Hi everyone, Nico Carver here.  I was quite worried here in Somerville, which is right north of Boston, that we were going to get completely clouded out. But luckily there was a brief gaps in the clouds where I was able to take about 30 shots, 30 clear shots of the total lunar eclipse. This is a single shot. And of course the easiest way to process your total lunar eclipse image is just to take a single shot and you can play around with curves and sharpening and things like that. Now the limitation of a single shot is the more you process it, the more you're going to bring out noise. You're not going to be able to take advantage of lucky imaging at all, where some shots may have slightly better atmospheric conditions than other shots. So it's definitely the easiest. You can just quickly sort of see what you have with a single shot and you can see that in this single exposure, I'll just actually remove this curves layer, this is nothing done to it. This is straight out of camera and you can see already we can see a few bright stars. I think this lunar eclipse was really neat and that there were these three bright stars in Libra that formed this interesting line right next to the eclipse. One thing I should note is that my camera was on a Star Tracker so when I was actually looking at the eclipse, it looked more like this, right? So I think in my final presentation I'm going to rotate 90 degrees so that the moon looks like how I saw it with my eyes. Anyways, the rest of this session, rather than just talking about processing a single exposure, we're going to talk about stacking your lunar eclipse pictures. So if you took multiple pictures, like let's say at least 20, you can stack them together and this will help with both not revealing noise during processing but also it will help with once we get to the sharpening steps.  It might actually even look slightly blurrier after you stack but then once you start sharpening a stack, I found it provides more detail. There is more detail there because you've reduced the noise level. Okay, I've closed out of that. This is just going to be a complete step-by-step tutorial. So the first thing that you'd want to do is connect your SD card from your camera. So if you have an SD card reader of some kind, my monitor has one built in so that's the one I'm using. And then you would want to take out the raw files that you shot of the lunar eclipse and transfer them onto your computer. And I already sort of vetted them on camera, so I looked at the files that I knew I wanted because they were the ones that were cloud free and I only moved those files over. I think that's the easiest way to do it. And in the end, I had 32 images that didn't have any clouds in the frame. So those are the ones and also didn't have any kind of motion blur or any other problems because I was on my deck and I was sort of walking around. So some of them also had motion blur and I didn't use those ones either. So all the good frames I've transferred into this folder on my computer. And this is going to be a fairly drawn out workflow but I'm going to show every step. So if you're really interested in this process, just stick with me. It's mostly going to use free software. I am going to end up in Photoshop, which is of course paid software, but a lot of people own it or something similar. And so the first free software we're going to be using is called Adobe DNG converter. And this is just a software that takes your raw files and makes them into a different kind of raw file that works better with all kinds of other software. So it's a free download. You can get it for Windows or Mac. So the way that it works is you just install it, open it.  There we go. And then where it says select location to save converted images. I've already made this folder called DNG files. I'm going to select that. And then I'm just going to click convert. And it will go through your files and convert them from CR three or whatever raw file you have to DNG, which again, the point of doing this is it will just work better in the next step. And speaking of the next step, let's move right along. So we're going to open up pip. This stands for planetary image pre processor. And it's again a free download. Unfortunately, this one is Windows only. So if you do have a Mac, you're out of luck with this one. But it's a really nice program for just doing some initial work here on our files. So I'm going to click add image files. I'm going to select all of these DNG files that we just created, click open. It says join mode has been selected. That's fine. And then it pops up sort of a preview here. Over here under optimize options for I'm going to choose solar lunar full disk, because that's the best description of what this is. It's not a close up. It's not planetary, blah, blah, blah. I'm not going to change anything in input options. Under processing options, I'm going to change a number of things. Lunar eclipse images are often sort of dim, because it's literally in shadow. So I'm going to apply a little bit of a gain boost. I'm just going to raise that to 1.5. I don't want to convert from color to monochrome. I want to keep it color. Over here where it says frame stabilization mode, I'm going to change it to surface feature. And I am going to enable these things, the surface feature tracking and surface stabilization. And I also am going to enable an area of interest. Okay, and then what this does is it creates these boxes over here. And I'm just going to move those onto the moon. Well, I'm going to move the red box, which is the anchor point onto the moon. And I'm going to move the blue box around the moon like this. Okay, good enough. And all this does is it tells it, well, where are you looking to match up the different images? Because one thing this does is it centers the images for you. And then the other thing is because it's centering, we're going to need to crop a little bit. So we'll crop the frames to the area of interest, that's fine. And we'll just do something like that. And this process will help with everything else we're going to do while stacking. Okay, and so then I'm just going to click on do processing and then start processing. Okay, it's finished. And it tells me it was able to output 25 frames. For some reason, it rejected seven. That's fine. We have, you know, we have enough that that's okay. Let's go ahead and open the folder and see what it did. Okay, interesting. So it seemed to work pretty well on most of them, except for this one, it somehow messed up. So I'm just going to go ahead and delete that one since it didn't center the moon correctly with that one. But everything else looks good, looks nice and centered, can close out of that program. Then we're going to open auto stackert and open these files that we just created in pip. And at first, it seems like it's not, you know, there's nothing there, but it's that's because for some reason, the default is video format. Instead of having an all option. So I'm just going to change that to image files. And I'll select all of these files. This is again in the pip folder. All right. And then the first thing I'm going to do here is make sure that the image stabilization option is set to surface details, which is what you want for lunar, you know, planet would be for planets, of course. And then I'll click analyze. Okay, and you can see the view changed there. I think what it did was it found the image with the best quality and swapped it out. I'm not sure if it did that, but it really did look like the image changed when I analyzed the frames. The next thing I'm going to do here is I'm going to click on manual draw. And I'm going to start drawing in little alignment points where there's good edge contrast, right? So where we have these Maria's and craters. I'm just going to draw in some nice little alignment points.  They don't have to be very big, I don't think. And you just want to get them in a number of places on the moon. I'm actually going to zoom in and get a few along the edge. Okay, so I've drawn in, let's say 16 alignment points. That should be enough. And then I'm going to stack the best 95. Well, I'm going to stack 100%. So right here where it says frame percentage to stack, I'm just going to choose 100%. We want to TIF, want to save in folders, everything else we can leave off, including drizzle, sharpened, RGB align. And then I'll just click stack. Okay, and then let's make sure it worked. We're going to open up our lunar eclipse folder. And it created this new folder within our PIP folder called AS Autostacker P100. Open that and then open this TIF file that it created. And all that I'm looking for here is just that there is no major alignment errors that it looks just like any other picture in this PIP folder. If it did, then I can be confident that it did stack correctly, which it looks like it did. And we're ready for the next step. So I'm going to close out of Autostackert. It's done its job and open Photoshop. And I'll go into that folder on the desktop, find the resulting TIF file out of Autostackert and click open. And you can see right now it's not aligned properly, like the colors are off, it's too bright, but all of that is fixable. So the first thing that I'm going to do is align the color channels and put in a reasonable black level. It'll fix it up quite a bit. So we're going to go to image adjustments levels. And I'm also going to open up my histogram panel so I can see what I'm doing. And so you can see that the color channels are misaligned. So the first thing I'm going to do is here in the levels, I'm going to align those. So I'm just going to take the blue channel, take this slider called the shadow slider all the way on the left, and move that to the right until up here, the blue channel is aligned with the green channel. And then I'm going to do the same thing for the red channel. Okay. And now that those are basically aligned in terms of the shadows, I'm going to switch it back to RGB. So it's affecting all of the color channels at once. And I'm going to take the shadow slider and move it right up against the edge here of the histogram peak, but I don't want to go in there, or that would be clipping detail. So just right up to the edge, but not into the actual information. Click OK. And so now we have have our stacked image and have aligned the color channels and gotten the black level reasonable. You may be thinking at this point, why did we do all this work and it still doesn't look that much better? Well, the main thing we've done now is this is a lot more noise free. So it's not noise free, but the signal to noise ratio is much better through the stacking process. So when we really push this image, when we really change contrast and do all this kinds of stuff and sharpen it, it's going to hold up a lot better than just a single image. Okay. So the first thing you usually do with lunar imagery like this is try to crisp it up, sharpen up some of the details. So I'm going to do that in two stages. I'm going to start with a little bit of high pass filtering to bring out some of the bigger details and then we'll end with a little unsharp masking to do the smaller ones. So first thing, we're going to duplicate this layer. So go over to your layers panel and choose duplicate layer. And we can just call this high pass one, the first round of the high pass filter. And then I'm going to go to filter, go down to other and choose high pass. Okay.  Let's see. I'm trying to sort of first go for some of bringing up some of the bigger details and making those stand out a little bit. So I'm going to do a fairly large pixel radius here. Be something like that. Of course, this looks very strange. We need to change the blend mode from normal to overlay. And then just to show you what that did, we can see it right here. Now, I'm sure that the first thing a lot of people will notice is that this gave the edge of the moon a glow that we don't want. So we're going to deal with that, but not quite yet. So just bear with me. We'll deal with that in a second. But otherwise, I think this high pass looks good. Let's go ahead and duplicate the background layer again, call this high pass to and put it on top. And we're going to go back to filter, go down to other high pass. And this time I'm going to use a much smaller pixel radius to try to get some of these, you know, medium sized details to come up a little bit. So let's do something like 10, no, maybe even 8 pixels. Okay. And then once again, I'm going to choose overlay. And just to show you what that did. Okay. And then I'm going to turn down the opacity of both of these filters a little bit. I don't want them at full strength. And I'm going to group them. So I'm just going to click on the first one high pass to hold down the shift key on my keyboard and click on the bottom one. And then press Ctrl G to group them. We can call this the high pass group. Okay. And then I'm going to add a layer mask to this group. So make sure I have the group selected. I'm going to go up to the layer menu, go down to layer mask and choose hide all from the layer mask. What this does is it adds a black layer mask. So this is now back to basically the original image because it's hiding everything in the high pass group. But remember, let me just disable this for a second. Remember how the moon has this bright artificial edge from the high pass filtering? We want to get rid of that. And we're going to do that with this layer mask. The way how we're going to go to the brush tool from the brush tools options, we're going to pick a nice big size and 0% hardness. And then we're going to position that brush tool right over the moon and using the bracket keys on your keyboard, which are right next to the P as in poodle key, the bracket keys, we're going to adjust the size of this brush on the fly until it's just a little bit smaller than the ring of the moon. And then we're going to just and then we need to make sure we're set to white in terms of the color pure white position it exactly in the center of the moon and click. And what this did, if we look at the mask, I'm just going to press alt click on the mask, is it made a nice fuzzy mask, you know, a nice feathered mask where it's going to apply most of the high pass filtering to the details in here within the radius of this brush. But then as we get to the edge, it will really feather out those details and and not, you know, give us that that bright ring effect that's so ugly. So let me just disable it to show you there's with it disabled. And here's with it enabled. And now that I'm seeing this, I might raise up the opacity of these just a little bit. So I think we can get a little bit of a stronger high pass effect. Let's see how that looks. Yeah, I think that looks good. So here's now without our high pass group. And with it. And so you can see that it made a lot of nice local contrast adjustments that really bring out the details in the moon. Now we're ready to actually do some traditional sharpening with an unsharp mask. So to do that, let's make a new layer from visible. The shortcut for that is control alt shift E. E is an enter control alt shift E. This just takes what you see on screen and makes a new layer. And we'll call this layer the sharpen layer. And the first thing I'm going to do to this sharpen layer is I'm going to right click on it and change it into a smart object. So go to convert to smart object from the menu that pops open when you right click. What this allows you to do by turning a layer into smart object is when you add a filter, it becomes a smart filter, which we'll see in a second here. So we'll go down to sharpen, go down to unsharp mask. And you can see immediately what, you know, this is a strong effect. You can play around with the radius and the amount mostly are the things that are going to change. I'm going to leave the threshold at zero. And I think I like something like that. You can always turn the preview off and on to sort of see the effect that you're getting. So I'm doing 85% 4.2 pixels. You know, this may be way over sharpened for your taste or under sharpened. It's really a matter of taste. But that's what I'm going to go with and click okay. And once again, if I turn this layer off and on, it did give the moon a slight bright ring. So I'm going to apply this same high pass group filter. I mean, a high pass group mask to my smart filter layer here. The way to do that, I'm going to hold down alt, click on this mask thumbnail and drag it onto. Well, that's fine. Drag it onto that one. Okay, yes. And I really like that effect. I think it's pretty subtle. But it definitely sharpened up the image. So here's where we started. And there's where we ended up after the sharpen sharpenings, both the high pass and the unsharp mask. So if we were just going to go for just the moon, that I would just end with a slight s curve here, right? So just just adding a little bit more global contrast to the image with a small s curve like that. Here's before there's after just adds a little bit more drama to the image. And so you could stop right Oh, we have to rotate right because it's how I saw it in the sky. I'm going to rotate 90 degrees. That's how it looked in the sky. Okay, and so we could stop right here. That's all of the, you know, editing we would need to do if we were just focused on the moon. And of course, the things we did again were, we changed all the raw files into Dngs, we did some rough alignment, initial alignment with PIP, that also changed them into TIFF files, then we opened all those TIFF files into AutoStackert, stacked them with AutoStackert into one TIFF file, brought that TIFF file into Photoshop, applied high pass filtering, unsharp mask and a little bit of curves. And we could call it a day here. But as this video promised, this is going to be a full double stack tutorial. So the next thing we're going to do is we're going to go back to our raw files or the Dng files and stack them for the stars and then come composite this moon image that we just made with the star image. So to do that, let's open up deep sky stacker. And actually, before I go further, let me just save this just in case we have a crash, we'll call this moon only. And we'll save it as a Photoshop document. Okay, now we can move on to deep sky stacker. We're going to click open picture files and from this Dng files folder, which again, there's the raw files, there's the Dng files, we're going to select all of these Dng files. And then we need to check all of them. So you just click check all over here on the left. And then we want to click register checked pictures. I'm going to go to advanced. And I've already practiced this. So I know I want a very low detection threshold. But let me just show you what happens if I had it 20%, which I think is the default. It computes the number of stars and it only finds one star. Now you cannot, and I repeat this, you cannot align pictures based on one star, you cannot align pictures based on one star, you need at least two. But ideally you need like five or six. So what you do then is you start lowering the threshold until it can find more stars, you can see it 10%, it found two stars, I'm just going to lower it all the way down to 2%. And at 2%, it could find six stars. So that's as good as we're going to do the lowest star detection threshold for this image. And then I'm going to let it go ahead. So I'm going to let it do an automatic detection of hot pixels. I'm going to let it stack after registering. Let's say that's fine, select the best 95%. We do not have any calibration frames. So it says don't forget to add those, but we don't have them. So we're not going to use them. We'll just click OK. And then it gives you a little preview of what you're doing. We're stacking 32 frames at ISO 800, no calibration frames and click OK. Okay, and now it goes through each picture and it finds as many stars as it can. So you can see on that picture, it found eight stars. I think on the previous picture, it only found three. This picture found eight again. So it goes through, it finds the stars that it can in each picture. And then it's going to register all of these pictures together based on the star patterns, which is very different actually than what we did with the other stacking programs where we were stacking based on the surface features on the moon, because the moon and the stars are moving at slightly different rates. And even in the 10 minutes or whatever it was that I took these pictures, that's enough that you get you get a different result if you stack based on the moon's surface features or the stars. We'll just let it finish here and then pick back up when it's done. Okay, and it's finished stacking. And so now you can really see what I meant by we need to stack in different methods for the stars versus the moon. Because if we stack based on the stars, you can see the moon is quite funky. It doesn't it doesn't work out so well. So but what we're going to do now is we're going to take this image that we just created and try to composite it with our stacked moon image. And this is going to be the hardest part of this whole tutorial. But hopefully we get something good out of it. So I'm just going to use the autosave.tiff file that was generated. Let's just double make double check and make sure it's in there. Yes, there it is autosave.tiff. Let me open it. All right, so here's the autosave. I can now close out of deep sky stacker. No, don't need to save changes. And then I'm going to open the autosave file into Photoshop. All right, and there it is.  So I'm going to make a, I'll just use the lasso. I'm just going to make a lasso selection. It doesn't have to be perfect around that moon region. And then I want everything else. So I'm going to do select inverse so that everything except the moon region is selected. Then I'm going to go to adjustments levels. And what happens is it, if we look at this mask that it creates, it selects everything except this central part. And if we want to we can, this probably doesn't matter, but we could feather the edge of that a little bit, something like that. Okay, so now we have a levels adjustment here where it's only affecting everything but the moon. So now I can grab this rightmost slider and the middle slider and bring this over so that I can really see what I'm doing here. And you can see it brings out a lot more stars, which is good. This is a very light polluted area. This is a portal eight, nine kind of area, but we were pointed south. So that's really pointed into a portal nine part of the sky, I think. So this isn't going to be easy, but we'll try. I'm going to actually duplicate this layer, the levels layer. And then I'm going to change it a little bit here. And I'm just doing this by eye. So it looks interesting. It's okay to have a little bit of this glow if you want, or you can try to really minimize it. It's really up to you and your processing style. Maybe this time, I think last time I really minimized it, but maybe this time I'll leave a little bit of the glow from the moon in. Okay, so where are we? So next, let's make a new copy from visible. So again, that's control, alt, shift, E. And then next I want to fill this area of the picture, which is a complex area with just a solid color. That's going to help us do the next couple of steps here.  And then this selection is the wrong way. It's inverted because it's selecting the sky. We now want to select the moon. So let's do select inverse. Okay, now we have just the moon selected. And I'm going to do edit fill with color. And then using this color picker, I'll click on a color. Doesn't really matter. Just one of these colors in the halo. Yeah, I like that one. Okay, fine. So it fills with that color. Oh, I think I know what. Okay, so I've been having some problems with this content where Phil, when I didn't went through the practice, I think the problem was I forgot to change to 16 bit. Let's just see if I change to 16 bit if it works any better. Yes, starting to work better, I think. Okay, so maybe that was the issue. Okay, so something like that. We'll see how this, let me just check the moon one more time. Maybe have to do one more addition here. So I'm just going to merge this down, control E, make another selection and do another fill. And I'm not even sure if I'm going to like this, this glow, but we'll see. Because I didn't do my last one, but we'll see how it looks. Okay, then we're ready to bring in this moon. But remember, I rotated this moon 90 degrees clockwise. So let's rotate this image 90 degrees clockwise, recenter. There we go. So now we're ready to bring in this moon to do that easy. Let's just do control Alt Shift E again. Let's stamp from visible. And we'll copy this layer. So select it, control A, control C, and control V. Okay, so now we've copied this stacked moon into our stacked stars image. And we just want to align it correctly. So let's turn down the opacity of it so we can see the moon below. And then we'll line up the edge. Looks like it should be right there. Just turn this back up. And then I'll turn it off and on just to make sure. Yes, that looks right. It's a little bit hard to tell because there was that sort of double moon feature, because it was stacked in the stars, not the moon. So, but just do your best job to try to line them up correctly. I'm now going to put this layer on top, turn back on all the other layers. Okay. And then we need to get rid of this black border on this image. So to do that, we can just use the magic wand and click on it. And we could just hit the delete key to get rid of it. But just in case we need that for any reason, let's make a layer mask instead. And we'll do select inverse. So it's just selecting the moon and not the black part. And then we'll click the add layer mask button down here in the right. Okay. So after all of that, do I like the halo? No. So that's how it goes. Sometimes you do a lot of work to try to keep something in and then you don't like it anyways. So let's change it. Let's go back to well, we can leave this in. Let's actually just merge this down. So I'll turn this off for a second. So I'm just going to merge this down with this layer. I know this has gotten a little messy. Let's just call this stars. And we'll call this moon. Okay. And so what I want to do with this stars layer is I've decided against the halo, I'm going to just get rid of it to get rid of it and just keeping the stars. So what we can do is do select by color range. And I want to sample the highlights, which is the stars. And then I'm just going to move this range slider, and maybe the fuzziness slider, mostly the range, until I see it do that that's too far. Then I'm just going to back off until it's only stars. And I think it's right there. So 51 for this image. Okay, so it's selected the stars. I'm now going to just make sure that I completely select them. So I'm going to do select modify. I'm going to expand by, let's say, two pixels. And then I'm going to select modify and feather by one pixel. Okay, so I've now made a star mask. I actually want the opposite. I want to select the background, not the stars. So I'm going to inverse that selection. So I'm going to go to select inverse. And then I'm going to pull up a curves, no, do levels. And what this now is is it's a levels that's only working on the background. So I'll say background levels. And I'm just going to get rid of that halo by moving the mid tone slider over to the right. And now if you wanted to play around with a little bit of halo, this would be a good way to do it. You could you could play around with it. I'm pretty convinced. I just don't want any halo. I just want a nice clean shot. So I'm just going to get rid of it completely. And now we can turn back on our moon. And so we now have a moon that's in the right place with the stacked stars shot. Now, there's not quite as many stars visible as I'd like. So what I can do now is with this layer mask that we created, I can add a new let's add a new hue slash saturation adjustment. We'll copy this layer mask onto here by holding down alt and dragging, say replace layer mask. And then I want the invert of this. So I'm just going to press Ctrl I just to show you that's the inverse. And then let's increase the saturation and the lightness of the stars. Okay, good. All right, we are almost done. Last thing is I'm just going to do some global curves adjustments just to Okay, I think I'm pretty much done. It's a little bit of a tall picture. So I mean, that's okay if you want to include the whole thing. You could also do a final crop here. So if you're doing this is basically my crop for the thumbnail for this image. But if I was doing for Instagram, I might do four by five. And I think with a clip shot, you got to go centered. But I also want to include this line of stars here definitely. So I think something like this basically want to get as close into the moon centered as I can while also including those three stars. Yeah. So I think that's our final image. So sorry for all of the confusion with including the halo and blah, blah, blah. But I actually think the way we did it there was instructive. If you did want to include some halo, how you would, I just didn't really like the look maybe maybe it's my data, I'm not sure. But yeah, so the idea here was we have everything positioned correctly, it's all from the same data, but we use two different stacks and composited them together one for the lunar details and got that as sharp as possible, and one to bring out as many stars and a stack as possible. So then if I was saving this for Instagram, which is I guess it's where it's going next, I'll just complete this tutorial by saying I always do file export save for web legacy. And early on, I thought that with Instagram, you would just want to keep this as big as possible and let Instagram do the compression. I found out that Instagram's compressor is not very good, Photoshop's is much better. So what I do now is instead I change the image size here, the maximum Instagram can still do in 2022 is images 1080 by 1350. So I changed that right there. And I bring down the quality to around 85% or 85. And this usually will bring my image size down to below 100 kilobytes. And that seems to give me the best quality in terms of Instagram.  I'll call this lunar eclipse 2022 IG and click Save. And then if you wanted to, and I would suggest doing this, just also do save as and save a copy lunar composite as a Photoshop document.  But this is the basic idea of a double stacked total lunar eclipse composite image with the best for the stars, the best for the moon, and then everything put together. At this point, I want to thank all of my wonderful patrons over on patreon.com slash nebula photos. And if you're interested in seeing your name in the credits of any of my long videos, any of the videos over 20 minutes, you can head over to this link and support me there. The support of the channel starts at just $1 per month. And then I also have a $3 and a $7 tier. And there are a number of benefits included for signing up on my Patreon. These include a vibrant discord community where people post their photos, get photo critiques, help each other with gear and processing and everything related to astrophotography. And we also have a monthly challenge object that's a friendly competition with some prizes. We have a group project if you want to work on something collaboratively with others. And finally, there are some exclusive videos including a monthly live Q&A that's always recorded and shared right on Patreon. So if you sign up, you can actually already watch 10 of those monthly chats. And then lastly, like I said, you get your name in the credits of any video longer than 20 minutes. So the link again is patreon.com slash nebula photos. I hope to see you there. Until next time, this has been Nico Carver, Clear Skies.


Have you ever wondered that in Csharp you can defer the creation of an object until it is actually used? Hello there, this is Krish Raj Rana from Bytes Cow and in this video, we will be going to learn about how we can lazily initialize the objects using the newly introduced lazy keyword of Csharp. Well, with Csharp 0, Microsoft has introduced a lazy keyword using which initialization of the object happened only on demand and this feature comes to handy when we are working with large objects. So let's dive deeper and explore this lazy keyword by performing some demo. To perform a demo here, I have defined one console application in which I have defined one patient object class. Now if we have a look at this class, we can see that we have got our public default constructor and we are just writing out some information to the console using this console.write line. So overall, this is a very simple class which contains a fewer getter setter property for patient basic detail information. Now if we run this application, it simply creates an object and call its constructor and we get our message in the console like this. Now consider a situation where the creation of these objects in the constructor requires some resource intensive activity and if we don't always use all of the objects we create, we are still going to incur that cost when we create that objects. By using lazy initialization, the objects are not actually constructed until the first time we try to access them.  Let me comment out this class and now to check whether the object of this class is created or not. There is one property called ease value created in this object using which we can check the object status. And now if I run this application and when I check this property value, you can see that this value is false. So even though we have executed this line, but the constructor of this class is still not been executed, which you can see in this console window. So now the question is how we can initialize the lazy object. Well, it's very simple for that. What you need to do is you just need to access the value property of this lazy object and then from here, let's call this method. And now this time, if I run this application, you can see that this property is now becomes true. And here you can see that first the constructor is called and then our method is called and then finally we get this message. Now what happened if we have an overload constructor that takes a patient ID as argument, something like this. So to execute this overload constructor, we can specify the constructing function of this lazy class like this. So as you can see that this overload take a function which creates a new patient detail object, but this time using the overload constructor that allows us to specify the patient ID. So now let's run this application and check the output. So here we can clearly see that this time the parameterized constructor is called with this patient ID. So here regardless of which of this constructor we use of this class, the actual initialization is not performed until the first time we access this value property. Now what if multiple thread are racing to initialize this object? We will learn that in the next video and we will also do some performance testing with this lazy class. So till then happy learning and stay tuned with us.


This study found that high salt stress negatively affects mung bean growth, antioxidant status, and yield, but three rhizobial isolates, milligram one, milligram two, and milligram three, can mitigate these effects by enhancing modulation and improving mineral uptake and ionic balance. This article was authored by K. C. Murley, Muhammad Shabain, Sana Ashraf, and others.


This is stock number 91778 a 2005 Dodge Ram 2500 quad cab Short box this truck has the 5.9 liter Cummins diesel with 325 horsepower From this HD video you'll be able to tell that this is probably one of the cleanest 05s left on the road Front bumper is absolutely perfect. No dents. No dings. No scuffs. No scrapes No cracks in the front valence Absolutely perfect has BF Goodrich rugged trail 265 70 R17 tires and they are on the factory alloy rims or steel rims with the chrome covers. I'm sorry and These tires have about half the tread left on them Frame and underbody is very very clean on this truck as are all the wheel wells All the way around on this vehicle. No dents or dings on the front fender We take all of our videos in 1080p. So if you have HD capabilities on your computer Smartphone or tablet turn them on now It's like you're standing right here next to me looking at the truck No scuffs or scrapes on that rim and as you go down this side of the truck You can see just how glass like and Reflective that paint is how clean the body is no dents. No dings No scuffs. No scrapes. No rust. No corrosion Very very clean truck All the way down this side Cab is in the excellent condition as well. I always like to point out on these older trucks the lower Door lips. These are usually the one where it starts if there is going to be any corrosion They are absolutely perfect Just a super super clean truck Back rim and tire is an excellent condition as well Back tires have just as much tread as the front tires. You can see the frame and underbody on this truck Very very clean. I Mean just look at all the Work all the body lines connect to the box. That's usually where it all rusts Very very clean all the way underneath all the lower rockers all lower lips Look just excellent condition on this truck I'd be surprised if this thing ever saw a snowflake But we take these HD videos So if you are far away or even if you're close by and just can't make the trip down You can still see the truck here the truck and of confidence in the vehicle that you're looking at Before you even get here so you can make a smart buying decision Even if you are out of state we saw a lot of these trucks out of Wisconsin here, so Have confidence that you're dealing with the right people the bed is in very nice condition Has the bed rail covers it has a gooseneck in it as well and you can see just how clean this tailgate is Not one dent or ding on it And as you go down this side of the truck just as clean as the passenger side I mean just look at these wheel wells.  They also fold in once again the lower lips on the doors excellent excellent condition Inside this truck has the Laramie package which gives you the Kind of grayish Leather and suede seats. There are no rips. There are no tears on these seats power driver seat factory floor mats that look like they've never been used Carpeting is absolutely park perfect underneath power windows power locks and power mirrors And this truck has 51,999 miles You can see it has the white dash which a lot of people like cruise controls Leather wrap steering wheel that's in pretty nice condition has cruise on that side cruise on the other side Has a cd player dual climate control and this is the kicker on this truck It comes with a six-speed manual transmission four by four shifter on the floor aftermarket brake controller This truck's never been smoked in the cigarette letters never been used. It smells like new in this truck Just amazingly clean inside and out Passenger seat is absolutely perfect. No rips. No tears. No stains in the seats Just amazing Compass temperature mileage display up there The headliner is very very clean as well Has the 40 20 40 split bench seating. We'll take a quick look at the back seats and then we'll check out under the hood but Yeah, like I said, this truck is pretty much Pretty much perfect all the way around as perfect as an o5 can be Sliding rear window. You got the suede backs on these seats. You have the steel load floor Which is really nice if you got pets or boots or Muddy boots or tools put them on this. You're not going to wreck your seats And then underneath these is a storage compartment on both sides very clean in there as well You can see that this back carpeting is absolutely perfect Latch child safety system for your car seats as well And we'll take a quick look under the hood 59 common diesel Engine bay is very clean runs very smooth. You can see it has mopar batteries in it This truck has been fully safetyed and inspected by our service shop Has a fresh oil and filter change All the fluids have been checked and topped off This truck has been gone through mechanically 100 100% And it is 100 ready to go And to see more pictures of this truck or one of our other 400 new and used cars trucks suvs mini vans wranglers You name it. We got it go to our website www.summitauto.com Full pictures and descriptions of every single vehicle on our lot videos of every single use vehicle that we have All at summitauto.com if you want to make this truck yours And I highly suggest calling out because it will go fast Give us a call at<PHONE_NUMBER> As for one of our sales associates to make this super rare super clean 2005 ram 2500 Quad cab short box stick shift 59 commons diesel years Once again that number is<PHONE_NUMBER>. Thanks for checking out my video If you like it want to check out more videos go to youtube.com slash summit auto like subscribe and share And in fact any second you'll see a subscribe button on your left a link to more heavy duty truck videos On your right and we look forward to helping you with the super clean 2005 ram 2500 quad cab short box 59 commons diesel. Thanks again. We look forward to helping you with this one. Hurry call now


Chapter 4 The Wild Weddings or The Polygamy Charge. A modern man said Dr. Cyrus Pym must, if he be thoughtful, approach the problem of marriage with some caution. Marriage is a stage, doubtless a suitable stage, in the long advance of mankind toward a goal which we cannot as yet conceive, which we are not perhaps as yet fitted even to desire. What gentleman is the ethical position of marriage? Have we outlived it? Outlived it? Broke out, moon? Why, nobody's ever survived it. Look at all the people married since Adam and Eve, and all as dead as mutton. This is, no doubt, an interpolation jocular in his character, said Dr. Pym frigidly. I cannot tell what may be Mr. Moon's mature and ethical view of marriage. I can tell, said Michael savagely, out of the gloom. Marriage is a duel to the death which no man of honor should decline. Michael, said Arthur Englewood in a low voice. You must keep quiet. Mr. Moon said Pym, with exquisite good temper, probably regards the institution in a more antiquated manner. Probably he would make it stringent and uniform. He would treat divorce in some great soul of steel, the divorce of a Julius Caesar or of a Salthring Robinson, exactly as he would treat some no-account tramp or laborer who scoots from his wife. Science has views broader and more humane. Just as murder for the scientist is a thirst for absolute destruction, just as theft for the scientist is a hunger for monotonous acquisition, so polygamy for the scientist is an extreme development of the instinct for variety. A man thus afflicted is incapable of constancy. Doubtless there is a physical cause for this flitting from flower to flower, as there is doubtless for the intermittent groaning which appears to afflict Mr. Moon at the present moment. Our own world, scorning winter-bottom, has even dared to say for a certain rare and fine physical type polygamy is but the realization of the variety of females, as comradeship is the realization of the variety of males. In any case, the type that tends to variety is recognized by all authoritative inquirers. Such a type, if the widow over Negres does in many ascertained cases espouse and second noses, an albino, such a type, when freed from the gigantic embraces of a female pentagonian, will often evolve from its own imaginative instinct, the consoling figure of an Eskimo. To such a type there can be no doubt that the prisoner belongs. If blind doom and unbearable temptation constitute any slight excuse for a man, there is no doubt that he has these excuses. Earlier in the inquiry the defense showed real chivalraic ideality, in admitting half our story without further dispute. We should like to acknowledge and imitate so imminently large hearted a style by conceding also that the story told by Curit Pircey about the canoe, the weir, and the young wife seems to be substantially true. Apparently Smith did marry a young woman he had nearly run down in a boat. It only remains to be considered whether it would not have been kinder of him to have murdered her instead of marrying her. In confirmation of this fact I can now concede to the defense an unquestionable record of such a marriage. So, saying he handed across to Michael a cutting from the maiden head Gazette, which distinctly recorded the marriage of the daughter of a coach, a tutor well known in the place to Mr. Innocent Smith, late to Brakespear College, Cambridge, when Dr. Pim presumed it was realized that his face had grown at once both tragic and triumphant. I pause upon this preliminary fact he said seriously because this fact alone would give us the victory, were we aspiring after victory and not after truth. As far as the personal and domestic problem holds us, that problem is solved. Dr. Warner and I entered this house at an instant of highly emotional difficulty. England's Warner has entered many houses to save humankind from sickness. This time he entered to save an innocent lady from walking pestilence. Smith was just about to carry away a young girl from this house. His cab and bag were at the very door. He had told her she was going to await the marriage license at the house of his aunt. That aunt continued Cyrus Pim, his face darkening grandly. That visionary aunt had been the dancing will of the wisp who had led many a high-sold maiden to her doom. Into how many virginal ears has he whispered that holy word when he said, Aunt, there glowed about her all the merry mountain high morality of the Anglo-Saxon home. Kettles began to hum pussy-cats to purr in that very wild cab that was being driven to destruction. Anglewood looked up to find, to his astonishment, as many another denzine of the eastern hemisphere has found, that the American was not only perfectly serious, but was really eloquent in effecting when the difference of the hemispheres was adjusted. It is therefore atrociously evident that the man Smith has at least represented himself to one innocent female of this house as an eligible bachelor, being in fact a married man. I agree with my colleague, Mr. Gould, that no other crime could approximate to this. As to whether what our ancestors called purity has any ultimate ethical value indeed, science hesitates with a high, proud hesitation. But what hesitation can there be about the baseness of a citizen who ventures by brutal experiments upon living females to anticipate the verdict of science on such a point? The woman mentioned by Curit Puri, as living with Smith and Highbury, may or may not be the same as the lady he married and made in head. If one short, sweet spell of constancy and heart repose interrupts the plunging toward of his profligate life, we will not deprive him of their long past possibility. After that conjectural day to last, he seems to have plunged deeper and deeper into the shaking quagmires of infidelity and shame. Dr. Pym closed his eyes, but the unfortunate fact that there was no more light left this familiar signal without its full and proper moral effect. After a pause, which almost partook of the character of prayer, he continued, The first instance of the accused repeated any regular nuptials, he exclaimed, comes from Lady Bullingdon, who expressed herself with high haughtiness, which must be excused in those who look out upon all mankind from the turrets of a Norman and ancestral keep. The communication she has sent us runs as follows. Lady Bullingdon recalls the painful incident to which reference is made, and has no desire to deal with it in detail. The girl, Polly Green, was a perfectly adequate dressmaker and lived in the village for about two years. Her unattached condition was bad for her as well as for the general morality of the village. Lady Bullingdon, therefore, allowed it to be understood that she favored the marriage of the young woman. The villagers, naturally wishing to oblige Lady Bullingdon, came forward in several cases, and all would have been well had it not been for the deplorable eccentricity or depravity of the girl Green herself.   She noticed, however, the startling smallness of his head in comparison to the rest of his body, and indeed the fact of his having appeared upon election day wearing the rosette of both the two opposing parties appeared to Lady Bullingdon to put the matter quite beyond doubt. Lady Bullingdon was astounded to learn that this afflicted being had put himself forward as one of the suitors of the girl in question. Lady Bullingdon's nephew interviewed the wretch upon the point, telling him that he was a donkey to dream of such things, and actually received, along with an imbecile grin, the answer that donkeys generally go after carrots. But Lady Bullingdon was yet further amazed to find the unhappy girl inclined to accept this monstrous proposal, though she was actually asked in marriage by Garth, the undertaker, a man in a far superior position to her own. Lady Bullingdon could not, of course, countenance such an arrangement for a moment, and the two unhappy persons escaped for a clandestine marriage. Lady Bullingdon cannot exactly recall the man's name but thinks it was Smith. He was always called in the village the innocent.  The next communication preceded him is more conspicuous for brevity, but I am of the opinion that he will adequately confate the upshot. It is dated from the offices of Mrs. Hanbury and Boodle publishers, and it is as follows. Sir, yours received and contents noted. Rumor re-typewriter possibly refers to a Miss Blake or similar name left here nine years ago to marry an organ grinder. Case was undoubtedly curious and attracted police attention. Goh worked excellently till about October 1907, when apparently went mad. Record was written at the time part of which I enclose, yours, etc., W-trip. The fuller statement runs as follows. On October 12th a letter was sent from this office to Mrs. Bernarda and Duke Bookbinders. Opened by Mr. Duke, it was found to contain the following. Sir, our trip will call at three, as we wish to know whether it is really decided, gibberish. To this Mr. Duke, a person of a playful mind returned to the answer, sir. I am in a position to give it as my most decided opinion, that it is not really decided, that, gibberish. Yours, etc., J-Juke. On receiving this extraordinary reply, our Mr. Trip asked for the original letter sent from him and found that the typewriter had indeed substituted these demented hieroglyphics for the sentences really dictated to her. Our Mr. Trip interviewed the girl fearing that she was in an unbalanced state and was not much reassured when she merely remarked that she always went like that when she heard the barrel organ. Becoming yet more hysterical and extravagant, she made a series of most improbable statements, as that she was engaged to the barrel organ man, that he was in the habit of serenading her on that instrument, and that she was in the habit of playing back to him upon the typewriter in the style of King Richard and Blondel. And that the organ man's musical ear was so exquisite in his admiration of herself so ardent that he could detect the note of the different letters on the machine and was enraptured by them as by a melody. To all these statements, of course, our Mr. Trip and the rest of us only paid that sort of assent that is paid to those persons who must, as quickly as possible, be put in the charge of their relations. But on our conducting the lady downstairs, her story received the most startling and even as the aspirating confirmation.  When I myself came on the scene, he was flinging his great ape-like arms about and reciting a poem to her. But we were used to lunatics coming and reciting poems in our office and we were not quite prepared for what followed. The actual verse he uttered began, I think, O vivid and violent head ringed, but he never got any further. Mr. Trip made a sharp movement towards him and the next moment the giant picked up the poor lady, typewriter like a doll, sat her on top of the organ, ran it with a crash out of the office doors and raced away down the street like a flying wheelbarrow. I put the police upon the matter but no trace of the amazing pair could be found. I was sorry myself for the lady was not only pleasant but unusually cultivated for her position. As I am leaving the service of Mr. Sanbury and Boodle, I put these things in a record and leave it with them, signed Aubrey Clark, publisher's reader. And the last document, said Pym complacently, is from one of those high-sold women who have in this age introduced your English girlhood to hockey, the higher mathematics and every form of ideality. Dear Sir, she writes, I have no objection to telling you the facts about the absurd incident you mentioned, though I would ask you to communicate them with some caution. For such things, however, entertaining in the abstract are not always auxiliary to the success of a girl's school. The truth is this, I wanted someone to deliver a lecture on a philological or historical question, a lecture which, while containing solid educational matter, should be a little more popular and entertaining than usual, as it was the last lecture of the term. I remembered that a Mr. Smith of Cambridge had written somewhere or other an amusing essay about his own somewhat ubiquitous name, an essay which showed considerable knowledge of deniology and topography. I wrote to him, asking if he would come and give us a bright address upon English surnames, and he did it. It was very bright, almost too bright. To put the matter otherwise, by the time that he was half-way through it, it became apparent to the other mistresses and myself that the man was totally and entirely off his head. He began rationally enough by dealing with the two departments of place names and trade names, and he said quite rightly, I dare say, that the loss of all significance in names was an instance of the deadening of civilization. But then he went on calmly to maintain that every man who had a place name ought to go live in that place, and that every man who had a trade name ought to instantly adopt that trade. That people named after colors should always dress in those colors, and that people named after trees or plants such as beech or rose ought to surround and decorate themselves with these vegetables. In a slight discussion that arose afterwards among the elder girls, the difficulties of the proposal were clearly and even eagerly pointed out. It was urged, for instance, by Miss Young Husband, that it was substantially impossible for her to play the part assigned to her. Miss Man was in a similar dilemma from which no modern views on the sexes could apparently extricate her, and some young ladies, whose names happened to be low, coward and craven, were quite enthusiastic against the idea. But all this happened afterwards. What happened at the crucial moment was that the lecturer produced several horseshoes and a large iron hammer from his bag, announced his immediate intention of setting up a smithy in the neighborhood, and called on everyone to rise in the same cause as for heroic revolution. The other mistresses and I attempted to stop the wretched man, but I must confess that by an accident this very intercession produced the worst explosion of his insanity. He was waving the hammer and wildly demanding the names of everybody, and it so happened that Miss Brown, one of the younger teachers, was wearing a brown dress, a reddish brown dress that went quite nicely enough with the warmer color of her hair, as well she knew. She was a nice girl, and nice girls do know about those things. But when our maniac discovered that we really had a Miss Brown D-Fix blew up like a powder magazine. And there, in the presence of all the mistresses and the girls, he publicly proposed to the lady in the red brown dress. You can imagine the effect of such a scene at an all-girl school. At least if you fail to imagine it, I certainly fail to describe it. Of course the anarchy died down in a week or two, and I can think of it now as a joke. There was only one curious detail, which I will tell you, but I should desire you to consider it a little more confidential than the rest. Miss Brown, who was an excellent girl in every way, did quite suddenly and surreptitiously leave us only a day or two afterwards. I should never have thought that her head would be the one to be really turned, by so absurd an excitement. Believe me, yours faithfully ain't a gridly. I think, said Pim, with a really convincing simplicity and seriousness that these letters speak for themselves. Mr. Moon rose for the last time and gave no hint of whether his native gravity was mixed with his native ironing. Throughout this inquiry, he said, but especially in this closing phase, the prosecution has perpetually relied upon one argument. I mean the fact that no one knows what has become of all the unhappy women apparently seduced by Smith. There is no sort of proof they were murdered, but that implication is perpetually made when the question is asked as to how they died. Or when they died. Or whether they died. But I am interested in another analogous question, that of how they were born and when they were born and whether they were born. Do not misunderstand me. I do not dispute the existence of these women or the veracity of those who have witnessed to them. I merely remark on the notable fact that only one of these victims, the maiden-head girl, is described as having any home or a house. All the rest are borders or birds of passage, a guest, a solitary dressmaker, a bachelor girl doing typewriting. Lady Bullington looking from her turrets, which she bought from the Whartons with the old soap-boilers money when she jumped at marrying an unsuccessful gentleman from Ulster. Lady Bullington looked out from those turrets, did really see an object which she describes as green. Mr. Trip of Hanbury and Boodle pulled to Smith. Ms. Gridley thought idealistic, is absolutely honest. She did house-feed and teach a young woman whom Smith succeeded in decoying away. We admit that all these women really lived, but we still ask whether they were ever born. Oh, crikey, said Moses Gould, stifled with amusement. There could hardly interpose Pym with a quiet smile be a better instance of the neglect of true scientific process. The scientist, when once convinced of vitality and consciousness, would infer from these the previous process of generation. End of Section 24. This is a LibraVox recording. All LibraVox recordings are in the public domain. For more information or to volunteer, please visit LibraVox.org. Man Alive by G. K. Chesterton Section 25 Part 2 The Explanations of Innocent Smith Chapter 4 The Wild Weddings or the Polygamy Charge Part 2 If these gals said Gould impatiently, if these gals were all alive, all alive, oh, I had chance of fiver they were all born. You'd lose your fiver, said Michael, speaking gravely out of the gloom. All those admirable ladies were alive. They were more alive than they looked like with Smith. They were all quite definitely alive, but only one of them was ever born. Are you asking us to believe, began Dr. Pym? I am asking you a second question, said Moon, sternly. Can the court now sitting throw any light on a truly singular circumstance? Dr. Pym, in his interesting lecture on what are called, I believe, the relations of the sexes, said that Smith was the slave of a lust for variety of negris and then to an albino, first to a Patagonian giantus and then to a tiny Eskimo. But is there any evidence of such variety here? Is there any trace of a gigantic Patagonian in the story? Was the typewriter an Eskimo? So picturesque a circumstance would not surely have escaped remark. Was Lady Bullingdon's dressmaker a negris? A voice in my bosom answers, no. Here would think a negris so conspicuous as to be almost socialistic and would feel something a little rakeish, even about an albino. But was there, in Smith's taste, any set variety as the learned doctor describes? So far as our slight materials go, the very opposite seems to be the case. We have only one actual description of any of the prisoner's wives, the short but highly poetic account by the aesthetic curate. Her dress was the color of spring and the hair of autumn leaves. Autumn leaves, of course, are of various colors, some of which would be rather startling in hair, green, for instance. But I think such an expression would be most naturally used of the shades from red-brown to red, especially as ladies with their coppery-colored hair do frequently wear light artistic greens. Now, when we come to the next wife, we find the eccentric lover when told he is a donkey, answering that donkeys always wear carrots, a remark which Lady Bulling didn't evidently regard it as pointless and part of the natural table-talk of a village idiot, but which has an obvious meaning if we suppose that Polly's hair was red. Passing on to the next wife, the one he took from the girl's school, we find Miss Gridley noticing that the schoolgirl in question wore a reddish-brown dress that went quite enough with the warmer color of her hair. In other words, lastly, the romantic organ grinder declaimed in the office some poetry that only got as far as the words, O Vivid in Violet Head, ringed, but I think that a wide study of the worst modern poets will enable us to guess that ringed with the glory of red or ringed with his passionate red was the line that rhymed to head. In this case, once more, therefore there is good reason to suppose that Smith fell in reddish-red hair. Rather, he said looking down at the table, rather like Miss Gray's hair. Cyrus Pym was leaning forward with lowered eyelids, ready with one of his more pedantic interpretations, but Moses Gould suddenly struck his forefinger on his nose with an expression of extreme astonishment and intelligence in his brilliant eyes. Mr. Moon's contention at present is even ephoracious inconsistent with the lunatico criminal view of I. Smith which we have nailed to the mast. Science has long anticipated such a complication. An incurable attraction to a particular type of physical woman is one of the commonest of criminal perversities and when not considered narrowly but in the light of induction of an evolution. At this late stage, said Michael Moon very quietly, he has been pressing me throughout the proceedings by saying that induction and evolution may go and boil themselves. The missing link and all that is well enough for kids but I am talking about things we know here. All we know of the missing link is that he is missing and he won't be missed either. I know all about his human head and his horrid tail. They belong to a very old game called Heads I Win, Tales You Lose. If you do find the fellow's bones it proved he lived a long while ago. If you don't find his bones it proves how long ago he lived.  If it had been large you'd have called it water on the brain. The word regalus seemed pretty various. Variety was the sign of madness. Now because it's turning out to be a bit monochrome now monotony is the sign of madness. I suffer from all the disadvantages of being a grown up person and I am jolly well going to get some of the advantages too. And with all politeness I propose not to be bullied with long words instead of short reasons or consider your business a triumphant progress and always finding out that you were wrong. Having relieved myself of these feelings I have merely to add that I regard Dr. Pym as an ornament to the world far more beautiful than the Parthenon or the Monument on Bunker's Hill and that I propose to resume and conclude my remarks on the many marriages of Mr. Innocent Smith. Besides this red hair there is another unifying thread peculiar and suggestive about the names of these women. Mr. Trip you will remember said he thought the typewriter's name was Blake but could not remember exactly. I suggest that it might have been black and in that case we have a curious series. Ms. Green in Lady Bulling's Village Ms. Brown at the Hendon School Ms. Black at the Publishers a cohort of colors as it were which ends up with Ms. Gray at Beacon House West Hampstead. Amid a dead silence what is the meaning of this queer coincidence about colors? Personally I cannot doubt for a moment that these names are purely arbitrary names assumed as part of some general scheme or joke. I think it very probable that they were taken from a series of costumes that Polly Green only meant Polly or Mary went in green and that Mary Gray only means Mary or Polly Dr. Cyrus Pym was standing up rigid and almost pellet. Do you actually mean to suggest he cried? Yes said Michael I do mean to suggest that Innocent Smith has had many wooings and many weddings for all I know but he has had only one wife she was sitting on that chair an hour ago and is now talking to Ms. Duke in the garden. Smith has behaved here as he has on hundreds of other occasions upon a plain and perfectly blameless principle. It is odd and extravagant in the modern world but not more than any other principle plainly applied in the modern world would be his principle can be quite simply stated he refuses to die while he is still alive he seeks to remind himself by every electric shock to the intellect that he is still a man alive for this reason he fires bullets at his best friends for this reason he arranges ladders and collapsible chimneys to steal his own property for this reason he goes plotting around a whole planet to get back to his own home and for this reason he has been in the habit of taking the woman whom he loved with a permanent loyalty and leaving her about so to speak at schools, boarding houses and places of business he seriously sought by a perpetual recapture of his bride to keep alive the sense of her perpetual value and the perils that should be run for her sake so far his motives are clear enough but perhaps his convictions are not quite so clear I think Innocent Smith has an idea at the bottom of all this I am by no means sure that I believe in myself but I am quite sure that it is worth the man's uttering and defending living in an entangled civilization we have come to think certain things wrong which are not wrong at all we have come to think outbreak and exuberance banging and barging rotting and wrecking wrong in themselves they are not merely pardonable they are unimpeachable there is nothing wicked about firing a pistol off even at a friend so long as you do not mean to hit him it is no more wrong than throwing a pebble at the sea less for you do occasionally hit the sea there is nothing wrong in bashing down a chimney pot and breaking through a roof so long as you are not injuring the life or property of other men it is no more wrong to choose to enter a house from the top let's choose to open a packing case from the bottom there is nothing wicked about walking round the world it is no more wicked than walking round the garden and coming back to your own house and there is nothing wicked about picking up your wife here and there and everywhere if forsaking all others you keep only to her so long as you both shall live it is as innocent as playing a game of hide and seek in the garden you associate such acts with black guardism by a mere snobbish association seen going into a pawnbroker's or a public house you think there is something squalid and commonplace about such a connection you are mistaken this man's spiritual power has been precisely this that he has distinguished between custom and creed he has broken the conventions but he has kept the commandments it is if a man were found gambling wildly in a gambling hell and only played for trouser buttons it is as if you found a man making a clandestine appointment with a lady at Covent Garden Ball and then you found it was his grandmother everything is ugly and discreditable except the facts everything is wrong about him except he has done no wrong it will then be asked why does Innocent Smith continue far into his middle age of farcical existence that exposes him to so many false charges to this I merely answer that he does it because he is really happy because he really is hilarious because he really is a man and alive he is so young that climbing garden trees and playing silly practical jokes are still to him what they once were to us all and if you ask me yet again why he alone among men should be fed with such inexhaustible follies I have a very simple answer to that though it is one that will not be approved there is but one answer and I am sorry you don't like it if Innocent is happy it is because he is Innocent if he can divide the conventions it is just because he can keep the commandments it is just because he does not want to kill but to excite life that a pistol is still as exciting to him as it is to a schoolboy it is just because he does not want to steal because he does not covet his neighbor's goods that he has captured the trick oh how we all long for it the trick of coveting his own goods it is just because he does not want to commit adultery that he achieves the romance of sex it is just because he loves one wife that he has a hundred honeymoon if he had really murdered a man if he had really deserted a woman he would not be able to feel that a pistol or a love letter was like a song at least not a comic song do not imagine please that any such attitude is easy to me or appeals in any particular way to my sympathies I am an Irishman and a certain sorrow is my bones bred either of the persecutions of my creed or of my creed itself speaking singly I feel as if man was tied to tragedy and there was no way out of the trap of old age and doubt but if there is a way out then by Christ and St. Patrick this is a way out this is a way out if one could keep as happy as a child or a dog it would be by being as innocent as a child or as sinless as a dog barely and brutally to be good that may be the road and he may have found it well well well I see a look of skepticism on the face of my old friend Moses Mr. Gould doesn't know that being perfectly good in all respects would make a man marry No said Gould with an unusual and convincing gravity I do not believe that being perfectly good in all respects would make a man marry well said Michael quietly will you tell me one thing which of us has ever tried it a silence ensued rather like the silence of some long geological epic which awaits the emergence of some unexpected type that arose at last in the stillness a massive figure that the other man had almost completely forgotten well gentlemen said Dr. Warner cheerfully I've been pretty well entertained with all this pointless and incompetent tomfoolery for a couple of days but it seems to be wearing rather thin and I am engaged for a city dinner among the hundred flowers of futility on both sides I was unable to detect any sort of reason why a lunatic should be allowed to shoot me in the back garden on his head and gone out sailing placidly to the garden gate while the almost wailing voice of Pym still followed him but really the bullet missed you by several feet and another voice added the bullet missed him by several years there was a long and mainly unmeaning silence and then moon said suddenly we have been sitting with a ghost Dr. Herbert Warner died years ago end of section 25 end of chapter 4 this is a LibriVox recording all LibriVox recordings are in the public domain for more information or to volunteer please visit LibriVox.org Man Alive by G. K. Chesterton section 26 part 2 the explanations of Innocence Smith chapter 5 how the great wind went from Beacon House Mary was walking between Diana and Rosamond slowly up and down the garden they were silent and the sun had set such spaces of daylight as remained open in the west were of a warm tinted white which can be compared to nothing but a cream cheese and the lines of plumy cloud that ran across him had a soft but vivid violet bloom and faded away into a dove-like gray and seemed to melt and mount into Mary's dark gray figure until she seemed clothed with the garden and the skies there was something in these last quiet colors that gave her a setting and a supremacy and the twilight which concealed Diana's statelier figure and Rosamond's braver array exhibited and emphasized her leaving her the lady of the garden and alone when they spoke at last that a conversation long fall and silent was being revived but where is your husband taking you asked Diana in her practical voice to an aunt said Mary that's just the joke there really is an aunt and we left the children with her when I arranged to be turned out of the other boarding house down the road we never take more than a week of this kind of holiday but sometimes we take two of them together does the aunt mind much and what's that other word you know what Goliath was but I've known many aunts who would think it well silly silly cried Mary with a great heartiness oh my Sunday hat I should think it was silly but what do you expect he really is a good man and it might have been snakes or something snakes inquired Rosamond with a slightly puzzled interest Uncle Harry kept snakes and the auntie let him have them in his pockets but not in the bedroom and you began Diana knitting her dark brows a little oh I do as auntie did said Mary as long as we're not away from the children more than a fortnight together I play the game he calls me man alive and you must write it all one word or he's quite flustered but if men want things like that began Diana oh what's the good of talking why one might as well be a leading novelist or some other sort of thing there aren't any men there are no such people there's a man and whoever he is he's quite different so there is no safety said Diana in a low voice oh I don't know answered Mary lightly enough there's only two things generally true of them at certain curious times they're just fit to take care of us there is a gale getting up said Rosamond suddenly look at those trees over there a long way off and the clouds going quicker I know what you're thinking about said Mary and don't you be silly fools don't you listen to the lady novelists you go down the king's highway for God's truth it is God's yes my dear Michael will often be extremely untidy Arthur Inglewood will be worse he'll be untidy but what else are all the trees and the clouds for you silly kittens the clouds and the trees are all waving about said Rosamond there is a storm coming and it makes me feel quite excited somehow Michael is really rather like a storm he frightens me and makes me happy don't you be frightened said Mary all over these men have one advantage they are the sort that go out a sudden thrust of wind through the trees drifted the dying leaves along the path and they could hear the fire off trees roaring faintly I mean said Mary there are the kind that look outwards and get interested in the world it doesn't matter a bit whether it's arguing or bicycling or breaking down the ends of the earth as poor old innocent does stick to the man who looks out of the window and tries to understand the world keep clear of the man who looks in at the window and tries to understand you when poor old Adam had gone out gardening Arthur will go out gardening the other sort came along and worms himself in nasty old snake you agree with your aunt said Rosamond smiling no snakes in the bedroom I didn't agree with my aunt very much replied Mary simply but I think she was right until Aunt Uncle Harry collect dragons and griffons so long as it got him out of the house almost at the same moment lights sprang up inside the darkened house and the two glass doors into the garden into gates of beaten gold the golden gates were burst open and the enormous Smith who had set like a clumsy statue for so many hours came flying and turned cart wheels down the lawn and shouting acquitted, acquitted echoing the cry Michael scampered across the lawn to Rosamond and wildly swung her into a few steps of what was supposed to be walls but the company knew innocent and Michael by this time it was far more extraordinary that Arthur Englewood walked straight up to Diana and kissed her as if it had been his sister's birthday even Dr. Pym though he refrained from dancing looked on with a real benevolence for indeed the whole of the absurd revelation had disturbed him less than the others he half supposed that such irresponsible tribunals and insane discussions were part of the medieval memories of the old land while the tempest tore the sky as with trumpets window after window was lighted up in the house within and before the company broken with laughter and the buffeting of the wind had groped their way into the house again they saw that the great apish figure of innocent Smith had clambered out his own attic window and roaring again and again beacon house whirled round his head a huge log or trunk from the wood fire below of which the river of crimson flame and purple smoke he was evident enough to have been seen from three counties but when the wind died down and the party at the top of their evening's merry month looked again for merry and for him they were not to be found the end of part 2 chapter 5 section 26 the end of men alive


And Governor Babagana Zulum has pledged to continue to support the military in a fight against insurgency in the North East Nigeria. He stated these during the operational visits of the Minister of Defense and State Chief of Amitstaff, Nerval Chief, and the Chief of the Air Staff at the Borno State Government House, Maidugiri. Now there is a problem, there are no scum. But sometimes they want to do it on the oxygen of information dissemination. And therefore we have to be very careful. Within the last two weeks, I've been doing no concreting to the state. The reports reaching me from the Royal Highlands and the community have clearly indicated that gradually this is completely turned to Borno State. And therefore we have to commend its Excellency, the President of the Federal Republic of Nigeria. Commend the Minister of Defense, but we can be said Minister. And the Service Chiefs of South Kenya, the Security Station at the State. He has advised us adequately and he has shared a lot of our strategies with Singapore Defense Staff and the Service Chiefs. And together they agree on the next line of action and we believe he followed religiously. We will come to the end of this fight. And I want to assure you, President Olahande Tnambu, is willing to support us all through to see the end of this fight. Thank you.