A question for you....

Etalis Craftlord · Oct 1, 2002

nbrosz said:

I hereby proclaim this person NOT GUILTY of whatever he/she was commited of. This court is now closed.
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Possible meanings:

1. "I hereby proclaim this person NOT GUILTY of whatever he/she was accused of"
2. "I hereby procleamin this person NOT GUILTY of whatever he/she was commited for"
3. "I hereby procleamin this person NOT GUILTY of whatever he/she commited"
4. "I hereby procleamin this person NOT GUILTY of whatever he/she was convinced of"

I'm leaning towards number two, myself...

xento · Oct 1, 2002

I hereby proclaim this person NOT GUILTY for whatever reason he/she is parking thier carcass in my courtroom for!

Hel Khat · Oct 1, 2002

Free at last, free at last Thank God I am free at last!!!!! arty:

Etalis Craftlord · Oct 1, 2002

That smiley + Hel Khat =

xento · Oct 1, 2002

GET OUT OF MY COURTROOM NOW!

I need to get dressed. :lol:

Hel Khat · Oct 1, 2002

Etalis Craftlord said:

That smiley + Hel Khat =
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OMG I just got that!!!!!
You are so SICK!!! :rofl:
I knew there was some reason why I had not used that particular smiley!!! I HATE YOU :rofl:

tzehoong · Oct 3, 2002

So how does someone join on the 27th of August, and rack up 780+ posts, while I joined 5 months earlier and have 210+ to my name?

Sheriff Fatman · Oct 3, 2002

A content-free posting strategy and a lack of self-control.

xento · Oct 3, 2002

OR the ability to think fast and think big... in big words that create small messages.

Luchaire · Oct 3, 2002

*watches from the sidelines as nbrosz calls the kettle black*

Hel Khat · Oct 8, 2002

Ok bitterness aside time to get back to the game

Remember the rules you have to answer the question asked and then you must ask a question of your own. Got it? Good

What do you think the odds are of there ever being a second Arcanum?

DarkUnderlord · Oct 8, 2002

Hel Khat said:

Ok bitterness aside time to get back to the game

Remember the rules you have to answer the question asked and then you must ask a question of your own. Got it? Good

What do you think the odds are of there ever being a second Arcanum?
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A: 50:7

Q: How long will it take before Jinxed locks this stupid excuse for a thread?

EDIT: Better yet.

Q: How long before Jinxed decides to make an example out of you, not only lock this thread but DELETE it, then delete your entire account just for fun and then ban your arse again, considering you WERE banned in the first place, and haven't exactly shown yourself to be trustworthy of an unban?

Hel Khat · Oct 14, 2002

50:7

What is your favorite 80's song?

slagger21 · Oct 14, 2002

Ya Spammy Bitch , by Ya Spammy Bitches*

Does Hel Khat have too much time ( and too much games ) ?

* might not actually have been sung before

Qilikatal · Oct 15, 2002

Yes.

Who was Reynaldo Hanh?

Milo · Oct 16, 2002

Qilikatal said:

Who was Reynaldo Hanh?
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[url:av2snbhq]http://www.yorktaylors.free-online.co.uk/reynaldo.htm[/url] said:

"Little Reynaldo Hahn sat down at the piano", wrote Edmond de Goncourt in the last volume of his celebrated Journal, "and played music that he had composed himself for three or four of Verlaine's pieces. They are real poetic gems, a literary music in the mould of Rollinat, but more delicate, more distinguished, more masterful than that of the poet from Berrichon."
Goncourt wrote these words after leaving a dinner party at the home of Alphonse Daudet, Alphonse Daudet who called Reynaldo Hahn "his dear musician of preference" and who asked this young man, then still almost a child, to write the stage music for L'Obstacle. This was Reynaldo Hahn's theatrical debut, and also the start of the great admiration that all the most refined artists of our era have always felt for his music. We are all familiar with the beautiful study that Stephane MallarmÃƒÂ© dedicated to him, the lines that Pierre Loti dedicated to him, as well as the couplet by MallarmÃƒÂ© in which "Reynaldo" is rhymed with "jet d'eau", and Anatole France's predilection for his works. But is not Reynaldo Hahn also a writer of real merit? Ãƒâ€°douard Risler considered his musical criticism the equal of Berlioz and Reyer, and when Catulle MendÃƒÂ¨z, Wagner's commentator and friend, died, were not all voices raised in unison to declare Reynaldo Hahn his successor as critic in Journal, which he presently excercises with infinite taste, authority and brilliance.
If Reynaldo Hahn excites great admiration among artists, perhaps he has met with greater resistance from that class which is so useful, so powerful, but rather more fervent than forward-looking, and which has taken on considerable importance and proportion these days, which styles itself "amateurs", but which we may not be too severe by describing as "snobs".
The truth is that, in any given period, so-called "advanced" amateurs have never been able to conceive of avant-garde Art other than in the context of accomplishments brought to the fore by the most recent revolution in technique. To take an example from outside the sphere of music, all the "advanced" amateurs of Ingres' day sincerely believed that Ingres was a "conventionalist" and "old fashioned" and much preferred the mediocre students of Delacroix, who they imagined to be more "advanced" because they followed the mannerisms then in fashion. If one speaks to M. Degas today, who is probably just as "advanced" as the said amateurs, about the poor students of Delacroix, he will shrug his shoulders, whereas he proclaims Ingres one of the greatest painters of all time. I do not mean to say that a great artist, just because he appears to stand in reaction to current convention, is thereby greater because of that. But it is wrong to think that he is necessarily less great. Stendhal, at the height of Romanticism, said that he took his style from the civil statute book, and scoffed at romantic lyricism. Today we place him just as high as the great romantics. Thus we can demonstrate to them that an apparent affectation of reaction against certain modern formulae, as in the case of Reynaldo Hahn, can prevail. In reality, no true musician is deceived by it.
Reynaldo Hahn began to compose at a very early age. After the music for L'Obstacle which we mentioned earlier, his real theatrical debut was L'Ile de rÃƒÂªve at the OpÃƒÂ¨ra-Comique. This was in a period of lyrical effusion, poetry and charm, marked by the great success of his Chansons grises. Without doubt his style was becoming tougher, deeper and more objectivized. But even when a work has become more powerful, who can prevent themselves from occasionally looking back with regret at the simpler productions from early youth which still retain the perfume of flowers so quickly wilted and that we will never find again? Certainly Le Lys rouge is a superior book to Livre de mon ami, La LÃƒÂ©gende des siÃƒÂ¨cles to Feuilles d'automne, Les Ãƒâ€°blouissements to Coeur innombrable; but do we not come back to them sometimes to seek from them a more naive spontanaiety, an inimitable tone, the irretrievable sweetness of a first promise or a first confession?
But everything links together in the life of an artist, following the implacable logic of his interior evolution. Already in Reynaldo Hahn is the tendency to renounce all the graces and "fluencies" that he sacrifices, like charming and chosen victims, on the altar of a more severe Divinity: Truth. Not Realism, that parody of truth in which "neo-Italianism" manages to supress any true, profound reality, but an inner, psychological truth. His music is not the song described by Victor Hugo "in which no humanity remains". It is nothing less than the very life of the soul, the internal substance of language, liberated, risen up, taken wing and become music. It is by dint of his respect for words than he surpasses them, it is through his submission to them that he bends them to a higher truth than any they contain in germ, but out of which music alone can unfold "virtualities". It is through contact with the very text that he takes the strength to raise himself above them, like aviators who run along the ground before taking to their wings, so as to take to the air both higher and more effectively. While the Muses of Sweetness and Truth guide Reynaldo Hahn through his melodic work by the most difficult and the most beautiful paths, while he succeeds in producing, in the words of Verlaine,

All that which comprises
The human word of grace and love,

his dramatic work follows the same evolution.
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My question: What duck?

Sheriff Fatman · Oct 16, 2002

Millenium hand and shrimp I told 'em, buggrit!

Who's afraid of the big bad wolf?

Milo · Oct 16, 2002

Mostly Russian newleyweds.

Carrot Top. Why?

Hel Khat · Oct 16, 2002

Good question! I am afraid no one will ever know Although I use to work with his mom and she was a very nice lady

Who is afraid of Virgina Wolf?

xento · Oct 16, 2002

Not me, I live in South Dakota.

Who's afraid of O.J. Simpson?

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