text:
Collaborative play writing/The Countess of Challand/Act 4

Act 4. Scene 1. Bianca's palace

Enter Pietro and Carlo

Carlo. As obstinate as foolish?

Pietro. When I decide to love, I do with hope Of gaining my resolve, or let all slide.

Carlo. So heedless, too! No sooner in the town But flying to destruction!

Pietro. You are my brother; otherwise, I would Be deadly angry for such mopes and scowls.

Carlo. On whose behalf? All those beguiled by such Like crabs on sand-heaps fight to enter holes.

Pietro. Hold to that sentence by the middle, let It wander safely off.

Carlo. I say what most but whisper of her deeds.

Pietro. You are no brother if you rather heed Reports than what I say.

Carlo. A brother who arrives to hold a head Inclined to drop off for a woman's face.

Pietro. You see a viper overhanging on Each twig in every forest.

Carlo. And you content to stay still, though their eggs Breed patiently in your regardless hair.

Pietro. Had you but seen this countess-

Carlo. Not seen, but heard enough from stories to Decline that honor.

Pietro. I take into account none but myself.

Carlo. Then you will kill yourself, I hourly fear, All in love's business as you intervene.

Pietro. Then you receive our father's patrimony.

Carlo. And so I will.

Pietro. Yes, by that scorn, you hope to save my life. I will regard you when you are less mad.

Carlo. That may be in my grave.

Exit Carlo

Pietro. Does my hope live? I think I see it does.

Enter Bianca

Bianca. You grow before my portal.

Pietro. Till cut and taken gently in your house.

Bianca. We'll see men heed religion ere that time.

Pietro. Two consecrated wafers on each side Of you rest willing to be prayed for, with Bent head most sweetly tongued in quietude.

Bianca. Transports to make all women smile, though our Religious fathers often weep at it!

Pietro. Moreover, I smell vineyards on your lips.

Bianca. For benediction, on my cushions pray.

Pietro. While you do so on my cathedral stones.

Bianca. Either, provided your soul rises high.

Pietro. I feel it rising at this very time.

Bianca. To fall off at your pleasure.

Pietro. A woman may convert without a priest.

Bianca. As for your penance, do not fear me yet: Instead of beads prepare to handle hosts Of flesh inscribed in secret native charms, Flesh sweetly open for your very case, Stalls of confession, one man at a time.

Pietro. Hosts harboring still a most sacred head!

Bianco. As you kneel, kiss the sweaty crucifix- O spring of love and torment!- where lie still Both pleasure and salvation.

Pietro. I know it does.

Bianca. Look for no stripes but only sheets to rest On, penitential robes for your offense, Uplifing your soul's thrusting, make it spent But after some good sweat, for otherwise I may me blamed for strictness. I refuse To be considered so, but, as for you, Do not spare me: be harder to please best.

Pietro. My pleasure since I first began to stink!

Bianca. Ha! Ha! Wit grows along with potency.

Pietro. Quite sure of it.

Bianca. By that wise sentence, guess what I require.

Pietro. I cannot guess the decade of my birth.

Bianca. A task of peril, trifling matter yet For such a growing lover as you seem.

Pietro. By my love, I profess myself to be Your most obliging knight, be it to tear My father's flesh for feeding poisoners.

Bianca. Not his, but that of others.

Pietro. Ha?

Bianca. Are you amazed, my man? Unless you do, You see the pit most often dreamed about As sheltering forever locked away.

Pietro. To kill-

Bianca. Yes.

Pietro. My mother never bore me for that skill.

Bianca. She ought to have done.

Pietro. Ah, who must die?

Bianca. Love, let it not displease your thoughts to know I warmly welcomed other men this week.

Pietro. Forgotten!

Bianca. Yet both intend to make me suffer, all Because of one grieved boy called jealousy.

Pietro. O, had you dallied with my father's bones, I still would work to make you always mine.

Bianca. I have done worse: played with the devil's own.

Pietro. Who?

Bianca. A pair of counts, whom I refuse to greet On common walks, unless bled thoroughly White on white pavements, for I recognize As certainly as woman's wishes they Intend to do me harm and leave me dead.

Pietro. Why?

Bianca. So filthily love taints their spirits that I nightly fear rapes doubled everywhere A man may enter.

Pietro. I bear a sword for them.

Bianca. Together with another instrument, Both here to give me pleasure.

Pietro. I have had promises.

Bianca. You will contend with more than promises.

Pietro. Tonight.

Bianca. When I behold their heads inside this scarf.

Pietro. Agreed. Then down goes that feigned maidenhead The world once knew you by.

Bianca. Show me I may in honor know your love, Then hail the day with shouts when hearing first Of my dishonor bleeding in Challand.

Pietro. My hope in life or death! To give us joy, Instruct me on the way to reach those two.

Bianca. I'll satisfy you at all points, except The main one, and that only till this night.

Exeunt Pietro and Bianca

Act 4. Scene 2. Mansino's palace

Enter Pompina and Alicia

Alicia. What are you hiding there?

Pompina. A thing most pleasurable in grief or joy.

Alicia. I fear all the worse for the saddest life.

Pompina. Fear that it ends too late, not early, girl.

Alicia. Leave here without the bag.

Pompina. My only point of pleasure?

Alicia. For my rest. Otherwise, I'll rifle it Out of your hand.

Pompina. Consider your eyes lightly. If you do, I'll please a woman better than a man.

Alicia. Will you run mad, forebear all company?

Pompina. I'll have my pleasure.

Alicia. Where?

Pompina. The way we all go, downward with our mouth In dust.

Alicia. Ah, no. Give me the packet.

Pompina. I would rather be dead than see what I know, know what I see.

Alicia. I'll have it.

Pompina. (striking her No.

Alicia. Ha? Ha? Ha? Striking on a friend who prizes you Above security?

Pompina. So I do.

Alicia. My eyes!

Pompina. Come closer to hurt more.

Alicia. What have you there?

Pompina. The prettiest object.

Alicia. A dead man's foot?

Pompina. Inviting me to worthiest meditations. Do you fear death, Alicia?

Alicia. I'm in a fever at the thought of it.

Pompina. The poorest philosophy! This thing puts me to mind of my end, worth the stink, for, by that, I know myself to be what I am: a kind of nothing, corrupted, akin to knowledge obtained by most venerable scholars.

Alicia. Owls clap their wings at such knowledge.

Pompina. I'm strangely ready for his prick.

Alicia. I'll call in officers preventing that.

Exit Alicia, enter Pietro and Carlo

Carlo. How, a girl sniffing on her plate of worms?

Pietro. No matter of note compared with the matter troubling us.

Carlo. Since I cannot dissuade you, I must secure you otherwise from annihilation.

Pietro. To kill is easy enough.

Carlo. May bravest justice couch on both our swords.

Pietro. It does. Because two men intend to kill

My mistress, kill them first.

Carlo. Enough worthess fellows exist for seconding your hand, yet few so dedicated to hideous madness as I choose to be.

Pietro. Give me more of your arm, less of your tongue.

Carlo. You'll find no traitor to your designs. I wish I could be the enemy who saves you, but I see I cannot. Therefore, I'll slay love's enemies, unless I choose to prick love instead.

Pietro. Do not, or else you murder me indeed,

More than your random talking ever did.

Carlo. Evil strikes like a serpent out of its pit when anger overturns the rock of discretion. I wish I held your viper on my sword.

Pietro. You have no conception of Bianca's worth.

Carlo. I do not, because it does not exist.

Pietro. You are disposed to be merry.

Carlo. Beyond all measure sadder than my grave.

Pietro. Enough reflections! The world will witness strangest doings on this day, because love whispers as madness' prompter on our stage. Study our fathers' chronicles, where precedents seem ample of all the oddest and most dismal actions provoked by such squires of love as I profess myself to be. Listen: I am bound to serve the lady I love best, while you salute others whom you only say you love, doing what other men do, safely and secretly. He knows not love who does not run madly in the streets, pushed on by his fire.

Carlo. I prefer not to run mad until the age of sixty, for then even folly becomes pleasant.

Pietro. I would rather live inside marble than untouched by love's fire, die at twenty than exclaim at a venerable age: "O, had I loved!"

Carlo. No fear of that, I fear.

Pietro. No, I fear noth- Ha! Look there.

Carlo. The counts approaching nimbly!

Enter Mansino and Baizzo

Mansino. A shameless strumpet I once likened to Lust's putrid muck-heaps under monuments!

Baizzo. I wish society held it honorable to darken a lord's hands with Bianca's blood.

Mansino. I will no longer attend a dream. Honor, respect, patience: all these banished from consideration! Dishonest trull! I'll tear out her tongue from the back of her neck, or commit some other deed of madness on that never-heard-of open woman.

Pietro. You have said overmuch. (stabbing Mansino

Baizzo. Ha? Ha! A stranger stabbing my best friend?

Carlo. Why not? Do you protest?

Baizzo. Your folly pleases me.

Carlo. Not yet content with humor, sir.

(They fight with swords

Mansino. I die for a whore I abandoned: very perfect. Was I swaddled carefully for this? (he dies

Pietro. Maim and kill the slave, Carlo.

Carlo. If I do not, call me an otter on His rock-pile, starving without fish or crab. (stabbing Baizzo

Pietro. You have destroyed in haste the bravest yet.

Baizzo. I die for my friend's sake: a trifle, then! Life is not worthy of philosophy:

So I lie dumb. (he dies

Enter Riccardatto and an officer-of-law, re-enter Alicia

Alicia. I left her here- Ha, dead?

Pompina. Almost. (she dies

Alicia. The foot alas quite poisoned!

Riccardatto. More matter for a mother's grieving all Along this way!

Pietro. Guard your life, Carlo.

Officer. My musket warns neither must ever move Away from where the voice of law commands.

Carlo. Caught!

Officer. You may know something of these corpses, sirs.

Pietro. I do not deny we do.

Alicia. Pompina! Why flow all these tears for one Devoid of any tear for her own sake? In death she caught a fly, her happiness.

Officer. I marvel at these slaughters.

Pietro. Why? All of these are of the world and so There to behold.

Riccardatto. Conclude, as does Alicia, that this life Is worth no tear at parting.

Pietro. I can discover reasons to weep for Myself, but few for other people's heads.

Carlo. Why weep for corpses who are nothing now?

Pietro. Concluding that the all is nothing, then?

Carlo. I believe in nothing, not even in disbelief.

Riccardatto. Do you possess two ropes, good officer?

Officer. The slaves must be tried first, I think. O, yes, It is just so. Then forward both, with speed Advance, for you towards death, for myself Perhaps rewards!

Exeunt the officer, Pietro, Carlo, Riccardatto, and Alicia, bearing the bodies

Act 4. Scene 3. The brothel

Enter Torbido and Voga

Torbido. Vago is much detained, but yet, I fear, Not satisfied as usual.

Voga. In no wise, by my stays and carcanets.

Torbido. Damned less-than-whorish maiden bitch!

Voga. I think she gets not up to his.

Torbido. What should we do? Our client moans, reneges On instant monies.

Voga. When next I see that whore-bitch- hah? Hold there. I should not rail thus on our very trade.

Torbido. Throttle her instantly before my next blink, or look over her behavior carefully, as old men with Suzanna.

Enter Vago

You seem to bear a sorry mien, Vago.

Vago. I vehemently do, depending nonetheless on the person with whom I speak.

Torbido. Not satisfied?

Vago. In a manner of speaking, no.

Voga. I will not call her whore, the title being Too royal for her case.

Torbido. Choose others of a surer rank among The many we care for.

Vago. Not today, perhaps not tomorrow.

Voga. No? Neither Tawny Tammie, nor the Sugary One, nor Ruth of the Fields, nor Judith of the Missing Head-

Vago. Perhaps not any for any while. Other houses of conjunction exist in the district, dens of merit some may be inclined to investigate or determine for a man's betterment and exercise.

Torbido. O, no, O, no!

Vago. Why not? Do you contradict? I know such houses exist and will inspect them more closely in the near or farthest future.

Voga. This cannot be. I abjure you-

Vago. No, no; I adjure what I once said about your premises to friends I hoped one day to love, or at least tolerate at breakfast.

Torbido. My sun of profits impossibly stops, like Joshua's.

Vago. The phallus of your profits declines, uselessly astir, not with the end wished for, but shrinking sadly down, the sack empty when most full, as far as I can analyze at this juncture of conjunctions.

Exit Vago

Torbido. What a doomsday is this! Indeed, my air Appears afire with anger. We will see Some officers appear to blame our house, As David Yaweh after stealing wife.

Voga. I will instruct her further in this gear.

Torbido. Do so, or else watch me run mad with grief. Remind yourself on how Tunisian friends Revealed Nefzaui's perfumed garden, how Rapt we lay flowing by the loved one's pleas.

Voga. I do and will apply such knowledge here.

Torbido. Do so, to earn my trust forevermore.

Voga. I will devise the uncropped to moan so: "By God, no more caresses, kissing, in Disorder of the smock mere ticklings, but,Once to appease my torment, dig down deep

In flesh the phallus, there is only that, The white-hot streamlet pouring far inside, Down to the utmost bottom of the well."

Torbido. She should have learnt that sooner.

Voga. Had she no mother to inspire her on How to inveigle men the way we wish? I am astonished at the laxity

Of modern education.

Torbido. The proven ancient ways forgotten quite!

Voga. No application! Looseness and indifference!

Torbido. None of our childhood doctrines taken as A subject worthy of the dullest pates!

Voga. Snores, not regard, songs, no profitable injuctions on conjuctions!

Torbido. Receive her in your bosom, to suck there The sour milk compendium of a whore's Instructions. Do so femininely.

Voga. To be ejected generously once The lips advance, athirst for sapiences.

Torbido. If not, close shop and die.

Voga. To do what? I was cradled for my work.

Torbido. So I in mine, like Moses in his crib, Delivering men's lust from bondages.

Enter Noce-Moscata

A culprit strolling on her Sunday rounds!

Noce-Moscata. What crying wrong have I committed now?

Voga. You are no whore. I say that to your face.

Torbido. Does she not blush at that?

Noce-Moscata. O, sir, keep constantly a wholesome girl,

Nevertheless, for sake of charity.

Torbido. Why, to pay laxity? Not pay for such, Or yet allow to prosper if I can.

Voga. You were commanded always to please men.

Noce-Moscata. Why should I when the men do not please me?

Torbido. I do not feed you to please you, but to Please men as often as you are bid to.

Voga. Thus should you do, unless I quite mistake The meaning of our trade.

Noce-Moscata. I will be warmer.

Voga. We will discover that more instantly.

Noce-Moscata. O, not another now!

Voga. Another, and another, with one more, Until you play the newly perfect whore, For none become so without practicing, First lightly with the fingers, up and down The trembling keyboard.

Torbido. Some tunes of wisdom in this house at last!

Voga. Next softly to his flute. Advance the lips

Thus, in a kind of windy murmur, then Like savory endives lick it to the tip, But only on the underside. Just so.

Noce-Moscata. Foh! Foh! I will not put my mouth on such.

Torbido. Will not? Will not?

Voga. I am ashamed to find a maiden of Such shame, my own, my pupil, unadvised!

Noce-Moscata. Command me to clean floor-boards with my tongue.

Torbido. Be seen as filthy as each client is, To win by such degrees his richest clothes.

Voga. Most finally, you must receive with smiles The fulness of his brunt, no matter for The grunting near the ear, the slobbering All over your kind face.

Torbido. You will surpass at that and more, I swear.

Noce-Moscata. Can I do so and live?

Torbido. Exceed in knowledge of man's body Valerio's calculations on volumes, Tartaglia's formula of the tetrahedron.

Noce-Moscata. Can I do so and live?

Torbido. One trial more To make you fully whore, Or sent out by the door.

Noce-Moscata. Whore-knowledge nearly like a loyal wife's!

Torbido. Another client! To him pantingly!

Enter Decio

Noce-Moscata. I recognize at once my man of woe.

Voga. Which man is horrid here? None, none, I say.

Torbido. All good, entirely good, by the mass.

Voga. Sir, you arrive most fitfully in time. Behold a joyous virgin for your bed.

Decio. I will not take her.

Noce-Moscata. Why not? (kicking him

Decio. Ha! If a virgin a virago, too, Not such a strumpet as men hanker for!

Torbido. Am I a witness to the heaving sin Of horrible, abominable, and Disdained no-fucking? A new client spurned?

Voga. My cheeks will flame forever day or night.

Decio. Keep her inside menageries of lust, Not for a man's most quiet time of rest.

Voga. I will hook backward that deliquent To teach what she abhors to understand.

Torbido. Let me not hear of a girl's sex until Her wit improves by lust's instructions.

Voga. Come with us, sir, this whore is none, to our

Shame. Choose another happily.

Decio. I hope such are allowed.

Exit Decio

Voga. I could so mangle you.

Noce-Moscata. I am as heartily disdained here as The daughter in a happy family.

Torbido. Show willingness to learn of whoredom's book As boys their Euclid, calculate men's lust, Test theorems and sub-proofs of perversion, For minds prepared in school excel in life.

Exeunt Torbido, Voga, and Noce-Moscata

Act 4. Scene 4. A street

Enter Clara and Decio

Clara. Hah, Decio! Do I chance to see you by This very day, among the happiest yet?

Decio. It is by chance, though certain by chance to lead where nothing is. Do you accost me for a daughter's sake?

Clara. Not on behalf of my daughter, whom I lost.

Decio. Was she thrust from your house?

Clara. Yes, Decio, because of my husband I lose both husband and daughter.

Decio. Perhaps a daughter fortunately lost.

Clara. O, no, a girl gentle to all the world except men.

Decio. I am sorry to hear it.

Clara. What should I do without a daughter?

Decio. I saw her, not where a mother wishes hers to be.

Clara. Then tell a mother where her daughter is.

Decio. Inside a brothel.

Clara. O, no!

Decio. All too true, seemingly fortunate in misfortune.

Clara. What should she do there?

Decio. She lies inside a brothel, does she not?

Clara. Not with success some cleave to hold, I think.

Decio. Not when I saw her there.

Clara. Then you were offered her?

Decio. Against my fondest wishes, yet refused.

Clara. I'll take her out from there if you show me The house she lies in.

Decio. I will.

Clara. First say how you find me.

Decio. A handsome woman.

Clara. (kissing him Glad to hear such a man say so!

Decio. The daughter loses when the mother wins.

Clara. Decio, I love your face. Will you go with me?

Decio. Inside the brothel?

Clara. Perhaps a more seclusive place.

Decio. My bed.

Clara. See how fitfully that one thought shakes me, all in joy, Decio.

Decio. A warmer proposition than I was Served from the daughter.

Clara. What she once lost a mother joys to win.

Decio. Look there. Is it-

Clara. My husband nearer than we wish! Escape Is my best way. Tomorrow, if you wish, Here, in a meeting fortunate for both!

Decio. Decided gratefully before you spoke!

Exit Clara and enter Agostino

Agostino. Decio!

Decio. Your wish?

Agostino. Hah, Decio! No more frowns and turnabouts! Do you by chance come often by this way?

Decio. I do, by chance, though certain by chance to lead nowhere. Am I accosted for your daughter's sake?

Agostino. Never on behalf of my daughter, whom I am gladder to lose than many other injuries.

Decio. Did she leave you?

Agostino. Yes, Decio, because of her I lose both daughter and wife.

Decio. Perhaps a daughter fortunately lost.

Agostino. I once thought so.

Decio. I am sorry to hear it.

Agostino. What will I do alone?

Decio. I saw her.

Agostino. In a brothel, I can guess.

Decio. In a brothel.

Agostino. O, no!

Decio. All too true, seemingly fortunate in misfortune.

Agostino. What should she do there?

Decio. She lies inside a brothel, does she not?

Agostino. Surely not to please men.

Decio. Not when I saw her there.

Agostino. Were you offered such a one?

Decio. Against my fondest wishes, yet refused.

Agostino. I'll take her out if you show me the way.

Decio. I will.

Agostino. What do you think of me?

Decio. As a handsome man.

Agostino. (kissing him Can this please you? I can be bolder, secretly, away from unknowing, misknowing, unaligned eyes.

Decio. The daughter loses when the father wins.

Agostino. Decio, I love your bulk. Will you go in?

Decio. Inside the brothel?

Agostino. I know a far more darkly hidden place.

Decio. My bed.

Agostino. Your bed, Decio? Do you understand how long a time I have trembled alone in bed, always meant to shake with two or more, till hearing that one word gush with so great a joy in me?

Decio. A warmer proposition than I was Served from the daughter.

Agostino. Let her go see the world.

Decio. Look there. Is it- No doubt it is your wife.

Agostino. To beg you to become her son-in-law, I think. Tomorrow, back to this same place, When first I met man face to face! I beg Low for that promise, Decio.

Exeunt Decio and Agostino


text:
Collaborative play writing/The Countess of Challand/Act 5

Act 5. Scene 1. The duke of Bourbon's palace

Enter the duke of Bourbon and Servilio, lame, carrying a pole

Bourbon. I had not thought such deeds were of this world.

Servilio. Too frightfully so.

Bourbon. Henceforth, let faults of modern youth receive Inventions in their kind, most modern deaths, For then the old rest tranquilly and safe, Rejoicing in a lifetime's laboring. Moreover, we find here youth striking youth: How should this end unless we strike as hard As any of them do? Then swiftly down!

Servilio. Should I administer the pole on him Before first knowing what we long to hear?

Bourbon. Why not, considering what he has done, What he continues not to say, when he Acknowledges guilt on his own head, not His brother's, most unlikely to a judge Uncertain of his brain, he standing right Beside the corpse in fear of officers? Pietro holds out long as we lose time, When we might give to others what we strive To render, justice, that elusive dame, Whose hands we kiss, speak well of, knowing well Few of her secrets enter in men's ears. When I consider that youth's name, I stand Dumb, almost disbelieving what I know, Pietro di Cardona, out of whose House I once kissed his father! What downfall From father to son in these times of waste!

Servilio. My lord, you know I have in liberty Both loved and honored you beyond mere points Of duty since I left disgraced and hurt Through no fault of my own Bianca's house, The countess of Challand in course of ill. Permit one lowly to advise your grace To quit this evil purpose, if allowed On mouth of menials. Can we hope to trick Law to our side by knocking bones from flesh? Despite contrarities caused by this case, I think it far more witty of your grace To pardon murder than to punish him In blood and bone without first knowing him.

Bourbon. Then you presume too overfar in this. I'll make- I swear, O Christ!- examples of Both murderers to render felons mad, So that such crimes will likely not be seen Or heard of in Christ's Italy again.

Servilio. Yet torture never will do so, nor pains And torments marry frighted peacefulness.

Bourbon. I do not know that. Show the rebel now.

(Pietro, bound on a wheel, is revealed

Servilio. I hold the instrument to maim, yet I Sweat danker still, in secret wiping tears Behind each post, than my own prisoner.

Bourbon. He who weeps for a traitor is himself The garden-rill of treasons, into which Men enter, parched, go out refreshed for more.

Servilio. Then I am quiet.

Bourbon. Because you are all mine in duty, I Will let mere ignorance slip for a time, But never yet presume to faze me in my court.

Servilio. Then I am dumber, almost frozen dead.

Bourbon. Have you repented, boldest- by my faith- Of any murderer I saw this year?

Pietro. I have, to priests invited in my cell, Whose sacrament has often pardoned me, Though hearing louder than entreaties of A better life veins throb within my ears In fear of what may yet become of me.

Bourbon. You have deserved worse pains than men think of, To be in some sort compensated for.

Pietro. I beg for mercy.

Bourbon. I should not laugh and will not. Death deserves

Death, I allow, without consulting books.

Pietro. May it please your grace to give it to me?

Bourbon. So soon? O, no, for then we are too fierce Against our subjects. Did your brother kill The other man?

Pietro. No.

(Servilio strikes him

Pietro. O! O! O! O!

Servilio. I think his arm is broken.

Bourbon. Enough. Remove the liar from our sight Till he stops crying for his fractured arm.

(Servilio draws the curtain

Our further pleasure will be known to all Before tomorrow noon. Tear-happy boy, I knew your father's faith, whose like on earth No man will hope to see again. Know that Extending mercies to such duellists Is cruelty to millions: husbands, wives, Sons, daughters, never to be known or seen.

Servilio. I'll study that before I ponder more.

Exeunt Bourbon and Servilio

Act 5. Scene 2. A street

Enter Decio and Agostino

Agostino. Do you regret our night of love, when man Was smitten gentler than he ever was?

Decio. No.

Agostino. Can we stay longer without being caught?

Decio. Each evening when my neighbors do the same.

Agostino. I guess we should try that, in an effort of labor often repeated.

Decio. One of my neighbors burned for it.

Agostino. At all costs trust in each other, without fear or hope of gain in condemning others in our place to that awful pile of wood.

Decio. Our bodies deserve each other's, not the executioner's.

Agostino. Are we not born for pleasure?

Decio. More than that, fulfilled, completed when we match.

Agostino. My thought exactly, riding by this way.

Decio. What of your wife?

Agostino. Unsuspecting, as I guess.

Decio. She may perform with others what you do To her, a tale we often read about.

Agostino. There my cap tightens, yet I should not sit And mope when I may lie below a man Who does for me what women never can.

Decio. Is it not she?

Agostino. She knows you as my friend. Make friends with her And we are safer than two babies are Inside a crib with parents by the fire.

Exit Agostino and enter Clara

Decio. Do you regret our night of love, when man Was smitten gentler than he ever was?

Clara. Do I regret being born?

Decio. Can we stay longer without being caught?

Clara. Easily, my husband being either blinded by fat eyelids of self-bloating or the small-growing shrub any woman's fingers fashion or clear off as she hopes.

Decio. I guess we should try, in an effort of labor often repeated.

Clara. Beware: one of our neighbors was caught for it.

Decio. Above all, trust in each other, without fear or hope of recompense by condemning others to the post.

Clara. Agreed.

Decio. Are we not sent to earth for pleasure's sake?

Clara. I always thought so.

Decio. Not your husband?

Clara. Blind goats may sooner mind my walk and turns.

Decio. He may achieve with others what you do To him in secret.

Clara. So, what of that? I should not sleep awake At night when I may on a pallet lie To feel beneath what husbands rarely pour.

Decio. He knows me as a friend, which I will prove To be, we safer than two babies are Inside a crib with parents by the fire.

Exeunt Decio and Clara

Act 5. Scene 3. The brothel

Enter Torbido and Voga

Torbido. There lacks but man to make of girlhood's frame More certainly an enviable slut.

Voga. She is instructed without book, but yet Acknowledged by some to be of the best.

Torbido. You are yourself a book, by cardinals Approved, with few amendments of The doctrines some abhor when misapplied.

Voga. But yet we lack some man of enterprise To let her feel where she ought what she learnt From mouth to ear.

Torbido. I have requested one we welcome well.

Voga. Who?

Torbido. Fierce Riccardatto, love's most sudden knight, Extended to all ages, likened to Unwearied Solomon on throne or bed.

Voga. O, O, he will so pierce her! Well have you Reflected on her needs, but mostly ours.

Torbido. Do I not rise like Jeroboam, great With sin and power in a little realm?

Enter Riccardatto

Riccardatto. You called me from my duties.

Torbido. Not for a trifle, Riccardatto. Hear.

Riccardatto. The newest one, I guess.

Voga. New and companionless, unless your heart- Perhaps I should not call the member so- Can pity her, of clearest virgins she, Most beauteous to amaze since first I pushed Advancement of poor maidens in the town.

Riccardatto. A virgin? Fuco! Is there any left In Italy?

Torbido. Assure your manhood it is justly so.

Riccardatto. Not when next spoken to, not even if Her father bearing swords on either hand Stood staring by.

Torbido. Did I not say the man's an enemy To women's artfulness?- Do you have gold?

Riccardatto. Some coins.

Torbido. Yours. Do not mind her coyness.

Riccardatto. I rarely do.

Exit Riccardatto

Voga. Ho, we are made.

Torbido. Already I am heavy with his gold.

Enter Agostino

Agostino. Sir, if it may please you to answer, are we in a brothel?

Torbido. Yes, sir, the least melancholy, the daintiest of choice in the parish.

Agostino. I thought so. Then I am here.

Voga. Your pleasure, sir?

Agostino. Yes, if you please.

Voga. How may two knowing ones best serve desire?

Agostino. We lie inside a brothel, do we not?

Torbido. Yes, sir, this way.

(Cries within

Agostino. Who cries out over there?

Voga. A timid one you may indulge with soon,

If I have judgment of a maiden blush.

Torbido. If you please to follow in all cases Voga, sir, a woman who has made gentlemen proven to be honorable her most perfect study, as I have very often observed, they and I rarely tasting unripe fruit.

Agostino. I have never been here before, not in any, as you may partly guess.

Torbido. O, no.

Agostino. Is is so, nevertheless.

(More cries within

Agostino. I do not know whether I like or may

Enjoy such cries this day.

Voga. A distraction, sir, in the way of passing, like the wind and dust, too trivial to be talked about by any man capable of thought or appointed to legislate.

Torbido. A transitory event entirely, no part of studies, whose like Erasmus would never trouble with.

Voga. A man of note is winding a whore's clock to where it should strike.

Torbido. Will it please you to enter in this room,

Jerusalem in pilgrimage of love?

Agostino. Will I see one undress?

Voga. Yes, sir, without fail.

Agostino. Her underclothes held to the knees awhile,

Then dropping to the floor?

Torbido. That may be done, I guess.

Agostino. I will whisper to her what my wife often neglects to do, to my discomfort. I will have the woman stand before me, almost naked, then, as I said, in a somewhat leisurely fashion, slip down some of her undergarments, then let them fall, she still standing, and gazing at me. Perhaps it will be best were she standing on a chair, unless you, as master of this place, object to that or more in that fashion.

Torbido. I rarely do.

Agostino. Let her keep standing on a chair, I say.

Torbido. We agree on the chair.

Agostino. With her shoes on.

Voga. With the shoes on. A contract!

Agostino. Let me dream awake awhile: what if she allows my kissing them? I would disburse a few pieces for that alone.

Torbido. Surely, few here will dispute with you for that privilege.

Agostino. Her head up, mine below, perhaps holding this glass. I'll shamelessly tell you why: to see her genitals reflected here.

Torbido. Voga, we find at last a man refined.

Voga. I did not doubt that as soon as the man First entered, also as a man allowed to be The promptest emptier of most vessels here.

Agostino. I'll have my face reflected there, too. You understand this, I hope? My beard in the mirror next to the double lips, bi-valved in their rosiness. I think I have made myself sagaciously clearer than most on such points. Refinements? I guess a man's heart possesses some, should he be open to experience and curious to know the world.

Voga. We guessed aright.

Re-enter Riccardatto, naked and bloody

Torbido. The valiant treads in scarlet, by no means Abashed, in manhood's bravest raiment decked.

Voga. I knew he would.

Torbido. Having cropped no doubt forever the nutmeg flower.

Agostino. Noce-Moscata? My daughter?

Riccardatto. Some novel brothel-trick?

Agostino. You wear her blood, so will I smile in yours. (stabbing him

Riccardatto. Ha! Ha! I am unarmed except with what Should never cross a sword.

Agostino. And yet it will cross mine.

Torbido. Hold.

Voga. O, hold, hold!

(They hold Agostino while Riccardatto escapes

Torbido. How, murder in my house?

Voga. That may not be.

Agostino. I'll turn my anger next on you.- My own?

Exit Agostino

Torbido. Egyptian troubles, Voga, brought on by

No god of pests and murder, as I live,

But by the merest girl, despite our pains!

Voga. We will disperse such locusts from the house.

Exeunt Torbido and Voga

Act 5. Scene 4. Agostino's house

Enter Clara and Decio

Clara. Hide, Decio. I fear Agonistino's rage When he discovers how we use his sheets.

Decio. Has he once spoken of his best friend as The foe of his night-cap? Has he found it Pierced in two places yet?

Clara. No, but he thinks perhaps his Clara roams.

Decio.. Discover what he knows while I sit by Beside his bed, to laugh a little here.

Exit Decio and enter Agostino

Agostino. Discovered, wife?

Clara. Hah?

Agostino. A wife still staring, scurrying about From kitchen to hall, guiltily, I fear!

Clara. Make it your wonder when considering I lost a daughter's love because of you.

Agostino. I saw this daughter.

Clara. Where? In a brothel?

Agostino. You are partly informed, I see. The traitress ran shouting out of the brothel, declining to be helped, refusing to go back with me.

Clara. I found the brothel, but not her. A man And woman- are they numbered of our sex?- Swore never to help such a lodger more, A sexless one detested worse than piles.

Agostino. Because of her, the mother seeks revenge.

Clara. I will deny that though you blink and rage.

Enter Decio

Decio. Who stares, who rages? Agostino, he, Among my friends the mellowest of all?

Clara. Not with the head on pillow, from where he Frets that his cap fits tighter than it did.

Agostino. A wife makes certain man's uncertainties. Some comfort, wisest Decio! Do you know Of any man who makes of me what I Abhor to think exists in Italy?

Decio. O, no, such wives are surely as safe To husbands as yourself to any wife.

Clara. A friend's opinion which the blankest dolt

Adheres to happily!

Agostino. I hear him, wife, but yet what man heeds truth Whenever heads are pinched so narrowly?

Clara. Should I not fearfully accuse you of The same? You go out nights I know not where.

Decio. To my house, as my Agostino swears, As I do, kissing any book you show.

Clara. Love's church-goers uncertainly believe In such an oath.

Decio. His friend as well as yours declares it is Precisely so. No more of these disputes!

Clara. Then all seems well perhaps.

Agostino. If not, I will pretend that all is well.

Decio. Become again what you are: husband, wife, Rejoicing in one bed, with Decio as Your most particular friend of the house.

Exeunt Agostino, Clara, and Decio

Act 5. Scene 5. The countess' palace

Enter Bianca and Riccardatto

Bianca. Do you refuse to go? What of my meat? How should I dally with my fingers when Unwilling to take out chess-pieces, in Distresses of hunger?

Riccardatto. All of your servants staggering in fear To be griped by the duke of Bourbon's men!

Bianca. Why?

Riccardatto. Because of murders many know about.

Bianca. Is not the culprit bound? Have we not heard The murderer has not yet even named His brother, much less me, the woman whom He loves so much beyond what men profess?

Riccardatto. We sweat in anguish to be broken flat Under the pole just for our lady's sake.

Bianca. Will you, my sturdiest, melt in pools of fear Beside the fire with summer sun so near To thaw night's grief? I promised you my bed. Have you forgotten? There a little pit's The sink of pleasures rarely thought about. You are my steward, meant to serve me best.

Riccardatto. Well, it is done.

Exit Riccardatto and enter Alicia

Bianca. Ha! Ha! Ha! Ha! A menial cannot tell The happiness that presently betides A countess of my state against all odds.

Alicia. We hear of no good fortune swimming here.

Bianca. She is the grossest stir-pot who cannot Feel instant pleasures in my instant weal.

Alicia. Since you took me in service after Count Mansino's death, I have known few indeed.

Bianca. How? Can one lie without one reason, girl?

Alicia. Let me first tally for your ladyship The cause of virtue's pleasures in this world: The sight of a good man who loves her well, Whom she loves equally and loyally.

Bianca. I am reminded of my mother's saws. If I thought as she did, I never would Drop skirt with virtue, never fuck at all. Hold here, because you err on your first throw.

Alicia. Where?

Bianca. The love you speak of never can exist, Which to us should be utmost cause of joy.

Alicia. How?

Bianca. No other joyance wrings me. Your boy-love I swing down from the hip.

Alicia. A downfall certain to make virtue weep.

Bianca. Let her but grow a little. You will be Of my mind after knowing what a girl Weeps for, mere love, a weed on a toad's back, Rid of at the first plunge, a sunbeam lost Between the foliage of dim forests, prunes Some pressure of the finger opens, to Decay for every gouger mouthing them. I know of nothing fitter to be cast Aside as chaff, if you have wit enough, But should love press you once, to prey on thoughts, Make you forget your meat-pies, to sleep on His breast, man's pillow metamorphosized Against our rest, O then he will become Your food, sleep, care, then you will understand How heavy is this mote, how busily He winds around one's neck so soothingly, To torture us in silk. I have fed full On juices of the apple and find them Already rotten. Merrily sing, love No man more than another to live long.

Alicia. Far better dead.

Bianca. Than hourly die of him? Rave when you lose A necklace or a shirt, not a man's heart. I bear a brain to make me soon forget The man I sleep under. Fetch bowls of wine: I have released Pietro from his wheel Inside forgetful turnings of my mind.

Alicia. Here.

Bianca. Ho, rarest vintage! I am richer, wench, My tears of mirth are diamonds, since I weep More often, knowing now what to weep for. Inside my garden, I profess to grow A tree of pleasure, watered by men's sweat, Who puff with weary-bloated purple face In their travails to yield me pitless fruits. I see whomever I wish, to do what I contemplate to do, where pleasure seeks To pleasure me, unknowing of the cares Of duties, gently stooping in his arms. I will tell you that my whole mind entire Will be myself, no beggar on love's stairs, Whose leavings serve to cook indifferent Sauce to unpleasured palate. I have known Some women learning inside marriage bonds To loathe their pleasures: such would be my case Were pleasure but the dog to duty's will. No, do not speak of duties- whoop! well, well. Cares, dull, dull cares, regard of government, Or marriage- pah! Whoop! Excellent wine! Piff, No care of state for me, I am alone.

Alicia. You may afford to say so, madam.

Bianca. True, do not touch my money or I kill. A block of folly spends all to end all, A dullard cannot bear a rich estate, But in a month's time, not so soon perhaps, Decays in gold, or drowns awash in pearls. Yield to some lady's chamber plates of gold, A pit of treasures: she then works for waste, She must. Let that alone and she drops off, A sorry branch. I bear a brain alone.

Alicia. If always thus alone, when serves a brain?

Bianca. I have my tinsels, I rejoice in glass, Well pleased with what it sees, my hands caress Some books and parchments, glanced at or for show, I tongue my spicy wine, some steamy bowl Of delicacies, fowls more rarely Espied in dishes than Arabian birds, So perfect is my growing. I have fed From pewters never sucked on to king's tooth, Worn heavy vestments women seldom dare To dream about, all which philosophers Say cannot yield us happiness. Why not? They do. I am.

Alicia. I can believe you. No such fool as to Tread very richly yet unhappily!

Bianca. The pleasant life!

Re-enter Riccardatto with plates of food

So, we will eat today.

Riccardatto. A gentleman awaits your pleasure there.

Bianca. Who?

Riccardatto. I do not know him.

Bianca. Away with him!

Riccardatto. He says he will consent to freeze before Your gates before resigning from his watch.

Alicia. No doubt a fool unknowing of his state.

Bianca. Admit him.- Say I am no countess if I once prove kind to strangers.

Exit Riccardatto

Alicia. I see the gentleman before my face.

Bianca. Who is he?

Alicia. Bacchus.

Bianca. So do I, swimming.

Enter Carlo

Carlo. Do not think ill of one who wishes at This minute without ceremony to Speak with the countess of Challand alone.

Bianca. How! Stay, Alicia.

Carlo. I say, she will not.

Bianca. Insufferable at best! Who are you?

Carlo. That must you find here to your dearest cost.

Bianca. It is my will that my Alicia stays.

Carlo. (striking Alicia and drawing his sword Agreed.

Alicia. Ha! I will get help, madam..

Exit Alicia

Bianca. You hear my woman, by whose voice I will Behold you stuffed in bins of straw for this, Sent hurriedly in chains without cool drink By order of the duke of Bourbon to

His dankest and most putrid cell of shame.

Carlo. I come from there.

Bianca. I recognize my man in that. Then how Did you escape from where you will return?

Carlo. By fool-Pietro's constant fortitude.

Bianca. Pietro?

Carlo. You have forgotten him? Pietro, he Who died but yesterday, the puppet man Unable to use arm or leg, because Of you, his string-puller.

Bianca. Help, help!

Carlo. Ho, altogether needless. All your men Have been arrested by the duke, in whose House they will mournfully disrobe, To lie on boards all in a row, reveal How well they served the cuntess of Challand.

Bianca. O, miserable hour when our fly-sins Return so heavily to bite our necks!

Carlo. The duke of Bourbon is convinced of this At least: my innocence. His reasoning? Pietro's blood with some few bones bespread Below his wheel.

Bianca. That crazy madman bound his own arms there.

Carlo. (striking her

I say you are to blame.

Bianca. Indignities to me?

Carlo. Come, follow me for more and worse than more.

Bianca. No.

Carlo. (striking her No?

Bianca. First sheathe your sword, I beg.

Carlo. Not in my scabbard, in your body's core.

Exit Carlo dragging Bianca, enter Alicia and Riccardatto

Riccardatto. The gold is ours, I swear.

Alicia. How much?

Riccardatto. This bag complete to fullness.

Alicia. How?

Riccardatto. The brother pays us to take this and go.

Alicia. We will be followed by some officers.

Riccardatto. I'll seize that chance and laugh.

Alicia. Here lies perhaps a pleasant gown for me.

Riccardatto. A silken shirt for me.

Alicia. With this I free my brother of his debts.

Riccardatto. With this I free a virgin strumpet from Debaucheries of evil consequence, Which she, her loathsome father mocked away, Agrees on, though unwillingly at best.

(A scream within

Alicia. What scream is that?

Riccardatto. A sound I have forgotten.

Alicia. O, horrible! Some practice death nearby.

Riccardatto. Perhaps a sow well slaughtered.

Alicia. And yet the stranger hides a goodly face.

Riccardatto. He said with grace he meant all-good to her. I like him.

Alicia. Remind yourself you heard our mistress say She never must lack man on any day.

Riccardatto. The perfect lover on her bed of lust.

Alicia. I saw his sword flash, like a member out.

Riccardatto. A type of warning in the form of play.

(Another scream within

Alicia. Another!

Riccardatto. Ha! Ha! Ha! Ha!

Alicia. Ha! Ha! Ha! Ha! I should laugh if you do.

Riccardatto. No doubt he strokes her well.

Alicia. What every woman wishes for at night.

Riccardatto. Haste speeding, do not let your brother rot.

Enter the duke of Bourbon and Servilio

Servilio. As I foretold: The killers with their gold.

Bourbon. They are arrested.

Alicia. O, pity us, your grace, mere servants here.

Servilio. We'll know the meaning of those cries of death.

Riccardatto. What cries?

Bourbon. Unbolt the door, Servilio.

(The countess of Challand's mutilated corpse is revealed with Carlo next to it

Unknown among you all?

Alicia. O, no, O, no! We thought she was amused.

Riccardatto. We thought he stroked her with a lover's hand.

Bourbon. And so he still does.- Trusted Carlo there!

Carlo. Yes, happy Carlo in some kind, your grace.

Bourbon. Out with the crying pair, Servilio, where Both will most dearly answer for their kind Of service rendered to a countess' weal, Charged with assisting that wet murderer.

Alicia. Assisting murder like a murder here In Italy! O, pity, pity yet!

Riccardatto. With luck, a priest and rope!

Bourbon. Next free the prisoner who, till this night, Night of his soul, slept with his mother in The pit of lust, then popped away her head.

Servilio. But why, your grace?

Bourbon. Do it, too quaint Servilio, on your life.

Exeunt Servilio, Riccardatto, and Alicia

My eyes burn, having spied too narrowly In this night-world, no tear left pearling yet. Caught, Carlo, whom I thought so sure of, bound, To be celled in his pool of slime and rot, More nearly questioned for this action than The brother ever cried and sweated for!

Carlo. I will expect it for this massacre, Performed on this, the cuntless of Challand.

Bourbon. Is there no reason for these deeds? If so, Discover or invent one at the least.

Carlo. No reason.

Bourbon. I will not wrinkle my brows deeper on Indifferent and careless humankind. Let subjects fatten on my subjects. Who Is not a murderer becomes my foe, Whom I will swallow deep in dungeons. I Will not believe in honest faces now. Whoever murders fathers is my friend, For such is now the matter of this world.

Carlo. Quite reasonable.

Bourbon. Tomorrow, I will work to hear your tale, But never with such straining as you will Be made to feel, worse pulls with every peg. More reasons! Give me reasons, false or true.

Exeunt the duke of Bourbon and Carlo

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


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User:Sistemx~enwikiversity/signature

Sistemx LET'S TALK!

title: User:Sistemx~enwikiversity/signature


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User:Sistemx~enwikiversity

You may ask "WTF, you dont have native language?!!!?!" Well yes I do... (I just suck at grammar)

title: User:Sistemx~enwikiversity


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Animal reproduction, gynaecology and obstetrics

Preliminary note
The area of animal reproduction, gynaecology and obstetrics is also known as Theriogenology.

While the below is relevant to animal reproduction it should eventually be moved to a separate page as the wikiU school of veterinary medicine continues to develop.

Pituitary gland and gonadotrophins
The pituitary gland is the main endocrine gland, and is considered as the control center of the organic hormonal system. It has two regions: the anterior lobe (adenohypophysis) and the posterior (neurohypophysis). In mammals the anterior lobe does not contain nerve fibers, does not direct neural contact with the hypothalamus, and communicates trough a vascular system, the porta hypothalamus-pituitary system. The posterior lobe consists in neural tissue and is connected with the hypothalamus trough the hypothalamus-pituitary pedicle. Between the anterior and posterior lobe there is a small division of the anterior lobe, the pars intermedia. The main hormones directly related with reproduction secreted by the pituitary are: Follicle stimulation hormone (FSH), Luteinizing hormone (LH) and prolactin (PRL), all of them secreted by the adonohypophysis. Oxitocin is a hormone secreted by the neurohypohysis (Capen and Martin, 1898).

Prolactin
Prolactin (PRL) is a protein hormone which consists of a single polypeptide chain of 198 amino acids in human, bovine and ovine species. Bovine prolactin is virtually identical to the ovine prolactin with small differences in the amino acid structure. Historically it was considered that there was only inhibitory regulation of the hypothalamus on the pituitary secretion of PRL, but in recent years was determined the existence of several factors, both stimulatory and inhibitory. However, the influence of the hypothalamus is mostly inhibitory.

The integrity of the hypothalamus-pituitary connection is necessary for prolactin levels to remain normal. If the connection is affected, serum prolactin levels will increase markedly. It was demonstrated that the main prolactin inhibitory factor (PIF) are catecholamines, mainly dopamine, although also the gamma amino butyric acid (GABA), somatostatin and GAP exert an inhibitory effect (Lamberts and Macleod, 1990).

Dopamine is a more potent inhibitor of prolactin secretion. Dopamine-secreting neurons have their cellular bodies in the arcuate nuclei, with small axons ends in the median eminence. After stimulating dopaminergic neurons it is possible to detect significant amounts of dopamine in the portal blood system, much higher than those found in systemic blood. Dopamine concentration is inversely proportional to prolactin concentration. There are several factors that stimulate hypothalamic secretion of prolactin: they are serotonin, tirotrophin releasing hormone (THRH) and the vasoactive intestinal peptide (VIP; Lamberts and Macleod, 1990).

Oxytocin
The neurohypophysis releases two hormones: oxytocin and vasopressin or antidiuretic hormone (ADH). The two hormones are synthesized by neurons localized in the paraventricular and supraoptic nucleus of the hypothalamus (Richard, 1993). Neurons secreting oxytocin and AHD are not same, although they are located in the same nucleus. Once the hormone is synthesized it is transported through the axoplasmatic fluid of unmyelinated fibers which are directed to the neurohypophysis and they end on fenestrated capillaries where their turn their product (Richard, 1993). The presence of oxytocin has been detected also in other areas of the brain, acting as a neurotransmitter, regulating other physiological functions. Oxitocin is also in the corpus luteum in the ovine and human ovaries.

Pituitary gonadotrophins
Gonadotrophins are hormones which stimulate gonadal functions. They are the main mediators of the nervous central system in the endocrine and gametogenic gonadal activities. LH, FSH and TSH are glycoproteins composed of two different subunits called α and β. The α subunit is identical between these three hormones in the same species (Liao and Pierce, 1970; Williams, 1980). The β subunit is specific of each hormone in each species, and is the determinant of biological activity (Pierce and Parsons, 1981). FSH promotes growth and maturation of ovarian follicles in females. In males it acts on the primary states of the germinal cells in spermatogenesis, to the secondary spermatocite. In females LH is responsible for the rupture of the follicle wall and ovulation. In males LH stimulates Leydig cells that produce androgens, mainly testosterone (Setchell, 1993).


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TAO/Working with Volunteer Instructors: Best Practices

TAO & Volunteers: Practice oriented expertise
In the project TAO, we closely work together with voluntary instructors who teach older persons about online communities. Many of these instructors are of senior age themselves. Over time, we gathered a great experience in preparing these instructors for their courses, and facilitating them in the course creating process. Together with the broader academic support and feedback, this experience forms a strong expertise. Several of the activities presented in this chapter involved volunteers. We hope you will find the experiences of our partners useful for your own projects.

This module leads to practical experiences with volunteers. For a general overview on working with volunteers, see our module on Volunteers in Online Communities.

Examples of projects involving volunteers
Following practical experiences described in this Handbook involved volunteers and may be interesting for people wishing to work with volunteers themselves:

 * Free Cruise on the Internet (Switzerland)
 * Silver Knowledge (Germany)
 * E-Learning Activities of Seniorweb.ch (Switzerland)
 * Intergenerational Reading Project "Cold Times" (Germany)

'''Do you have experience with working with volunteers? You are very welcome to add tips, feedback and remarks from your own experience with courses for older people ("this worked for me, this did not …”).''

Find out how to add new modules here.

For whom?
The information in the project descriptions could be interesting for (senior) voluntary instructors who teach older people about new media in general, and about the use of online communities more specifically. Such instructors could for instance belong to:
 * TAO community partners (Wikimedia CH, Wikimedia DE, Seniorweb NL, Seniorweb CH)
 * Other senior communities (e.g. Pro Senectute, ...)
 * Other (senior) communities (e.g. hobby clubs, ...)

Material for working with volunteer instructors
Within the TAO project, many (older) persons work as an instructors to show their peers how to participate in online community sites. For these volunteer instructors, TAO has accumulated practice oriented information to help them with the preparation and organization of the courses.

Available theoretical documentation:
 * Do's & Don't's (practical scenario for workshops)
 * Methods for Seminars and Workshops
 * Relevant background knowledge for working with volunteers


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User talk:Rcunderw

 Hello Rcunderw, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. After you leave a comment on a talk page, remember to sign and date; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. All users are expected to abide by our Privacy policy, Civility policy, and the Terms of Use while at Wikiversity.

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You don't need to be an educator to edit. You only need to be bold to contribute and to experiment with the sandbox or your userpage. See you around Wikiversity! --Katarighe 22:08, 2 December 2011 (UTC)

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User talk:Starterz

 Hello Starterz, and welcome to Wikiversity! If you need help, feel free to visit my talk page, or contact us and ask questions. After you leave a comment on a talk page, remember to sign and date; it helps everyone follow the threads of the discussion. The signature icon in the edit window makes it simple. All users are expected to abide by our Privacy policy, Civility policy, and the Terms of Use while at Wikiversity.

To get started, you may

 * Take a guided tour and learn to edit.
 * Visit a (kind of) random project.
 * Browse Wikiversity, or visit a portal corresponding to your educational level: pre-school, primary, secondary, tertiary, non-formal education.
 * Find out about research activities on Wikiversity.
 * Explore Wikiversity with the links to your left.

 * Read an introduction for teachers and find out how to write an educational resource for Wikiversity.
 * Give feedback about your initial observations
 * Discuss Wikiversity issues or ask questions at the colloquium.
 * Chat with other Wikiversitans on #wikiversity-en.
 * Follow Wikiversity on twitter (http://twitter.com/Wikiversity) and identi.ca (http://identi.ca/group/wikiversity).

You don't need to be an educator to edit. You only need to be bold to contribute and to experiment with the sandbox or your userpage. See you around Wikiversity! --Katarighe 22:09, 2 December 2011 (UTC)

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User talk:Florian 09

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text:
User talk:SahniM

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title: User talk:SahniM


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User talk:Vishnu sri

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User talk:Hockey1719

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User talk:El Varito

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User talk:Paulsvernon

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User talk:Pavanarepu

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title: Template:Sockpuppet


text:
Talk:How to meditate

I notice some-one thought it better to exchange the phrase inward [inner] peace for the the original phrase inner silence. I chose the word silence deliberately. Inner peace might sound correct but it does not convey the intended meaning. Connotations are important. I have reiterated my choice of silence .... this article is an attempt to throw another light on the topic of meditation.

--Marcus Zerbini 00:12, 3 December 2011 (UTC)

 * Good to know "inner silence" is deliberate. I think there is a common misconception among people new to meditation that "inner silence" means to force oneself to stop thinking when detachment and letting thoughts flow freely non-judgmentally is usually the goal. -- dark lama  00:51, 3 December 2011 (UTC)

Dear Darklama, I intend to expand on 'inner silence' later in the body of the work. Briefly though, it does mean to 'stop thinking' but to achieve this without forcing. We can be trapped in a form of narcissism while immersed in our own thoughts. Detaching oneself from this narcissistic trait is a part of the goal   --Marcus Zerbini 01:16, 3 December 2011 (UTC) P.S. Thanks for the formatting .... much appreciated --Marcus Zerbini 01:28, 3 December 2011 (UTC)

 * I agree detachment is part of the goal. Maybe I didn't explain myself well. Generally "inner silence" is meant to refer to silencing specific types of thoughts, like narcissistic thoughts and self-criticism. People new to mediation often think they have failed to meditate or to achieve "inner silence" if they literally think or have any thoughts at all. On the other hand, selective silencing can lead to falling into the trap of replacing one form of self-judgment with another. Perhaps a form of active listening aimed inwards as to avoid distractive thoughts is another way to look at it. -- dark lama  13:07, 3 December 2011 (UTC)

Dear dark lama I looked at the link you offered [active listening] On quickly skimming it I can see similarities between the psychology broached there and the the psychology of meditation. --Marcus Zerbini 14:32, 3 December 2011 (UTC)

Marcus, Thank you for your contribution here, you have covered a lot! I have been bold with some simple language modifications I've made in the intro and emotions sections. I notice that you have taken exception to minor changes in the past and do not wish to step on your toes if you feel attached to a certain result. I am interested, however, to see this topic covered even more simply, more briefly, and with less imposition of a self. Of course, this ideally would involve discussion among any who choose to so as to discover better ways to approach both the topic and the goals. I will leave this note here and check back sometime later to see if you are actively interested in collaborating further.

Warmth, --Serotoninskunk (discuss • contribs) 07:29, 12 June 2020 (UTC)

Hi Serotoninskunk

The edit of the introduction is an improvement... thanks. However, I returned some of the text to its original form in the "Emotions" section. I want to present the topic without the slightest reference to any tradition (I made a note with the edit). I also believe it's important to try to avoid imposing one's self, if that's possible...

On collaboration... happy to have a go at it. Over the years I have discovered it's not an easy thing... a person's first contact, teacher or introduction to the topic tends to influence the whole outlook they go on to develop.

Marcus Zerbini --Marcus Zerbini (discuss • contribs) 11:20, 12 June 2020 (UTC)

Discussion and Q&A
Hi

It has been about 7 years since I first uploaded the "How to Meditate" article. What I thought I might offer is the opportunity for people to raise some questions which I can answer.

In presenting the article I deliberately chose to be as brief as possible. However, perhaps people will like some clarification or some elaboration of the text. In writing the article I was guided by the need to present the topic as clearly as I could but to try do so without imposing myself in the process. My personal attitude is meditation is an attempt to understand one's self and one's mind. There are many competing philosophies and religions [which have plenty to offer] but, in my opinion, the task is to discover for one's self the facts [if that is possible] and so adding [or imposing] influences upon another person is therefore unhelpful to them and is something to avoid.

Should anyone wish to engage in some discussion about the text then I will be happy to meet with them on this page. I will check in to this page on a regular basis and if there are any queries I will reply as promptly as I am able to do so.

with kind regards

Marcus.

title: Talk:How to meditate


text:
Talk:Mechatronics engineering

Syllabus
I would like to suggest adding
 * Dynamical System Analysis
 * Modelling And Control
 * Sensors And Artificial Perception
 * Artificial Intelligence
 * Robotics

to the Syllabus of mechatronics engineering Malithyapa 06:04, 3 December 2011 (UTC)

title: Talk:Mechatronics engineering


text: User:Kraŭs

title: User:Kraŭs


text: Category:Discrete mathematics

title: Category:Discrete mathematics


text:
Bit permutations by cycle type

 * Compare: Permutations by cycle type

The following table shows the bit permutations corresponding to the 5!=120 permutations of 5 elements ordered by cycle type.

The violet numbers represent partitions by index numbers of (compare  table).

The cycle type of the n-th finite permutation is shown in.

The bit permutations in natural order can be found here.

title: Bit permutations by cycle type


text:
Permutations by cycle type

The conjugacy classes of the symmetric group Sn are defined by the permutations' cycle types. The cycle types correspond to the integer partitions of n. So the number of conjugacy classes of Sn is (n).

The first 8! = 40320 finite permutations have (8) = 22 different cycle types corresponding to the 22 first integer partitions. To determine the cycle type of a permutation of up to 8 elements see this table (a supporting file of ).

Refined rencontres numbers
The irregular triangle shows how many permutations of n=0..8 elements have cycle type i =0..21, where i is an index number of, denoting an integer partition. (E.g. column 11 counts the number of permutations with a 3-cycle and two 2-cycles.) The columns are grouped together based on how many elements k=0..8 are moved. (There is no column for k=1, because no permutation can move only one element.)

An entry in row n and column group k is the product of the $$\tbinom{n}{k}$$ and the top entry of the column. The sequence of top entries could be called the refined subfactorials, and might be denoted $$?i$$. So the triangle entries can be derived from and the refined subfactorials:    (k implicitly derived from i.)

$$T(n,i) ~=~ \binom{n}{k} ~\cdot~ ?i$$

The last column in column group k counts the permutations with a complete k-cycle. An interesting fact is that the refined subfactorials in these columns are factorials, namely $$(k-1)!$$. This means that among the $$!k$$ derangements of k elements there are $$(k-1)!$$ with complete k-cycles. (E.g. here are the 24 derangements with 5-cycles.) By excluding the full cycles one could define this rather silly sequence: 0, 0, 0, 0, 3, 20, 145, 1134, 9793...

Some rows have repeating entries, e.g. row 4 contains entry 6 twice. The number of distinct entries per row is.

This triangle (with the same order of partitions) is shown in Sayma (ya da Kombinasyon Hesapları) by Ali Nesin (p. 151).

Rencontres numbers
This is the triangle of  ordered by number of moved elements k. (Usually they are ordered by number of fixed points.) Its entries are the product of binomials and subfactorials. The subfactorial $$!k$$ is the number of s of k elements.

$$T(n,k) ~=~ \binom{n}{k} ~\cdot~ !k$$

title: Permutations by cycle type


title: File:Pea2.s12.pythagorean.thm.svg


text:
Category:Egm6322.s12

EGM 6322 Principles of Engineering Analysis 2, Spring 2012; see also Category egm6321.f11.

title: Category:Egm6322.s12


title: File:FFTiming.20111203.pdf


text:
User:Egm6321.f11.team2.kim/PR7

=R*7.2 - Heat Conduction on a cylinder =

Given
$$\displaystyle x_1 = r \cos \theta = \xi_1 cos \xi_2 $$ $$\displaystyle x_2 = r \sin \theta = \xi_1 sin \xi_2 $$ $$\displaystyle x_3 = z = \xi_3 $$

Find
1. Find $$\displaystyle \left \{ dx_i \right \}=\left \{dx_1,dx_2,dx_3\right \} $$ in terms of $$\displaystyle \left \{ d\xi_j \right \}=\left \{d\xi_1,d\xi_2,d\xi_3\right \} $$ and $$\displaystyle \left \{ d\xi_k \right \}$$ 2. Find $$\displaystyle ds^2=\sum_{i=1}(dx_i)^2= \sum_{k}(h_k)^2(d\xi_k)^2$$. Identify $$\displaystyle \left \{ dh_i \right \}$$ in terms of $$\displaystyle \left \{ d\xi_j \right \}$$ 3. Find $$\displaystyle \Delta u $$ in cylindrical coordinates

4. Use seperation variable and compare to the Bessel equation.

Solution
part 1

$$\displaystyle ds^2=\sum_{k=1}^3(h_k)^2(d\xi_k)^2= \sum_{i=1}^{3}(dx_i)^2 $$ $$\displaystyle dx_i=\frac{\partial x_i}{\partial \xi_1} d\xi_1+\frac{\partial x_i}{\partial \xi_2} d\xi_2+\frac{\partial x_i}{\partial \xi_3} d\xi_3 $$ $$\displaystyle dx_1 =\cos \xi_2 d\xi_1-\xi_1 \sin \xi_2 d\xi_2+(0) d\xi_3 $$ $$\displaystyle dx_2 =\sin \xi_2 d\xi_1+\xi_1 \cos \xi_2 d\xi_2+(0) d\xi_3 $$ $$\displaystyle dx_3 =(0) d\xi_1+(0) d\xi_2+(1) d\xi_3 $$

Part2

$$\displaystyle ds^2=(\cos \xi_2 d\xi_1-\xi_1 \sin \xi_2 d\xi_2)^2 + (\sin \xi_2 d\xi_1+\xi_1 \cos \xi_2 d\xi_2)^2 + (d\xi_3)^2=(d\xi_1)^2+\xi_1^2 (d \xi_2)^2+(d\xi_3)^2 = (h_1)^2(d\xi_1)^2 + (h_2)^2(d\xi_2)^2 + (h_3)^2(d\xi_3)^2 $$ $$\displaystyle ds^2=dr^2+r^2d \theta^2 + dz^2 $$ Thus, $$\displaystyle h_1(\xi)=1 $$ $$\displaystyle h_2(\xi)=r=\xi_1 $$ $$\displaystyle h_3(\xi)=1 $$

Part 3 $$\displaystyle \Delta u = \frac{1}{h_1h_2h_3}\sum_{i=1}^{3} \frac{\partial}{\partial \xi_i}\left [ \frac{h_1h_2h_3}{h_i^2}\frac{\partial u }{\partial \xi_i} \right] $$ Where $$\displaystyle h_1h_2h_3=\xi_1=r $$ So, $$\displaystyle \Delta u = \frac{1}{\xi_1} \left [\frac{\partial}{\partial \xi_1} \left (\frac{\xi_1}{1^2} \frac{\partial u }{\partial \xi_1}\right ) +\frac{\partial}{\partial \xi_2} \left (\frac{\xi_1}{\xi_1^2}\frac{\partial u }{\partial \xi_2}\right )+\frac{\partial}{\partial \xi_3} \left ( \frac{\xi_1}{1^2}\frac{\partial u }{\partial \xi_3} \right ) \right ] =\frac{1}{\xi_1} \frac{\partial}{\partial \xi_1} \left (\xi_1 \frac{\partial u }{\partial \xi_1}\right ) +\frac{1}{\xi_1^2}\frac{\partial^2 u }{\partial \xi_2^2}+\frac{\partial^2 u }{\partial \xi_3^2} $$

5.4

$$\displaystyle \Delta u = \frac{1}{\xi_1} \frac{\partial}{\partial \xi_1} \left (\xi_1 \frac{\partial u }{\partial \xi_1}\right ) +\frac{1}{\xi_1^2}\frac{\partial^2 u }{\partial \xi_2^2}+\frac{\partial^2 u }{\partial \xi_3^2}=0 $$ $$\displaystyle u = X(\xi_1)Y(\xi_2)Z(\xi_3) $$ $$\displaystyle \frac{Y Z}{\xi_1} \frac{\partial}{\partial \xi_1} \left (\xi_1 \frac{\partial X }{\partial \xi_1}\right ) +\frac{X Z }{\xi_1^2}\frac{\partial^2 Y }{\partial \xi_2^2}+X Y \frac{\partial^2 Z }{\partial \xi_3^2}=0 $$ divide through by  $$\displaystyle XYZ $$ $$\displaystyle \frac{1}{X \xi_1} \frac{\partial}{\partial \xi_1} \left (\xi_1 \frac{\partial X }{\partial \xi_1}\right ) +\frac{1}{Y\xi_1^2}\frac{\partial^2 Y }{\partial \xi_2^2}+\frac{1}{Z} \frac{\partial^2 Z }{\partial \xi_3^2}=0 $$ Assuming that $$\displaystyle \frac{1}{Z} \frac{\partial^2 Z }{\partial \xi_3^2}=A $$ $$\displaystyle \frac{1}{X \xi_1} \frac{\partial}{\partial \xi_1} \left (\xi_1 \frac{\partial X }{\partial \xi_1}\right ) +\frac{1}{Y\xi_1^2}\frac{\partial^2 Y }{\partial \xi_2^2}+A=0 $$ multiplying through by $$\displaystyle \xi_1^2 $$ $$\displaystyle \frac{\xi_1}{X } \frac{\partial}{\partial \xi_1} \left (\xi_1 \frac{\partial X }{\partial \xi_1}\right ) +\frac{1}{Y}\frac{\partial^2 Y }{\partial \xi_2^2}+A \xi_1^2 =0 $$

assumeing for second term $$\displaystyle \frac{1}{Y}\frac{\partial^2 Y }{\partial \xi_2^2}=-B $$ $$\displaystyle \frac{\xi_1}{X } \frac{\partial}{\partial \xi_1} \left (\xi_1 \frac{\partial X }{\partial \xi_1}\right ) -B+A \xi_1^2 =0 $$ multiplying through by $$\displaystyle X $$ $$\displaystyle \xi_1\frac{\partial}{\partial \xi_1} \left (\xi_1 \frac{\partial X }{\partial \xi_1}\right ) +(A \xi_1^2-B)X =0 $$ The Original equation is following that $$\displaystyle \xi_1^2 \frac{\partial^2 X }{\partial \xi_1^2}+\xi_1 \frac{\partial X }{\partial \xi_1}+(A \xi_1^2-B)X =0 $$

Lets define $$\displaystyle \xi_1 =x, \,\,\,\,\, X =y $$ Thus, the above equations is following that $$\displaystyle x^2 y''+xy'+(A x^2-B)y =0 $$ =R*7.8 - =

Given
$$\displaystyle y=A \cdot P_n(x)+B \cdot{Q_n(x)} $$

Legendre Polynomials are following that $$\displaystyle {P}_{n}(x)=\sum^{m}_{r=0}(-1)^r \frac{(2n-2r)!x^{n-2r}}{2^{n}r!}(n-r)!(n-2r)! $$ where $$\displaystyle m = \frac{n}{2}$$. $$\displaystyle {P}_{0}(x) = 1 \,\,\,\, {P}_{1}(x) = x \,\,\,\,{P}_{2}(x) = \frac{1}{2}(3x^2-1)\,\,\,\,{P}_{3}(x) = \frac{1}{2}(5x^3-3x,) $$ $$\displaystyle {Q}_{0}(x) = \frac{1}{2}\mathrm{log}\left(\frac{1+x}{1-x}\right) \,\,\,\,{Q}_{1}(x) = \frac{1}{2}x \mathrm{log}\left(\frac{1+x}{1-x}\right)-1 \,\,\,\, $$ $$\displaystyle {Q}_{2}(x) = \frac{1}{4}(3x^2-1)\mathrm{log}\left(\frac{1+x}{1-x}\right)-\frac{3}{2}x \,\,\,\,$$ $$\displaystyle {Q}_{3}(x) = \frac{1}{4}(5x^3-3x)\mathrm{log}\left(\frac{1+x}{1-x}\right)-\frac{5}{2}x^2+\frac{2}{3} $$

Find
Show that for n=0; $$\displaystyle \mu \to \pm1 => Q_0(\mu) \to oo$$ Plot $$\displaystyle \begin{align} &\left[P_0, P_1, P_2, P_3\right]\\ &\left[Q_0, Q_1, Q_2, Q_3\right]\\ \end{align} $$ Oberve the limit of $$\displaystyle P_n(\mu) \,\,\, and\,\,\, Q_n(\mu) \,\,\,as\,\,\, \mu \to \pm 1 $$

Solution
From the given equations, legendre polynomial equation is following that This is the legendre polynomial graph. The above graph is a function of Q $$\displaystyle P_n(\mu) \,\,\, and\,\,\, Q_n(\mu) \,\,\,as\,\,\, \mu \to \pm 1 $$ It shows that a higher order number is shown the Runge's phenomenon at the edge of graph.

title: User:Egm6321.f11.team2.kim/PR7