixtieth. And similarly, 1 fourth, 1 fifth, 1 sixth, these are all whole number of minutes, which means 1 fourth, 1 fifth, and 1 sixth can be written as fractions with a denominator of 60. So we do need to introduce one more idea. In base 10, we distinguish between units and fractions of a unit using a decimal point. So when we write one two, well, that's one 10 and two ones. But when we write 1.2, that's one one and two tenths. Now in modern base 60, we use the sexogesimal semicolon. So one comma 10, well, that's one 60 and 10 ones. But if we write one semicolon 10, we read that as one one and 10 sixtieths. And so we'd write our reciprocals, one sixtieth, well that's zero semicolon, zero one. 15 sixtieths, well we have 15 sixtieths. It's going to be after the semicolon and so on. So for example, what would we multiply by in base 60 to divide by 12? So again, it's helpful to think of time. One twelfth of an hour is five minutes. And so one twelfth is five sixtieths. So to divide by 12, we'd multiply by zero semicolon, zero five. So let's say we want to divide 12 20 by 12. So to divide by 12, we multiply by zero zero five. So first, we'll multiply by five. So that's 12 20 times five. Well that's five times 12 is 60. Five times 20 is 100. We trade 100 seconds is one minute 40 seconds. So the 100 is gone and we now have 140. Arithmetic is bookkeeping. So now we have 61 40. We trade again 61 minutes. Well that's really one hour, one minute. And so all together we have one, one, 40. And since we're actually multiplying by zero semicolon, oh five, we move the sex decimal point one place over. So our final answer is one, one, semicolon, 40. Or let's divide 11 27 semicolon 20 by 15. So we note that one fifteenth of an hour is four minutes. So the reciprocal of 15 is zero semicolon zero four. So we divide by 15 by multiplying by zero semicolon zero four. And so we'll ignore the semicolon for a moment. We'll multiply by four. Four times 11 is 44. Four times 27 is 108. And four times 20 is 80. Now this is our provisional answer, but we have some bundling and trading we can do. So let's take a look at this rightmost value that's 80. Well it's helpful to think about that as 80 seconds, which is the same as one minute 20 seconds. So we bundle and trade that 80 seconds is gone and we've replaced it with one minute 20 seconds. Arithmetic is bookkeeping. We now have 44, 109, 20. And we can bundle and trade again, 109 minutes. Well that's really one hour, 49 minutes. So that 109 is gone. We've replaced it with 149. Arithmetic is bookkeeping. We now have 45, 49, 20. Now since we're actually multiplying by zero semicolon zero four, we need to move these hexagasmal point one place further. So our final answer, 45, semicolon 49, 20.


CHAPTER 17 FATAL PASSION What dreadful havoc in the human breast the passions make, when unconfined and mad they burst, unguided by mental eye, the light of reason which in various ways points them to good, or turns them back from ill. Thompson. The annals of some of our old and respected families have occasionally been sadly stained by hideous exhibitions of cruelty and lust. In certain instances the result of an unscrupulous disregard of moral duty and of a vindictive fierceness in avenging injury. It has been often times remarked that few tragedies which the brain of the novelist has depicted have surpassed in their unnatural and horrible details those enacted in real life, for— When headstrong passion gets the reins of reason, the force of nature, like too strong a gale, for want of ballast oversets the vessel. Love, indeed, which has been proverbially set to lead to as much evil as any impulse that agitates the human bosom, must be held responsible for only too many of those crimes which from time to time outrage society, for as the authors of guesses at truth have remarked, jealousy is set to be the offspring of love, yet unless the parent make haste to strangle the child, the child will not rest till it has poisoned the parent. Thus a tragedy which made the castle of Caustafine, the scene of a terrible crime and scandal in the year sixteen seventy-nine, may be set to have originated in an unhellowed passion. George, First Lord Forrester having no male issue, made an arrangement whereby his son-in-law James Bailey was to succeed him as Second Lord Forrester in proprieture at the estate of Caustafine. Just four years after this compact was made, Lord Forrester died, and James Bailey, a young man of twenty-five, succeeded to the title and property. But this arrangement did not meet with the approval of Lord Forrester's daughters, who regarded it as a manifest injustice that the honors of their ancient family should devolve on an alien, a feeling of dissatisfaction which was more particularly nourished by the third daughter, Lady Hamilton, whose husband was far from wealthy. It so happened that Lady Hamilton had a daughter, Christian, who was noted for her rare beauty and high spirit, but unfortunately she was a girl of strong passion which added to her self-will caused her, when she had barely arrived at a marriageable age, to engage herself to one James Nimmo, the son of an Edinburgh merchant. Before many weeks had elapsed, the young couple were married, and the handsome young wife was settled in her new home in Edinburgh. Time wore on, the novelty of marriage died away, and as Mrs. Nimmo dwelt on her mercantile surroundings, she recognized more and more what an ill-assorted match she had made, and in her excitable mind she cursed the bond which connected her with the man whose social position she despised and whose occupation she scorned. The report, however, of her uncommon beauty, could not fail to reach the ears of young Lord Forrester, who on the score of relationship was often attracted to Mrs. Nimmo's house. At first he was received as coldness, but by flattering and appealing to her vanity he gradually accomplished the ruin of this unhappy young woman and made her the victim of his licentious and unprincipled designs. But no long time had elapsed when this shameful intrigue became the subject of common talk, and public indignation took the side of the injured woman, when Lord Forrester, after getting tired of her, was so cruel and baseless to speak of her openly in the most opprobrious manner, even alluding to her criminal connection with him. In doing so, however, he had not taken into consideration the violent character of the woman he had wronged, nor thought he of her jealousy, wounded pride, and despair. In his haste also to rid himself of the woman who no longer fascinated him, he paid no heed to the passion that was lurking in her inflamed bosom, nor count down her spreet injuria for me. On the other hand, while he was forgetting the past in his orgies, Mrs. Nimmo, whose love for him was turned to the bitterest hate, was alley reproaching him, and alas the fatal moment arrived when she felt bound to proceed to Caustafion Castle and confront her evildoer. At the time Lord Forrester was drinking at the village tavern, and when the infuriated woman demanded to see him he was flushed with Claret and himself in no amiable mood. The altercation naturally soon became violent, bitter reproaches were uttered on the one side and contemptuous snares on the other. Goaded to frenzy, the unhappy woman stabbed her paramour to the heart, killing him instantly. When taken before the Sheriff of Edinburgh, she confessed her crime, and as though she told the court in the most pathetic manner how basely she had been wronged by one who should have supported rather than ruined her, sentence of death was passed upon her. She managed, writes Sir Bernard Burke, fifty-six, to postpone the execution of her sentence by declaring that she was with child by her seducer, and during her imprisonment succeeded in escaping in the disguise of a young man. But she was captured and on the 12th of November, sixteen-seventy-nine, paid the penalty of her rash act, appearing at her execution a tired and deep mourning and covered with a large veil. Radcliffe to this day possesses the tradition of a terrible tragedy, of which there are several versions. It appears that one Sir William de Radcliffe had a very beautiful daughter, whose mother died in giving her birth. After a time he married again, and the stepmother, actuated by feelings of jealousy, conceived a violent hatred to the girl, which ere long prompted her to be guilty of the most insane cruelty. One day, runs the story, when Sir William was out hunting, she sent the unsuspecting girl into the kitchen with a message to the cook that he was to dress the white dough. But the cook, professing ignorance of the particular white dough he was to dress, asserted to the young lady's intense horror that he had received orders to kill her, which there and then he did, afterwards making her into a pie. On Sir William's return from hunting he made inquiries for his daughter, but his wife informed him that she had taken the opportunity in his absence of going into a nunnery. Suspicious, however, of the truth of her story, for her jealous hatred of his daughter had not escaped his notice. He flew into a passion, and demanded in the most peremptory manner where his daughter was, whereupon the scullion boy denounced the stepmother, and warned Sir William against eating the pie. The whole truth was soon revealed, and the diabolic wickedness of Lady William did not pass unpunished, for she was burnt, and the cook was condemned to stand in boiling lead. A ballad in the Peep's collection, entitled The Lady Isabella's Tragedy, or The Stepmother's Cruelty, records this horrible barbarity, and in a Lancashire ballad called Fair Ellen of Radcliffe, it is thus graphically told. She straight into the kitchen went, her message fought to tell, and then she spied the Master Cook, who did with malice swell. Now, Master Cook, it must be so. Do that which I detail. You needst must dress the milk-white dough, you which do know full well.  O then cried out the Scullyan boy, as loud as loud might be.  The tradition adds that Sir William was not unmindful of the Scullyan boy's heroic conduct, for he made him heir to his possessions. Another cruel case of woman's jealousy, which happily was not so disastrous in its result as the former, relates to Maria, daughter of the honourable Alexander Mackenzie, second son of Kenneth, Earl of Seaforth, who was made of honour to Queen Caroline. Rumour goes that between this young lady, who was one of the greatest beauties about the court, and a Mr. Price, an admired man about town, there subsisted a strong attachment. Unfortunately for Miss Mackenzie, Mr. Price was in a special favourite of the celebrated Countess of Delarene, who, to get rid of her rival in beauty, poisoned her. But this crime was discovered in time, antidotes were administered with success, and the girl's life was saved, although her lovely complexion is said to have been ruined, ever after continuing of a lemon tint. Queen Caroline, desirous of shielding the Countess of Delarene from the consequences of her act, persuaded the poisoned beauty to appear, as soon as she was sufficiently recovered, at a supper, given either by the Countess of Delarene, or where she was to be present. Accordingly, on the night arranged, some excitement was caused by the arrival of Miss Mackenzie, for as she entered the room, someone exclaimed, How entirely changed! But Mr. Price, who was seated by Lady Delarene, remarked, In my eyes she is more beautiful than ever. And it only remains to add that they were married next morning. Like jealousy, thwarted love has often been cause of the most unnatural crimes, and a tragic story is told of the untimely death of Mr. Blandy, of Henley and Oxfordshire, who, by practice as an attorney, had accumulated a large fortune. He had an only child, Mary, who was regarded as an heiress, and consequently had suit as many. On one occasion it happened that William Cranstown, brother of Lord Cranstown, being upon a recruiting party in Oxfordshire, and hearing of Miss Blandly's great expectations, found an opportunity of introducing himself to the family. The captain's attentions, however, to Miss Blandly, met with the strong disapproval of her father, for he had ascertained that this suitor for his daughter's hand had been privately married in Scotland. But, against this objection, Captain Cranstown replied that he hoped to get this marriage speedily set aside by a decree of the Supreme Court of Session. And when the court refused to annul the marriage, Mr. Blandly absolutely refused to allow his daughter to have any further communications with so dishonourable a man—a resolution to which he remained inexorable. Intrigued between the two was the result, for it seems that Miss Blandly's affection for this profligate man, almost double her age, was violent. As might be expected, Captain Cranstown not only worked upon her feelings, but imposed on her credulity. He sent her from Scotland a pretended love-powder, which he enjoined her to administer to her father, in order to gain his affection and procure his consent. This injunction she did not carry out on account of a frightful dream, in which she saw her father fall from a precipice into the ocean. Thereupon the Captain wrote a second time, and told her in words somewhat enigmaticle, but easily understood by her his design. Horrible to relate, the wicked girl was so elated with the idea of removing her father, that she was heard to exclaim before the servants, Who would not send an old fellow to hell for thirty thousand pounds? The fatal dye was cast. The deadly powder was mixed, and given to him in a cup of tea. After drinking which, he soon began to swell enormously. What have you given me, Mary? Ask the unhappy dying man. You have murdered me. Of this I was warned, but alas I thought it was a false alarm. Oh, fly, take care of the Captain. Thus Mr. Blandy died of poison, but his daughter was captured whilst attempting to escape, and was conveyed to Oxford Castle, where she was imprisoned till the Ossises, when she was tried for parasite, was found guilty and executed. Captain Cranstown managed to affect his escape, and went abroad, where he died soon afterwards in a deplorable state of mind, brought about by remorse for the evil and misery he had caused. Almost equally tragic was the fatal passion of Sir William Kite, forming another strange domestic drama in real life. Possessed of considerable fortune and of ancient family, Sir William was deemed a very desirable match, and when he offered his hand to a young lady of noble rank and of great beauty, he was at once accepted. The marriage for the first few years turned out happily, but the crisis came when Sir William was nominated, at a contested election, to represent the borough of Warwick, in which county lay the bulk of his estate. After the election was over, Lady Kite, by way of recompensing a zealous partisan of her husband, took an innkeeper's daughter, Molly Jones, for her maid, a tall, genteel girl, with a fine complexion, and seemingly very modest and innocent. But before many months had elapsed Sir William was attracted by the girl, and eventually became so infatuated by her charms that, casting aside all restraints of shame or fear, he agreed to a separation between his wife and himself. Accordingly Sir William left Lady Kite, with the two younger children, in possession of the mansion-house in Warwickshire, and retired with his mistress and his two eldest sons to a farm-house on the Cotswold Hills. Charmed with the situation, he was soon tempted to build a handsome house here, to which were added two large side fronts, for no better reason than that Molly Jones, one day, happened to say, What is a kite without wings? But the expense of completing this establishment, amounting to at least ten thousand pounds, soon involved Sir William in financial difficulties, which caused him to drown his worries in drink. At this juncture, Molly Jones, forgetting her own past, was injudicious enough to engage a fresh-coloured country girl, who was scarcely twenty, as dairymaid, for whom Sir William quickly conceived an amorous regard. Actuated by jealousy or disgust, Molly Jones threatened to leave Sir William, a resolution which she soon carried out, retiring to Camden, a neighbouring market-town, where she was reduced to keep a small sewing-school as a means of livelihood. Although left to carry on his intrigue undisturbed, Sir William soon became a victim to gloomy reflections, feeling at times that he had not only cruelly wronged a good wife, but had been deserted by the very woman for whose sake he had brought this trouble and disgrace upon his family. Tormented by these conflicting passions, he occasionally worked himself up into such a state of frenzy that even his new favourite was terrified, and had run away. It was when almost maddened with the thought of his evil past, that he formed that fatal resolve which was a hideous ending to the dreadful consequence of a licentious passion not checked in its infancy. One October evening, as a housemaid was on the stairs, suddenly the lobby was all in a cloud of smoke. She gave the alarm, and on the door being forced open, whence the smoke proceeded, it was discovered that Sir William had set fire to a large heap of fine linen piled up in the middle of the room. From an adjoining room where Sir William had made his escape, the flames burst out with such fury that all were glad to make their escape out of the house, the greater part of which was in a few hours burnt to the ground. No other remains of its master being found next morning but the hip bone and bones of the back. A case which at the time created considerable sensation was the murder of Tin of Longleet by a jealous antagonist. The 11th Duke of Northumberland left an only daughter, whose career, it has been said, might match that of the most erratic or adventurous of her race. Before she was sixteen years old she had been twice a widow, and three times a wife. At the age of thirteen she was married to the only son of the Duke of Newcastle, a lad of her own age, who died in a few months. Her second husband was Tin of Longleet, Tom of Ten Thousand, but the tie was abruptly severed by the bullet of an assassin set on by the notorious Count Koenig's mark, who had been a suitor for her hand, and was desirous of another chance. After his death the young widow, who was surrounded by a host of admirers, married the Duke of Somerset, and she seems to have made him a fitting mate, for when his second wife, a Finch, tapped him familiarly on the shoulder, or according to another version, seated herself on his knee, he exclaimed indignantly, My first wife was a Percy, and she never thought of taking such a liberty. It may be added that one of the most remarkable incidents in this celebrated beauty's life was when, by dint of tears and supplications, she prevented Queen Anne from making swift a bishop out of revenge for the Windsor prophecy, in which she was ridiculed for the redness of her hair, and upbraided as having been privy to the brutal murder of her second husband. It was doubted, says Scott, which imputation she accounted the more cruel insult, especially since the first charge was undoubted, and the second arose only from the malice of the poet. Another tragedy of a similar kind was the murder of William Mountford, the player. Captain Richard Hill had conceived a violent passion for Mrs. Brace-Girdle, the beautiful actress, and has said to have offered her his hand, and to have been refused. At last his passion became ungovernable, and he determined to carry her off by force. To carry out his purpose, he induced his friend Lord Moon to assist him in the attempt. According to one account, he dodged the fair actress for a whole day at the theatre, stationed a coach near the horseshoe tavern in Drury Lane to carry her off in, and hired six soldiers to force her into it. As the beautiful actress came down Drury Lane, at ten o'clock at night, accompanied by her mother and brother, and escorted by her friend Mr. Page, one of the soldiers seized her in his arms and endeavoured to force her into the coach. But the lady's screams attracted a crowd, and Captain Hill, finding his endeavours ineffectual, bid the soldiers let her go. Disappointed in their object, Lord Moon and Captain Hill vowed vengeance, and Mrs. Brace-Girdle, on reaching home, sent her servant to Mr. Mountford's home to take care of himself, warning him against Lord Moon and Captain Hill, who she feared had no good intention toward him, and did wait for him in the street. It appears that Mountford had already heard of the attempt to carry off Mrs. Brace-Girdle, and hearing that Lord Moon and Captain Hill were in the street, did not shrink from approaching them. The account says that he addressed Lord Moon and told him how sorry he was to find him in the company of such a pitiful fellow as Captain Hill, whereupon it is said, the Captain came forth and said he would justify himself, and went towards the middle of the street, and Mr. Mountford followed him and drew. The end of the quarrel was that Mountford fell with a terrible wound, of which he died on the following day, declaring in his last moments that Captain Hill ran him through the body before he could draw his sword. Captain Hill, it seems, owed Mountford a deadly grudge, having attributed his rejection by Mrs. Brace-Girdle to her love for him. An unlikely passion it is thought, as Mountford was a married man, with a good-looking wife of his own, afterwards Mrs. Verbreugen, and a celebrated actress. Alton House, Suffolk, long known as the Haunted House, acquired its ill-ohmened name from a tragic occurrence traditionally said to have happened many years ago, and the peasantry in the neighbourhood affirmed that at midnight a wild huntsman, with his hounds, accompanied by a lady carrying a poisoned cup, is occasionally seen. The story is that in the reign of George II, a squire returning unexpectedly home from the chase discovered his wife with an officer, one of his guests, in too familiar a friendship. High words followed, and the indignant husband, provoked by the cool manner in which the officer treated the matter, struck him, whereupon the guilty lover drew his sword and drove it through the squire's heart, the faithless wife and her paramour, afterwards making their escape. Some years afterwards runs the tale the squire's daughter, who had been left behind in the hasty departure, having grown to womanhood, was affianced to a youthful farmer of the neighbourhood, but on their bridal eve, as they were sitting together talking over the new life they were about to enter, a carriage, black and somber as a hearse, with close-drawn curtains, and attended by servants clad in sable liveries, drew up to the door. The young girl was seized by masked men, carried off in the carriage to her unnatural mother, while the betrothed was stabbed as he vainly endeavoured to rescue her. A grave is pointed out in the cemetery at Namour, as that in which was laid the body of the unhappy girl, poisoned it is alleged, by her unscrupulous and wicked mother. It is not surprising, we are told, that the locality was supposed to be haunted by the wretched woman, both as wife and mother, equally criminal. Family romance once more has many a dark page recording how despairing love has ended in self-destruction. At the beginning of the present century a sad catastrophe befell the Shuckburs of Shuckbur Hall. It appears the Bedfordshire militia was stationed near Upper Shuckbur, and the officers were in the habit of visiting the hall, whose hospitable owner, Sir Stucley Shuckbur, received them with every mark of cordiality. His daughter, then about twenty years of age, was a young lady of no ordinary attractions, and her fascination soon produced their natural effect on one of the officers, Lieutenant Sharp, who became deeply attached to her. But as soon as Sir Stucley became aware of this love affair, he gave it his decided disapproval. Lieutenant Sharp was forbidden in the house, and Miss Shuckbur resolved to smother her love and deference to her father's wishes. It was accordingly decided between the young people that their intimacy should cease, and that the letters which had passed between them should be returned. An arrangement was therefore made that the lady should leave the packet for Lieutenant Sharp in the summer house in the garden on a specified evening, and that the following morning she should find the packet intended for her in the same place. The sad engagement was kept, and having left her packet in the evening, Miss Shuckbur set out on the following morning to find her own. A servant, it is said, who saw her in the garden was curious to know what could have brought her out at so early an hour. He followed her and observed, and on drawing near to the summer house he heard the voices of the Lieutenant and the lady in earnest dispute. The officer was allowed an impassioned, the lady firm but unconcenting. Immediately was heard the report of a pistol in the fall of a body, another report in fall. Guessing the tragic truth, the servant raised an alarm, and the two lovers were found lying dead in their own blood. It is generally supposed that this terrible act of self-destruction was the result of mutual agreement, the outcome of passion and despair. Since that hour, writes Howitt, every object about the place which could suggest to the memory this fatal event has been changed or removed. The summer house has been raised to the ground. The disposition of the garden itself altered, but, he adds, such tragic passages in human life become part and parcel of the scene where they occur. They become the topic of the winter fireside. They last while passions and affections, youth and beauty last. They fix themselves into the soil and the very rock on which it lies, and though the house was raised from the spot, and its park and pleasantries turned into plowed fields, it would still be said for ages. Here stood Shockborough Hall, and here fell the young and lovely Miss Shockborough by the hand of her despairing lover. And to conclude with a romance in brief. Some forty or fifty years ago, in the far north of England, a girl was on the eve of being married. Her wedding dress was ordered, the guests were bidden. But it is said that at the eleventh hour, in a fit of passion and paltry jealousy, she resented some fancy want of devotion in her lover. He was single-minded, loyal, and altogether a finer stuff than herself. But she was as a wretched slave to such old-stock phrases as delicacy, family pride, and the like. And so he was allowed to go, for she came of people who looked upon unforgivingness as a virtue. Accordingly the discarded lover exchanged into a regiment under the orders for Afghanistan. At the time our troops were engaged there in hot fighting. The lad fell, and hidden on his breast was found to lock it, which his sweetheart had once given him. It came back to her through a brother officer, who had known something of his sad story, with a stain on it, a stain of his blood. When that painful relic silently told her of the devotion, which she had so unjustly and basely wronged, there came, in the familiar lines, A mist and a weeping rain, and life was never the same again. That stain marked every day of a lonely life throughout forty years or more.