In today's video, we're opening a two-year-old booster box for the $500 UDO card. What's up, guys? We're back with another first-edition booster box opening. We have Eternity Code, which was an absolutely insane set at the time of release back in early 2021. Really, we're almost at three years old at this point. I think it was early to mid 2021. I think it was like May or maybe April when this came out. I could be completely wrong on that, but it's been a very long time because we're almost in 2024, and this was a booster box I had available on ruxson34.com, and it was purchased by Zach B, who has purchased a couple of tins from us before. He said he wanted this to be opened, and inside this, there's some pretty awesome stuff. Before we continue into that, though, we have a giveaway. I'll be giving away these two first edition Yu-Gi-Oh cards from Magicians Force and from Ferro Servant, not Ferranic Guardian, almost said Ferranic Guardian. Just like the video, be subscribed, turn on notifications, let me know down below. Will we pull the $500 Yu-Gi-Oh card, or will we pull something else cool like Access Code Talker? Alright, so I was revisiting the price card. Obviously, it's been a couple years, so a lot of things have been reprinted, Access Code being one of them. Surprisingly, it's still a $40 secret rare, so still a really awesome pull if you get that. The big card that we're looking for, the $500 Yu-Gi-Oh card, is the area of the water charmer Starlight Rare. Thing used to be like $700, $800 down to $500 now, but still $500 card. Insane, that's ungraded in your mint. I mean, you don't have to do anything to send it into PSA to get that price. That's just the raw price if you pull it. There's also other Starlight Rares like Effect Failure, of course. That has a lot of reprints with the rarity collection, so that used to be one of the big cards. Now it's down to like $400, I know, terrible for it. Then there's Chamber Dragon made as well, so both pretty good. Then I noticed Madolce Solon's a $15 ultra rare in here as well, so there's actually some pretty awesome stuff. Let's just crack into it. By the way, if you want to grab something to be open in a video, I do have a few things available on Ruxton34.com, and if I don't, at this specific moment, who knows? In the future, I might, because I've been adding more and more stuff to Ruxton34.com. Even if you don't want something open, you can buy stuff sealed, you can buy PSA cards, loose cards. I've been posting a lot of stuff there because it makes it a lot easier for me. I don't have to post it on Instagram and reply to a million times to get somebody to actually pay for it and all that different stuff. Just a much smoother process, and I really like using the website. Go check it out. It's not the perfect looking website. I did finally add a search bar, so that'll help a little bit. Go check that out. It'll be linked in the description. It's just Ruxton34.com, so it's not that complicated if you can't find the link.  Holding 24 packs in this video, it is eternity code, so not super old or anything, but honestly, a pretty pricey booster box. I think it was 150 bucks I sold it for to Zac. That was about market price at the moment. I usually go with the lowest on eBay that I can find, or if there's a sale, I try to go with that. Shout out to Zac, first of all, for allowing us to open this booster box for him. I'm really hoping we can pull any Starlight would be insane. Access code would be awesome. The Madolche Salons have a really nice card, as I said, $15 Ultra, so we are going to just hope for the best. I think four for the back works here. We have red familiar. Let's see what we can get. Parallel Xeed was a crazy card at the time. It's not super expensive because it's a common, but it's still pretty good. It's still a good card, actually.  Our first hollow is a Super Rare Guaranteed Supers. We're in 2021. I mean, they changed it to Guaranteed Supers back in 2016. So, since then, I don't think, is there rares? I don't think there are rares, or are there rares? I don't remember when they got rid of the rares. It might have been before this, but I'm pretty sure it was after this, I thought. Torpedo takedown, Cataclysmic. We have Parallel Xeed, but I don't remember a rare. Remergence, we have Bassalalima. We have the Deceptive Geowin from Resonator. I don't see a rare. Okay, maybe it was before this? They got rid of rares? I guess it was. Interesting. So, two supers so far, instead of having a rare and a foil, it's just a foil.  One, two, three, four. We have Super Every Samurai Swordmaster Musashi. We have Toe Tai Dragon, the Teotai. We have a Red Familiar, Ancient Warriors, Evil Eye, Deep Sea Minstrel, the Form of Palturn Trooper, Gokie Iron Claw, and, oh, you see that link? You think Access Code Talker? Not that time. Pretty amazing card. Access Code Talker is absolutely amazing. It's just a very, very good card. I personally have actually used it. Thanks to playing a lot of Masterful with it. I haven't played Masterful in quite a while at this point, but Access Code Talker was one of those cards in certain decks that just absolutely dominates. We have Trius, we have Super Every Samurai, Unchained. Just not being able to respond to it. What is it? When you summon it and then, at some point, you can't respond to its activation of its effect, and it's just super good because of that. Then also, it can become 5300 or whatever it is. Very easily, very easily. If not, it's 4300. It's pretty insane. Gokie Guts has been a while since I've played, so the exact effects are not quite there. Pinpoint Dash, we have a Nemesis Fly. For a while on Twitch, we were actually streaming on a Masterful. It was super fun, but at some point I decided I would just want to play Pokemon. That's what we've been doing recently. Lots of Pokemon recently. It's been fun because the Pokerux channel is almost at 5k subs, which I'm super pumped about. I mean, 5k. The goal was 10k for this year, but that was a long shot goal. Getting to 5k was pretty awesome, though we didn't get the long shot goal we got halfway there, which is pretty good. Deepsea Mentor, we have Pinpoint Dash. Turn Trooper. Oh, yeah. I realized recently that this card came out in this set. I was like, wow, that's crazy. I had no idea. It was such a new card. I'm used to using it in Masterful. My Alistar and stuff like that. My Invoked Dex, my Invoked Dogmatic and Dark Magician, stuff like that. 1, 2, 3, 4. We have a Link Burst. Xyz Revive Splash. Magical Hound. That's like a retrain of the original 2800 from CRV, I think. Pride. We have the Command. Shark. Golden Air. We have Gokie. Titan Sider. Oh, that's a secret. Titanicider. I don't remember this being a good card, but maybe it doesn't have a reprint, and that could make it better. Looks like it is a solid $1 card, so not that crazy. I mean, it's like a dollar-something, but it's over a dollar, so that's that, I guess. Not an access code, that's for sure. 1, 2, 3, 4. We're hoping for something a little better on the second secret. Trapido. Cataclysmic, we've got Parallel. No Ultras yet, interestingly enough. We have Deepsea. Xyz Revive Samurai. Proxy Have Magician. And Imblem of the Plunder Patrol Ultra. So, pretty nice as well. Plunder Patrol Ultra. Looking good. I like that. It's not the Medulche Salon, which is a very, very big Ultra. 1, 2. I mean, $15 Ultra is huge. Out of just a core set. Deepsea Sentry. Magical Hound. King of these Barbaros. Another old-school retrain. Ghost Pirate. AIQ. Trius. And Malice Lady of the Limit. Okay. It's crazy how these booster boxes from just a couple years ago have already gotten pretty valuable. They have some pretty amazing. I mean, this set was absolutely awesome. There were some really strong cards in it. I think this one also had the little plus sign looking guy who got banned, Link Cross. I think it's what it's name was. I think it was an Ultra. Yeah, I think that was in here as well. Marinses. So, there were some really powerful ones with Parallel Xyz, with Access Kotaker, with Link Cross. It was some crazy stuff. And then, of course, the big starlights. Like, desirable ones with the Water Charmer. The Effect Veilers. The first time having a big hybrid of that. Well, that's not true. There was an Ultimate Rare. But it was, you know, just a desirable card. And getting a starlight was pretty big. Splash Mage is also a good card for, like, Coder. Coder? Not saying Coder. Like, Kotalker is what I'm trying to say. Not Distant Coder. But basically, what's the difference? I mean, this is an Eternity Code, after all. So, it makes sense. This is the first half. So, the first half has been iffy, but we've only gotten one Ultra. So, there should be multiple others in the second half. There's not one here. Zero Day. Iron Claw. Crimson Resonator. It's a pretty good card. I'm surprised it's so new. And a Deep Sea Prima Donna. So, there is another Ultra here. I don't think this is the one we were looking for. Deep Sea Prima Donna. I could be wrong on that, though. I haven't checked every price. You guys will see it on the screen, obviously.  And then, it's just like 20 bucks or something. Which is pretty funny, to be honest. We have Nemesis. Deep Sea Sentry. King Beast Barbarose. Not Beast King. I think there is a Beast King Barbarose as well. I think that's the difference. They swapped the name. Goki Goldilocks. Code Breaker. Code Breaker. Zero Day. And AI. Contact. I like how in this one it says, final FAI. No. Why doesn't it have, it should have had AI in there somewhere. Well, I guess you'd have to mess up the FA. Yeah. I don't know. Kind of confusing, but one, two, three. Funny enough that they're talking about like AI and stuff. And like AI became like huge just a couple years later. Like massively huge. I mean, I guess maybe there was like, whisperings about it happening a couple years ago. Or maybe they were just like doing sci-fi kind of things. You know, like AI is going to take over, which for use of deployment, that is not a very good one. I don't think. I remember that getting a mega 10 reprint and being very cheap. But that's almost everything that gets a mega 10 reprint. So maybe that doesn't mean anything. Okay. One, two, three, four. What will we get? Will it be a Starlight? We have Splash. Magical Hound. Pride. Lantern Shark. Stairs on Mail. Golden Hair. We have Necroquip. Burning Draw. Another Super. So we have three Ultras. One Secret. Obviously, no Starlight. Those are going to be one in 12. One in 25 boxes. Sorry, I was thinking of the Battles of the Legend, I guess. One in 25. So even harder to get for that. Then specifically, one in 100. You know, no. One in 125. Because there's five of them in here. Princess. And that's not a bad second secret. Ghostborn or Moonlet Chill. It has had reprints. So it's probably not super expensive. But the first edition secret original print. That's probably pretty solid. It's definitely better than the first secret we got. Okay. You guys remember, we actually did pull that in Starlight at one point out of a booster box. A random booster box, which was pretty cool. So I'm hoping we can do that with Effect Valor or with the area of the Water Charm. That'd be pretty cool. We have Link Burst. Nemesis. Deep Sea. King Beast. Barbaros. Deep Sea Artisan. Super River Samurai. We have Proxy. I have a Magician. Stairs on Mail. And Ancient Warriors. Ingenious. Zoo. Go home. All right. Two Secrets. Three Ultras so far. Let's see if we can end this with something big like a Starlight. We have the Bluebeard. Bluebeard. Frolick A. You got a Bluebeard. We got Splash Mage. Noctavision Dragon. Zero Day. We have an Ancient Warriors. And we've got Gatchery at Ignister. All right, Bluebeard. Where are we selling next, Captain? By the way, guys. Okay. So we did the one piece video the other day. You guys saw that. Some of you guys saw it. Not many people watched it. But I knew when we posted it, it was going to be a very low-viewed video compared to everything else, obviously, because it's not Yu-Gi-Oh. But I posted that the other day. It was actually a really fun opening. I really enjoyed it. Michael sent us the booster boxes to open up. And I decided after that that I was going to continue one piece. And a couple nights later after recording that, Har. Super River. I actually pretty sure I played against this at some point. I think when I was doing some like a viewer dueling day on Twitch, somebody used these against me. I did win the duel, but I had no idea what was going on. It was actually pretty tough. But as I was saying, I actually started back one piece. I was on episode 311. Ironically, I started the live action one piece, which I was watching and I was like, this isn't how I remember it going. Because it's been a while since I watched the first 310 episodes. I was like, I don't remember all these people. Like no spoiler alert. If you haven't watched one piece, you're going to watch it at some point. If you haven't watched it, you're probably not going to because it's a thousand episodes. His grandpa's in the live action. And I'm like, I don't remember his grandpa. Okay. There's Trapchix Almeris. That's that as a starlight as well. That's actually a pretty good pull. I don't remember his grandpa. And I was like, that's kind of weird that I don't remember that. It was 300 episodes. Turns out I was three episodes or two episodes away from actually seeing him for the first time. So ironically, they put it in season one and then it doesn't actually get there until episode 313 in the anime. And so I started back again and then I see all these characters that are in the live action. Again, I was like, what in the world? That's so strange. So all of that to say, I got back on one piece and I was like, oh, that's super weird and funny that I stopped right then. We have a script on. We're really looking for a starlight rare right now. And I've dedicated, I tweeted it out. I said, this is my ultimate goal. It will be my number one achievement. Here's my, here's my tweet. Go check out my Twitter at rexin34 or whatever you call it these days. Go follow it.  So I made progress deep sea, magical hound. I think I'm going to do it. It's, I know this is, this is not, it has nothing to do with Yu-Gi-Oh! Buzz off shark. And I probably shouldn't be talking about this after how the video did the other day. I mean, yeah, not great, but the people liked it. It seemed like they liked it. So even though some people were like, you don't even know any of the characters, you've watched 300 episodes. And I was like, well, it should be fair. It was a long time ago. Second of all, I didn't know the characters they thought I didn't know. Cause like somebody thought I didn't know chopper was a main character. And I was like, did I say something to like make them think that we have deep sea and burning draw. Okay. All right. Last pack. I'm sorry, Zach, that this turned into a rambling about, uh, about one piece, but you know, when there's a thousand episodes, there's a lot to talk about. Last pack magic. If this has a starlight in it, we go crazy. Here we go. Eternity code. Gotta believe you guys. One, two, three, four. We have a Goki Guts. Super Samurai Sword Master. Tatoi Dragon. Red familiar. Golden there. Pyreth. Necroquip. Oh, we got a hiccup right in the middle. We have zero day and the armored bitron. All right. So we didn't get anything super crazy in that box, but shout out to Zach once again for allowing us to have a video. This is super fun. And don't forget to subscribe to the channel if you want to see more and check out ruxen34.com if you want to find something by yourself to open up yourself for me to open up for some grady cards, singles, all that stuff. My website. Go check it out. Shout out to Tom and Paul for the show. Dax, or tomato juice, puppets of doom, or Nestor, Deanna, America, Deuyser, Supreme Sage 21, CJ, Liu, Gwine 62, Yu-Gi-Oh, Unboxed, and a Thai show in Musa, Jr. Barting, Robert F, Thomas Boclain, and Changa Lang. Thank you guys for supporting the channel. And I'll see you guys in the next one. Peace.


CHAPTER XVI. PART ONE Last day Anne Veronica and Capes felt like newborn things. It seemed to them they could never have been really alive before, but only dimly anticipating existence. They sat face to face beneath an experience-looking rucksack, and a brand-new portmanteau, and a leather handbag, in the afternoon boat-train that goes from Charing Cross to Folkstone for Belong. They tried to read illustrated papers in an unconcerned manner, and with forced attention, lest they should catch the leaping exultation in each other's eyes, and they admired Kent sigilously from the windows. They crossed the channel in sunshine and debris that just ruffled the sea to glittering scales of silver. Some of the people who watched them standing side by side thought they must be newly wedded because of their happy faces, and others that they were an old established couple because of their easy confidence in each other. That Belong they took train to Basel. Next morning they breakfasted together in the buffet of that station, and thence they caught the interlaken express, and so went by way of spese to Frutigen. There was no railway beyond Frutigen in those days. They sent their baggage by post to Cundersteg, and walked along the mule path to the left of the stream, to that queer hollow among the precipices, Blau Sea, where the petrifying branches of trees lie in the blue deeps of an icy lake, and pine trees clamber among gigantic boulders. A little in flying a Swiss flag nestles under a great rock, and there they put aside their knapsacks and lunched and rested in the midday shadow of the gorge in the centre of resin. And later they paddled in a boat above the mysterious deeps of the sea, and peered down into the green blues and the blue greens together. By that time it seemed to them they had lived together twenty years. Except for one memorable school excursion to Paris, Anne Veronica had never yet been outside England, so that it seemed to her the whole world had changed, the very light of it had changed. Instead of English villas and cottages there were chalets and Italian-built houses shining white. There were lakes of emerald and sapphire, and clustering castles, and such sweeps of hill and mountain, such shining uplands of snow as she had never seen before. Everything was fresh and bright from the kindly manners of the frutigate cobbler who hammered mountain nails into her boots, to the unfamiliar wild flowers that spangled the wayside, and capes had changed into the easiest and jolliest companion in the world. The mere fact that he was there in the train alongside her, helping her, sitting opposite to her in the dining-car, presently sleeping on a seat within a yard of her, made her heart sing until she was afraid their fellow passengers would hear it. It was too good to be true. She would not sleep for fear of losing a moment of that sense of his proximity. To walk beside him, dressed akin to him, rucksacked and companiable, was bliss in itself. Each step she took was like stepping once more across the threshold of heaven. One trouble, however, shot at slanting bolts of thwart the shining warmth of that opening day, and marred its perfection. And that was the thought of her father. She had treated him badly. She had hurt him and her aunt. She had done wrong by their standards, and she would never persuade them that she had done right. She thought of her father in the garden, and of her aunt with her patience, as she had seen them. How many ages was it ago? Just one day intervened. She felt as if she had struck them unawares. The thought of them distressed her without subtracting at all from the oceans of happiness in which she swam. But she wished she could put the things she had done in some way to them, so that it would not hurt them so much as the truth would certainly do. The thought of their faces, and particularly of her aunts, as it would meet the fact, was concerted, unfriendly, condemning, pained. Occurred to her again and again. Oh, I wish, she said, that people thought alike about these things. Capes watched the limpid water dripping from his oar. I wish they did, he said, but they don't. I feel all this is the rightest of all conceivable things. I want to tell everyone, I want to boast to myself. I know. I told them a lie. I told them lies. I wrote three letters yesterday and tore them up. It was so hopeless to put it to them. At last I told a story. You didn't tell them our position. I implied we'd get married. They'll find out. They'll know. Not yet. Sooner or later. Only bit by bit. But it was hopelessly hard to put. I said I knew he disliked and distrusted you and your work, that you shared all Russell's opinions. He hates Russell beyond measure, and that we couldn't possibly face a conventional marriage. What else could one say? I left him to suppose a registry perhaps. Capes let his oar smack on the water. Do you mind very much? He shook his head. But it makes me feel inhuman, he added. And me. It's the perpetual trouble, he said, of parent and child. They can't help seeing things in the way they do. Nor can we. We don't think they're right, but they don't think we are. A deadlock. In a very definite sense we are in the wrong. Hopelessly in the wrong. It's just this. Who was to be hurt? I wish no one had to be hurt, said Anne Veronica. When one is happy, I don't like to think of them. Last time I left home I felt as hard as nails. But this is all different. It is different. There's a sort of instinct of rebellion, said Capes. It isn't anything to do with our times particularly. People think it is, but they are wrong. It's to do with adolescence. Long before religion and society heard of doubt, girls were all for midnight coaches in Gretna Green. It's a sort of home-leaving instinct. He followed up a line of thought. There's another instinct too, he went on, in a state of suppression, unless I'm very much mistaken. A child-expelling instinct. I wonder. There's no family-uniting instinct anyhow. It's habit and sentiment and material convenience hold families together after adolescence. There's always friction, conflict, unwilling concessions. Always. I don't believe there is any strong natural affection at all between parents and growing up children. There wasn't I know between myself and my father. I didn't allow myself to see things as they were in those days. Now I do. I bored him. I hated him. I suppose that shocks one's ideas. It's true. There are sentimental and traditional differences and reverences I know between father and son. But that's just exactly what prevents the development of an easy friendship. Father worshiping sons are abnormal. And they're no good. No good at all. One's got to be a better man than one's father. Or what is the good of successive generations? Life is rebellion or nothing. He rode a stroke and watched the swirl of water from his ore broaden and die away. At last he took up his thoughts again. I wonder if, someday, one won't need to rebel against customs and laws. If this discord will have gone. Someday, perhaps. Who knows? The old won't coddle and hamper the young, and the young won't need to fly in the faces of the old. They'll face facts as facts and understand. Oh, to face facts. Gods, what a world it might be if people faced facts. Understanding. Understanding. There is no other salvation. Someday older people, perhaps, will trouble to understand younger people, and there won't be these fierce disruptions. There won't be barriers one must defy or perish. That's really our choice now. Defy. Or futility. The world, perhaps, will be educated out of its idea of fixed standards. I wonder, Anne Veronica, if when our time comes we shall be any wiser. Anne Veronica watched a water beetle fussing across the green depths. One can't tell. I'm a female thing at bottom. I'm like high-tone for a flourish, and stars and ideas. But I want my things. Part two. Cape's thought. It's odd. I have no doubt in my mind that what we are doing is wrong, he said, and yet I do it without compunction. I never felt so absolutely right, said Anne Veronica. You are a female thing at bottom, he admitted. I'm not nearly so sure as you. As for me, I looked twice at it. Life is two things, that's how I see it. Two things mixed and muddled up together. Life is morality. Life is adventure. Squire and master. Adventure rules and morality. Looks up the trains in the bread shore. Morality tells you what is right, and adventure moves you. If morality means anything, it means keeping bounds, respecting implications, respecting implicit bounds. If individuality means anything, it means breaking bounds, adventure. Would you be moral and your species, or immoral and yourself? We've decided to be immoral. We needn't try and give ourselves airs. We've deserted the posts in which we found ourselves, cut our duties, exposed ourselves to risks that may destroy any sort of social usefulness in us. I don't know. One keeps rules in order to be oneself. One studies nature in order not to be blindly ruled by her. There's no sense in morality, I suppose, unless you are fundamentally immoral. She watched his face as he traced his way through the speculative thickets. Look at our fare, he went on looking up at her. No power on earth will persuade me we're not two rather disreputable persons.  Here we are absconding, pretending to be what we are not. Shady, to say the least of it. It's not a bit of good pretending there's any higher truth or wonderful principle in this business. There isn't. We never started out in any high-browed manner to scandalize and shellify. When first you left your home, you had no idea that I was the hidden impulse. I wasn't. You came out like an ant for your nuptial flight. It was just a chance that we in particular hit against each other. Nothing predestined about it. We just hit against each other, and here we are flying off at a tangent, a little surprise at what we are doing. All our principles abandoned, and tremendously and quite unreasonably proud of ourselves. Out of all this we have struck a sort of harmony, and it's gorgeous. Glorious, said Andronica. Would you like us, if someone told you the bare outline of our story, and what we are doing? I shouldn't mind, said Andronica. But if someone else asked your advice, if someone else said, here is my teacher. A jaded married man on the verge of middle age, and he and I have a violent passion for one another. We propose to disregard all our ties, all our obligations, all the established prohibitions of society, and begin life together afresh. What would you tell her? If she asked advice, I should say she wasn't fit to do anything of the sort. I should say that having a doubt was enough to condemn it. But wave that point. It would be different or the same. It wouldn't be you. It wouldn't be you either. I suppose that's the gist of the whole thing. He stared at a little eddy. The rules are right, so long as there isn't a case. Rules are for established things, like the pieces and positions of a game. Men and women are not established things. They're experiments, all of them. Every human being is a new thing. Exists to do new things. Find the thing you want to do most intensely. Make sure that's it, and do it with all your might. If you live well and good, if you die well and good, your purpose is done. Well, this is our thing. He woke the glassy water to swirling activity again, and made the deep blue shapes below writhe and shiver. This is my thing, said Anne Veronica softly, with thoughtful eyes upon him. Then she looked up the sweep of pine trees to the towering sunlit cliffs and the high heaven above, and then back to his face. She drew in a deep breath of the sweet mountain air. Her eyes were soft and grave, and there was the faintest of smiles upon her resolute lips. Part 3 Later they loitered along a winding path above the inn and made love to one another. Their journey had made them indolent. The afternoon was warm, and it seemed impossible to breathe a sweeter air. The flowers and turf, a wild strawberry, a rare butterfly, and such like little intimate things had become more interesting than mountains. Their flitting hands were always touching. Deep silences came between them. I had thought to go on to candlestick, said Capes. But this is a pleasant place. There is not a soul in the inn but ourselves. Let us stay the night here. Then we can loiter and gossip to our heart's content. Agreed, said Anne Veronica. After all at Delhoney Moon. Always shall get, said Anne Veronica. This place is very beautiful. Any place would be beautiful, said Anne Veronica, in a low voice. For a time they walked in silence. I wonder, she began presently, Why I love you, and love you so much. I know now what it is to be an abandoned female. I am an abandoned female. I'm not ashamed of the things I'm doing. I want to put myself into your hands.  Tight. I want you to hold me and have me so... everything. Everything. It's a pure joy of giving. Giving to you. I have never spoken of these things to any human being. Just dreamed, and ran away even from my dreams. It is as if my lips had been sealed about them. And now I break the seals. For you. Only I wish. I wish today I was a thousand times, ten thousand times more beautiful. Capes lifted her hand and kissed it.  He said, than anything else could be.   Beauty doesn't mean, never has meant anything, anything at all but you. It heralded you, promised you. Part four They lay side by side in a shallow nest of turf and mosses among boulders and stunted bushes on a high rock, and watched the day sky deep into evening between the vast precipices overhead, and looked over the treetops down the widening gorge. A distant suggestion of chalets and a glimpse of the road set them talking for a time of the world they had left behind. Capes spoke casually of their plans for work. It's a flabby, loose-willed world we have to face. It won't even know whether to be scandalised at us or forgiving. It will hold aloof, a little undecided whether to pelt or not. That depends whether we carry ourselves as though we expected pelting, said Anne Veronica. We won't. No fear. Then, as we succeed, it will begin to siddle back to us. It will do its best to overlook things. If we let it, poor dear, that's if we succeed. If we fail, said Capes, then we aren't going to fail, said Anne Veronica. Life seemed a very brave and glorious enterprise to Anne Veronica that day. She was quivering with the sense of capes at her side and glowing with heroic love. It seemed to her that if they put their hands jointly against the alps and pushed, they would be able to push them aside. She lay and nibbled at a sprig of dwarf-rodered engine. Fail, she said. Part 5 Presently it occurred to Anne Veronica to ask about the journey he had planned. He had his sections of the Siegfried map folded in his pocket, and he squatted up with his legs crossed like an Indian idol, while she lay prone beside him and followed every movement of his indicator-y finger. Here, he said, is this Blau Si, and here we rest until tomorrow. I think we rest here until tomorrow. There was a brief silence. It is a very pleasant place, said Anne Veronica, biting a rodered engine's torque through, and with that faint shadow of a smile returning to her lips. And then, said Anne Veronica. Then we go on to this place, the ocean in sea. It's a lake among precipices, and there is a little inn where we can stay and sit and eat our dinner at a pleasant table that looks upon the lake. For some days we shall be very idle there among the trees and rocks. There are boats on the lake in shady depths and wildernesses of Pinewood. After a day or so, perhaps, we will go on one or two little excursions and see how good your head is, a mild scramble or so, and then up to a hut on a pass just here, and out upon the bloomless Alp Glacier that spreads out so and so. She rouse herself from some dream at the word. Glaciers, she said. Under the wild froal, which was named after you, he bent and kissed her hair and paused, and then forced his attention back to the map. One day, he resumed, we will start off early and come down at a candlestick, and up these zigzags and here and here, and so pass this Dolben Sea to a tiny inn. It won't be busy yet, though. We may get it all to ourselves. On the brim of the steepest zigzag you can imagine, thousands of feet of zigzag, and you will sit and eat lunch with me and look out across the Roan Valley and over blue distances beyond blue distances, to the Matterhorn and Monty Rosa, and a long regiment of sunny, snowy mountains, and when we see them we shall at once want to go to them. That's the way with beautiful things, and down we shall go like flies down a wall, to look about, and so to look station here, and then by train up the Roan Valley, and this little side valley to Stalden. And there, in the cool of the afternoon, we shall start off up a gorge, torrents and cliffs below us and above us, to sleep in a half-way inn, and go on next day to Sars Fee, Sars of the Magic, Sars of the Pagan people. And there, about Sars, are ice and snows again, and sometimes we will loiter among the rocks and trees about Sars, or peep into Samuel Butler's chapels, and sometimes we will climb up out of the way of the other people onto the glaciers and snow. And from one expedition at least, we will go up this desolate valley here to Matmark, and so on to Montimora. There indeed you see Monti Rosa, almost the best of all. Is it very beautiful? When I saw it there it was very beautiful. It was wonderful. It was the crowned queen of mountains and her robes of shining white. It towered up high above the level of the pass, thousands of feet still, shiny and white, and below, thousands of feet below, was the floor of little woolly clouds. And then presently these clouds began to wear thin and expose steep, deep slopes going down and down, with grass and pine trees down and down, and at last, through a great rent in the clouds, bare roofs, shining like very minute pinheads, and a road like a fibre of white silk, Macugnana in Italy. It will be a fine day. It will have to be when you first set eyes on Italy. That's as far as we go. Can't we go down into Italy? No, he said. It won't run to that now. We must wave our hands at the blue hills far away there, and go back to London and work. But Italy. Italy's for a good girl, he said, and laid his hand for a moment on her shoulder. She must look forward to Italy. I say, she reflected, you are rather the master, you know. The idea struck him as novel. Of course I'm manager for this expedition, he said, after an interval of self-examination. She slid her cheek down the tweed sleeve of his coat. Nice sleeve, she said, and came to his hand and kissed it. I say, he cried, look here, aren't you going a little too far? This, this is degradation, making a fuss with sleeves. You mustn't do things like that. Why not? Free woman and equal. I do it, of my own free will, said Ann Veronica, kissing his hand again. It's nothing to what I will do. Oh well, he said a little doubtfully. It's just a phase.  Then as she lay very still, with her hands clenched and her black hair tumult about her face, he came still closer and softly kissed the nape of her neck. Part 6 Most of the things that he had planned, they did, but they climbed more than he had intended, because Ann Veronica proved rather a good climber, steady-headed and plucky, rather daring, but quite willing to be cautious at his command. One of the things that most surprised him in her was her capacity for blind obedience. She loved to be told to do things. He knew the circle of mountains about Sars-Fee fairly well. He had been there twice before, and it was fine to get away from the straggling pedestrians into their high, lonely places, and sit and munch sandwiches and talk together and do things together, that were just a little difficult and dangerous. And they could talk, they found, and never once it seemed that their meaning and intention hitch. They were enormously pleased with one another. They found each other beyond measure better than they had expected, if only because of the want of substance in mere expectation. Their conversation degenerated again and again into a strain of self-congratulation that would have irked an eavesdropper. You're—I don't know, said Ann Veronica. You're splendid. It isn't that you're splendid or I, said Capes, but we satisfy one another. Heaven alone knows why. So completely. The oddest fitness. What is it made of? Texture of skin and texture of mind? Complexion and voice. I don't think I've got illusions, nor you. If I had never met anything of you at all but a scrap of your skin binding a book, Ann Veronica, I know I would have kept that somewhere near to me.  The faults are the best part of it, said Ann Veronica. Why, even our little vicious strains run the same way. Even our coarseness. Course, said Capes. We're not coarse. But if we were, said Ann Veronica. I can talk to you anew to me without a scrap of effort, said Capes. That's the essence of it. It's made up of things as small as the diameter of hairs and biggest life and death. One always dreamed of this and never believed it. It's the rarest luck, the wildest, most impossible accident. Most people, everyone I know else, seem to have mated with foreigners and to talk uneasily in unfamiliar tongues. To be afraid of the knowledge the other one has of the other one's perpetual misjudgment and misunderstandings. Why don't they wait? he added. Ann Veronica had one of her flashes of insight. One doesn't wait, said Ann Veronica. She expanded that. I shouldn't have waited, she said. I might have muddled for a time. But it's as you say, I've had the rarest luck and fallen on my feet. We've both fallen on our feet. We're the rarest of mortals, the real thing. There's not a compromise, nor a sham, nor a concession between us. We aren't afraid. We don't bother. We don't consider each other. We need it. That rapid life, as you call it. We've burned the confounded rags, danced out of it. We're stuck. Stuck! echoed Ann Veronica. Part 7 As they came back from that day's climb, it was up the Mitagon. They had to cross a shining space of wet, steep rocks between two grass slopes that needed a little care. There were a few loose, broken fragments of rock to reckon with upon the ledges, and one place where hands did as much work as toes. They used the rope—not that a rope was at all necessary—but because Ann Veronica's exalted state of mind made the fact of the rope agreeably symbolical, and anyhow it did ensure a joint death in the event of some remotely possible mischance. Capes went first, finding footholds, and, where the drops in the strata edges came like long, awkward steps, placing Ann Veronica's feet. About halfway across this interval, when everything seemed going well, Capes had a shock. Heavens! exclaimed Ann Veronica with extraordinary passion. My God!—and ceased to move. Capes became rigid and adhesive. Nothing ensued. All right, he asked. I'll have to pay it. Eh? I've forgotten something. Oh, cuss it! Eh? He said I would. What? That's the devil of it. Devil of what? You do use foul language. Forget about it like this. Forget what? And I said I wouldn't. I said I'd do anything. I said I'd make shirts. Shirts? Shirts at one, and something a dozen. Oh goodness! Bilking! Ann Veronica, you're Bilker! Pause. Will you tell me what all this is about? said Capes. It's about forty pounds. Capes waited patiently. Gee, I'm sorry, but you've got to lend me forty pounds. It's some sort of delirium, said Capes, the rarefied heir. I thought you had a better head. No, I'll explain lower. It's all right. Let's go on climbing now. It's a thing I've unaccountably overlooked. All right, really. It can wait a bit longer. I borrowed forty pounds from Mr. Rammage. Thank goodness you'll understand. That's why I chucked manning. All right, I'm coming. But all this business has driven it clean out of my head. That's why he was so annoyed, you know. Who was annoyed? Mr. Rammage, about the forty pounds. She took a step. My dear, she added by way of afterthought. You do obliterate things. Part 8 They found themselves next day talking love to one another high up on some rocks above a steep bank of snow that overhung a precipice on the eastern side of the Fee Galatia.  They were now both in a state of unprecedented physical fitness, and such skirts as Anne Veronica had had when she entered the Valley of Sars were safely packed away in the hotel, and she wore leather belt and loose knickerbockers and putties, a costume that suited the fine long lines of her limbs far better than any feminine walking dress could do. Her complexion had resisted the snow glare wonderfully, her skin had only deepened its natural warmth a little under the alpine sun. She had pushed aside her azure veil, taken off her snow-glasses, and sat smiling under her hand at the shining glories, the lit cornices, the blue shadows, the softly rounded enormous snow masses, the deep places full of quivering luminosity, of the tashorn and dome. The sky was cloudless if fulgent blue. Cape sat watching and admiring her, and then he fell praising the day and fortune and their love for each other. Here we are, he said, shining through each other like light through a stained glass window, with this air in our blood, the sunlight soaking us. Life is so good. Can it ever be so good again? Anne Veronica put out a firm hand and squeezed his arm. It's very good, she said. It's glorious good. Suppose now, look at this long snow slope and then that blue deep beyond. Do you see that round pool of colour in the ice, a thousand feet or more below? Yes? Well, think. We've got to go about ten steps and lie down and put our arms about each other. See? Down we should rush in a foam, in a cloud of snow, to flight and a dream. All the rest of our lives would be together then, Anne Veronica, every moment and no ill chances. If you tempt me too much, she said after a silence, I shall do it.  I'm a desperate young woman. And then as we went down you'd try to explain and that would spoil it. You know you don't mean it. No, I don't. But I like to say it. Rather, but I wonder why you don't mean it. Because I suppose the other thing is better. What other reason could there be? It's more complex, but it's better. This, this glissade would be damned scaldronism. You know that and I know that. Though we might be put to it to find a reason why. It would be swindling, drawing the pay of life and then not living. And besides, we're going to live, Anne Veronica. Oh, the things we'll do, the life we'll lead. There'll be trouble in it at times. You and I aren't going to run without friction. But we've got the brains to get over that and tongues in our heads to talk to each other. We shan't hang up on any misunderstanding, not us. And we're going to fight that old world down there. That old world that had shoved up that silly old hotel and all the rest of it. If we don't live it, we'll think we are afraid of it. Die indeed. We're going to do work. We're going to unfold about each other. We're going to have children. Girls, said Anne Veronica. Boys, said Capes. Both, said Anne Veronica. Lots of them. Capes chuckled. You delicate female. Who cares, said Anne Veronica, seeing it's you. Warm, soft little wonders. Of course I want them. Part nine. All sorts of things we're going to do, said Capes. All sorts of times we're going to have. Sooner or later we'll certainly do something to clean those prisons you told me about. Lime wash the underside of life. You and I. We can love on the snow corners. We can love over a pail of whitewash. Love anywhere. Anywhere. Moonlight and music. Pleasing, you know, but quite unnecessary. We met dissecting dogfish. Do you remember your first day with me? Do you indeed remember? The smell of decay and cheap methylated spirit. My dear, we've had so many moments. I used to go over the times we'd had together. The things we'd said, like a rosary of beads. But now it's beads by the cask, like the hold of a West African trader. It feels like too much gold dust clutched in one's hand. One doesn't want to lose a grain. And one must. Some of it must slip through one's fingers. I don't care if it does, said Anne Veronica. I don't care rap for remembering. I care for you. This moment couldn't be better until the next moment comes. That's how it takes me. Why should we hoard? We aren't going out presently like Japanese lanterns in a gale. It's the poor deers who do, who know they will, know they can't keep it up, who need to clutch at wayside flowers, and put them in little books for remembrance. Flattened flowers aren't for the likes of us. Moments indeed. We like each other fresh and fresh. It isn't illusions, for us. We too just love each other, the real identical other, all the time. The real identical other, said Capes, and took and bit the tip of her little finger. There's no delusion so far as I know, said Anne Veronica. I don't believe there is one. If there is, it's a mere rapping. There's better underneath. It's only as if I'd begun to know you the day before yesterday or thereabouts. You keep on coming truer after you have seemed to come all together true. You brick. Part 10. To think, he cried, you are ten years younger than I.  Do you know, Anne Veronica, it is all a lie about your birth certificate, a forgery and fooling at that. You are one of the immortals. Immortal! You were in the beginning, and all the men in the world who have known what love is have worshipped at your feet. You have converted me to, lest the ward, you are my dear friend.  But there are moments when my head has been on your breast, when your heart has been beating close to my ears, when I have known you for the goddess, when I have wished myself your slave, when I have wished that you could kill me for the joy of being killed by you.  Your priestess, whispered Anne Veronica softly.  Part eleven. They sat for a time without speaking a word in an enormous shining glow of mutual satisfaction. Well, said Capes at length, we've got to go down, Anne Veronica. Life waits for us. He stood up and waited for her to move. God's! cried Anne Veronica, and kept him standing. And to think that it's not a full year ago since I was a black-hearted rebel schoolgirl, distressed, puzzled, perplexed, not understanding that this great force of love was bursting its way through me. All those nameless discontents, they were no more than love's birth pangs. I felt, I felt living in a masked world. I felt as though I had bandaged eyes. I felt wrapped in thick cobwebs. They blinded me. They got in my mouth, and now, dear, dear, the dayswing from on high had visited me. I love. I am loved. I want to shout. I want to sing. I am glad. I am glad to be alive, because you are alive. I am glad to be a woman, because you are a man. I am glad. I am glad. I am glad. I thank God for life in you. I thank God for his sunlight on your face. I thank God for the beauty you love and the faults you love. I thank God for the very skin that is peeling from your nose, for all things great and small that make us what we are. This is grace, I am saying. Oh, my dear, all the joy and weeping of life are mixed in me now, and all the gratitude, never a new-born dragonfly that spread its wings in the morning, has felt as glad as I. CHAPTER XVII Part I. About four years and a quarter later. To be exact, it was four years and four months. Mr. and Mrs. Capes stood side by side upon an old Persian carpet, that did duty as a hearth rug in the dining-room of their flat, and surveyed a shining dinner-table set for four people, lit by skilfully shaded electric lights, brightened by frequent gleams of silver, and carefully and simply adorned with sweet pea blossom. Capes had altered scarcely at all during the interval, except for a new quality of smartness in the cut of his clothes. But Anne Veronica was nearly half an inch taller, her face was at once stronger and softer, her neck firmer and rounder, and her carriage definitely more womanly than it had been in the days of her rebellion. She was a woman now to the tips of her fingers. She had said good-bye to her girlhood in the old garden four years and a quarter ago. She was dressed in a simple evening gown of soft, creamy silk, with a yoke of dark old embroidery that enhanced the gentle gravity of her style, and her black hair flowed off her open forehead to pass under the control of a simple ribbon of silver. A silver necklace enhanced the dusky beauty of her neck. Both husband and wife affected an unnatural ease of manner for the benefit of the efficient parlor maid, who was putting the finishing touches to the sideboard arrangements. It looks all right, said Capes. I think everything's right, said Anne Veronica, with the roaming eye of a capable but not devoted house mistress. I wonder if they will seem altered, she remarked for the third time. There I can't help, said Capes. He walked through a wide open archway, curtain with deep blue curtains, into the apartment that served as a reception room, and Veronica, after a last survey of the dinner appointments, followed him, rustling, came to his side by the high brass fender, and touched two or three ornaments on the mantle above the cheerful fireplace. It's still a marvel to me that we are to be forgiven, she said, turning. My charm of manner, I suppose, but indeed he's very human. Did you tell him of the registry office? No, certainly not so emphatically as I did about the play. It was an inspiration. You're speaking to him. I felt impudent. I believe I am getting impudent, had not been near the royal society since, since you disgraced me. What's that? They both stood listening. It was not the arrival of the guests, but merely the maid moving about in the hall. Wonderful man, said Anne Veronica reassured, and stroking his cheek with her finger. Capes made a quick movement as if to bite that aggressive digit, but it withdrew to Anne Veronica's side. I was really interested in his stuff. I was talking to him before I saw his name on the card beside the row of microscopes. Then naturally I went on talking. He, he has rather a poor opinion of his contemporaries. Of course he had no idea who I was. But how did you tell him? You've never told me. Wasn't it a little bit of a scene? Oh, let me see. I said I hadn't been at the royal society soiree for four years, and got him to tell me about some of the fresh Mendelian work. He loves the Mendelians because he hates all the big names of the 80s and 90s. Then I think I remarked that science was disgracefully under-endowed, and confessed I'd had to take to more profitable courses. The fact of it is, I said, I'm the new playwright, Thomas Moore. Perhaps you've heard. Well, you know he had. Fame, isn't it? I've not seen your play, Mr. Moore, he said. But I'm told it's the most amusing thing in London at the present time. A friend of mine, Old Javie—I suppose that's Old Javie and Old Javie who do so many divorces, V—was speaking very highly of it—very highly. He smiled into her eyes. You are developing far too retentive a memory for praises, said Anne Veronica. I'm still new to them. But after that it was easy. I told him instantly and shamelessly that the play was going to be worth ten thousand pounds. He agreed it was disgraceful. Then I sued a rather potentious man to prepare him. How? Show me. I can't be potentious dear when you're about. It's my other side of the moon. But I was potentious, I can assure you. My name's not Moore, Mr. Stanley, I said. That's my pet name. Yes? I think—yes, I went on an appleasing blend of the casual and soto voce. The fact of it is, sir, I happen to be your son-in-law, Capes. I do wish you could come and dine with us some evening. It would make my wife very happy. What did he say? What does anyone say to an invitation to dinner point blank? One tries to collect one's wits. She is constantly thinking of you, I said. And he accepted meekly. Practically. What else could he do? You can't kick up a scene on the spur of the moment in the face of such conflicting values as he had before him. With me behaving as if everything was infinitely matter of fact, what could he do? And just then, Heaven sent old Manningtree. I didn't tell you before the fortunate intervention of Manningtree, did I? He was looking quite infernally distinguished, with a wide crimson ribbon across him. What is a wide crimson ribbon? Some sort of knight, I suppose. He is a knight. Well, young man, he said. We haven't seen you lately. And something about Bateson and Co. He's frightfully anti-Mendelian, having it all their own way. So I introduced him to my father-in-law like a shot. I think that was the decision. Yes, it was Manningtree really secured your father. He— Here they are! said Anne Veronica, as the bell sounded. Part II They received the guests in their pretty little hall with genuine effusion. Miss Stanley threw aside a black cloak to reveal a discreet and dignified arrangement of brown silk, and then embraced Anne Veronica with warmth. So very clear and cold, she said, I feared we might have a fog. The housemaid's presence acted as a useful restraint. Anne Veronica passed from her aunt to her father, and put her arms about him and kissed his cheek. Dear old daddy, she said, and was amazed to find herself shedding tears. She veiled her immersion by taking off his overcoat. And this is Mr. Capes! she heard her aunt saying. All four people moved a little nervously into the drawing-room, maintaining a sort of fluttered amiability of sound and movement. Mr. Stanley professed a great solicitude to warm his hands. Quite unusually cold for the time of year, he said. Everything very nice I am sure!  Also she made little pussy-like sounds of a reassuring nature. And let's have a look at you, V! said Mr. Stanley, standing up with a sudden geniality and rubbing his hands together. Anne Veronica, who knew her dress, became her, dropped a curtsy to her father's regard. Happily they had no one else to wait for, and it heartened her mightily to think that she had ordered the promptest possible service of the dinner. Capes stood beside Miss Stanley, who was beaming unnaturally, and Mr. Stanley, in his effort to seem at ease, took entire possession of the hearth rug. You found the flat easily, said Capes, in the pause. The numbers are a little difficult to see in the archway. They ought to put a lamp. Her father declared there had been no difficulty. "'Dinner has served them,' said the efficient parlor maid in the archway, and the worst was over. "'Come, Daddy,' said Anne Veronica, following her husband and Miss Stanley, and in the fullness of her heart she gave a friendly squeeze to the parental arm. "'Excellent fellow,' he answered a little relevantly. "'I didn't understand, V.' "'Quite charming apartments,' Miss Stanley admired. "'Charming! Everything is so pretty and convenient!' The dinner was admirable as a dinner. Nothing went wrong, from the golden and excellent clear soup, to the delightful iced marins and a cream, and Miss Stanley's praises died away to an appreciative acquiescence. A brisk talk sprang up between Capes and Mr. Stanley, to which the two ladies subordinated themselves intelligently. The burning topic of the Mendelian controversy was approached on one or two occasions, but avoided dexterously, and they talked chiefly of letters and art and the censorship of the English stage. Mr. Stanley was inclined to think the censorship should be extended to the supply of what he starred latter-day fiction. Good wholesome stories were being ousted, he said, by vicious corrupting stuff that left a bad taste in the mouth. He declared that no book would be satisfactory that left a bad taste in the mouth, however much it seized and interested the reader at the time. He did not like it, he said, with a significant look, to be reminded of either his books or his dinners after he had done with them. Capes agreed with the utmost cordiality. Life is upsetting enough without the novels taking a share, said Mr. Stanley. For a time Anne Veronica's attention was diverted by her aunt's interest in the salted almonds. Quite particularly nice, said her aunt, exceptionally so. When Anne Veronica could attend again she found the men were discussing the ethics of the depreciation of house property through the increasing tumult of traffic in the West End, and agreeing with each other to a devastating extent. It came into her head with real emotional force that this must be some particularly fantastic sort of dream. It seemed to her that her father was in some inexplicable way meaner looking than she had supposed, and yet also, as unaccountably, appealing. His tie had demanded a struggle. He ought to have taken a clean one after his first failure. Why was she noting things like this? Capes seemed self-possessed and elaborately genial and commonplace, but she knew him to be nervous by a little occasional clumsiness, but the faintest shadow of vulgarity in the urgency of his hospitality. She wished he could smoke and dull his nerves a little. A gust of irrational impatience blew through her being. Well, they'd got to the pheasants, and in a little while he would smoke. What was it she had expected? Surely her moods were getting a little out of hand. She wished her father and aunt would not enjoy their dinner with such quiet determination. Her father and her husband, who had both been a little pale at their first encounter, were growing now just faintly flushed.  I suppose, said her father, I have read at least half the novels that have been at all successful during the last twenty years. Three a week is my allowance, and if I get short ones, four. I change them in the morning at Cannon Street, and take my book as I come down. It occurred to her that she had never seen her father dining out before. Never watched him critically as an equal. To Capes he was almost deferential, and she had never seen him deferential in the old time. Never. The dinner was stranger than she had ever anticipated. It was as if she had grown right past her father into something older and of infinitely wider outlook. As if he had always been unsuspectingly a flattened figure, and now she had discovered him from the other side. It was a great relief to arrive at last at that pause when she could say to her aunt, now dear, and rise and hold back the curtain through the archway. Capes at her father stood up, and her father made a belated movement toward the curtain. She realised that he was the sort of man one does not think much about at dinners, and Capes was thinking that his wife was a supremely beautiful woman. He reached a silver cigar-cigarette box on the sideboard, and put it before his father-in-law, and for a time the preliminaries of smirking occupied them both. Then Capes flitted to the hearth rug and poked the fire, stood up and turned about. And Veronica's looking very well, don't you think? he said, a little awkwardly. Very, said Mr. Stanley, very, and cracked a walnut appreciatively. Life, things, I don't think it prospects now. Hope for outlook! You were in a difficult position, Mr. Stanley pronounced, and seemed to hesitate whether he had not gone too far. He looked at his port wine as though that Tawny Ruby contained the solution of the matter. All's well that ends well, he said, and the less one says about things the better. Of course, said Capes, and through a newly lit cigar to the fire through sheer nervousness, have some more port wine, sir. It's a very sound wine, said Mr. Stanley, consenting with dignity. And Veronica has never looked quite so well, I think, said Capes, clinging because of a preconceived plan to the suppressed topic. Part 3 At last the evening was over, and Capes and his wife had gone down to see Mr. Stanley and his sister into a taxicab, and had waved an amiable farewell from the pavement steps. Great dears! said Capes as the vehicle passed out of sight. Yes, aren't they? said Anne Veronica after a thoughtful pause, and then they seemed changed. Coming out of the cold, said Capes, and took her arm. They seemed smaller, you know, even physically smaller, she said. You've grown out of them. You aren't like the pheasant. She liked everything. Did you hear us through the archway talking cookery? They went up by the lift in silence. It's odd, said Anne Veronica, re-entering the flat. What's odd? Oh, everything! She shivered and went to the fire and poked it. Capes sat down in the armchair beside her. Life so queer, she said, kneeling and looking into the flames. I wonder—I wonder if we shall ever get like that. She turned a firelit face to her husband. Did you tell him? Capes smiled faintly. Yes. How? Well, a little clumsily. But how?  Oh, you're going to be a grandfather. Yes, was he pleased? Calmly, he said.  Not a bit. He said, poor Alice has got no end. Alice is a different, said Anne Veronica, after an interval. Quite different. She didn't choose her man. Well, I told Aunt. Husband of mine, I think we have rather overrated the emotional capacity of those—those dears. What did your aunt say? She didn't even kiss me. She said, Anne Veronica, shivered again. I hope it won't make you uncomfortable, my dear. Like that. And whatever you do, do be careful of your hair. I think, I judge from her manner, that she thought it was just a little indelicate of us, considering everything. But she tried to be practical and sympathetic, and lived down through our standards. Capes looked at his wife's unsmiling face. Your father, he said, remarked that all's well that ends well, and that he was disposed to let bygones be bygones. He then spoke with a certain fatherly kindness of the past. And my heart has ached for him. Oh, no doubt it cut him at the time. It must have cut him. We might even have given it up for them. I wonder if we could. I suppose all is well that ends well. Somehow tonight, I don't know. I suppose so. I'm glad the old scores assuaged. Very glad. But if we had gone under. They regarded one another silently, and Anne Veronica had one of her penetrating flashes. We are not the sort that goes under, said Anne Veronica, holding her hands so that the red reflections vanish from her eyes. We settled long ago. We're hard stuff. We're hard stuff. Then she went on. To think that is my father. Oh, my dear. He stood over me like a cliff. The thought of him nearly turned me aside from everything we have done. He was the social order. He was law and wisdom. And they come here, and they look at our furniture to see if it is good. And they are not glad. It does not stir them. That at last, at last, we can dare to have children. She dropped back into a crouching attitude and began to weep. Oh, my dear. She cried, and suddenly flung herself kneeling into her husband's arms. Do you remember the mountains? Do you remember how we loved one another? How intensely we loved one another? Do you remember the light on things and the glory of things? I'm greedy. I'm greedy. I want children like the mountains and life like the sky. Oh, and love. Love. We've had so splendid a time and fought our fight and won. And it's like the petals falling from a flower. Oh, I've loved, loved, dear. I've loved love and you and the glory of you. And the great time is over. And I have to go carefully and bear children and take care of my hair. And when I am done with that, I shall be an old woman. The petals have fallen. The red petals we loved so. We're hedged about with discresions and all this furniture and successes. We are successful at last. Successful. But the mountains, dear. We won't forget the mountains, dear, ever. The shining slope of snow and how we talked of death. We might have died, even when we are old, when we are rich as we may be. We won't forget the time when we cared nothing for anything but the joy of one another. When we risked everything for one another. When all the wrappings and coverings seem to have fallen from life and left light and fire, stark and stark, do you remember it all? Say you will never forget that these common things and secondary things shan't overwhelm us. These petals, I've been wanting to cry all the evening, cry here on your shoulder for my petals. Petals! Silly woman, I've never had these crying fits before. Blood of my heart, whispered capes, holding her close to him. I know. I understand. End of Chapter Seventeen. End of Anne Veronica.


Have you ever wondered why, in the 1960s, NASA used splashdown landings and the Soviet Union landed on land? Yeah, I was curious about that one, too. Okay, to answer this question, we have to look at other things beyond just the landing method itself. We actually have to start with why the launch sites for the two countries are where they are. When the U.S. Air Force and eventually NASA started launching things into orbit from Cape Canaveral, it wasn't just an arbitrary choice. There are a lot of reasons that this as a launch site made a lot of sense. Engineers already knew, they'd known for decades, that the best way to take advantage of the Earth's rotation to put something into orbit was to launch closer to the equator. Cape Canaveral is probably the southernmost point in the United States that actually makes sense to launch, because it's not just the latitude that matters, it's the area around that launch site that's really important. Being coastal and having the Atlantic Ocean east of the launch site meant that anything going into orbit could take advantage of the Earth's rotation and also launch over unpopulated areas, a.k.a. the ocean. The Atlantic Ocean, engineers realized, was also a really great landing pad. Not only are there no people there to hit and potentially injure, it's much softer and more yielding than the land. Engineers realized that with a parachute, the ocean was soft enough to land on without risking bodily harm to the astronauts. It was also unpopulated, so if any winds came and moved the spacecraft over during that last phase of landing, they wouldn't risk hitting a person or a house or some building. Being away from all populated areas was the best bet. Also, the parachute method was the simplest, it was easiest. When you're dealing with all the new unknowns of spaceflight with the Mercury program, you just use a parachute and land in a safe spot. Then there's also the fact that the United States has a massive navy. Landing in the Atlantic Ocean meant that a navy ship, or fleet of ships, could reach the astronauts within a few hours of landing. Even if they didn't hit their primary or secondary zone, if they hit a contingency zone, there could always be a ship in international waters less than two days from the crew. If you want to know why that two days is important, I've got a video about it right up here. The Soviet Union was in a bit of a different situation when it started looking at launching men into space. Russia is very far north, and there isn't a very good southern launch site that would take advantage of the Earth's rotation the same way Cape Canaveral does for getting spacecraft and payloads into orbit. That's why the Soviet launch site was not in Russia, it's in Kazakhstan. The Kazakh government leased the site to the Soviet Union in the 1950s. It's the southernmost point that was within the Soviet Union's empire. But it's still pretty far north, it's on about the same latitude as Portland, Maine. The site is also landlocked. There isn't exactly a nice cushion of yielding soft, welcoming ocean. Around the launch area, in case crews had to abort during launch or to land near where they took off from. The bodies of water that the Soviet Union did have access to are all in the Arctic Circle, meaning that they could be very dangerous for cosmonauts if they splashed down and then had to egress from the spacecraft while waiting for recovery crews. But the Soviet Union did have a lot of that the United States lacked is land. Lots and lots of areas with no people in it that would be a safe spot for landing. It was simpler for Soviet engineers to figure out how to bring their cosmonauts down on land than it was to figure out navigating international waters or Arctic seas in a splashdown scenario. As we know, this required a much more complicated landing system. See, the cosmonauts in the early Vostok days didn't actually land inside their spacecraft. The parachute was still not going to slow the capsule enough to spare the cosmonaut from a really hard landing, so he had to eject before landing and land by a personal parachute, while the spacecraft also used its own parachute. It wasn't until the Soyuz days that the Soviet engineers perfected the system that is still in use with Soyuz today. The retro rockets fire at the last second before landing, slowing the spacecraft so it's a nice smooth landing in an open field. Although anecdotally, I have heard from a number of astronauts that it's still a pretty hard landing. But you know what? I'd take that hard landing if it meant I got to go to space. This wasn't a question that only I had. A lot of you guys have asked me about this as well, and as such, I've got a little bit more information in the companion blog post over on Discover. The link is in the description, so definitely check that out if you would like to know a little bit more about landings in the 1960s. And of course, if you have other questions or other things you'd like to see covered in future episodes, leave those in the comment section as well. I also want to remind you guys that I can now take sponsors on vintage space. I've got a video about how that works right up here. You guys can help me make the vintage space content that you love so much. Be sure to subscribe so you never miss an episode of Vintage Space. And of course, for space every single day, follow me across social media on Facebook, Twitter, and on Instagram. And I'll see you guys next time. Thank you so much for watching.


to today's lecture on the topic converting the radiance recorded in the sensor to reflectance. So, in the last lecture, we have noticed the several ways in which the atmosphere will affect the radiance that is reaching the sensor like the atmosphere. The atmosphere can act as an additive, can add some radiance to it as a path radiance. It can reduce both the incoming and upcoming radiance through the transmissivity term. And also it can add some more irradiance to the surface due to the irradiance due to diffuse skylight. So, the three components in which atmosphere will affect are the transmissivity terms, those are the multiplicative terms, the e down, the incoming irradiance due to diffuse skylight and the l path which is the path radiance. So, these are the ways in which atmosphere can affect our radiance reaching the sensor. Also, we came across the different ways in which we can do atmospheric correction. We saw different methods like having a radiative transfer model along with observed atmospheric profile data at the time of satellite overpass, radiative transfer model combined with data from atmospheric models, image based atmospheric correction, vicarious calibration procedure and so on. I also told that if we do not have any information nor if we do not have access to radiative transfer models, we can go for some sort of image based atmospheric correction. And what is the simplest image based atmospheric correction? The most commonly used atmospheric correction procedure is what is known as a dark object subtraction. Before we see the dark object subtraction method, we will just quickly glance through few examples in which the variation in look angle affects the atmospheric effect and also the surface reflectance. If you look at this picture given in this particular slide, the image in this particular slide is taken by a sensor known as MISR which has the capacity to MISR which has the capacity to look at different, different angles. Like say if this is the point where the sensor is, this point is what we call nadir, the exact ground point below the sensor we call it as nadir and this particular sensor has the capability to tilt the sensor at a wider angle and from nadir position and observe various ground points in different, different angles. The main aim of launching the sensor is to study how objects look when we look from different directions, essentially to study the directionality component of surface reflectance. So, this image was taken on 29th February 2000 over a place known as Canary Islands. This image is taken at nadir looking like sensor is directly above this particular point. This image was taken and 70.5 degree forward looking that is the sensor is here and the land surface that is image is here, sensor is moving in this particular direction. So, this is known as forward look angle. The sensor is looking little bit forward direction of its direction of motion. This image, the same area imaged in backward direction that is the sensor cross that particular area but tilt at the director backwards observe the same area again. So, we can see just by basis or just due to difference in direction in which the sensor is looking, the amount of atmospheric effect is so high like in nadir and the atmosphere looks pretty clear. We are able to see the ocean surface, this is ocean, this is land surface, the Canary Islands and so on. Whereas, at both 70.5 degree forward and 70.5 degree half looking camera images, there is so much of haze the image is not really clear. This haze is due to atmospheric scattering because as we know as the sensor tilts and observes a particular land surface, the path length increases like similar principles we use it for sun right like when the sun is at nadir or zenith, the path length is shorter and when the sun moves towards the horizon, the path length of the light travels larger same concept. When the sensor is exactly looking at nadir, the path length between the land surface and the sensor is quite short. When sensor tilts and looks at like at a father surface, the path length between the land surface and the sensor is longer. Longer the path length, more will be the effect of atmosphere. So, scattering will happen to a larger extent that is visible clearly in these pictures. This is one such example of how the difference and look angle will affect the influence of atmosphere on the image that we get. Also, another example of how look angle will change the surface reflectance or how viewing angle will change the surface reflectance. This image is again taken over parts of United States of America. So, here this image is nadir looking like sensor is directly overhead. This image is 70.5 degree forward looking, this is roughly 45 degrees forward looking, this is 45 degrees backward looking, this is 70.5 degree backward looking. So, again like sensor is here, nadir point, one image 40.5 degree, 45 degrees, 70.5 degree forward direction, 45 degree, 70.5 degree backward direction. Like sensor is moving like this, in this particular direction the sensor is moving. If we consider this, so the larger images the nadir one and the images that is given in like smaller sizes or images acquired with different viewing angles. We can clearly see the same terrain even when imaged at different viewing angles appears completely differently. This is like a combination of three different bands to provide like a color image. But still the color that is appearing in the image is like much is looks much different. Here the ocean looks little different, in this image ocean looks very different. Here we are having some sort of like purple patches whereas in this image it is not there. So, the viewing angle makes the remote sensing observations a little bit complex. That is the effect of atmosphere changes as the viewing angle goes away and away from the nadir looking the effect of atmosphere increases. Similarly, the feature also land surface feature also will provide a completely different picture like the surface reflectance will change as the direction in which the sensor looks changes. This is just to show an example of how the sensor viewing geometry will affect our radiance recorded in the sensor. Now, we go back to the image based atmospheric correction. I told you that when we do not have any information we can go for image based atmospheric correction and dark object subtraction is one of the most commonly used method of image based atmospheric correction. What is dark object subtraction? As the name suggests in each band of image that is whether it is red, blue, green, nir whatever we assume that within a given image we will be able to find some pixels which are completely dark that is they will have zero reflectance. Say for example, in nir band clear deep water bodies will have almost zero reflectance like maybe the reflectance maybe like one percent and so on almost zero reflectance. They will appear water bodies will appear completely dark in nir band. So, such pixels we have to identify in each band which pixels should be having zero reflectance by image analysis our knowledge of how different objects will look in different bands. We should be finding out different pixels in different bands which has which will have zero radiance or zero reflectance. Then we have to calculate the radiance for that particular pixel using the image data. Say for example, say this is like one particular pixel of water body. In nir band let us assume. So, in nir band water bodies will be completely dark with almost zero reflectance. If this is the case the dn recorded in the pixel should be the minimum dn that the sensor is capable of recording. Like while discussing about conversion of dn to radiance values we noted that each sensor will have a characteristic maximum and minimum dn values based on the quantization level used. So, for an 8-bit sensor the dn values can range either from 0 to 255 or 1 to 255 and so on depends on the calibration of the sensor. So, effectively at nir band water body should have the minimum dn value only because that is the nature of nature how water reflects. But there will be some other dn definitely because atmosphere has a path radiance term lot of other features. So, what we assume is whatever be the radiance recorded in that particular pixel that is use this dn recorded in this particular pixel convert it into radiance and whatever the radiance recorded for that particular pixel is purely due to path radiance that is the assumption we will make that is say the water body in nir band should appear completely dark with zero reflectance. Zero reflectance means the incoming energy will not be reflected back. So, radiance from the water body toward the sensor should be zero theoretically but some radiance will be recorded there. Calculate that radiance from the image data and assume whatever radiance was recorded for that particular pixel is purely due to atmospheric path radiance. So, what we will do we will take this estimated path radiance from the water body pixel and subtract it from the radiance recorded all other pixels uniformly that is say this is like an image. For example, I will say like the radiance calculated for the water body pixel let this be 10 units some random units I am assigning just for the sake of example. Say these are the pixels let us assume the water body is here you have calculated 10 as the radiance for that particular pixel say let other pixels have radiance of 15, 18, 22 and so on. So, from each of this pixel each of the radiance recorded in the pixel we will subtract this 10 15 minus 10 18 minus 10 22 minus 10 assuming that that 10 units of radiance is purely due to the atmospheric path radiance we will subtract it. So, the additive effect of atmosphere like atmosphere adds a constant amount of radiation in terms of path radiance and that additive effect is now removed uniformly. So, this is one of the most simplest method that is still being used in some situations. So, which is effectively it will remove path radiance effect. But while using this particular method we should realize that we are only correcting for the effect of path radiance. We are not correcting for the effect of atmospheric transmissivity like both tau s and tau v that effect is still there. We have not corrected for the effect of incoming diffuse skylight component those two corrections we are not doing we are correcting the image only due to path radiance. Our assumption is path radiance is the major factor which introduces error in the image or error in the radiance recorded. So, that is a major assumption behind this method. And one more thing we have to remember is in each band we must be able to find at least one dark pixel. If our area is like if our image is acquired over like entire of land surface without any single pixel of water body. Let us assume there may be like some large swath of land over which we record the image. Then in NIR band we will not be in a position to find a pixel which has zero reflectance because other than water bodies all the land surface features will have high reflectance in NIR band. So, if our image contains only land surface without even a single pixel of water body we will not be in a position to pick any pixel with zero reflectance. And in each band such features will vary naturally. We should be in a position to find such pixels and do it. Normally we take water bodies as the ones that has zero reflectance in almost even in different bands because of the nature in which water reflects on all. So, what essentially mean is unless we find a dark pixel in an each band in an image we will not be able to do this procedure. This is one thing. Second thing is if the image is over a very large region say you take one landsat image. Each image has a aerial coverage of roughly 185 kilometers by 185 kilometers or 190 kilometers pretty large aerial coverage. Such atmospheric correction what we will do? We will pick some 2, 3 pixels in the image assume that particular radiance as path radiance subtracted uniformly. So, what are we doing here? We are assuming that the path radiance or the effect of atmosphere is uniform across the entire area over which the image has been taken. That may not be the case. Atmosphere will vary very widely. Say here maybe it may be raining today some 5 kilometers east and direction from this particular place it may not be raining. Here it may be like bright sunshine may be there. With the next 10 kilometers it may be totally cloudy. We have seen such experiences. So, just imagine an image of 185 kilometers by 185 kilometers. Sometimes we will assume the atmospheric conditions as uniform within the center image which is not the case. Atmosphere may vary very widely. So, if we use this DOS dark object subtraction method and let us say there is just only a small part of water body there. Like one example is let us assume an image something like this a large landsat image 185 kilometers in this direction roughly some 190 kilometers in this direction north-south, north-south east-west. Let us assume there will be lot of pixels in the image. Let us assume the water body is located only here no other pixel has water body. So, what we will do we will take or we will calculate the path radiance from this particular area this particular water body assume it to be as a constant and subtract it from all the pixels within an image right that is what we will do. But here we are assuming the effect of atmosphere is uniform across the image that may not be the case atmosphere may not be uniform. So, the dark object subtraction method is there are lot of assumptions inside DOS assumptions may not be satisfied and the image even after we correct may have some errors within it and this method is also subjective. Subjective means it is the user who has to analyze the image visually interpreted and pick out the pixels which will appear dark which will have almost zero reflectance we have to select such pixels. So, if I do it I may select one or two pixels if someone else does it they may select a different set of pixels where the radiance recorded will vary. So, essentially this method is subjective. So, even though this method has lot of such disadvantages still this method is just a first order solution it is a first order solution means this will even it is like something is better than nothing right that is the popular saying same thing here without leaving the image or without correcting the image for atmospheric effects it is better to do some atmospheric correction that is the principle behind this dark object subtraction method. But please remember even after atmospheric correction using this method the image will still have some errors because we have not corrected it for transmissivity and incoming diffuse skylight errors okay. So, these are some of the points we should keep in mind that is I have listed in this particular slide what are the cautions we should make. They are simplified models the models have their own assumption the performance of the model will vary spatially and temporally that is say this model we do not correct it for transmissivity effect. Sometimes the image may be taken over extremely humid areas where the presence of water vapor in the atmosphere may be very high under such circumstances transmissivity will be very low because water vapor is a very good absorb absorber as well as scatterer. So, the atmospheric transmissivity will be quite low when water vapor is present is high. If we do only this DOS neglecting the effect of transmissivity the errors left in the image will be much higher right. So, such simple image based models may work over certain regions may not provide good results over certain regions. So, we should always keep in mind this method always comes with certain limitations. We have seen atmospheric correction removal of effect of atmosphere apart from this surface topography also will play a major role in changing the reflectance that is when I discussed about the radiance reaching the sensor like in the slides which showed what how the effect of what will be the radiance reaching the sensor by different different steps. When we calculated it I showed you one example of surface reflectance curve of vegetation and how the surface reflectance reaching the sensor will look I showed like a common slide in which I wrote the radiance reaching the sensor is affected by solar elimination atmosphere and also surface topography three major conditions I wrote. Solar illumination means due to the variation in incoming solar radiation that we will correct as soon as we calculate reflectance from radiance that is radiance we are dividing it by incoming solar radiation. So, effectively we are removing the effect of solar radiation. Assume we have done perfect atmospheric correction also. So, effect of atmosphere also removed then the effect still might be left as the topographic effect that is due to the variation in topography the reflectance or radiance recorded in the sensor may be different. Let us see an example. Let us assume it is like a small hilly terrain and sun is shining in this particular direction. Let us assume the sensor is locating or looking at the ground from this particular direction. So, solar radiation will be coming like this it will be falling on this particular side of the hill this side will be under shadow. If a sensor is looking from this angle the projection of the sensor may be like this it can be it can be like this. So, the sensor is effectively seeing the shadowed portion where incoming sunlight is not falling only diffuse skylight component will be there direct skylight may not fall due to the topography. Under such circumstances the radiance recorded for this particular side will be totally different and it may appear really dark. On the other hand take an example the same case where the sun is here and the sensor is also in the same direction as sun. So, the sun radiation is falling sensor also is looking and the same angle in which solar radiation is coming in. So, the sensor is going to record a extremely bright spot of this particular area we call it as like hot spots reflectance hot spots where the reflectance value may be very high. So, due to the presence of topography just because of the presence of hill the amount of solar radiation reaching that particular ground area changed and due to the influence of sensors viewing geometry the radiation reaching the sensor will be different either it may be too bright or it may be too dark and vice versa. So, the presence of any topographic features or variation in surface elevation may introduce certain errors in the image. Just one example I will show you in this particular slide is an image acquired over the same region United States Grand Canyon where this is acquired over like summer season, this is acquired over like in the fall season or autumn season. This is like where the sun's zenith angle is very high that is sun is almost in the lower like if this is the land surface this is the zenith the vertical sun is somewhere here like at a very low angle when this image is taken when these when this image was taken the sun was almost close to zenith. So, for the image on the left side. So, you can look at this same area and not much of effect has changed between these 2 imagers and you can see like when the image during summer when the sun is close to zenith there is not much effect of shadow like the it appears pixelated but you can still see almost all pixels are relatively brighter. On the other hand when the sun is at like at a very low angle we can still see there is large amount of shadow casting over it. If for these 2 images the sensor geometry was exactly the same. So, the sensor had the same viewing angle and the land surface also remained almost fairly constant. So, the only thing that changed is the variation in solar zenith angle just because of this the topography looks completely different in both the images or the surface looks totally different here there is not much of shadow here there is high amount of shadow here this is because of the presence of ridges and valleys this area has lot of ridges and valleys. So, just because of the presence of topography we are seeing this particular effect this is how presence of surface topography will change the reflectance or radiance recorded in a pixel how to correct for it before going for the correction we should just learn some concepts or some terminologies we will see what they are. So, the first thing is when we need to correct for topography we should have information about the surface elevation that is let us say our image is collected at 30 meter pixel resolution. In the same pixel size we should have what is known as a digital elevation model or I write it here elevation model which effectively has for any given ground point x y it also has a elevation information z. So, if this is the terrain for this x y what is the z value for this x y what is the z value like this if you create a matrix like this this is what we call it as DEM digital elevation model simply saying. So, if we have such a DEM then we will have for each point what is the elevation if we have that we can calculate certain properties of the terrain what are the properties we can calculate we can calculate what is the slope of the terrain and what is the aspect of the terrain. So, what is slope? Slope is the angle a terrain makes with respect to horizontal say if a mountain is like this. So, this side has a slope of theta 1 from horizontal this side has a slope of theta 2 from the horizontal. So, slope is angle a surface makes with respect to horizontal aspect is with respect to any given reference direction in which way the slope is oriented let us say this is let us say this is east this particular phases facing east end direction if we assume like that then the aspect of this particular slope is in the east end direction for this particular side the aspect is in the west direction. So, aspect normally we will measure with respect to north that is the convention we use. So, let us assume if this is like exactly facing east this particular side. So, the aspect will be from north it is 90 degrees and for this particular side it will be clockwise 270 degrees. So, aspect is the angle the particular slope makes in which direction the slope is oriented with respect to north we measure it in a clockwise direction from north. Say if a hill is looking like this and north is let us assume the north is in front of me it is like oriented like this. So, if the hill is like this. So, this phase is facing east end direction. So, the aspect is from north 90 degrees clockwise. So, aspect is 90 degrees if for this particular phase from north I go like what to say almost like a full circle stop here this is like 270 degrees angle. So, aspect is clockwise angle measured from north. So, from the DEM we will be able to calculate the slope as well as the aspect of the slope these 2 we will be able to calculate. So, once we calculate other things such as what is the solar zenith angle like with respect to vertical what is the solar zenith angle we should be knowing and we should be knowing what is the solar azimuth angle. Azimuth angle again means very similar concept to aspect from north at which angle sun was here say this is north like pointing in the front and back towards the screen if the sun is oriented here. So, the azimuth angle is from north it is like 90 degrees whereas if the sun is here the azimuth thing is 270 degrees and so on. So, the azimuth is direction of the sun from north horizontal angle and similarly the aspect. So, if we know the solar zenith angle solar azimuth angle the slope of the terrain and the aspect of the terrain we will be able to calculate do some calculations of topographic correction. So, what essentially we do is say for a sloped terrain so this terrain the dark black line is a sloped terrain. So, this is like the true vertical but since the terrain is sloped the surface normal to the terrain will now be in a different direction. So, this is the surface normal for this particular terrain this would not be vertical the surface normal will be away from the vertical. So, here we need to know the solar zenith angle from vertical what is solar suns angle vertical angle we should know the site aspect solar azimuth angle and site slope if we know all these things we will be in a position to calculate the incidence angle like incidence angles is due to the slope the incoming solar radiation will now fall in a different angle what angle is that we will be in a position to calculate. So, this is like one simple formula to calculate the cosine of this incident angle incidence angle angle of incidence. So, the incidence angles will tell us due to the presence of slope solar radiation will not be falling in the direction which should be there will be a difference. So, what is the angle at which the solar radiation is falling on the ground we will be able to calculate from this formula this is the. So, theta s is solar zenith angle eta is the slope. So, using solar zenith angle and slope angle similarly the azimuth angle and the aspect angle we will be able to calculate the angle at which the solar radiation will fall on the surface. Once we know all these information there are certain topographic correction models which helps us to correct for the effect of terrain we are not going to go deeper into such models because of want of time. But just remember one thing is the models are there are many different models exist for such topographic correction with varied level of complexity some models may assume the surface as lamber sheen some models may not assume the surface as lamber sheen that is they will consider the surface will look different from different different angles. So, based on the models within the assumptions within the models based on the inputs required the final output may may look completely different. So, just as an example I will show two models but we will not go into the details of it. So, these are two different models that are currently existing to correct for topographic effect one is called the cosine correction models which assume the surface as lamber sheen one is called the C correction model and so on. So, as I said before some models may assume surface as lamber sheen some may assume the surface as non lamber sheen the complexity may will vary but all these models will correct to the maximum possible extent not the perfect correction but maximum possible extent. So, one such example is given here like this image is actually like having topographic effects here these patches appear completely dark due to shadow effect here it is bright here it is dark and so on after topographic correction the reflectance look something more uniformly here we have certain values here we have certain values and so on. So, the topographic correction provides some sort of improvement over the raw image. So, as a summary in this lecture we have seen a simple image based atmospheric correction method called the dark object subtraction and also we have seen a basic introduction to topographic correction why effect of the by how topography changes the radiance recorded in the sensor and some simple models to correct for this. Thank you very much.


So remember how I told you guys like, you know, look my historical past where my early and early on a Friday comes from Is my own personal history prior to having all of the cool tools that we have now my history of okay on Fridays I didn't do too well in the past and I'm talking about like way in the way way back machine Okay, that's a historical thing in my past that was like Fridays were tougher days So I developed the early early out plus psychologically not going into the weekends with losses You know a lot a lot a lot of things hype into the Friday morning routine of where you guys see in my room on a Friday That says early and early out on a Friday, but listen that is yeah, it's a 10k superstition is that There is no limit Now inside of our system our system now adapts to market conditions It doesn't know that it's Friday our system doesn't care that it's Friday Our system doesn't care that it's afternoon evening morning doesn't matter doesn't care honey badger don't care Honey badger just don't care. Okay, honey badger is not afraid of lions tigers bears. Nothing okay You are like the honey badger of the markets. We just don't care. We don't care Pick a direction pick a time pick a place So the Friday can you trade on a Friday? Yeah Up to you if you want to or not if you want to spend your day doing something else on a Friday I mean, it's nothing wrong with having the early and early out thing But I want to remove the fear factor from the early and early out. I need to make that clear with our crew is that early and early out came from my Experience prior to having all the cool tools that we have now now we got the tools, please