The Regards, hello everyone! Thank you to the organisers for accepting my abstract and inviting me to join the session, which I'm very pleased to do. I read the abstract this session, there was a thread in it that I was really recognised and I thought I can make this small contribution. I have a bit of a theme running through which is PHAR, which is obviously a very emotive subject and elemental On Write is You, it's Something Good. Can't've Comes Out Of The Fire. When I was staying someone was searching for the paper. I was reminded about the great Sir Christopher Wren, the architect who built St Paul's Cathedral in London. And he actually put a phoenix rising from the icies – a mythical phoenix after the Great Fire of London to inspire everyone to keep going I suppose. Anyway. Mae'r gweithio i'r llwyddiadau ar gyfer ymddangos gyda'r gweithio arweithio ar y cyfnodd ymymwr yn ysgrifftiol o'r gwasanaethau'r ddweud o'r lleol, ac mae'n byw i dda i'r ysgrifftiol i'r hefyd yn ysgrifftiol. Mae'r gweithio i'r gweithio'r gweithio, ac mae'n o'n fwy o'r gweithio i'r gweithio, mae'n gweithio i'r gweithio'r gweithio ym Llywodraeth. I'm actually honorary secretary at the moment of the site of Articles of London, I'm very privileged. It's quite a lot of work actually, but anyway, I just thought I'd tell you a little bit about their collections. And then I've got a little case study about William Lucas. Many of you have heard me talk about the Lucas family before, but this is just a little case study of some of the work that William did and what happened to it and so on and so forth. OK, so far as very destructive as we know, we won't watch with horror. Sorry Nathan, if this gets to your heart more than anything, but some famous bars we had in the UK, York, Minster, where the Fantastic Rose window was lost. Windsor Castle where Her Majesty the Queen of England said it was her annus frivolous because lots of horrible things had happened that year. And colleagues who are not historic England worked very hard to unpick all the archaeology and what remained under all that ash and everything. The Clandon heist is a sort of stately home in England run by the National Trust. And then horrors of horrors of the National Museum of Brazil where they lost nearly 90% of their collections. It just doesn't bear thinking about it, does it? And I don't know if any colleagues were involved in that, but lots of things that really make you stop and think and very painful. Anyway, we'll move on to something hopefully a bit more gentle. So the Society of Antiquities of London was established as a learned society in 1717. And it really goes back to it grew out of the Enlightenment and goes back to Sir Isaac Newton, the great scientist who really wanted to at that time separate science from the humanities. And when the Royal Society was formed in England in London, he wanted it specifically for science. So some they were all men at the time decided they wanted to meet together to talk about antiquities and the humanities and were better to do it than in the pub on a Friday night. So they used to meet in the Bear Tower in a pub in London. It's not there anymore on Friday nights at six o'clock and discuss things that they wanted to discuss particularly antiquities. But it covered quite a range of things that you'll see in a minute. In 1920, suitable women were invited to join. You'll be pleased to know. And we did get our first woman president and then Joan Evans, who was elected not till 1959, though. And today there are over 3,000 fellows and the society celebrated its terrason tunary 300 years in 2007. But I thought there was a little connection in that this lamp of knowledge, they thought it was a Roman lamp was used as a symbol for a ticket for the society. And as you can see, there's sort of smoke coming from the lamp. In fact, it's a medieval lamp. It's not a Roman one, but it's still used today as part of the logo of the society. So the society has fantastic collections, over 45,000 artifacts, material culture, fine and decorative arts and objects that are valuable in themselves, but also illustrate the history of the society. So an invaluable source for anyone who wants to study the history of the society, but also in the development of many disciplines, including archaeology. The collections today cover a wide range. I've just put a few on here. The bronze shield was discovered in Wales in 1784, and actually this is a drawing. It's not a photograph. In those days, they engaged a man called John Carter to do these wonderful drawings. They almost looked like photographs, but of course they didn't have the benefit of photography. The many paintings in the collection. There was a carriage request on this fabulous painting of Mary I. If any of you have visited, I'll talk a little bit about that later on as well. This painting hangs in the meeting room and it's really fabulous. The picture doesn't really do justice to it. It's the Society of Antiquities of London, of course. So we have a diptych of old St Paul's Cathedral that I mentioned earlier on. This is by John Gip Llypin in 1616. There's a picture of Halmscott Manor, which is also owned by the society and was the home of William Morris, who of course was the father of the Arts and Crafts movement. There's the famous Hoxney Axe, which was found in Norfolk by John Frear, who famously wrote on a kind of flint weapons to the society. He said these tools date from a very remote period indeed, and I love this expression, even beyond the present world. Of course, it's very crucial to the study of prehistory today. Last, but not least, I put in this medieval seal of Robert's son of John. No, we haven't a clue who Robert's son of John was, but it's just to illustrate the point that some artifacts don't necessarily have to belong to anybody famous or rich or whatever, whatever, but they can give us quite a lot of information. Whoever Robert was, he had his own seal. He got broken, tells you a little bit about the design, tells you a little bit about him.  So the collections of the society are absolutely fantastic, and hopefully some of you might get to engage with them at some point. Okay, so on to the case study. Now, many of you have heard me talk about the Lucas family before, who the father, Frederick Lucas, grew up in Guernsey in the Tunnel Islands, and as many large Victorian families, he had a big family, and William Lucas was his third son, and really he became the most prominent archaeologist. He attended Trinity College in Cambridge from 1837 to 1840, and then took orders, so he became a vicar, and had various livings in Wiltshire at East Grafton, Great Bedwyn, and Collingorn Ducas. He married Lucy, who was the daughter of Admiral Sir Thomas Fellows, and if any of you have time to watch television, the famous Dynton Abbey series was written by Julian Fellows, who is, I don't know, but he's related anyway, because I think she was his grandmother, who was married to William Lucas, so they sort of connect up. But anyway, he became a member of lots of many British and French loan societies, and elected to the Society of Undercruits of London in 1855 as a fellow. He wrote at length on archaeology, but he was also interested in church bells and plits, and a lot of ecclesiastical records. He lived in Wiltshire and then moved to Yorkshire to Wath, which is near York. But when he was at Cambridge, he met Sir Henry Dryden of the Dryden Literary family. Dryden was a gentleman, he didn't have to work, but he became an archaeologist, an antiquary, but I think he deserves the epithet archaeologist as well. And they started a lifelong friendship. Dryden was the fourth baronet of Cammons Ashby in Northamptonshire, which is near Daventry, if that means any of you north of London. And he was a superb draftsman as well in Surveyor. And the pair of them used to take off in the summer months and go round and plan and record prehistoric monuments, as far apart as Scotland, Aberdeenshire, Wiltshire, Wales, South East England. And then they also went to Britain. He spent quite a long time in the Carnac area and the Netherlands as well. And there's a lovely letter from William to Henry in 1840 when there was still a very young man where William had been at home in Guernsey planning megaliths, and he sent to Dryden saying, lest you think I've been idle, I'm sending you some plans. So they obviously spurred each other on. So William elected a fellow in 1855 and he immediately started sending communications to the society, two million north Wiltshire, and then they presented their work on the megalith of Brittany in 1872 with very detailed plans and notes. And then it came to the attention of the society that he was doing these plans all around the country, and eventually he was commissioned by the society to actually carry out these surveys in a systematic manner. And in fact, at the time the president of the society was probably at the British Museum, and he suggested that if there was enough support that the society should publish the work in a series of classicals on prehistoric monuments. And Lord Carnarvyn was president at the time and he supported the idea that they should do this. So they sent out a circular. The anniversary meetings were always on St George's Day, the 23th of April, asking for subscriptions from the members for the publication of the plans. And if enough funds were found, they were going to start with Cornwall and it would be 15 shillings. So it struck me this was an early form of pride funding really, which was quite ahead of its time. So I spent a few happy hours delving through the minutes of the Society of Antiquaries and I can tell you that if anybody's got time or interest, they are an absolute mind of information and I wish in a way that I'd had longer, but I will go back to them at some point when I get a chance. So they say things like the summer, £50 to be granted toward the expenses of Mr Lucas's operations in the present summer. Curiously, he was requested to defer Stonehenge. They didn't think Stonehenge needed surveying at this point, which was quite curious. And complete parts of Devon and adjacent counties that she'd been surveying. And he was invited to continue his surveys and £50. I signed it an awful lot in the 1880s, but in fact it seemed to be around £5,860, which isn't too far removed from some of the research grants that might be given today, but it was still quite forward-thinking in those days. And yes, I'm just going to read you a little quote from the minutes. That the council were asked about this and they said that they recognise the value of the proposal. Made to them by one so thoroughly competent cariatite in the most satisfactory manner. So Lucas had obviously proved his worth by them. They feel however that they were doing less than justice to Mr Lucas if they transferred it to other hands, the work that the surveys, which form part of the general scheme and the course of execution under that gentleman's auspices with such auspicious success. And the great liberality with which Mr Lucas had presented or promised to present to the society, large collections of scale plans and drawings of megalithic monuments at home and abroad, makes it all the more incumbent on the council not to embark on any new arrangements so long as Mr Lucas is able to give them a benefit of his skills and experience. So he obviously convinced them that his work was a good thing. So they spent quite a long time in Carnac region and surveyed a lot of the major monuments, including the Tabla de Marshaun, which you'll be known to many of you. And this has brought them to the attention of French archaeologists today, which I'll talk a little bit more about in a minute. And also to Stuart Piggott and Atkinson, who had excavated at Stonehenge. And again, I'll come back to that in a minute. And these are some of the Cornwall ones. And they were drawn to a formula. And Lucas is the one where he coloured the capstones pink and the props with a natural tint. They used cartridge paper. The scales were all done through a standard. And then they did sketches, sort of topographical sketches as well. So they were scientific drawings, if you like, even at that time. And then they went to Scotland as well. Driving himself actually did more in Scotland, but they spent a summer in 1884. I'm sorry, these are a bit pale probably, but this is one of the sites known as a dilapidated camp, Sunhoney, and then the Picks cave, excuse me, in Aberdeenshire, sorry. OK. So they got around the country. And considering they were going by carriage, so they didn't... Well, the trains would have been coming in by the time they were going to Scotland, but in the early days, they would have used carriage to get around. So, here's some of the handwritten minutes. And I was joking about, not talking about Stonehenge to somebody, but I thought I'd just put Stonehenge, sorry, I'm just going to read it again, another little bit, where it said, oh, those Stonehenge does perhaps stand in such urgent need of being a plan and drawn as other prehistoric remains of less magnitude and importance. It has always been an understood thing that Mr. Lucas should undertake it for the society. And under the circumstances, the council are persuaded that Mr. Diamond will be the first to acknowledge that they have only one course open to them and must deny themselves the satisfaction of making use of his obliging offer. So they sent out the circular and they did get the money in to publish. And I won't go into too much detail because of time, but when they sent all the plans, about 200 plans went to unorthographers and they ended up in a catastrophic far. And I was really quite keen to try and find the reference to that place. So I ended up going through all the cash books at the society and eventually did find the name of the orthographers. And actually it was an uncle William Griggs and he had been quite instrumental in developing a technique of photolithography. So it was a slightly different form of printing. And I thought it was the same orthographers that printed archaeologia, which is the journal of the Society of Antiquities, but in fact it wasn't. And so it was a completely different technique. But the only reference I could find is this one where it says that they're going to give Lucas some more money after afar at Griggs' premises and they were in Peckham in South London. But you can imagine the devastation that they must have felt that Lucas himself must have felt at the time. You know, you hear about people losing research and losing PhDs on trains and things. I mean, these days it's a bit different because hopefully we all back everything up. We get caught out occasionally, but you can sort of imagine what it must have been like. But amazingly, when Lord Cronar announced in his anniversary address in 1884 that there had been this far at the lithographers, Lucas' reaction was to say, well, would you like me to do them all again? Which I must admit, I thought was quite amazing. But all is not lost because there was some outcome. And I mentioned Atkinson and Pigot and Atkinson wrote at the time of Pigot's 65th birthday in a first riff. There can be no doubt that this project had been completed. It would have ranked as one of the major archaeological publications of the 19th century. And really Lucas didn't get the QDOS, if you like, that he should have done. But luckily, a lot, they copied the plans. So a lot of them do survive in many different institutions, not just the Society of Antiquities of London, the Society of Antiquities of Scotland, the Ashmolean Museum, have a lot of the French material. Guarantee Museum had some copies, the British Museum. Williams, he collected artefacts as well as many of them did. And his collection was sold to the British Museum just before he died. And Dryden's archives are held in Northampton. But some of the invisible surveys did get a new life. So this is the site in Scotland, Hill of Many Stains. And I'm sorry, this is so pale, but headland archaeology, who were doing a digital survey of the same site, were able to use the plans to see how many stones survived and how much the site had changed in all that time from 1871 to 2004. And sorry, that should not say historic environment Scotland. I forgot to change it. And there were publications that came out from the archives that survived in those institutions I've just talked about. They had been to the Jonathan area in the Netherlands and a recent survey has just been published about the Huna Beden. Richard Bradley used some of the Scottish material in one of his many books, The Good Stones, where he looked at some of the clavicarins. Serge Cassan and colleagues put together all the material from the Carnac area in Brittany or to the other table and used a lot of the Lucas material and my own work on the Chonol Islands. I use some of these plans as well. So my conclusion was that archives and collections are very important. And of course we must try and make them accessible. So this material is a bit invisible, but it does survive. And quite a lot of it has been digitised. The work has not only is it interesting for the history of archaeology, but it has intrinsic value as well. So good things can arise from the ashes. I hope you agree. And I just wanted to say, in case you think the Society of Antiquities is a very closed society for just the fellows, this is not true at all. We are a charity in like all charities today. We have a whole programme of outreach. People can come and study, just have to contact the library. There's a whole series of lectures that are up into the public and if anybody wants to know anything more about it, do let me know. Anyway, thank you.


Are you going to heaven? Most people say yes. When I ask them why, they say, well, because I'm a good person, but here's what the Bible says. In Titus 3.5 it says this, he saved us not because of the works done by us in righteousness, but according to his own mercy by the washing of regeneration and renewal of the Holy Spirit. You don't go to heaven by being good enough. You get saved through God's grace and mercy demonstrated through Jesus' sacrifice on the cross. In his death and resurrection, we are reconciled with God. You begin your journey when you receive his grace and trust in Jesus. Follow for more Christ-centered content.


So, the talk we're going to deal with today is on Prometheus Data Analysis and Event Notifications for Progressive Delivery. I'm Ravi Hari, Principal Software Engineer at Intert.  We are Intert. We founded the company in 1983 and we've gone IPO in 93 and we are at 19 locations. I'm working out of Bangalore. We had 9.6 billion revenue last year and have about 100 million customers. We contribute to a lot of projects in the open source. So, let me give a brief about Argo. Argo is a sort of Kubernetes native tools that manage running of jobs and applications in Kubernetes. It basically makes running these jobs and applications seamless. So, it goes with the tagline of get stuff done with Kubernetes. Argo adopts this GitOps paradigm for continuous delivery and progressive delivery as well as it enables to run MLOps on Kubernetes. So, there are multiple projects in Argo, like Argo CD, Argo Rollouts, Argo workflows and events. Today, we are primarily going to talk about Argo Rollouts for progressive delivery. So, what is Argo Rollouts? It's a open source Kubernetes deployment controller. It's a drop-in replacement for deployment that we get default out of Kubernetes and it supports multiple strategies like Blue Green and Canary. So, let's delve a little bit into why we needed Argo. The out-of-the-box deployment controller that we get in Kubernetes provides two type of strategies. One is recreate, the other one is rolling update. So, with neither of them, we will be able to do Blue Green or Canary or progressive delivery. That is one of the reasons why Argo Rollouts stepped in and it provided all these different functionalities. So, let's delve into what these Blue Green, Canary and progressive delivery are a little bit in detail. So, let's start with Blue Green. We have, say, version one and let's say we have two services, an active and a preview one. You know, also call it as stable and desired and both point to the first version initially. And as we bring in the newer version, the preview points to the revision two. And if we test it out and everything looks good, then we can promote the revision two to be the stable version. And then the traffic from service in stable also goes to the latest version that is revision two. And then once we are comfortable with the revision two, we can delete the whole set of parts. So, this is how Blue Green generally works, right? How do we qualify this in Argo Rollouts? In Argo Rollouts, we specify this with, you know, a rollout object, but with a strategy of Blue Green. And then we specify the active service, preview service and stuff like that, right? Let's look at Canary. In Canary, we have, say, revision one and both stable and desired services point to revision one initially. But as we start deploying revision two in Canary, the traffic percentage is gets into revision two based on the number of parts that we create in the revision two. Say in a set of four parts, if a new part gets created in revision two, 25% of the traffic goes into that. The difference between this one and the rolling updates here is that rollout provides you with a lot of features to control this, you know, revision two at this particular point and do your analysis and testing. And only when you feel comfortable, you'll be able to promote it. Whereas in deployment, it continuously keeps updating the newer parts as the newer parts are stable, it terminates older versions and it brings up the newer ones continuously. Whereas Argo Rollouts with Canary, it provides you with the ability to pause here and do your analysis. Now, once you are comfortable with this, we can promote more percentage of traffic. And after a certain point, we can delete the older version and completely step up with the newer one. So, how do we specify the Canary deployment? We qualify that with a Canary strategy and then we give the weights to it and the weights can be distributed into different steps. Each step can have a different weight percentage and we can qualify the pause duration however long we want at every percentage of weight distribution that we are interested in. Now, an extension to this Canary is ALB Canary. We have seen that, you know, the percentage of traffic is dependent earlier only based on the number of replica pods that are coming up in the Canary. However, if you want to do traffic routing as we are doing Canary, what we could do is we can configure ALB Canary and we can split the percentage of traffic that we need to send to the newer version, that is revision 2. And we can control it by configuring this in the traffic routing with ARGAR allots using ALB Canary. So, initially we can probably send 5% of the traffic and later once we are comfortable, we can completely send the traffic and completely shift the stable revision also to send the traffic to revision 2 after everything is stable. How we can specify this? We can specify this with the traffic routing configurations in the ARGAR allots as we have seen and the analysis templates can also be used here to analyze how your traffic is behaving with the newer version of the pods, right. And in the ALB Ingress, what we get is that if you see that there is an annotation that is introduced as the percentage of the traffic gets moved into the newer revision based on the set weight percentages and the steps that we give, the weight here in this ALB Ingress for the desired service gets updated and accordingly that percentage of traffic gets routed to the revision 2. So, this is how ALB Ingress with Canary works. We can configure this with various types of other Ingresses like STO or NGINX and other things. ARGAR allots provides the plugin capability. Now we have seen different types of blue, green and canary, but what is progressive rollouts, right. So, the ability to introduce observability into delivery process and controlling the blast radius of our delivery of the newer deployments constitutes primarily the progressive delivery, right. So, what we could do with progressive delivery is that we can enable metrics that we are interested in to monitor as we are progressing with the revision 2 or the newer version of the deployments of the applications and we can qualify which kind of metrics and conditions are successful and which are failures and we can also enable auto promotion to the newer version completely in case of blue green deployments or we can roll back in case of the canary continuous analysis, if in case the newer version fails in any one of the step, we can automatically abort it and roll back to the previous step. So, all these things constitute into progressive delivery and ARGAR allots provides this automated features out of the box for you. So, let us look at what kind of data analysis we could do with Prometheus to qualify a progressive delivery for an application, right. So, let us understand how this works internally in ARGAR allots. ARGAR allots itself is a controller that manages these deployment objects as well as the replica sets and the services ingresses and stuff like that. On top of it, ARGAR allots has an embedded analysis controller wherein we can define an analysis template as it goes through the list of the steps that we defined in the analysis in the analysis portion in the canary strategy or in the blue green strategy, it would take that analysis template and convert that into an analysis run and at the time of analysis run, it goes and fetches the data from the desired metric provider. It primarily we use Prometheus in Kubernetes. So, it goes and fetches the data from Prometheus and ensures if the conditions that is specified for success and failure, for example, the total number of requests that are successful or failed or for example, the CPU usage on a container or the memory usage on a container should be less than some 80% and stuff like that. All those different sets of conditions that we want to qualify for a successful promotion, they can be evaluated and then rollout proceeds further into the next set of steps as these analysis run continuously in the background or in line. So, how we define an analysis template? An analysis template can be simply put, can be defined like this wherein we write some Prometheus query. We just declared the Prometheus URL that we want to look for in the cluster as an environment variable. Our analysis template can be as simple as this. Primarily, we just have to write our query and the condition at which we want to qualify it as successful. But if you want to get it a little more verbose and write additional details into it, we can qualify that. We can specify the Prometheus endpoint URL and the port in which we want to run and how many times we want to run this analysis as well as at what interval we want to run this analysis run. All these things can be specified and these can be injected into the canary or blue-green relapse. So, in blue-green, where we can use this analysis runs is primarily pre and post promotions. So, primarily once we deploy the revision too, before we promote our traffic completely into the newer version, we can run all analysis checks and ensure the newer version of the parts are all successfully updated and there is no issues. After we switch the traffic, we can again run the post promotion analysis on the parts and ensure nothing breaks and everything is successful with that. So, we can add these pre promotion analysis and post promotion analysis with analysis templates and we can query the data from Prometheus and then ensure our applications are stable after promoting to the newer version. This is in blue-green. How about canary? There are multiple ways. One is in background analysis. When we qualify with the strategy canary and write the analysis on top of the steps, it keeps running continuously for all the steps that we have defined. For example, we have defined set weight 40% and set weight 60% and stuff like that. So, at every step, it continuously runs this analysis and then ensures that the newer version of the part or the application is stable at that percentage of canary deployments. And in any case, it fails, it automatically rollbacks to the previous version that we already have and our Guru allots already keeps in memory the hash value of that replica set. How about the other approach? The other approach we have is inline analysis. In terms of inline analysis, what it does is it's like a blocking step after every step that we define, it stops the rollouts there and then it does this analysis at that time and then gets back data and qualifies whether that analysis run is successful, only then it proceeds further. So, this is how inline analysis can be done. This is primarily used if we want to do some kind of quick checks where more some heavyweight processes, like if you want to run some benchmarks at 40% of the traffic or 80% of the traffic and ensure everything works fine with your newer version, this can be done with the inline analysis. So, we have seen analysis. When we want to bring observability to the application developers, it's not enough if we run the analysis. We also need feedback. Let's say developers update their GitHub repo and they want to fire and forget, but it's also good to notify them if everything went successfully fine or if something had a problem and stuff like that. So, events in this case is really helpful. So, how does events work with Argo rollouts? So, again, extending into the previous architecture that we have, Argo rollouts also embeds a notification engine, it's a controller in Argo project now. Basically, what this events does is, let's say if you run analysis, we generate an event whether that analysis is successful or fail. Let's say if we complete the rollout, that is an event that we generate or if we update a step in the rollout, that's an event that we generate. All these events that we generate and write into the event recorder will be pushed to notification engine and notification engine can then send based on our subscription to any one of these channels. It could be email, it could be Slack, Telegram, PagerDuty or Obscene. All these are integrated and many more are also available. So, we can choose which notification service we want to get qualified with and alerted for based on the type of the trigger that we are interested in. So, let's look at what it takes to configure events in Argo rollouts. So, the first thing that we need to set is, this is an example for Slack. We need to set the Slack bot token in the secret for the Argo rollouts and then we need to set the config map. In the config map, we consume the token and then we write a trigger for one of the conditions that we are interested in for which we want to get alerted, say rollout completed and then we want to send a message to the Slack with all the details. So, we write the message in the Slack format. If it is an email, we can write the message in an email format and stuff like that. So, we configure our config map with this data and then in the rollouts, we qualify with annotations that we want to get notified on a specific channel. So, we subscribe to specific triggers and those triggers, we can qualify this. This was until recently, we were doing like this and we realized that if we have to subscribe for multiple channels for same set of triggers, the cardinality here is high and our rollout object becomes very clumsy, right? It is not pretty neat. So, what we have come up with, we have come with a new feature in notifications with a new annotation where we can call that annotation as subscriptions and here for a common set of triggers, if you want to get notified for multiple Slack channels or multiple services, we can define them. For example, in the second case here, in the first case, we are getting notified for rollout updated and rollout completed on a Slack channel but in case of failures, we not only want to get updated on the Slack channel but also email then in the same annotation, we can write it with new service description here, right? So, with that, we get notified in case of failure events and stuff like that. Let me do a quick demo. I am just put forwarding the metrics here and then my Argo rollouts is running here. Let me show you Argo rollouts object. This is similar to what we have seen earlier. In case of rollout updated, completed or rollout paused, I want to get notified in this channel. In case of analysis successful or rollout about it and other kind of failure scenarios on analysis, I want to get notified in the data analysis channel and I want to get emailed on this email, right? So, in terms of rollout specification, this is a canary strategy and in the canary strategy, I have set weight percentages and pause durations here defined and here this is a success case for the analysis and here I have a failure case for the analysis. Let me run this here quickly, okay? Let me show you the Slack channel here. So, this object had been created. I am not getting updates. Let me show you my recorded video. I just took a backup in case for whatever reason the internet connection is not great. Let me show the demo in my recorded video. Yeah. So, this is the object that I have just walked through just now and let me proceed further. So, let me go ahead and deploy this. Yeah. So, now that we have deployed the Argo rollout with a bluer version, you will see that an event got generated here and now what I am doing is I am updating from version 1 to version 2. That is from blue version to green version. Now, when I deploy, it would also execute the analysis because this is promoting newer version of the parts. So, you see that we are getting notifications for the green version of the parts in the rollouts demo where we have subscribed for rollout updated or rollout completed. And in case of analysis, as we have seen just now here, if the analysis is successful, we got a notification here that the analysis job, the analysis that was successful, we got a notification in the data analysis channel. We will also show you what happens in case if there is a failure. So, on paused events again, we are getting notification in another channel. So, when we go through the rest of the steps, there is a failure step that we have defined. At that step, it would fail and there we would see a notification coming primarily for us on the data analysis channel. There you go. So, here if you see the analysis fail and we have aborted the rollout and we switch back to the previous versions. Essentially, we are getting notified with different color patterns. All these things you can configure in your config map on the colors and schemes and stuff like that. You know, we have qualified two notification service channels. One is Slack. The other one we should also get in email. Let me quickly show you that. Yeah. So, I am getting notified in my email. So, at this point, this was for the previous one and the latest one is here where initially the first analysis was successful and then we ran into an analysis failure. So, we got an event here and then the rollout got aborted. So, that is how we can configure these notifications and immediately get alerted and look into what has happened. Now, these channels here, it need not be limited to Slack and email. It can be PagerDuty. It can be Obscene and others. So, we can get alerted if there are a certain folks in the team or you are taking an on-call on a particular day, you get notified and you can fix the problem immediately. Yeah. That is pretty much what I have today. Any questions? We have time for one question, I think. My browser froze, so I can't check the time. Any questions? We have five minutes. Perfect. Thank you. Any questions? We don't bite. No questions? There we go. Thanks for the presentation. What I missed from the receivers from the alerts, especially because we are on the Prometheus Day, is the Prometheus Alert Manager. Do you have support for that? Because in the end, I am thinking that the purpose is to have one tool for controlling all the alert rules and so on because I couldn't write a configuration for every event channel, etc., etc. We have support for Alert Manager as well. Because Alert Manager, I thought in Prometheus Day, most of the people will cover it, so I was just showing the other channels.


update. Good afternoon, folks. Steve Rhodes, coming to you live from the shores of sunny Delray Beach, Florida. That's your 2 p.m. update. And currently have all the U.S. indices that we track trading to the downside. Dow's up under 38. So certainly off of its lows. That's down about a half or percent. One of three tenths for the S&P or 53 points. NASDAQ 2.5% or 300 points. Russell 2%. 38 points. Summice, 2.25%. 64 points. Gold, trading up 16 bucks at 18.63. Silver, trading out at 22.07. That's up 1 in 6 tenths percent. Lights, we crewed up a buck, trading at 1.13.23. Natural gas, up 9 cents, trading out at 8.82. And the 30th treasure up 1 point and 19.32. She's trading at 1.41.29. Let's go spend a little time and take a look at our indices charts out here. Get a feel for how, what they're communicating to you and I as we begin with the Dow Jones. Yesterday, the Dow Jones confirmed A by the D point pattern. It had, that means it had the A to B equal CD pattern. I've drawn in the A to B basically. I'll move that line over to the C to D leg out there. The reason why it was confirmed was because we had a nice bull sash candle out there. If price can close above its oscillator and change, London is trading just above it right now. That would be our second consecutive day. That's at 31.687. If we get that, price should make its way back to the 32.617-ish area. That's the prior swing point. The S&P 500 also confirming A by the D point yesterday. It needs to close above. It's oscillator and change line, 38.27. It's got its work cut out for it. That's about another 13 points the upside. If in fact it closed above that, that suggests heading back to the 4100 level. The NDX100, it did close above the red oscillator and change line yesterday, but it's below it today, needs to get above 11.865. What happens if it closes below it? Then it says the work to the downside may not be over. Same would be the case for the Russell 2000, the level that it needs to close above is 17.57. In the case of the semiconductors, it needs to close above 28.62 to suggest a further rally. Otherwise, when you blow a red oscillator and change line, it's telling you it would prefer to go seek out lower price or at least do a test. And that test here would be of a prior swing point. If we take a look at the transports, they just look basically ugly, although yesterday was A by the D point pattern. No, was it? Yeah, no, it was not. I take that back. Just delete that last portion of what I said. Turt, please. There's no Turt up. Oh my goodness gracious. I'm going to have to have a talk with that guy. Steve Rhodes out there. Make sure he gets his act together next time around. My apologies for that head of New York Stock Exchange out there. That's looking pretty strong. Folks, have a terrific Tuesday, and I'll see you tomorrow on Wonderful News.


This is the Innovate Arctic Claw 300 ice test. You just saw me run down about 50 meters of ice. It goes up about another 50 meters above that. And I am at the base of Pikes Peak, a 14,000 foot mountain in Colorado, and this trail right here, we did get a couple inches of snow last night. So the ice is a little more covered than I would like, but it's still icy out here. So we're going to dig in with the microspikes. This is my first time in microspikes in my entire life. I cannot wait. I'm just going to, basically, you're going to see me. I'm going to bomb up the ice and bomb back, pardon me. I'm going to bomb up the ice and bomb down the ice as fast as I can, testing out the microspikes to see how they do in the ice, okay? And let's go. That concludes the Arctic Claw 300 ice test. I'm glad I came. I'm glad I came. I found the ice, and the keyword for this video has to be Arctic. Has to be Arctic. And the big question becomes, did I fall and did I catch it on camera? I will tell you that back at the shoe deal. The Arctic Claw 300, welcome to the second video publishing today. This is not going to be my first impression of the shoe. This is not going to be definitely not my full review. I like to do that after 50 miles. I only want to talk about the microspikes on the bottom of this shoe because guess what? This is my first time running ever. And I've been running for 20 years, first time ever, using microspikes. So it's an exciting day, right? You know what it's like when you get a new piece of gear that is just really, really brand new, like a totally new deal, whether it's a shoe, whether it's a watch, whether it's a headlamp, whatever the sock, whatever the case may be. While microspikes are new to me and here in Colorado, what happens is that right now there's a snowstorm outside in Denver, Colorado. It's a blizzard, but next week, and so it's late February right now, next week, it's supposed to be in the 50s. So all of this snow that is falling right now is going to melt. And what happens is we get a lot of sunshine here in Colorado, a lot of sunshine. It's amazing. But it melts the snow pretty quickly, and then at night it freezes. It freezes real good. Well, today I found some ice at the base of Pike's Peak and next week I anticipate using this shoe a ton because what's going to happen is the snow will melt and then it's going to freeze at night and then I'm going to go take the Arctic Claw 300s out and just eat up Deer Creek, Mount Falcon, Green Mountain, wherever, you know, whatever mountain I can find and test out these microspikes even further. And in this video, I'm not going to talk about the upper, the midsole, the outsole. I might mention the lugs just briefly. Again, it's just about the microspikes. So their tungsten carbide is the actual material used to create the spike and they are embedded into the base of the lugs. And I will just say the lugs are seven millimeters deep. So the actual rubber, and I'm not going to get into the details of the type of material, but I'll just call it the rubber on the lugs. And so what I'm curious about is to see, will these, and this is a little bit of a concern. I don't know yet because these are my first microspikes, but like today I was running on probably 90% snow, no, no, no, 80% snow, 10% ice, and then 10% dirt. And again, like the snow melts and it turns to dirt. So I'm curious to see how these microspikes will hold up when I'm transitioning between the ice, the snow, and then occasionally dirt and rock. You saw me jumping over the rocks there. So it'll be interesting. I don't know if you have experience with microspikes and their durability. I'd be curious to hear your thoughts on them. And for the actual ice test today, you saw me running there. I was trying to run as basically as fast as possible, both up and down. And I slipped once on the way up and I think I went up. I counted five times up that hundred meters of ice five times and I slipped once on the way up where my foot basically slipped out, but it was, I didn't fall like it wasn't a major slip. And I am now realizing the brilliance I think, and again, I need more time, but the brilliance of the size of the, of the, the, the microspikes. I was a little concerned pulling these shoes out of the box that the, the microspikes just didn't look basically big enough, tall enough, deep enough, and sure enough, they gripped so, so well. So let me just say these are Solomon speed cross fours. It's night and day difference between putting screws in the bottom of your shoes and running in microspikes. Like it's just, it's like night and day difference. I like the screws were fine, but I now, I now see the brilliance of the design of these microspikes being frankly pretty small. And therefore I did not fall. I was trying to move as fast as possible up and down the ice. I wasn't sprinting down the ice, but I was moving pretty good. I didn't fall. I didn't fall. So this is good. This is a good test. If I would have, if I would have gone down, I obviously wouldn't be as excited right now, but uh, and yes, I did.  All right. That is video number two for today question of the day for this video. Have you ever run in microspikes? What did you think and yeah, what did you think? Did they help? Did they not help as much as you thought they would? And it could be any brand because innovate is not the only shoe company putting microspikes in the bottom of their shoes. I'm encouraged, very interesting. And I guess I'll also just add real quick, very runnable because you know how you can put crampons or yak tracks on the bottom of your shoes?  I don't know. I didn't even, I wasn't even thinking about it. I was just running out there today. See beauty, work hard and love each other. Oh man. See you tomorrow. Whoo. All right. Time to film.


FORWARD OF COLORED STARS, VERSIONS OF FIFTY ASIATIC LOVEPOMES, VERSIONS OF FIFTY ASIATIC LOVEPOMES, by Edward Powes Mathers. FORWARD There is an opportunity of knowing in brilliant English translations much of the poetry of China and Japan, of India and Persia, and Arabic poetry is accessible. But I believe this book to be the first general English anthology of Asiatic verse. It is haphazard, as such books must be, until some polyglot scholar gives a whole life to the matter. Variety was the only aim possible in a space so small, and therefore I have selected love poems of different centuries and of both primitive and subtle peoples. If readers care to turn to anthology de l'amour asiatique, compiled by Adolfo Thalassa, the late editor of The Review Oriental in Constantinople, they will find a full and clear study of Asia's love poetry and see also how much I owe to this erudite and stimulating authority. Asiatic Thalassa's work first showed me beauty and interest in the songs of almost unknown literatures. In some instances I have translated directly and only from his book, in others I have gratefully taken his direction and traced poems back to their sources. Versions also of some of the Chinese poems given here will be found in the incomparable Livre des Jades of Madame Judith Gautier. Reference to the texts of other poems is easily made at various libraries, except with regard to a dozen which I have personally collected. These last have not before, I think, been given a European form. E. P. M. London, 1918 of Forward. Section I of Colored Stars. Versions of Fifty Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain. Recording by Nima. Shade of the Orange Leaves from the Chinese of Tin Tuan Ling. The young girl that entered chamber from dawn till eve alone. Her silk flowers on robes deliciously shutters at the unexpected sound of a far flute. It seems to her that the voice of a young man is kissing her ear, and when across the oiled paper of the high windows the Orange Leaves come in touch and make their shadows run on her knees. It seems to her that a hand is tearing her robe of silk and of shade of the Orange Leaves. Section II of Colored Stars. Versions of Fifty Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain. The dalliance of the Leopards. From the Sanskrit Fifth Century. Very afraid I saw the dalliance of the Leopards. In the beauty of their coats they sought each other and embraced. Had I gone between them then and pulled them asunder by their mains I would have run less risk than when I passed in my boat and saw you standing on a dead tree ready to dive and kindle the river. End of The Dalliance of the Leopards. Section III of Colored Stars. Versions of Fifty Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain. Recording by Nima. Warsaw from Altai. Two bodies straight as palm trees. Two hips as supple as reeds. We prefer the straights staffs of our banners. Where supply floats our aura flame of sun. Our banners guilt like scimitars that catch the sunset. To silk hair red is burning coals. To silk hair black is coals burned out. To hair that is dawn or night on girls heads. We prefer the tufts floating in fight. Tufts of gold hair or black hair pulled from the tails of our black horses. To shining white breast on virgin bodies firm as the thrice-tried bronze and round like marble cups when subtle and swooning odors come. We prefer the clash of our sabers triple-tried in the shining of our round shields like mighty cups. To the murderous arrows of black eyes made blacker by the bow of brass and the coal of love given and love taken. The dear darkness about eyes for love's sake. We prefer the murderous arrows that stretch our bows in fight. The arrows of black eyes are tipped with kisses, not kept back. Not only sped at willing hearts, in the tips gash chance hearts often enough and give death where no battle is waged. But the arrows of our bows sow death only among the hardy foe. Two bodies yielding under the struggle of love and raring under the red fire of kisses. We prefer our horses tricked with silver and gold, our horses that yield not beneath us and bound only at the sight of the blood of battles. End of War Song Section 4 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powys Mathers. This leap of ox recording is in the public domain. Recording by Anima. Black hair from the afghan of Muhammadji, 19th century. Last night my kisses drowned in the softness of black hair, and my kisses like bees when plundering the softness of black hair. Last night my hands were thrust in the mystery of black hair, and my kisses like bees when plundering the sweetness of pomegranates, and among the scents of the harvest above my queen's neck, the harvest of black hair. My teeth played with the golden skin of her two ears. Last night my kisses drowned in the softness of black hair, and my kisses like bees when plundering the softness of black hair.  I know one that has sworn you are hurt for stealing the roses from my cheeks, has sworn you are hurt even to death, the guardian of black hair. Last night my kisses drowned in the softness of black hair, and my kisses like bees when plundering the softness of black hair. My hurt, darling, the sky will guard me if you wish me guarded, but now for my defense, dearest, roll me a cudgel of black hair and give me the whiteness of your face.  Still, if you wish me there, loosen me among the wantoness of black hair. Last night my kisses drowned in the softness of black hair, and my kisses like bees when plundering the softness of black hair.  I am so beautiful and so white that the lamp-light faints to see my face, and also God has given me for adornment my heavy black hair. Last night my kisses drowned in the softness of black hair, and my kisses like bees when plundering the softness of black hair. He has made you beautiful, even among his most beautiful. I am your little slave, O Queen, cast me a little look. I sent you the message of love at the dawn of day, but my heart is stung by a snake, the snake of black hair. Last night my kisses drowned in the softness of black hair, and my kisses like bees when plundering the softness of black hair. Fear not, dear friend, I am the charmer. My breath will charm the snake upon your heart, but who will charm the snake on my honor, my sad honor? If you love me, let us go from packly. My husband is horrible. From this forth I give you command over black hair. Last night my kisses drowned in the softness of black hair, and my kisses like bees when plundering the softness of black hair. Muhamadji has power over the poets of packly. He takes tax from the amateurs of Great Delhi. He reigns over an empire and governs with a scepter of black hair. Last night my kisses drowned in the softness of black hair, and my kisses like bees when to plundering the softness of black hair. End of black hair. Section 5 of Colored Stars, Versions of 50 Asiatic Love Poems by Edward Powis Mathers. This LibriVox recording is in the public domain. The Garden of Bamboos, A Street Song of Anam. I live all alone, and I am a young girl. I write long letters and do not know anyone to send them to. Most tender things speak in my heart. And I can only say them to the bamboos in the garden. Waiting on my feet, lifting the mat a little behind the door. All day I watch the shadows of the people that pass. End of the Garden of Bamboos. Section 6 of Colored Stars, Versions of 50 Asiatic Love Poems by Edward Powis Mathers. This LibriVox recording is in the public domain. Eyes that move not. From the Chinese of Lai Wai Hain. The ashes are cold in the gold of the perfume-brazier. It is shaped like a fantastic lion. Reavishly I fidget under the red wave of my bed-clothes, and suddenly I throw them from me to get up. But I have not the courage to undertake. My hair-dressing, the comb is too heavy for my dejection. I leave the dust to tarnish the precious things on my toilet-table. Already the sun has reached the height of the hasp that holds up the curtain. This grief that I have hidden from all, this grief at a departure-threatening, becomes more bitter still. Things to say come as far as my lips, and I press them back into my heart. It is indeed a new thing for me to feel, a torment. This is not an illness caused by getting drunk nor by the melancholy of approaching autumn. Ah, it is finished, it is finished. He goes away today. If I sang ten thousand times the, stay here by me, song, yet he would not stay. Now my mind has gone on a journey to the south, to his country, which is very far away. Look, see, the mist encumbers my pavilion. Before my eyes is but the water running round about. It is my grief's sole witness and may be astonished to reflect so long and long the stupefaction of my eyes that move not. Ah, heavier still, hereafter shall my regard weigh down on you pale mirror, for even as I speak it is accomplished this harm, this sadness of eyes that move not, and of eyes that move not. Chapter 7 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain. Recording by Nima. Ghazal, from the Hindustani of Dilsa's eighteenth century. If the proud girl I love would cast a glance behind her, as down the road she swings in her bright palanquin, she would see her lover on foot with empty hands, like the white buds of two bros in a dark night, through the lines of beetle shine out her white teeth. When she puts henna on her hands and dives in the soft river, one would think one saw fire twisting and running in the water. Chapter 8 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain. Doubt, from the Japanese of Horikawa. Will he be true to me? That I do not know. But since the dawn, I have had as much disorder in my thoughts as in my black hair. End of Doubt. Chapter 9 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain. Recording by Nima. Song, Love Song of Tibet. Like the fine and silky hair of our goats, which climb up very high on the peaks of an inaccessible kara karun, so fine and silky is the hair of my girl.  Her eyes are soft as the eyes of the goats that hold the heavy teat to their young. Her eyes have the color of topaz with which she decks her head and neck and this topaz has the soft color of the soft eyes, very soft eyes of our goats. Her body apt for work is slight and supple, as slight and supple as the bounds which our goats make when they leap on the curved flanks of the summit of Dapsang. Her cheeks are ever fresh to my lips, fresh like the milk I draw daily when the goats come back to the stable from the swelling udders that sweep the ground. End of Song. Section 10 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain. Recording by Nima.  Then I feel from your eyes live like two diamonds, from the minds of Singh Foss and from the smile of your lips that smells so sweet of Senpal and from your breathing body that your long robe shows.    When in the month of flowers snow piled on Umidong falls from the mountain on a devouring torrent, sweeps in his passage trees, houses, beasts and men, and nothing is able to stay his great course that grows greater and greater and drowns with his waters, the waters of Kinduen. So violent is my desire for thy desire, it overturns all things in coming to thee, it smothers the precepts that Godama gave us and drowns all the laws of the Lord of the Elephant. What does your husband matter, what does your family matter?  The desire drawing me to thee is natural, like the torrent that falls from the heights of Umidong, like the lightning which falls on the oaks of Mandalay. Of nature natural is the desire that draws me to thee, and of my desire. Section XI of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powers-Mathers. This LibriVox recording is in the public domain. Distitch from the Persian of Umara, Tenth Century, ah, would that I could hide within my songs, and every time you sang them, kiss your lips, and of Distitch. Section XII of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powers-Mathers. This LibriVox recording is in the public domain.  I will cut grass in the fields, and you will sell it for beasts. Since you love me and I love you, the rest matters not. I will sow maize in the fields, and you will sell it for people. Section XIII of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powers-Mathers. This LibriVox recording is in the public domain. Recording by Nima The emperor, from the Chinese of Thaofu. On a throne of new gold, the sun of the sky is sitting among his mandarins. He shines with jewels and is like a sun surrounded by stars. The mandarins speak gravely of grave things, but the emperor's thought is flown out by the open window. In her pavilion of porcelain the empress is sitting among her women. She is like a bright flower among leaves. She dreams that her beloved stays too long at council, and wearily she moves her fan.  My beloved moves her fan and sends me a perfume from her lips. Once the pavilion of porcelain walks the emperor, shining with his jewels, and leaves his grave mandarins to look at each other in silence. Section XIV of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powers-Mathers. This leap of ox recording is in the public domain, recording by Nima.  You made as if to break away, and then settled wriggling in my arms. While your lightness and softness were pressed against me, and your face looked up from my breast, puckered with amusement, it would be something of this sort if our clear blue night full of white stars turned to a night of colored stars. Red and purple and green to the zenith, and orange and light violet and lemon, and bright rose and crimson all about the sky. End of Song. Section XV of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powers-Mathers. This leap of ox recording is in the public domain, recording by Nima. Love Song from Dagestan. The mountains of Bakhbama are great enough, but my love is greater. The glaciers that marble their tops are white, but your breasts are whiter. The antelopes stricken by my bullet weeps a red blood from its wound, which dies with large red flowers the field of the blowing jasmine flowers of snow.  The mountains of Bakhbama are great enough, but my love is greater. The wind screaming in the forest when the wind of Russia blows is milder than the desire that draws me to thee.  When you are by my side, I feel in my body a warmth more suave than the softest sun rays. And when you go away from me, my sadness is blacker than the lowering night great with storm. The wind screaming in the forest when the wind of Russia blows is milder than the desire that draws me to thee. End of Love Song Section 16 of Colored Stars Versions of Fifty Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain. Recording by Nima Fajat from the Hindustani of Shah Salim, 18th century I'd wish them to put for a talisman on my tomb a pink stone, to remind folk of the stone heart and the pink fairness of my murderous. End of Fajat Section 17 of Colored Stars Versions of Fifty Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain. Recording by Nima I am only a man, and yet sometimes the green skin of unripened limes, or the rose and gold of a naked heel, take hold of my heart and make it feel. And then I'm a god, the tints and blends, loves and laughs and comprehends, hunger and honor are my creed, and the splendor of a windy speed. And then I'm a wolf that glares and runs after the soft four-footed ones. Moonlight is shattered on my track, our human voices call me back. End of Loving Things. Section 18 of Colored Stars Versions of Fifty Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain. Being Together at Night from the Chinese 19th Century. By black water and dark blue water, making the wide tree balance its branches, between us and the moon, we stood close, as close among the leaves, small green diamonds of rain and the far stars. End of Being Together at Night. Section 19 of Colored Stars Versions of Fifty Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain. Recording by Anima. The Peach Flower from the Chinese of Tzit T. I have plucked from the branch of the peach, a flower quite little. A flower quite rose, and offered it to the loved girl whose lips are smaller and more rose than the little flower. I have taken a swallow with black wings from its nest, and offered it to the loved girl whose lips are little and rose and whose brows are like the black wings of the swallow. Last day the little rose flower was faded, and the swallow, following the soul of the flower, had taken flight by the window open onto the blue mountain.  End of The Peach Flower. 20. Of Colored Stars. Versions of Fifty Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain. Recording by Anima. Leela, a Song of Nepal.  A range of Bahrain pearls. A goblet of Shiraz wine. A musk of Tibet. The musk of Tibet is your breath. The Shiraz wine, the water of your mouth. The Bahrain pearls your teeth. Oh, Leela. Oh, Leela, in your eyes are three things. Black diamonds of Hindustan. Figured silks of Lahore. Flames of Fuziyama. The mountain flames are their brightness. The figured silks of Lahore are their dusk. The black diamonds of Hindustan their color. Oh, Leela. Oh, Leela, in your heart are three things. All the yellow cobras of Burma. All the deadly fungi of Bengal. All Nepal's poison flowers. The poison flowers are your vows. The deadly fungi your kisses. The yellow cobras your deceits. Oh, Leela. End of Leela. Section 21 of Colored Stars. Versions of 50 Asiatic Love Poems by Edward Powers Mathers. This LibriVox recording is in the public domain. Looking at the moon from the Japanese of the courtesan of Nagasaki. Very far from your eyes, my loving eyes regard the sky of stars. Ah, that the moon might be changed to a mirror. End of looking at the moon. Section 22 of Colored Stars. Versions of 50 Asiatic Love Poems by Edward Powers Mathers. This LibriVox recording is in the public domain. Recording by Nima. Song from the Sanskrit 5th Century. Do on the bamboos. Cooler than do on the bamboos. Is putting my cheek against your breast. The pit of green and black snakes. I would rather be in the pit of green and black snakes than be in love with you. End of Song. Section 23 of Colored Stars. Versions of 50 Asiatic Love Poems by Edward Powers Mathers. This LibriVox recording is in the public domain. Recording by Nima. A love rapture from the Chinese of Li Taipei. Round the palace of waters, gently the wind moves the flowers of the water lilies. On the highest terrace of Kowtzu, one sees the king of Lao lazily lying. And before him, si chi, after whom beauty was named, dances with lovely grace of delicate weak gestures. Then she laughs that she is so voluptuously wary and languidly leans to the east on the white jade of the royal bed. End of A Love Rapture. Section 24 of Colored Stars. Versions of 50 Asiatic Love Poems by Edward Powers Mathers. This LibriVox recording is in the public domain. Recording by Nima. English Girl from the Chinese 19th Century. I that lived ever about you never touched you, Lillian. You came from far away, and devils with twitching faces had all their will of you for gold. But I saw your little feet in your bedroom, your little heathen shoes I kept so bright, for they regarded not your feet, Lillian, but I regarded. Your little heathen stockings were mine to carry and to set out and to wash. They regarded not your feet, but I that lived ever about you never touched you, Lillian. Their faces twitch more this frosty morning. They have put you in a heathen box and hidden your feet and carried you out in the frosty morning. They have passed with you over the foggy brook and look like big blue men in the mist on the other side. Now only the mist and the water remain. They never regarded your feet, but I regarded Lillian. Their faces ever twitched. But for the seven years since I saw you, my face did not change. They never regarded your warm feet, but I regarded. End of English Girl. Section 25 of Colored Stars, Versions of 50 Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain, recording by Anima. Gazal from the Hindustani of Incha, 18th century. Seeing me come, the heavenly girl fled very fast and ran, surpassing fast, her tongue between her teeth. I followed, and the heavenly girl at the noise of my following pulled back the leaf of the door and hid behind. I followed, and for her savagery fast, fast I scolded her. Till all ashamed and drawing back, she could not answer me.   And this song is only as threads of smoke to the heavenly girl. That vanished, surpassing fast, upon the winds of spring. End of Gazal. Section 26 of Colored Stars, Versions of 50 Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain, recording by Anima. Lovers' Jealousy from the Afgan of Mirza Rashan Kayeo. Although you are as beautiful as Kashmir Dawn, I am not jealous.  You can ask me to hear your feasting tonight. I carry the scent of your body about with me. If you fear not, I will bring things to eat and things to drink, since love makes the belly hungry and the throat dry. And I'll sing my finest ballads for which you used to pay, your mendicent of love, of diamonds of tears, pearls of laughter, and rubies of kisses. I carry the scent of your body about with me. I will serve up to you all panting, all hot, and all crisp, my heart, which your spurns have made into roast lamb. And for your thirst I will give you in a cup and place of milk all the blood of my veins that you wish empty of my love. I carry the scent of your body about with me. I'll sing to your handsome the words you love, the words that distilled in your ears make you all ripe to offer the cup of kisses. Words I made for you yesterday, the beggar at your door, which today you want to hear cried by other lips. I carry the scent of your body about with me. I will sing him a gazelle of the learned way, to loose your hair and unravel your heavy black tresses, heavy with perfumes and little coins, with flowers and pearl encrusted combs, heavy above all with the odor of your body. I carry the scent of your body about with me. Oh, the scent floating from your neck, your breast, your arms, that circles about your thighs and your little belly, the scent that is fed forever and forever from two shady flasks under your bright arms. I carry the scent of your body about with me. Oh, this hot scent that curdles my desire, odor of honey and centipede, of milk and rose water, and over all your little hot skin under great love, breathing of amber. I carry the scent of your body about with me. I will sing him the very slow way of plucking date sweet kisses from your lips, of plucking from your breast, all blowing flowers, carnations and roses, and from between your breast, all fruits, oranges, peaches, and strawberries. I carry the scent of your body about with me.   I carry the scent of your body about with me. I want to light in his heart the flame that burns in me, to see him suffer tomorrow when you leave him for me. All the torments that I have today, you can ask Rashaan to your feasting tonight. Rashaan will bring things to eat and things to drink. I carry the scent of your body about with me. End of Lovers' Jealousy. Section 27 of Colored Stars. Versions of 50 Asiatic Love Poems by Edward Powers-Mathers. This LibriVox recording is in the public domain. Spring cold from the Chinese of Lai Wai Hain. In the melancholy enclosure, the wind leans and drags at the threads of fine rain. It is a good thing the double doors are shut. The grace of the willows, the frailness of the flowers, these bow down before the capricious weather that rains towards the time of cold feasts. But whatever the weather, it is always difficult to find the balanced harmony of verse. In the meanwhile, this much poetry is finished. What sweet thing may sustain? What sweet thing may console him who works from drunkenness? The drunkenness of poetry, which is other than the drunkenness of wine? The wild swans have just passed. I have a thousand sad things which I would confide to these rapid riders. In these days, the spring cold can be felt in the upper story.  I am too dissatisfied to go and lean on the jade balustrade. The coverlet is cold, all the perfume is burned away. I wake from my last dream. Why are not people with great sorrows forbidden to dream? The colorless dew is falling into the water. The trees are getting green again. Quite a lot of people will rejoice to see. The spring come back. The sun is coming out. The mist is drifting away. Today I suppose I will have to look at some more fine weather. End of spring cold. Section 28 of Colored Stars. Versions of 50 Asiatic Love Poems by Edward Powers Mathers. This LibriVox recording is in the public domain. Recording by Amy Grimoire. Climbing up to you from the Arabic of John Duncan. I sang of a glass of crystal shadows lifted to mine. With shadows of rose lips upon the rim. I sang of love kissed asleep by other girls that after his rest would have as sweet a waking. I sang of my life smashed like a hawk's egg against the granite stairs. Now that I can climb, pardon me two things, that I gave not round the beauty of your feet, bright colored songs to moan for evermore. That now, climbing once or twice, being wary I shade my mouth and sing of my heart's blood sweetened to a red grape. For you to bite and swallow and have done. End of climbing up to you. Section 29 of Colored Stars. Versions of 50 Asiatic Love Poems by Edward Powers Mathers. This LibriVox recording is in the public domain. Grief from the Persian of Skahed, 10th century. If grief like fire should give out smoke, ever it would be night on earth. End of grief. Section 30 of Colored Stars. Versions of 50 Asiatic Love Poems by Edward Powers Mathers. This LibriVox recording is in the public domain. Recording by Nima. Song from the Turkish of Mahmud, Deje al-Adin Pacha, 19th century. If you love God, take your mirror between your hands and look how beautiful are your breasts with their two russet berries. At sight of them, stricken, drunken, I cannot make a distinction between them in white roses beaten in white snow. How beautiful are your breasts with their two russet berries. No soul could be strong against your so bright eyes. My desire hungers for the kisses of one night did not fill it. How beautiful are your breasts with their two russet berries. End of song. Section 31 of Colored Stars. Versions of 50 Asiatic Love Poems by Edward Powers Mathers. This LibriVox recording is in the public domain. This LibriVox recording is in the public domain. Recording by Nima. Section 30 of Colored Stars. This LibriVox recording is in the public domain. Last time, from the Japanese of Izzumi Sikibu, 10th century. One more time, before I quit the world. I want to see you. To carry with me down there, your face of love. Oh, my love. End of last time. Section 32 of Colored Stars. Versions of 50 Asiatic Love Poems by Edward Powers Mathers. Section 32 of Colored Stars. Versions of 50 Asiatic Love Poems by Edward Powers Mathers. This LibriVox recording is in the public domain. This LibriVox recording is in the public domain. This LibriVox recording is in the public domain. Recording by Nima. Mokcha. Supreme Happiness. From the Burmese of Megdan, 19th century. Like the bright drop which, from the perfumed womanhood of loving night, night amorous ever, tireless in her couplings with a body of the world, falls in the virgin breast of a rose, and straightway ravishes her and shows in its tiny globe all the work of Brahma, all the sky and all the earth. So the drop of the dew of thy love, which trembles on the petals of my heart, reflects in my love the sky of the soul, so sought Nirvana. My love is Mokcha, making me, from on earth, taste the high savor of immaterial joy. Through thy love I have felt that my essence is Godlike, and that I am part of the world's creator. End of Mokcha. Section 33 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powers Mathers. This LibriVox recording is in the public domain. Recording by Nima. Ghazal from the Hindustani of Ish, 18th century. When you have thrown torture and desire, oh cruel child, into your lover's heart with listened coquetturies, you sit down calm and unmoved and never noticing, and put desirous order into the loosened tangles of your hair, and I, watching you think of a placid pilgrim that has come to camp and sits taking his ease, who have never thought for his fellows on the road, and I, watching you think of the unconscious earth carelessly drinking the tears from wounded hearts. End of Ghazal. Section 34 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powers Mathers. This LibriVox recording is in the public domain. Recording by Nima. Vi, Choju Clarem, Kurdistan. Ah, my children, do you know Jamila, the turquoise, the carnation, the most beautiful girl in Baghdad? Ah, my children, ah, my children, her face has aspects of the moon, and in each of her eyes there is a sun. Ah, my children, ah, my children, sometimes she leaves her vest unfastened, forgetting, who knows, that it hides her breast. Ah, my children, ah, my children, she is round rosy paps standing straight out like peaches not yet ripe. Ah, my children, ah, my children, look at the curve of her back. She might crack nuts below her waist there. Ah, my children, ah, my children, what shall be said of her thighs? What's so good to dream of as her thighs? Ah, my children, ah, my children, Jamila has just passed, appetizing in guilt like a cake for Ramazan.  Ah, my children, ah, my children, the wind makes cling to her skin, her rose robe, and makes her look quite naked. Ah, my children, ah, my children, Jamila comes to us to sell the little flowers that never die, plucked in the mountain. Ah, my children, ah, my children, when she sells her flowers, the bright eyes of the lads bathe her and devour her. Ah, my children, ah, my children, eyes that pass through her robe and do not count the money she gives back. Ah, my children, ah, my children, feeling hands that tickle her and she lasts with all her teeth pulling back her veil. Ah, my children, ah, my children, Jamila has sold the flowers from the mountain and added to her dowry for marrying the hill-boy she loves. Ah, my children, end of Thy Cho Juclarum. Section 35 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powers Mathers. The Mirror. Street Song of Eastern Mongolia. I have saddled your raven horse with nervous limbs. I have polished your sword, your rifle, and your lance. Go, soldier, since you must. Go, my eyes, joy. But in your fights do not forget I love you.  Before you go, make this promise to watch every evening at the third hour, the moon flashing in the sky, like a great mirror of silver. Thus every night I'll seem to see your eyes. Thus every night you'll seem to see my eyes, as in a silver mirror, in the moon flashing in the sky. Who knows but that perhaps the moon, moved to see our eyes hunting each other every night. May consent really to change into a great mirror of silver? Then I could watch you every night, fighting on your raven horse, and you could tell yourself every night that I was keeping my promise. Then I could watch you every night, fighting on your raven horse, and you could tell yourself every night that I was keeping my promise. Section 36 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powis Mathers This leap of ox recording is in the public domain. Recording by Nima. Faryat from the Hindustani of Sugweeb, 18th Century The heartless girl, that was the cause of Sugweeb's death, saw his beer passing, and dared to ask of its sorrowful convoy the name of the man they were carrying to earth. End of Faryat Section 37 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powis Mathers This leap of ox recording is in the public domain. Recording by Nima. At the east gate, from the Chinese Sheiking, 1776 B.C. At the east gate of the city are young women, gracious and light as clouds in springtime. But it does not move me that they have the lightness of clouds. Under her thick veil on the whiteness of her robe, my love gives me all joy. At the west gate of the city are young women, sparkling and beautiful like the flowers of springtime. But it does not move me that they have the sparkling beauty of flowers. Under her thick veil on the whiteness of her robe, my love gives me all joy. End of At the East Gate Section 38 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powis Mathers This leap of ox recording is in the public domain. Recording by Nima. Submission from the Siamese When you have bathed in the river on the moon's third day, you make yourself ah so the more to be desired by slipping on a robe the color of your body.  No other girl knows like you how to entice me, walking alone in the shadows of the palm trees. None has your tickling gestures, your inflaming eyes, so young, so smooth and so flower fresh. You must have more men silly about you than there are corners in your bedroom to hide them. In the morning when I come to see you under the veranda just for the pleasure of talking to you, or in the evening when I curry favor with a polter-air just for the pleasure of feeling myself near you, or at night when my hand seeks to clasp you through the hole pierced in the planking by your bed.  I accept all in advance.  End of Submission In the Palace from the Chinese of Thou Sin Yu What rigorous calm, but almost holy silence, all the doors are shut, and the beds of flowers are giving out scent, discreetly of course. Two women that lean against each other stand to the balustrade of red marble on the edge of the terrace. One of them wishes to speak, to confide to her friend the secret sorrow that is agonizing her heart. She throws an anxious glance at the motionless leaves, and because of a para-catch with iridescent wings that perches on a branch, she sighs and is silent. End of In the Palace Section 40 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powis Mathers This leap of ox recording is in the public domain. Recording by Anima A thing remembered from the Arabic. I'll not forget the warm blue night when my bold girl, whose kissing lips smell sweet of honey in a rose water, came softly to my room and my room glowed as if the moon, at her bright full, had entered to me. She asked me in your arms, she said, all that your love demands ask and obtain. My old watching woman is far away. I pressed her in my arms and said, your robe is a curtain. Wherefore a curtain between me and thee, violet joy of my heart? And so saying, I began to undo some parts of her robe. She looked smiling at me, and I, also smiling, unloosed and unloosed. My joy, the flower in her bud, pleases me not, and fruit, hanging under leaves, delights me not. My sword, I love not in its sheath. It is no pleasure to see the stars of night hidden behind clouds. End of A Thing Remembered Section 41 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powis Mathers The most virtuous woman, popular song of Manchuria. Pluck the most beautiful apricot from this tree and place it on silk in a coffer of sandalwood. At the end of three days, the silk will be stained by the juice of the fruit. Choose the most virtuous woman from this world. Place her image in the coffer of your heart. Even on the same instant your heart will be soiled with bad thoughts. End of The Most Virtuous Woman Section 42 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powis Mathers This leap of ox recording is in the public domain. Recording by Nima The meeting from the Arabic of Ibn al-Farid, 1220 AD A summer's night I met my girl on the path that lead straight to her dwelling and straight to my tent. We were alone, we two, without watchers or informers, far from the tribe, far from jealous eyes and spying ears and harming tongues. I laid my face on the ground, my brow of footstool for my girl. She said, Open your heart with joy. We are without watchers. Come, pressure lips to my veil. But my lips would not consent to it. I felt that I had two honors to guard, my girls and mine. And, as was my desire, we were all night together, near to each other, far from the tribe and spying eyes. And it seemed that I was master of all the kingdoms of the world and that the elements obeyed me as slaves. End of The Meeting Section 43 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powis Mathers This leap of ox recording is in the public domain. Recording by Nima The drunken rose from the Sanskrit of Amarur for a century Has not the night been as a drunken rose without a witness? And the girl of bloom has given a ball? What little cries of joy, what wanton words repeated? But white dawn shows the rose and green pet bird, the mighty talker and awake all night. Hark! the old woman comes. He will tell all. What shall she, fluttering?  These, with a seed pulp of the passion fruit, his sweet prepared breakfast, mingle fiatly. So is he jargoner, silent forevermore. End of The Drunken Rose Section 44 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powis Mathers This leap of ox recording is in the public domain. Recording by Nima The Trist by an Unknown Author of Kambosha In thy presence my arms, my hands, my lips, all my being tremble as tremble the leaves of the cinnamon apples shaken by the wind. The leaves of the cinnamon apple do not tremble of my love. They shiver under the caress of the wind, which drinks deep their perfumed kisses. Come with me tonight under the cinnamon apples, and like their leaves you will shiver under my caress. And like the wind I will drink deep of your perfumed kisses. I will come, but what will you give me for my kisses? For your kisses I offer you my kisses. What will you give me for my heart? For your heart I offer you my heart. What will you give me for my love? For your love I offer you my life.  And all trembling this night I will come to offer you my kisses under the cinnamon apples caressed by the wind, and in the wind the drinks deep of their perfumed kisses. End of The Trist Section 45 Of Colored Stars Versions of Fifty Asiatic Love Poems By Edward Powis Mathers This leap of ox recording is in the public domain. Recording by Nima Zulma Street Song of Balukistan I seemed to see behind a half-open door two roses on a rose-tree I was mistaken. It was not really two roses, but the curved cheeks of Zulma. I seemed to see behind a half-open door two white lily-flowers. I was mistaken. It was not really two white lily-flowers, but the curved breast of Zulma. I seemed to see behind a half-open door two red blossoms of the passion-flower. I was mistaken. It was not really two red blossoms of the passion-flower, but the curved lips of Zulma. Woman or flowers, what matter? Tell the girl that my gardens are great and great my woman's quarters.  End of Zulma Section 46 of Colored Stars Versions of 50 Asiatic Love Poems by Edward Powis Mathers. This leap of Vox Recording is in the public domain. Recording by Anima. Rubayat from the Persian of Omar Qayyam, 10th Century.  They've assured me that I'll find wine and honey in paradise. While then, why forbid me wine and girls down here, seeing that up there my reward will be girls and wine? End of Rubayat Section 47 of Colored Stars Versions of 50 Asiatic Love Poems by Edward Powis Mathers. This leap of Vox Recording is in the public domain. Picture from the Japanese 18th Century. I see the snowy winter sky through the old arch and in the middle the line of one tree. A flight of crows comes just above the tree sweeping to left and right and tailing out behind. I think of you. End of Picture. Section 48 of Colored Stars Versions of 50 Asiatic Love Poems by Edward Powis Mathers. This leap of Vox Recording is in the public domain. Recording by Anima. White from the Japanese of Yorikito, 19th Century. I thought that it was snowing flowers, but now it was this young lady coming towards me. End of White. Section 49 of Colored Stars Versions of 50 Asiatic Love Poems by Edward Powis Mathers. This leap of Vox Recording is in the public domain. Song from the Sanskrit 5th Century. I came upon you rolling in the grass. Like a young beast you rolled over and over flinging your legs wide, flinging your arms wide and rubbing against the dew. I came upon you rolling in the grass and crept away. End of Song. Section 50 of Colored Stars Versions of 50 Asiatic Love Poems by Edward Powis Mathers. This leap of Vox Recording is in the public domain. The Red Lotus from the Chinese of Lai Wai Hain. A flower opens down under the deep water, the deep water. I take a cord and throw it towards the flower, whose roots are so far down. Whose roots are so far down. The mystery of the deep darkness is troubled. The repose ceases, the ripple spreads very far. With my cord I try to snare the lotus, as if his heart were deep there in the water. The sun floats on the extreme edge of the sky. He goes down, he goes out. He falls into the night and drowns. He falls into the night and drowns. I climb up again to the higher story.  A tragic and wasted face. The plants are setting about to become green again and to put out new shoots. How have I managed without hope to reach this day? End of The Red Lotus. The night before last night I heard that to make songs to girls and to make prayers to God were of equal value in the eye of time, provided, that is, that the prayers are sufficiently beautiful. End of Envoy. Section 52 of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Powis Mathers. This leap of ox recording is in the public domain. Recording by Nima. Four Notes. Black Hair, page 13. For many of the forty years of his life, which closed in madness in 1890, Muhammadji, the greatest poet of Afghanistan, was working out sentences in prison for violent brawling and heavy drinking. In the last tens of this poem, the folly of grandeurs is easily detected. And, in all his work, mingled with that drowsy music, which was his greatness, is a vertigo from over the depths of insanity. English Girl, page 34. This poem, which could only have been thought in a Chinese brain, is yet to inform very wide of modern Chinese tradition. Its author, who also wrote Song, page 26, and Being Together at Night, page 29, is an American-born Chinese, a valet by profession and by instinct, an artist both in words and colors. Lovers' Jealousy, page 36. Merza Prince, Rakan Kayil, was the pen name of Hussein Isatrafi, a popular contemporary of Muhammadji. Being a fine linguist and tireless traveler, he explored the wildest parts of Asia and the most ordinary capitals of Europe, searching out inspiration for mystical work which should reconcile all religions. At the age of forty-eight, he was hanged for a supposed complicity in a plot against the Shah of Persia. Climbing up to you, page 41. John Duncan died in his middle age this year and left only the short-lived memory of a brilliant talker in a few strange poems in the language of his adoption. How far he had identified his being with the Arabs, among whom he lived and had married, may be gathered from his serious use of the expression, a tourist pure and simple, when speaking of the late Sir Richard Burton. This poem is the only one of his which seemed to be generally comprehensible without those verbal annotations which it was his custom sometimes to supply when reading. End of Four Notes End of Colored Stars, Versions of Fifty Asiatic Love Poems by Edward Pauie's Mathers