The Power That Preserves | My Web Site Page 342 Chapter 03 Page 06

Formidable Deuce chose the topics covered by The Power That Preserves | My Web Site Page 342 without reflecting upon the choices others have made. Being happy about the things you have in life after watching your friends and relatives lose everything in a devastating natural event is another way to look at things in a different light.
 

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Ovations

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Ovation 02
Ovation 03
Ovation 04
Ovation 05
Ovation 06
Ovation 07
Ovation 08
Ovation 09
Ovation 10
Ovation 11
Ovation 12
Ovation 13
Ovation 14
Ovation 15
Ovation 16
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Ovation 18
Ovation 19
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Ovation 21
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Sitemaps

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In some cases, where the density of the solution differs greatly from that of water, the percentage by weight may be given; and in others, mixtures of two or more liquids, the percentages may be given by volume or by weight; as so many c.c. in 100 c.c., or as so many grams in 100 grams, or even as so many grams in 100 c.c. In such cases it must be distinctly shown which method of statement is adopted. One grain per gallon means 1 grain in 70,000 grain-measures, or one part in 70,000. Dividing by 7 and multiplying by 10 will convert grains per gallon into parts per 100,000. Inversely, dividing by 10 and multiplying by 7, will convert parts per 100,000 into grains per gallon. Grams per litre are parts per 1000; multiplying by 100 will give parts per 100,000, and multiplying by 70 will give grains per gallon. Among foreign systems of weights, the French is by far the best. Kilograms (2.205 lbs.) per quintal (220.5 lbs.) are parts per cent.; and grams (15.43 grs.) per quintal are parts per 100,000. From the rule already given, grams per quintal may be converted into ounces to the ton by multiplying by 0.327. The German loths per centner (1/2 oz. (avoirdupois) to 100 lbs.) equal parts per 3200; they are converted into parts per cent. by dividing by 32, or into ounces (troy) per ton by multiplying by 10.208.

In the trees that line one of the main streets and fashionable drives leading out of Washington city, and less than half a mile from the boundary, I have counted the nests of five different species at one time, and that without any very close scrutiny of the foliage, while in many acres of woodland, half a mile off, I searched in vain for a single nest. Among the five that interested me most was that of a blue grossbeak. Here this bird, which, according to Audubon's observations, in Louisiana is shy and recluse, affecting remote marshes and the borders of large ponds of stagnant water, had placed its nest in the lowest twig of the lowest branch of a large sycamore, immediately over a great thoroughfare, and so near the ground that a person standing in a cart or sitting on a horse could have reached it with his hand. The nest was composed mainly of fragments of newspaper and stalks of grass, and, though so low, was remarkably well concealed by one of the peculiar clusters of twigs and leaves which characterize this tree. The nest contained young when I discovered it, and though the parent birds were much annoyed by my loitering about beneath the tree, they paid little attention to the stream of vehicles that was constantly passing. It is a wonder to me when the birds could have built it, for they are much shyer when building than at other times. No doubt they worked mostly in the morning, having the early hours all to themselves.

 

There is something in the Anglo-Saxon temperament which is on the whole unfavourable to movements and groups; the great figures of the Victorian time in art and literature have been solitary men, anarchical as regards tradition, strongly individualistic, working on their own lines without much regard for schools or conventions. The Anglo-Saxon is deferential, but not imitative; he has a fancy for doing things in his own way. Wordsworth, Keats, Shelley, Byron-were there ever four contemporary poets so little affected by one another's work? Think of the phrase in which Scott summed up his artistic creed, saying that he had succeeded, in so far as he had succeeded, by a "hurried frankness of composition," which was meant to please young and eager people. It is true that Wordsworth had a solemn majesty about his work, practised a sort of priestly function, never averse to entertaining ardent visitors by conducting them about his grounds, and showing them where certain poems had been engendered. But Wordsworth, as Fitz-Gerald truly said, was proud, not vain--proud like the high-hung cloud or the solitary peak. He felt his responsibility, and desired to be felt rather than to be applauded.



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