text: Talk:The Smart Set/Volume 13/Issue 3/A Sense of Humor

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


text:
Page:Vivian Grey, Volume 1.djvu/137

 "Indeed!—and what do you know about such wicked work, as talking to women?" and here Mrs. Felix Lorraine imitated Vivian's sentimental voice. "Do you know," she continued, "I feel quite happy that you have come down here;—I begin to think that we shall be very great friends."

"Nothing appears to me more evident," said Vivian.

"How delicious is friendship," exclaimed Mrs. Felix Lorraine: "delightful sentiment, that prevents life from being a curse! Have you a friend, Mr. Vivian Grey?"

"Before I answer that question, I should like to know what meaning Mrs. Felix Lorraine attaches to that important monosyllable, friend."

"Oh, you want a definition! I hate definitions; and of all the definitions in the world, the one I've been most unfortunate in, has been a definition of friendship,—I might

title: Page:Vivian Grey, Volume 1.djvu/137


text:
Page:Vivian Grey, Volume 1.djvu/138

 say"—and here her voice sunk,—"I might say, of all the sentiments in the world, friendship is the one which has been most fatal to me; but I must not inoculate you with my bad spirits, bad spirits are not for young blood like yours, leave them to old persons like myself."

"Old!" said Vivian, in a proper tone of surprise.

"Old! ay old,—how old do you think I am?"

"You may have seen twenty summers," gallantly conjectured Vivian.

The lady looked pleased, and almost insinuated, that she had seen one or two more. Mrs. Felix Lorraine was about thirty.

"A clever woman," thought Vivian, "but vain; I hardly know what to think of her."

"Mr. Grey, I fear you find me in bad spirits to-day; but, alas! I—I have cause. Although we see each other to-day for the first time, yet

title: Page:Vivian Grey, Volume 1.djvu/138


text:
Page:Life of Thomas Hardy - Brennecke.pdf/255

Until recently, the poetry of Thomas Hardy has been very generally ignored, and when noticed at all, usually vastly underestimated. Ardent propagandists have been arising of late, however, and at present some of the ablest critics have shown themselves as eager champions of the veteran poet. William Archer, Edmund Gosse, and Clement Shorter formed a triumvirate of whole-hearted admirers from the start, in 1898. Alfred Noyes grew very enthusiastic over The Dynasts and the later lyrics, while Max Beerbohm, for all his flippant manner, failed to hide a considerable admiration for the great "Epic-Drama." In the United States two of the most distinguished of the newer poets have joined in regarding Hardy as the only Englishman with any real claim to be considered a great figure in the world of poetry. They are Edwin Arlington Bobinson, the representative of the more austere and restrained style of contemporary poetic composition, and John Gould Fletcher, one of the "Imagist" leaders, who has written this of Hardy:


text:
Page:Travels in West Africa, Congo Français, Corisco and Cameroons (IA travelsinwestafr00kingrich).pdf/770

 somewhat more curved than the lower and steadily ascends to the dorsal fin. Eye small, one-fifth of the length of the head. The height of the body is contained $2 3⁄5$ times in the total length (without caudal), the length of the head $3 3⁄4$ times; the caudal peduncle is slender, much shorter than the head, its depth being two-fifths of its length. The origin of the dorsal fin is behind that of the anal and nearer to the root of the caudal than to the head. The anal extends also further backwards than the dorsal. Pectoral shorter than the head, reaching to the middle of the ventral. Ventral very short, only half as long as the pectoral or as the distance of its root from the vent. Scales rather large; there are eight in an oblique series running from the first anal ray to the lateral line, and three and two half longitudinal series on the side of the peduncle of the tail. Silvery brownish above; a deep black spot on the root of the caudal, and another high up on the side below the origin of the dorsal fin.

One specimen from Talagouga.

style=font-size: 90%;|hanging-indent=2em|

Mormyrus (Petrocephalus) simus, Sauvage, Bull. Soc. Philom. 1878, P. 100; Nouv. Arch. Mus. iii. 1880, p. 51, pl. ii. fig. 3 (fig. mediocr.).

Mormyrus tenuicauda, Steind. Notes Leyd. Mus. xvi, 1894, p. 69, pl. iv. fig. 1.

Snout short, obtuse, a little shorter than the eye, with the mouth at its lower side. The mouth is narrow, not wider than the eye, armed above with twelve and below with twenty-two teeth; its corner lies beyond the vertical from the front margin of the eye. The upper profile of the head is a little more curved than the lower, and steadily ascends to the origin of the dorsal fin. Eye one-fourth of the length of


text:
Page:Trade Unions in Soviet Russia - I.L.P. (1920).djvu/91

The work of protection of labour of clerks and shop assisants employed in the provinces is not yet properly established chiefly because of the lack of experienced workers, who up to low have been detained on the fronts of the civil war. Besides, his work can only be fully developed with the improvement of the economic situation of the country, because under the present conditions many measures concerning protection of labour cannot as yet be applied. Therefore, the activity of our union in this direction is limited mainly to the settlement of conflicts and also to the elaboration of various information and regulations connected with the question of labour protection. These latter are then put before the Central Council of Trade Unions and the People's Commissariat of Labour for confirmation, and among them are to be noted: (1) Reports presented to the Council of Peoples Commissaries and the Peoples Commissaries of Labour about reduction of staffs in the institutions and stores and the utilisation of available labour forces; (2) regulation about "inspection" for persons serving in small enterprises; (3) "regulation about labour discipline" of employees; (4) information on the question of the 6-hours working day for office and mental workers employed in institutions with 8 hours working day; (5) regulations about overtime work for persons above 20th tariff category; (6) instructions for application of the "Regulation on disciplinarian courts of honour."

It is further to be noted that the Union has got permission to give instruction in seven of the biggest centres (Moscow, Tula, Petrograd, Nishnij Novgorod, Saratoff and Vitebsk).

In the big centres the union also succeeded in withdrawing underaged children from work and placing them under the care of the Social Maintenance Board. The detailed examination of conditions of life of civil servants, which had been undertaken, could not be carried through because of the lack of experienced workers.

Notwithstanding the great possibilities offered, the activity of the union in this direction has not developed very much. This fact can be partly explained by the foundation of a large number of governmental and general proletarian educational institutions, and such an activity on the part of the unions would therefore, in most of the towns, introduce a kind of parallelism in the work of the above organisations.

In a considerable measure the educational work of the union is so little developed because of general causes, i.e., the impossibility of applying a sufficient number of experienced workers on this work, these latter being needed for military purposes and for the reconstruction of the socialist state. There are as yet no complete data of all the educational institutions, training by the union clubs, libraries, scientific and professional courses. In connection with the scarcity of


text: Page:Memorials of a tour on the continent, 1820 (IA memorialsoftouro00word).pdf/15


text:
Page:Life of Thomas Hardy - Brennecke.pdf/256

 It is rather remarkable to find such praise from an avowed modernist and iconoclast bestowed upon a writer whose early work drew the admiration of Tennyson and Stevenson. Time has never outstripped Mr. Hardy to leave him behind as an interesting but valueless relic of a past generation. Beginning with some faint traces of the school of Tennyson, he quickly managed to forge his way out of Victorianism, nor did he succumb to the seductive but cloying strains of the "fleshly school," nor was he carried away by the revived medievalism of the latter part of the century. Bridging a dangerous period of doubtful taste with his attention concentrated on his fiction, he developed independently an uncompromising terseness and swiftness of poetic language, coupled with an imaginative fire and pungency of thought that carries his latest work along in the van of modern poetry. His verse has its roots far back in the Romantic revolt of the early years of the Nineteenth Century and in the rediscovery of the lyric and dramatic ecstasy of the Elizabethans—and its branches embrace the latest discoveries and developments of the Twentieth Century renaissance, particularly that of the younger group of American poets, and they extend at times far into the future of the art. As has been pointed out before, he is at once the oldest and the youngest of our poets.

Whether or not the world of to-day will be found justified in showing itself far more grateful for Thomas Hardy's novels than for his poems, there is no doubt about his own opinion in the matter: in his poetry he has consummated his earliest and latest literary ambition. General opinion agrees with Dr. William Lyon Phelps,


text: Page:Memorials of a tour on the continent, 1820 (IA memorialsoftouro00word).pdf/120


text: Page:Memorials of a tour on the continent, 1820 (IA memorialsoftouro00word).pdf/121


text: Page:Memorials of a tour on the continent, 1820 (IA memorialsoftouro00word).pdf/122


text:
Page:Vivian Grey, Volume 1.djvu/139

 there is something in your manner, something in the expression of your eyes, that make me believe my happiness is not altogether a matter of indifference to you." These words, uttered in one of the sweetest voices by which ever human being was fascinated, were slowly and deliberately spoken, as if it was intended that they should rest on the ear of the object to whom they were addressed.

"My dear Mrs. Lorraine! it is impossible that I can have but one sentiment with regard to you, that of"

"Of what, Mr. Grey?"

"Of solicitude for your welfare."

The lady gently took the arm of the young man, and then with an agitated voice, and a troubled spirit, dwelt upon the unhappiness of her lot, and the cruelty of her fortunes. Her husband's indifference was the sorrowful theme of her lamentations; and she ended by asking Mr. Vivian Grey's advice, as to the line of

title: Page:Vivian Grey, Volume 1.djvu/139


text: Page:Memorials of a tour on the continent, 1820 (IA memorialsoftouro00word).pdf/123


text: Page:Memorials of a tour on the continent, 1820 (IA memorialsoftouro00word).pdf/124


text: Page:Memorials of a tour on the continent, 1820 (IA memorialsoftouro00word).pdf/125


text:
Page:Trade Unions in Soviet Russia - I.L.P. (1920).djvu/92

 skilled workers in the institutions, many departments of our federation (especially in the Ural where the skilled workers had been evacuated by Koltchak, partly by force and partly of their own free will) started the organisation of courses for special professional training. The result of these courses has up to the the [sic] present proved very satisfactory, thus filling the ranks of the skilled workers.

At present steps are being taken tor the centralisation of the activity of the union in the spheres of professional training and also in other spheres of educational work, following the example of other branches of the union's activity—the financial and tariff organisation—the centralisation of which has been attained already in the most essential points.


text: Page:Memorials of a tour on the continent, 1820 (IA memorialsoftouro00word).pdf/126


text: Page:Memorials of a tour on the continent, 1820 (IA memorialsoftouro00word).pdf/127


text: Page:Memorials of a tour on the continent, 1820 (IA memorialsoftouro00word).pdf/128


text:
Page:Life of Thomas Hardy - Brennecke.pdf/259

 who, in commenting on the seeming strangeness of the judgments of authors about their own work, remarks: "Thomas Hardy firmly believes that his poems are much greater than The Return of the Native and Tess of the D'Urbervilles. But I do not care what he thinks so long as we have his masterpieces of fiction." One cannot dispute what is perhaps a question of personal taste, but on the other hand statements like the following, continually encountered among those to whom Hardy's poems are still a novelty, are calculated to raise the ire of those whose judgments agree with Hardy's own:

It is hardly necessary to point out or comment on the perfectly absurd mixing up of literary genera in the first sentence of the foregoing criticism; and Meredith and Hardy, so different in spirit, the one representing the comic tradition running back through the third Earl of Shaftesbury, the other reaching back through the pure tragic tradition of Othello and Prometheus Bound, can hardly be compared as to the quality of their poetry.

Over against this sort of high-handed depreciation of Hardy's poetry, which may sometimes be partly due to over-enthusiastic appreciation of his fiction, one finds


text:
Page:Vivian Grey, Volume 1.djvu/140

 which she should pursue with regard to him; first duly informing Vivian, that this was the only time, and he the only person, to whom this subject had been ever mentioned.

"And why should I mention it here—and to whom? The Marquess is the best of men, but—" and here she looked up in Vivian's face, and spoke volumes; "and the Marchioness is the most amiable of women,—at least, I suppose her lap-dog thinks so."

The advice of Vivian was very concise. He sent the husband to the devil in two seconds, and insisted upon the wife's not thinking of him for another moment; and then the lady dried her eyes, and promised to do her best.

"And now," said Mrs. Felix Lorraine, "I must talk about your own affairs—I think your plan excellent."

"Plan! Madam."

"Yes, plan. Sir! the Marquess has told me all. I have no head for politics, Mr. Grey; but

title: Page:Vivian Grey, Volume 1.djvu/140


text:
Page:Life of Thomas Hardy - Brennecke.pdf/260

 with surprise the exact reverse of such judgment coming from Coventry Patmore, who, as early as March 29th, 1875, wrote to Hardy to express his regret that "such almost unequalled beauty and power as appeared in the novels should not have assured themselves the immortality which would have been conferred upon them by the form of verse."

Without attempting a dogmatic opinion on a matter which will be decided by future generations, if at all, one may perhaps with a show of reason point out a possible analogy between the form assumed by the bulk of Mr. Hardy's productions and by Goethe's works. Both created transcendent novels and remarkable lyrical poems, but concentrated the sustained efforts of many years upon the production of one great piece of cosmic poetry;—in the one case Faust was the result, in the other The Dynasts. Without following out the analogy too closely or attempting to judge the final relative merit of the two poets, perhaps impossible at present, we may possibly be aided somewhat in our attempted estimate of the relative importance of the works of Hardy by observing the manner in which posterity has rated those of Goethe.


text:
Page:Trade Unions in Soviet Russia - I.L.P. (1920).djvu/93

After the February Revolution more than 15 art unions were created in Russia. These unions were independent and in no way connected with each other. (1) The National Union of Musical Art Workers. (2) The National Union of Actors. (3) The National Union of Scenic and Arena Artists. (4) Union of Circus Actors. 5) Union of Kino Workers. (6) Union of Actors of the private ballet. (7) Union of Stage Workers (theatrical hair-dressers, scene shifters, dress makers, etc.). (8) Union of Stage Employees (cloak-room attendants, wardrobe keepers, etc.). (9) Union of Photographic Workers. (10) Union of Painters. (11) Union of Artists of the New Art. (12) Union of Sculptors. (13) Union of Artists of Applied Arts and Art Industries. (14) Union of Engravers. (15) Union of Architects. (16) Union of Composers, etc.

All these above mentioned narrow-corporative and craft Unions were never of great importance. Actors in a theatre entered one Union, orchestra players joined another, stage workmen a third, etc. All these unions issued different instructions—and it is not to be wondered at that since the revolution the Art Workers decided to create one large Union, which was finally formed in the beginning of 1919. At the present moment the All-Russia Union of Art Workers unites workers in all branches of art and enters with equal rights into the family of proletarian unions, headed by the All-Russia Central Council of Trade Unions. All these above mentioned Unions joined hands and formed one big Union of Art workers including all actors of the drama, opera, ballet, cinematograph, circus and music hall: managers, balletmasters, music conductors, composers, dramatists and authors of cinematographic scenarios, musicians (including those in the Red Army and the fleet), chorus singers (including church and synagogue choristers, chapel masters, organ players, etc.)., cinematographic operators, acrobats, clowns, circus riders, and riding masters, trainers, athletes, wrestlers, gymnasts, couplet singers and other music-hall actors; theatre artists (scene painters, property men, etc.) as well as image painters, photographers, workers in the kino-ateliers,


text:
Page:Vivian Grey, Volume 1.djvu/141

 if I cannot assist you in managing the nation, I perhaps may in managing the family, and my services are at your command. Believe me, you'll have enough to do: there, I pledge you my troth. Do you think it a pretty hand?"

Vivian did think it a very pretty hand, and he performed due courtesies in a very gallant style.

"And now, good even to you," said the lady; "this little gate leads to my apartments. You'll have no difficulty in finding your way back:"—so saying, she disappeared.

title: Page:Vivian Grey, Volume 1.djvu/141


text: Vivian Grey/Volume 1/Chapter 2.6

title: Vivian Grey/Volume 1/Chapter 2.6


text:
Page:Trade Unions in Soviet Russia - I.L.P. (1920).djvu/94

 theatrical hair dressers, and costumiers, dressmakers, shoe makers, carpenters, electrical engineers, house painters, theatre servants, watchmen, circus saddlers, and stable boys. The great employees (managers, cashiers, controllers, etc.), and the door keepers, Chaliapine as well as the simple ticket porter, enter with equal rights into the Union. We must add that the Union includes also tuners of musical instruments, musical instrument makers, teachers in all branches of art as well as employees in picture galleries and museums and all employees in the following departments of the Peoples Commissariat for Education: (1) The Theatre Department, (2) Music Department, (3) Photographic and Cinematographic Department, (4) Department of Fine Arts, (5) Department for the safe-keeping of museums and monuments of antiquity.

Each theatre, circus, cinematograph and workshop has a local committee which is the primary organ of the Union. The functions of the latter are the same as the functions of local factory committees in other Unions. At the present time the Union numbers nearly 150,000 members and has branch offices in more than 150 towns.

Since the annexation of Siberia, Ukraine, Crimea and Turkestan the number of members and branch offices increases every day.

The All-Russian Congress of Art Workers which was held in Moscow in May, 1919, elected a central committee composed of 5 musicians, 1 composer, 5 actors, 3 kino players, 2 music-hall actors, 1 juggler, 3 stage workmen, (1 dress maker, 1 carpenter and 1 mechanic) 1 painter and 1 sculptor.

The Union unites all the Art Workers without any consideration of their political opinions. The union has a communist fraction which exercises great influence.

The principal question dealt with by the Union is the salary question. Detailed rates are settled for every category and are strictly based on grades of skill.

Under the reign of the Tsar the artists were in a miserable position; now they are in better conditions than other workers. Before the revolution theatres played every day; theatre workers did not know what rest was. Now, according to a decree of the Soviet Government, all theatre workers have their holiday on Monday instead of Sunday because it would be unreasonable to deprive working people of theatres on Sunday. Before the revolution managers and impresarios took from theatre workers everything they could. Now, all theatres are nationalised and are administered by a collegiate board which includes representatives of the Union of Art Workers. The Union has also its representatives in the collegiate boards of the Art Section of the Commissariat of Education and in the corresponding departments of local Soviets.

Now that the blockade may soon be raised, we are ready to take the initiative for the organisation of an International Union of Art Workers.


text: The Life of Thomas Hardy (Brennecke)/Chapter 8


text:
Page:Trade Unions in Soviet Russia - I.L.P. (1920).djvu/95

 Art is international. Artists have always been internationalists.

There is great need for the organising of a world Labour Exchange of Art Workers. We appeal to our European comrades. They must help us to organise an International Union of Art Workers.

Let the International language Esperanto be the official language of this Union.

The Russian people have awakened from their slumber. They long for theatres, music and works of Art. But the needs of several millions cannot be satisfied by our artists alone. In towns as well as in the country actors have to play several times through the evening. We appeal to bur European comrades to come and help us in our work. There is a lack of material necessary to the development of Arts.

Europe must give us cinematograph films, "Eastman Kodak" apparatus, chemicals, musical instruments, strings, mouth pieces, colours, etc. The blockade must be raised.

Come to Russia, comrades, and you will see that the Russian Soviet Republic is neither a desert nor a barbarous country. You will convince yourselves that Art occupies a place of honour in our lives.

We are waiting for you. Workers, in all branches of Art.

Send your delegation to Moscow and give us the opportunity to send our comrades to confer with you.

Long Live the International Union of Art Workers!


text: Page:Trade Unions in Soviet Russia - I.L.P. (1920).djvu/96


text:
Page:Life of Thomas Hardy - Brennecke.pdf/261

HE opening years of the present century witnessed the fulfilment of a project that had long been in the stage of fermentation in Hardy's mind. For many years he had quietly nursed the ambition of presenting an epic treatment of the Napoleonic conflict that should adequately show England's share in that struggle against the world-tyranny of an autocratic military genius. But, exercising that restraint which is so characteristic of genius, he deferred the execution of this plan until he had won at least some recognition as a poet with his first two volumes of verse. Two years after Poems of the Past and the Present had been launched against a world of readers still sceptical of the poet's powers and equipment, appeared Part One of The Dynasts. The title had been chosen from a phrase out of the Magnificat, which is echoed in the final chorus of Pities in Part III: "Who hurlest Dynasts from their thrones." A footnote gives the Greek of the original: "."

Much as Hardy's late turn to poetry had surprised his readers, no one was prepared to receive this stupendous torso in 1903 without feeling profound astonishment at the resourcefulness, daring or imbecility of the veteran author—particularly as the title-page announced that


text:
Page:Travels in West Africa, Congo Français, Corisco and Cameroons (IA travelsinwestafr00kingrich).pdf/771

 the head. The height of the body is contained $2 3⁄5$ times in the total length (without caudal), the length of the head four times. Caudal peduncle slender, much shorter than the head (measured from the last anal ray), its depth being contained $2 2⁄3$ times in its length. The origin of the dorsal fin is behind that of the anal and midway between the root of the caudal and end of the opercle. The anal extends also further backwards than the dorsal. Pectoral fin shorter than the head, reaching rather beyond the middle of the ventral. Ventral fin only half as long as the pectoral or as the distance of its root from the vent. Scales of moderate size; there are twelve or thirteen in an oblique series running from the first anal ray to the lateral line, and three and two half longitudinal series on the side of the caudal peduncle. Silvery, brownish above; anterior part of the dorsal blackish.

There are some slight discrepancies between this and Sauvage's descriptions, which are quite within the limits of individual variation. Besides, our specimens from Talagouga belong to the same district as Sauvage's, which came from Doumé (Ogowé). Steindachner's description is more precise and his figure more accurate; he compared the species with M. Sauvagii (Blgr.), which, however, has a much wider mouth. The specimens described by Steindachner came from Liberia. Thanks to Dr. Jentink's kindness I have been able to compare the latter with those collected by Miss Kingsley.

style=font-size: 90%;|hanging-indent=2em|

Mormyrus (Petrocephalus) Sauvagii, Boulenger, Ann, & Mag. Nat. Hist. 1887, xix. p. 149.

Warri.

style=font-size: 90%;|hanging-indent=2em|

Petrocephalus affinis, Sauvage, Bull. Soc. Philm. 1878, p. 101.

Mormyrus (Petrocephalus) affinis, Sauvage, N, Arch. Mus. iii. 1880, p. 52, pl. ii. fig. 2.

I refer a young specimen, 86 millim. long, from Talagouga


text:
Page:Life of Thomas Hardy - Brennecke.pdf/262

 the completed work would consist of "three parts, nineteen acts, and one hundred and forty scenes." Such gigantic proportions were unexpected in the declining years of even such a giant as Thomas Hardy. The preface, the list of characters, the dramatic form, the supernatural machinery, and, above all, the portentous opening:

were calculated to fill the gentle reader with nothing short of consternation and dismay—and they did; they still do. Reviewers very seldom got beyond expressions of petulant amazement before the ends of their articles. They scarcely recovered in time to notice the delightful scenes on the Wessex coast and the glorious depiction of Trafalgar, so absorbed were they in the provokingly philosophical "anatomy of the Immanent Will."

Part II, dealing with Napoleon's successful continental campaigns and with the English victories in the Peninsula, followed in 1906; and Part III, concerned with the disasters of Moscow and Waterloo, completed the trilogy in 1908. By this time the more discriminating readers and the less prejudiced critics had begun to discern signs of real greatness in the work. It was seen to be a magnum opus and not a monstrosity. Although it has received extravagant praise since then, sometimes from authorities of eminence, it is still comparatively unknown.

It is interesting to note the gradual conversion of its critics from frank hostility to warm approval and some measure of enthusiasm. When Part I appeared, there


text:
Page:Travels in West Africa, Congo Français, Corisco and Cameroons (IA travelsinwestafr00kingrich).pdf/772

 to this species, although it shows some discrepancies from the typical specimen (from Doumé); it has D. 20, A. 25, L. lat. 58; there are eight notched teeth in the upper as well as lower jaw. Five longitudinal series of scales along each side of the candal peduncle.

style=font-size: 90%;|hanging-indent=2em|

? Petrocephalus Marchei, Sauvage, Bull. Soc. Philom, 1878, p. 100.

? Mormyrus (Petvocephalus) Marchei, Sauvage, N. Arch. Mus. iii. 1880, p. 50, pl, ii. fig. 5.

Snout short, obtuse, but rather longer than the eye, with the mouth at its lower side. Mouth narrow, a little wider than the eye, armed above and below with six notched teeth; its corner lies a little in advance of the vertical from the front margin of the orbit. The upper profile of the head is somewhat more convex than the lower and ascends slightly towards the origin of the dorsal. Eye one-fifth of the length of the head. The height of the body is contained $3 3⁄4$ times in the total length (without caudal), the length of the head $5 1⁄2$ times. Caudal peduncle extremely slender, longer than the head (measured from the last anal ray), its depth being only two-ninths of its length. The origin of the dorsal fin is behind that of the anal and midway between the root of the caudal and the end of the opercle. The anal extends also further backwards than the dorsal. Pectoral fin as long as the head, reaching beyond the middle of the ventral; ventral fin half as long as the pectoral or as the distance of its root from the vent. Abdomen behind the ventral fin compressed into a ridge. Scales of moderate size; there are nine in an oblique series running from the vent to the lateral line and three and two half longitudinal series cover the side of the caudal peduncle. Silvery, light brownish above.

One specimen from Talagouga.


text:
Page:Life of Thomas Hardy - Brennecke.pdf/263

 was, as Alfred Noyes put it, "a general disposition among critics to 'hum' and 'ha. "The furtive yelp of the masked and writhing poeticule"—as another Victorian poet exuberantly described it—"did not fail, however, to testify to the real greatness of the strange intruder." The change in the attitude of reviewers from disapprobation and dismay at the immense proportions, the mighty themes, and the iconoclastic methods of the work, to sympathy and understanding, draws the attention of the investigator immediately. In the London Nation, for instance, the review of the first part was frankly hostile. Mr. Hardy was brusquely ordered to return to novel-writing—being definitely pigeonholed in which field, presumably, he would be powerless to annoy the critic with fresh demands upon the intellect or imagination. The remarks which appeared in the same periodical after the publication of the third part, are worth repeating as an admirable summary of the course of critical opinion during the four years which intervened between the publication of the first and last sections.

Four years ago we gave a dazed and tentative notice to the first part of Thomas Hardy's huge closet drama. . . . As a whole it seemed to us as a succes manque, a piece of imaginative incunabula, the characteristic product of a moody, or, as Mr. Hardy calls it, a "nervous and quizzical age," a product which might some day, in an age of stronger artistic feeling, be made by another hand the basis of a masterpiece. On the appearance of the second part, two years later, we found ourselves still more deeply impressed with the things that were striking in the first part. Now, with the publication of the third and last part, that suspicion has become a certainty. We have read the final volume with the complete absorption of every faculty, and going back


text:
Page:Life of Thomas Hardy - Brennecke.pdf/264

 from it to read again the first and second parts, with the original preface wherein the plan of the whole was laid down, we have become aware of a work marked, despite its superficial uncouthness, by a colossal unity and a staggering significance—a climax of that long series of novels in which Mr. Hardy has embodied both his poignant knowledge of the world of men and his grim, undeluded philosophy.

The elements composing this masterwork had been developing in the mind of the author for a long time. As early as June 20,1875, we find that he entered in his notebook the suggestion that he might attempt "An Iliad of Europe from 1789 to 1815." Five years later we find him writing The Trumpet-Major, in which he used the grim background of the war as an effective foil to the gay and mellow portrayal of an idyllic but pathetic love-story. Here we find such martial touches as the great review of King George's legions on the Wessex Downs, the false alarm of Bonaparte's invasion of the island, and the glorious news of Trafalgar. Especially interesting and effective is the introduction of the author's kinsman, Sir Thomas Masterman Hardy, as a character into the story. All these influences excite and move the unimportant and peaceful country people "as a groundswell moves the weeds in a cave." Among the shorter tales that were written during the latter part of his fiction period, there are several that bear testimony to the increasing insistence with which this favorite theme cried for expression. A Committee-Man of "The Terror" deals with the earlier French Revolution, with the action taking place in England; The Melancholy Hussar of the German Legion is a tragic tale of the Heimweh


text:
Page:Blackwood's Magazine volume 164.djvu/328

310 a thing in the world—not even marry an old maid, or get a wretched 600-ton cargo of coal to its port of destination.

"It was altogether a memorable affair. It was my first voyage to the East, and my first voyage as second mate; it was also my skipper’s first command. You'll admit it was time. He was sixty if a day; a little man, with a broad, not very straight back, with bowed shoulders and one leg more bandy than the other, he had that queer twisted-about appearance you see go often in men who work in the fields. He had a nut-cracker face—chin and nose trying to come together over a sunken mouth—and it was framed 1n iron-grey fluffy hair, that looked like a chin-strap of cotton-wool sprinkled with coal-dust. And he bad blue eyes in that old face of his, which were amazingly like a boy's, with that candid expression some quite common men preserve to the end of their days by a rare internal gift of simplicity of heart and rectitude of soul. What induced him to accept me was a wonder. I had come out of a crack Australian clipper, where I had been third officer, and he seemed to have a prejudice against crack clippers as aristocratic and high-toned. He said to me, 'You know, in this ship you will have to work.' I said I had to work in every ship I had ever been in. 'Ah, but this is different, and you gentlemen out of them big ships; … but there! I daresay you will do. Join to-morrow.'

"I joined to-morrow. It was twenty-two years ago; and I was just twenty. How time passes! It was one of the happiest days of my life. Fancy! Second mate for the first time—a really responsible officer! I wouldn't have thrown up my new billet for a fortune. The mate looked me over carefully. He was also an old chap, but of another stamp. He had a Roman nose, a snow-white, long beard, and his name was Mahon, but he insisted that it should be pronounced Mann. He was well connected; but there was something wrong with his luck, and he had never got on.

"As to the captain, he had been for years in coasters, then in the Mediterranean, and last in the West Indian trade. He had never been round the Capes. He could just write a kind of sketchy hand, and didn't care for writing at all. Both were thorough good seamen of course, and between those two old chaps I felt like a small boy between two grandfathers.

"The ship also was old. Her name was the Judea. Queer name, isn't it? She belonged to a man Wilmer, Wilcox—some name like that; but he has been bankrupt and dead these twenty years or more, and his name don't matter. She had been laid up in Shadwell basin for ever so long. You may imagine her state. She was all rust, dust, grime—soot aloft, dirt on deck. To me it was like coming out of a palace into a ruined cottage. She was about 400 tons, had a primitive windlass, wooden latches to the doors, not a bit of brass about her, and a big square stern. There was on it, below her name in big letters, a lot of scrollwork, with the gilt off, and some sort of a coat of arms, with the motto 'Do or Die' underneath. I remember it took my fancy immensely. There was a touch of romance in it, something that made me love the old thing—something—something—Youth! …

"We left London in ballast—sand ballast—to load a cargo of coal in a northern port for Bankok. Bankok! I thrilled. I had been six years at sea, but had only seen


text:
Page:Life of Thomas Hardy - Brennecke.pdf/265

 of George's foreign troops; and A Tradition of 1804, told in dialect by old Solomon Selby, a one-time smuggler, recounts the actual landing of "Boney," "the Corsican ogre," in the night with a French officer, to discover a suitable place on the Wessex coast for the landing of his army of invasion.

Parallel to this gradual development of interest in the subject, and, one may reasonably suppose, the accumulation of a great amount of historical and legendary material, there developed in the poet's mind a conception of history—indeed of all human activity—as the manifestation of one mysterious immanent causality, which is finally termed "Will." This philosophical concept is made the intellectual basis by which the historical events are interpreted, and is invested with a lyric and dramatic machinery of its own.

Why Hardy chose the form of a gigantic poetic drama instead of that of the historical romance or of the epic poem is a question that the critic must answer as best he can. The best point of departure for a discussion of Hardy in his new role of dramatist is undoubtedly the set of his own opinions delivered to the Pall Mall Gazette in August, 1892. William Archer in an article in the Fortnightly Review had urged the desirability of a reunion between literature and the drama; had suggested that living novelists were to blame for the poor quality of the writing for the stage of the time, and that they owed it to themselves and to literature to make some essay in dramatic form. Thereupon the Pall Mall Gazette invited the leading novelists to answer these questions:


text:
Page:Life of Thomas Hardy - Brennecke.pdf/266

 * 1) Whether you regard the present divorce of fiction from the drama as beneficial or inimical to the best interests of literature and the stage;
 * 2) Whether you, yourself, have at any time had, or now have, any desire to exercise your gifts in the production of plays as well as of novels; and, if not,
 * 3) Why you consider the novel the better or more convenient means of bringing your ideas before the public you address.

Hardy's reply reads as follows:

 * 1) Inimical to the best interests of the stage: no injury to literature.
 * 2) Have occasionally had a desire to produce a play, and have, in fact, written the skeletons of several. Have no such desire in any special sense just now.
 * 3) Because, in general, the novel affords scope for getting nearer to the heart and meaning of things than does the play: in particular the play as nowadays conditioned, when parts have to be moulded to actors, not actors to parts; when managers will not risk a truly original play; when scenes have to be arranged in a constrained and arbitrary fashion to suit the exigencies of stage-building, although spectators are absolutely indifferent to order and succession, provided they can have set before them a developing thread of interest. The reason of this arbitrary arrangement would seem to be that the presentation of human passions is subordinated to the presentation of mountains, cities, clothes, furniture, plate, jewels, and other real and sham-real appurtenances, to the neglect of the principle that the material stage should be a conventional or figurative arena, in which accessories are kept down to the plane of mere suggestion of place and time, so as not to interfere with the high-relief of the action and emotions.

To the student of The Dynasts this is very interesting. Hardy betrayed here a real interest in the drama and


text:
Page:The Incas of Peru.djvu/383

Rh :Piqui Chaqui. If thou shouldst only see his nose, Thou wouldst not speak as thou dost now.
 * Ollantay. Now, Piqui Chaqui, speak the truth,

Seek not evasion or deceit. Dost thou not already know, Of all the flowers in the field, Not one can equal my Princess?
 * Piqui Chaqui. Still, my master, thou dost rave.

I think I never saw thy love. Stay! was it her who yesterday Came forth with slow and faltering steps And sought a solitary path ? If so, 'tis true she's like the sun, The moon less beauteous than her face.
 * Ollantay. It surely was my dearest love.

How beautiful, how bright is she! This very moment thou must go And take my message to the Star.
 * Piqui Chaqui. I dare not, master; in the day,

I fear to pass the palace gate. With all the splendour of the court, I could not tell her from the rest.
 * Ollantay. Didst thou not say thou sawest her?
 * Piqui Chaqui. I said so, but it was not sense.

A star can only shine at night; Only at night could I be sure.
 * Ollantay. Begone, thou lazy good-for-nought.

The joyful star that I adore, If placed in presence of the Sun, Would shine as brightly as before.

title: Page:The Incas of Peru.djvu/383


text:
Page:Life of Thomas Hardy - Brennecke.pdf/269

 asserted that he had made occasional essays in the form. The field was not new to him, then. Of the many dramatizations of the novels he was probably responsible for at least one, The Three Wayfarers, a one-act pastoral play adapted from The Three Strangers, in Wessex Tales. What he objected to was the restriction imposed upon the dramatist by the external demands of the stage-technique of the day. The writing of The Dynasts showed no deviation from the principles here enunciated. No reliance was placed upon the powers of stage-craft to reproduce the desired setting; the imagination of the reader was assumed to be able to cope with the problem of adequate visualization of the scenes.

Even before the publication and actual production of The Dynasts, Hardy's dramatic talents occasionally revealed themselves. Commentators on the novels noted that the Wessex countrymen often played the part of chorus to the tragedy enacted. This was felt particularly in such a book as The Return of the Native, where the rustics not only assemble for their quasi-pagan bonfire festival and introduce the audience to the atmosphere and characters of the story to come, but also indulge in a wild sort of choric dance. Likewise Aunt Drusilla in Jude is essentially a chorus-figure in her comments on the action. The author prefixed a list of dramatis persona to A Pair of Blue Eyes, and the essential "dramatic unities" were observed in nearly all of the greater prose-tragedies.

In certain of the lyric poems also, we can detect a strong predilection for the drama. Hardy's liking for the dramatic monologue has already been touched upon.


text: Page:Halek's Stories and Evensongs.pdf/22


text:
Page:Blackwood's Magazine volume 164.djvu/329

1898.] Melbourne and Sydney, very good places, charming places in their way—but Bankok!

"We worked out of the Thames under canvas, with a North Sea pilot on board. His name was Jermyn, and he dodged all day long about the galley drying his handkerchief before the stove. Apparently he never slept. He was a dismal man, with a perpetual tear at the end of his nose, who either had been in trouble, or was in trouble, or expected to be in trouble—couldn't be happy unless something went wrong. He mistrusted my youth, my commonsense, and my seamanship, and made a point of showing it in a hundred little ways. I daresay he was right. It seems to me I knew very little then, and I know not much more now; but I cherish a hate for that Jermyn to this day.

"We were a week working up as far as Yarmouth Roads, and then we got into a gale—the famous October gale of twenty-two years ago. It was wind, lightning, sleet, snow, and a terrific sea. We were flying light, and you may imagine how bad it was when I tell you we had smashed bulwarks and a flooded deck. On the second night she shifted her ballast into the lee bow, and by that time we had been blown off somewhere on the Dogger Bank. There was nothing for it but go below with shovels and try to right her, and there we were in that vast hold, gloomy like a cavern, the tallow dips stuck and flickering on the beams, the gale howling above, the ship tossing about like mad on her side; there we all were, Jermyn, the captain, every one, hardly able to keep our feet, engaged on that gravedigger's work, and trying to toss shovelfuls of wet sand up to windward. At every tumble of the ship you could see vaguely in the dim light men falling down with a great flourish of shovels. One of the ship’s boys (we had two), impressed by the weirdness of the scene, wept as if his heart would break. We could hear him blubbering somewhere in the shadows.

"On the third day the gale died out, and by-and-by a north-country tug picked us up. We were twenty-three days from London to the Tyne! When we got into dock we had lost our turn for loading, and they hauled us off to a tier where we remained for a month. Mrs Beard (the captain's name was Beard) came from Colchester to see the old man. She lived on board. The crew of runners had left, and there remained only the officers, one boy, and the steward, a mulatto who answered to the name of Abraham. It rained every day, and in the cabin we lived en famille. Mrs Beard was an old woman, with a face all wrinkled and ruddy like a winter apple, and the figure of a young girl. She caught sight of me once, sewing on a button, and insisted on having my shirts to repair. This was something different from the captains' wives I had known on board crack clippers. When I brought her the shirts, she said: 'And the socks? They want mending, I am sure, and John's—Captain Beard's things are all in order now. I would be glad of something to do." Bless the old woman. She overhauled my outfit for me, and meantime I read for the first time 'Sartor Resartus' and Burnaby's 'Ride to Khiva.' I didn't understand much of the first then; but I remember I preferred the soldier to the philosopher at the time, a preference which life has only confirmed. One was a man, and the other was either more—or less, However, they are both dead, and Mrs Beard is


text:
Page:Life of Thomas Hardy - Brennecke.pdf/270

 Friends Beyond with its ghostly but nevertheless very human characters, and Winter in Durnover Field, with its bird-speakers, are delightful essays in the form of the lyric "mime." The lure of the stage is the prime motive of the action of The Noble Lady's Tale. It is possible then, to assert with some show of reason that Hardy was not a bungling and untried novice in the field of the drama, even though he did not at first intend ever to have The Dynasts actually presented before an audience, even in part.

Nothing exactly like The Dynasts in form has ever been written before. Any analysis of the work, no matter from what point of view, must take cognizance of the fact that, as it stands, it is a unification of two great themes, the War and the Will,—and that this dualism in idea or content has caused a corresponding dualism in form, machinery, and even expression. First there is the human story—the historical drama—with its human agents, motives, and actions, playing upon the stage of Europe. Surrounding and permeating this clash of peoples and ideals there is the philosophical action, with its machinery of allegorical figures, playing in an "Overworld," in the unlimited universe of pure Idea. The first element in the Epic-Drama finds expression in the dialect, prose, or blank verse of the human actors and in the Hardyan prose of the stage-directions and "dumb shows"; the second element is presented through exceedingly various types of lyric measures, punctuated occasionally by the "familiar" prose of the Spirit Ironic. The dramatis personæ of the terrestrial action consist of kings, princes, councillors, generals, admirals, armies,


text:
Page:The Incas of Peru.djvu/384

344 :Pigui Chaqui. Lo! some person hither comes, Perhaps an old crone seeking alms; Yes! Look! he quite resembles one. Let him the dangerous message take. Send it by him, O noble Chief! From me they would not hear the tale; Thy page is but a humble lad.

 * (Enter the, or High Priest of the Sun, at the back, arms raised to the Sun. In a grey tunic and black mantle from the shoulders to the ground, a long knife in his belt, the undress chucu on his head.)

Sun! I fall and worship thee. For thee the victims are prepared, A thousand llamas and their lambs Are ready for thy festal day. The sacred fire 'll lap their blood, In thy dread presence, mighty one, After long fast thy victims fall.
 * Ollantay. Who comes hither, Piqui Chaqui?

Yes, 'tis the holy Uillac Uma; He brings his tools of augury. No puma more astute and wise— I hate that ancient conjurer Who prophesies of evil things, I feel the evils he foretells; 'Tis he who ever brings ill-luck.

title: Page:The Incas of Peru.djvu/384


text:
Page:Halek's Stories and Evensongs.pdf/23

 Rh


text:
Page:Life of Thomas Hardy - Brennecke.pdf/271

 common people, messengers, mobs,—humanity in all its aspects; the supernatural actors are the Ancient Spirit of the Years, the Shade of the Earth, the Spirit of the Pities, the Spirits Sinister and Ironic, spirit messengers, rumors, and recording angels, and choruses of the Years, Pities, and Sinister and Ironic spirits. The resources of typography are employed to make clear to the reader the difference in atmosphere. The poetry declaimed by the spirits is italicized, the dialogue of mortals is printed in the ordinary open-face type, and the stage-directions for both the actions is in small type, which frequently produces a very real and significant effect of uncanny aloofness, as when we are told that the peals of bells are heard faintly by the supernatural spectators. The point of view of the audience, or reader, which is usually also that of the spirits as well, is shifted about with complete freedom. The action of the humans is observed from the most convenient point, whether that be close to the scene, or so far on high that all of Europe can be taken in at a glance.

Even as Homer's gods often intermingled with the mortal heroes in their struggles, so do Hardy's abstractions occasionally interfere with the human action, usually causing some little annoyance to the reader if he is logical-minded. It is indeed in the welding together or in the combination of the two actions or viewpoints in the book that the greatest difficulties are encountered. Mr. Gosse, and many a critic after him, found it hard at times to reconcile the attitude towards life expressed by the spirits (reminding him of the refrain of a popular coster-song: "What's the use of anything?" "Why, noth-


text:
Page:Life of Thomas Hardy - Brennecke.pdf/272

 ink!") with the motivation of the mortal characters according to the dictates of the doctrine of complete free-will.

The particular "Epic-Drama" form of The Dynasts is an original invention with Hardy; yet, before hitting upon it, he must have consciously or unconsciously been influenced by a number of somewhat similar literary monuments produced by great cosmic poets before him. Perhaps his favorite Book of Job suggested something of the idea of having celestial machinery to surround and to account for the course of human events; perhaps the Shakespearean "Histories" fired his ambitions to present England's heroes in the poetical drama of action; perhaps the angelic choruses of Goethe's Faust had something to do with his conception of commenting choruses of spiritual essences and chanting recording angels; perhaps the Prometheus Unbound of Shelley influenced both the form and the "irreconcilable" content of the work. All of these literary progenitors, in fact, can be made to present remarkable similarities in point of view and subject matter in the realm of pure idea, as well as in form and structure, and it is perhaps in conjunction with another work, such as one of these, similar in scope, power and imagination, that the characteristics of The Dynasts can be best studied. None of the works mentioned, however, can vie with the tragedies of Æschylus in the richness of comparative material presented. It would be hard to find two poets, produced by two entirely different civilizations, so closely allied in the problems they choose for treatment and in their manner of treating them, as the Æschylus of Eleusis,


text:
Page:Life of Thomas Hardy - Brennecke.pdf/273

 Greece, of 460 B.C., and the Thomas Hardy of Dorchester, England, of 1910.

In a previous chapter we have observed how Hardy's enthusiasm and sympathy for the work of the classical tragedians made itself felt throughout his career, and in spite of his avowed repudiation of what he considers the Greek optimism, that "revelling in the general situation." The work of no other English writer of the past generation has so frequently invoked comparison with the ideals of Æschylean tragedy as his. W. S. Durrant, for instance, has pointed out striking and elaborate parallelisms between Jude the Obscure and the work of Æschylus. With reference to the novels only, he says: "To put it briefly, Mr. Hardy is the modern exponent of the guiding principles of ancient Greek tragedy," and he speaks of Jude the Obscure as "nothing less than the product of an intellectual avatar, for surely when the story was conceived, the spirit of Æschylus lived again in Thomas Hardy. Nowhere in the ancient tragedies of the great master is Destiny more relentless in pursuing its victim than in this most modern of tragedies cast in the form of prose narrative." Professor Cunliffe, in writing of The Return of the Native, declares that "Hardy's ideal of literary art is Greek tragedy, and it is an ideal with which, in spite of obvious differences, he has much in common."

It is worth noting, that just as the plays of Æschylus can be said to have been born of the Persian wars, so did Hardy look to the historical and legendary past of his nation for material with which to clothe his ideas. The Persians of Æschylus, therefore, which actually cele-


text:
Page:Life of Thomas Hardy - Brennecke.pdf/274

 brated the early victory of western over eastern civilization in wondrous fashion, may form the subject of a close comparison with The Dynasts, which aimed to celebrate a democratic British victory over the imperialism of Napoleon. But of still greater interest than this comparison, which will be treated in detail in the sequel, is the similarity of the great problems with which both writers were primarily concerned. The late Professor Wheeler, in summing up the inner subject matter of the Greek tragedians, has used expressions which might very well have been written by a reviewer of The Dynasts:

Thomas Hardy as well as Æschylus brooded on the mysteries of life and the world, the general riddle of existence, and the validity of the moral law; and it is striking that after a lapse of twenty-four centuries a work appears similar to an ancient predecessor not only in the treatment of these ideas, but even in the terrestrial and celestial machinery employed for the outward clothing of the problems. When we think of the personified spiritual essences invoked by Hardy and governing his great panoramic show, continually making their presence and influence felt in the action of the human puppets below, we are elevated to the sphere of Æschylus' sublime imagination, where the elemental forces of the


text:
Page:Life of Thomas Hardy - Brennecke.pdf/275

 universe seem close about us. Both authors dwell among the clouds and, like Socrates, are at home there. Both are actuated by the keenest pity for the wretchedness of human life, and by an overwhelming fear of the unknown and unknowable—the two governing motives of all that is best in tragedy, according to Aristotle. Hardy represents the culmination of an age of scepticism and of the storm and stress of religious doubt, analogous to the age which immediately followed the generation of Æschylus in Greece and was represented by the critical attitude assumed by Euripides in matters of orthodox pagan beliefs. Such an age almost invariably follows a conventionally "romantic" one. Hardy follows Æschylus in sequence of ideas much more naturally than one would expect, considering the lapse of so many centuries.

The very real closeness of Thomas Hardy to the classical ideal in dealing with an epic subject can be observed in the fact that he centers his attention on broad questions of Destiny and Collective Will, viewing individual human suffering sympathetically, but as no more than a by-product. This is an attitude frequently found in classical writers and not always perfectly understood by modern readers. In the Trachinian Women of Sophocles, for instance, one cannot fail to be struck by Heracles' lack of forgiveness for Deianeira and his utter disregard for her feelings, but we may be certain that the members of the Athenian audience did not notice this, with their attention centred in the divine mission of the hero. Likewise in the Æneid, Dido's tragic end, so disturbing to modern notions of the ideal relations between hero and heroine, was probably dwarfed immeasurably in the eyes


text:
Page:Life of Thomas Hardy - Brennecke.pdf/276

 of the Roman readers by the main consideration of Æneas's fulfilment of Rome's destiny. In like manner when reading The Dynasts one is conscious of the chilling effect which the dominant conception of the Immanent Will has upon the purely human motives introduced into the play. This combination of a typically classical viewpoint with an occasional modern exploitation of sentiment forms indeed one of the outstanding excellences of the work, although the superficial reader may feel it as a dilemma. While Hardy expresses his view of life consciously, definitely, and frankly, Æschylus works more unconsciously and does not force his intellectual convictions to the surface, leaving them rather to be naturally reflected or implied in his work. In this respect the ancient writer is the greater poet.

Hardy and Æschylus are strikingly alike in the way they regard and treat the language they use—and this in spite of the fact that they use widely different languages. Both apply with the greatest freedom the principle of the essential flexibility and fluidity of language. The opinion of the conservative contemporaries of Æschylus as to the language he employed is very amusingly presented in the famous scene of the contest of words between the shades of Euripides and of Æschylus in Aristophanes' Frogs. The method of weighing in a balance single lines of the rival authors is employed in order to determine which of the two writes the weightier verse. Æschylus, of course, is the easy winner—his resounding phrases never fail to send the carefully wrought lines of his younger rival soaring upward. It would be interesting to apply the same comparative test,


text: Page:Halek's Stories and Evensongs.pdf/24


text: Page:Halek's Stories and Evensongs.pdf/25


text:
Page:Life of Thomas Hardy - Brennecke.pdf/277

 if that were possible, to lines from the "Overworld" scenes in The Dynasts and the weightiest phrases out of the work of Robert Bridges or William Ernest Henley.

Although Aristophanes himself was strongly prepossessed in favor of the older poet, he could not resist the temptation to ridicule Æschylus' coinage and free compounding of words, and his habitual use of "jawbreakers." One does find an exceptionally large proportion of hapax legomena in Æschylus, even when reading him to-day. In The Dynasts the verse abounds in unusual words, and in usual words used with unusual meanings. There is besides a great deal of ponderosity and what classical scholars call "tragic ."

The reader is forced to hesitate over an unusual turn of language almost as frequently as the ordinary student is compelled to revert to the lexicon in reading Agamemnon. Often a rugged Elizabethan as well as Æschylean splendor is achieved, even though it is coupled with a certain uncouthness that repels those critics to whom the smoothness, polish, and "precious" qualities of Stephen Phillips' verse represent the true poetic gift. An astounding versatility of all kinds of metrical schemes is displayed, ranging from blank verse of a distinctive order to a few very effective samples of the "limerick." It is of course not difficult to find single lines or short passages that are not beyond criticism and, just as in the case of Æschylus, the reader must be prepared to bestow upon the work a reasonable measure of sympathetic attention in order to overcome the difficulties of language for the sake of the very real pleasure which an intelligent reading is bound to provide.


text: Page:Halek's Stories and Evensongs.pdf/26


text: Page:Halek's Stories and Evensongs.pdf/27


text: Page:Halek's Stories and Evensongs.pdf/28


text: Page:Halek's Stories and Evensongs.pdf/29


text: Page:Halek's Stories and Evensongs.pdf/30


text: Page:Halek's Stories and Evensongs.pdf/31


text: Page:Halek's Stories and Evensongs.pdf/32


text: Page:Halek's Stories and Evensongs.pdf/33


text:
Consolidated Appropriations Act, 2005/Division C/Title I

Corps of Engineers—Civil

 * The following appropriations shall be expended under the direction of the Secretary of the Army and the supervision of the Chief of Engineers for authorized civil functions of the Department of the Army pertaining to rivers and harbors, flood control, shore protection and storm damage reduction, aquatic ecosystem restoration, and related purposes.

General Investigations

 * For expenses necessary for the collection and study of basic information pertaining to river and harbor, flood control, shore protection and storm damage reduction, aquatic ecosystem restoration, and related projects, restudy of authorized projects, miscellaneous investigations, and, when authorized by law, surveys and detailed studies and plans and specifications of projects prior to construction, $144,500,000, to remain available until expended:

 * Provided, That the Secretary of the Army, acting through the Chief of Engineers, is directed to use $300,000 for the continued preconstruction, engineering, and design of Waikiki Beach, Oahu, Hawaii, the project to be designed and evaluated, as authorized and that any recommendations for a National Economic Development Plan shall be accepted notwithstanding the extent of recreation benefits supporting the project features, in view of the fact that recreation is extremely important in sustaining and increasing the economic well-being of the State of Hawaii and the nation;

 * Provided further, That in conducting the Southwest Valley Flood Damage Reduction Study, Albuquerque, New Mexico, the Secretary of the Army, acting through the Chief of Engineers, shall include an evaluation of flood damage reduction measures that would otherwise be excluded from the feasibility analysis based on policies regarding the frequency of flooding, the drainage areas, and the amount of runoff;

 * Provided further, That for the Ohio Riverfront, Cincinnati, Ohio, project, the cost of planning and design undertaken by non-Federal interests shall be credited toward the non-Federal share of project design costs.

Construction, General

 * For expenses necessary for the construction of river and harbor, flood control, shore protection and storm damage reduction, aquatic ecosystem restoration, and related projects authorizedzby law; for conducting detailed studies, and plans and specifications, of such projects (including those for development with participation or under consideration for participation by States, local governments, or private groups) authorized or made eligible for selection by law (but such detailed studies, and plans and specifications, shall not constitute a commitment of the Government to construction); and for the benefit of federally listed species to address the effects of civil works projects owned or operated by the United States Army Corps of Engineers, $1,796,089,000, to remain available until expended, of which such sums as are necessary to cover the Federal share of construction costs for facilities under the Dredged Material Disposal Facilities program shall be derived from the Harbor Maintenance Trust Fund as authorized by Public Law 104-303; and of which such sums as are necessary pursuant to Public Law 99-662 shall be derived from the Inland Waterways Trust Fund, to cover one-half of the costs of construction and rehabilitation of inland waterways projects, (including the rehabilitation costs for Lock and Dam 11, Mississippi River, Iowa; Lock and Dam 19, Mississippi River, Iowa; Lock and Dam 24, Mississippi River, Illinois and Missouri; and Lock and Dam 3, Mississippi River, Minnesota) shall be derived from the Inland Waterways Trust Fund:

 * Provided, That using $12,500,000 of the funds appropriated herein, the Secretary of the Army, acting through the Chief of Engineers, is directed to continue construction of the Dallas Floodway Extension, Texas, project, including the Cadillac Heights feature, generally in accordance with the Chief of Engineers report dated December 7, 1999;

 * Provided further, That the Secretary of the Army is directed to accept advance funds, pursuant to section 11 of the River and Harbor Act of 1925, from the non-Federal sponsor of the Los Angeles Harbor, California, project authorized by section 101(b)(5) of Public Law 106-541;

 * Provided further, That the Secretary of the Army is directed to accept advance funds, pursuant to section 11 of the River and Harbor Act of 1925, from the non-Federal sponsor of the Oakland Harbor, California, project authorized by section 101(a)(7) of Public Law 106-53;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to use $500,000 of the funds provided herein to continue construction of the Hawaii Water Management Project;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to use $3,000,000 of the funds appropriated herein to continue construction of the navigation project at Kaumalapau Harbor, Hawaii;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to use $3,000,000 of the funds provided herein for the Dam Safety and Seepage/Stability Correction Program to complete construction of seepage control features and repairs to the tainter gates at Waterbury Dam, Vermont;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to use $9,000,000 of the funds appropriated herein to proved with planning, engineering, design or construction of the Grundy, Buchanan County, and Dickenson County, Virginia, elements of the Levisa and Tug Forks of the Big Sandy River and Upper Cumberland River Project;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to use $15,000,000 of the funds appropriated herein to continue with the planning, engineering, design or construction of the Lower Mingo County, Upper Mingo County, Wayne County, McDowell County, West Virginia, elements of the Levisa and Tug Forks of the Big Sandy River and Upper Cumberland River Project;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to continue the Dickenson County Detailed Project Report as generally defined in Plan 4 of the Huntington District Engineer's Draft Supplement to the section 202 General Plan for Flood Damage Reduction dated April 1997, including all Russell Fork tributary streams within the County and special considerations as may be appropriate to address the unique relocations and resettlement needs for the flood prone communities within the County;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to use $8,750,000 of the funds appropriated herein for the Clover Fork, City of Cumberland, Town of Martin, Pike County (including Levisa Fork and Tug Fork Tributaries), Bell County, Harlan County in accordance with the Draft Detailed Project Report dated January 2002, Floyd County, Martin County, Johnson County, and Knox County, Kentucky, detailed project report, elements of the Levisa and Tug Forks of the Big Sandy River and Upper Cumberland River;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to continue with the construction of the Seward Harbor, Alaska, project, in accordance with the Report of the Chief of Engineers, dated June 8, 1999, and the economic justification contained therein;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to continue with the construction of the False Pass, Alaska, project, in accordance with the Report of the Chief of Engineers, dated December 29, 2000;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to proceed with construction of the Sand Point Harbor, Alaska project, in accordance with the Report of the Chief of Engineers, dated October 13, 1998, and the economic justification contained therein;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to design and construct modifications to the Federal navigation project at Thomsen Harbor, Sitka, Alaska, authorized by section 101 of the Water Resources Development Act of 1992;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, shall correct the design deficiency at Thomsen Harbor, Sitka, Alaska, by adding to, or extending, the existing breakwaters to reduce wave and swell motion within the harbor at an additional cost of $1,000,000 at full Federal expense;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed and authorized to continue the work to replace and upgrade the dam and all connections to the existing system at Kake, Alaska;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to continue with the construction of the Wrangell Harbor, Alaska, project in accordance with the Chief of Engineer's report dated December 23, 1999;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to proceed with the construction of the New York and New Jersey Harbor project, 50-foot deepening element, upon execution of the Project Cooperation Agreement;

 * Provided further, That no funds made available under this Act or any other Act for any fiscal year may be used by the Secretary of the Army to carry out the construction of the Port Jersey element until commitments for construction of container handling facilities are obtained from the non-Federal sponsor for a second user along the Port Jersey element;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to use funds appropriated for the navigation project, Tampa Harbor, Florida, to carry out, as part of the project, construction of passing lanes in an area approximately 3.5 miles long, centered on Tampa Bay Cut B, if the Secretary determines that such construction is technically sound, environmentally acceptable, and cost effective;

 * Provided further, That using $750,000 of the funds appropriated herein, the Secretary of the Army, acting through the Chief of Engineers, is authorized and directed to plan, design, and initiate reconstruction of the Cape Girardeau, Missouri, project, originally authorized by the Flood Control Act of 1950, at an estimated total cost of $9,000,000, with cost sharing on the same basis as cost sharing for the project as originally authorized, if the Secretary determines that the reconstruction is technically sound and environmentally acceptable;

 * Provided further, That the planned reconstruction shall be used on the most cost-effective engineering solution and shall require no further economic justification;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to proceed without further delay with work on the permanent bridge to replace Folsom Bridge Dam Road, Folsom, California, as authorized by the Energy and Water Development Appropriations Act, 2004 (Public Law 108-137), and, of the $8,000,000 available for the American River Watershed (Folsom Dam Mini-Raise), California, project, up to $5,000,000 of those funds be directed for the permanent bridge, with all remaining devoted to the Mini-Raise;

 * Provided further, That the Secretary of the Army is directed to use $1,365,000 of the funds appropriated herein to construct a project for flood control, Cass River, Spaulding Township, Michigan, pursuant to section 205 of the Flood Control Act of 1948 (33 U.S.C. 701s), notwithstanding that the benefits of the project may not exceed the estimated costs of the project;

 * Provided further, That the non-Federal interest for the project shall receive credit toward its share of project costs in the amount of $345,000 for work carried out by the non-Federal interest on the project prior to entering into a project cooperation agreement;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to undertake and fund a demonstration project utilizing the Bidlocker system of escrowing contract bid documents;

 * Provided further, That the system should provide a method of securing bidder documents prior to the award of the contracts, thus allowing the contractor to provide those documents to the Government in the case of disputes;

 * Provided further, That the demonstration project shall include use of the system on at least three contracts;

 * Provided further, That a report on the results of the demonstration project shall be provided within 1 year of the date of enactment of this Act.

Flood Control, Mississippi River and Tributaries, Arkansas, Illinois, Kentucky, Louisiana, Mississippi, Missouri, and Tennessee

 * For expenses necessary for the flood damage reduction program for the Mississippi River alluvial valley below Cape Girardeau, Missouri, as authorized by law, $324,500,000, to remain available until expended:

 * Provided, That the Secretary of the Army, acting through the Chief of Engineers, using $12,000,000 of the funds provided herein, is directed to continue design and real estate activities and to initiate the pump supply contract for the Yazoo Basin, Yazoo Backwater Pumping Plant, Mississippi;

 * Provided further, That the pump supply contract shall be performed by awarding continuing contracts in accordance with 33 U.S.C. 621;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers is directed, with $500,000 appropriated herein, to continue construction of water withdrawal features of the Grand Prairie, Arkansas, project.

Operation and Maintenance

 * For expenses necessary for the operation, maintenance, and care of existing river and harbor, flood and storm damage reduction, aquatic ecosystem restoration, and related projects authorized by law; for the benefit of federally listed species to address the effects of civil works projects owned or operated by the United States Army Corps of Engineers; for providing security for infrastructure owned and operated by, or on behalf of, the United States Army Corps of Engineers, including administrative buildings and facilities, laboratories, and the Washington Aqueduct; for the maintenance of harbor channels provided by a State, municipality, or other public agency that serve essential navigation needs of general commerce, where authorized by law; and for surveys and charting of northern and northwestern lakes and connecting waters, clearing and straightening channels, and removal of obstructions to navigation, $1,959,101,000, to remain available until expended, of which such sums as are necessary to cover the Federal share of operation and maintenance costs for coastal harbors and channels shall be derived from the Harbor Maintenance Trust Fund, pursuant to Public Law 99-662 may be derived from that fund; of which such sums as may be available from the special account for the United States Army Corps of Engineers established by the Land and Water Conservation Act of 1965, as amended (16 U.S.C. 460l-6a(i)), may be derived from that account for resource protection, research, interpretation, and maintenance activities related to resource protection in the areas at which outdoor recreation is available; and of which such sums as become available under section 217 of the Water Resources Development Act of 1996, Public Law 104-303, shall be used to cover the cost of operation and maintenance of the dredged material disposal facilities for which fees have been collected:

 * Provided, That utilizing funds appropriated herein, for the Intracoastal Waterway, Delaware River to Chesapeake Bay, Delaware and Maryland, the Secretary of the Army, acting through the Chief of Engineers, is directed to reimburse the State of Delaware for normal operation and maintenance costs incurred by the State of Delaware for the SR1 Bridge from station 58+00 to station 293+00 between October 1, 2003, and September 30, 2004;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is directed to use funds appropriated herein to rehabilitate the existing dredged material disposal site for the project for navigation, Bodega Bay Harbor, California, and to continue maintenance dredging of the Federal channel;

 * Provided further, That the Secretary shall make suitable material excavated from the Bodega Bay Harbor, California, disposal site as part of the rehabilitation effort available to the non-Federal sponsor, at no cost to the Federal Government, for use by the non-Federal sponsor in the development of public facilities;

 * Provided further, That the Secretary of the Army, acting through the Chief of Engineers, is authorized to undertake, at full Federal expense, a detailed evaluation of the Albuquerque levees for purposes of determining structural integrity, impacts of vegetative growth, and performance under current hydrological conditions;

 * Provided further, That using $175,000 provided herein, the Secretary of the Army, acting through the Chief of Engineers is authorized to remove the sunken vessel State of Pennsylvania from the Christina River in Delaware;

 * Provided further, That the Corps of Engineers shall not allocate any funds to deposit dredged material along the Laguna Madre portion of the Gulf Intracoastal Waterway except at the placement areas specified in the Dredged Material Management Plan in section 2.11 of the Final Environmental Impact Statement for Maintenance Dredging of the Gulf Intracoastal Waterway, Laguna Madre, Texas, Nueces, Kleberg, Kenedy, Willacy, and Cameron Counties, Texas, prepared by the Corps of Engineers dated September 2003;

 * Provided further, That nothing in the above proviso shall precent the Corps of Engineers from performing necessary maintenance operations along the Gulf Intracoastal Waterway if the following conditions are met: if the Corps proposes to use any placement areas that are not currently specified in the Dredged Material Management Plan and failure to use such alternative placement areas will result in the closure of any segment of the Gulf Intracoastal Waterway, then such proposal shall be analyzed in an Environmental Impact Statement (EIS) and comply with all other applicable requirements of the National Environmental Policy Act, 42 U.S.C. 4321 et seq., and all other applicable State and Federal laws, including the Clean Water Act, 33 U.S.C. 1251 et seq., the Endangered Species Act, 16 U.S.C. 1531 et seq., and the Coastal Zone Management Act, 16 U.S.C. 1451 et seq.;

 * Provided further, That, of the funds made available, $7,000,000 is to be used to perform work authorized in section 136 of Public Law 108-357.

Regulatory Program

 * For expenses necessary for administration of laws pertaining to regulation of navigable waters and wetlands, $145,000,000, to remain available until expended.

Formerly Utilized Sites Remedial Action Program

 * For expenses necessary to clean up contamination from sites in the United States resulting from work performed as part of the Nation's early atomic energy program, $165,000,000, to remain available until expended.

General Expenses

 * For expenses necessary for general administration and related civil works functions in the headquarters of the United States Army Corps of Engineers, the offices of the Division Engineers, the Humphreys Engineer Center Support Activity, the Institute for Water Resources, the United States Army Engineer Research and Development Center, and the United States Army Corps of Engineers Finance Center, $167,000,000, to remain available until expended:

 * Provided, That no part of any other appropriation provided in title I of this Act shall be available to fund the civil works activities of the Office of the Chief of Engineers or the civil works executive direction and management activities of the division offices;

 * Provided further, That none of these funds shall be available to support an office of congressional affairs within the executive office of the Chief of Engineers.

Office of Assistant Secretary of the Army (Civil Works)

 * For expenses necessary for the Office of Assistant Secretary of the Army (Civil Works), as authorized by 10 U.S.C. 3016(b)(3), $4,000,000.

Administrative Provision

 * Appropriations in this title shall be available for official reception and representation expenses (not to exceed $5,000); and during the current fiscal year the Revolving Fund, Corps of Engineers, shall be available for purchase (not to exceed 100 for replacement only) and hire of passenger motor vehicles.

SEC. 101.

 * Beginning in fiscal year 2005 and thereafter, agreements proposed for execution by the Assistant Secretary of the Army for Civil Works or the United States Army Corps of Engineers after the date of the enactment of this Act pursuant to section 4 of the Rivers and Harbor Act of 1915, Public Law 64-291; section 11 of the River and Harbor Act of 1925, Public Law 68-585; the Civil Functions Appropriations Act, 1936, Public Law 75-208; section 215 of the Flood Control Act of 1968, as amended, Public Law 90-483; sections 104, 203, and 204 of the Water Resources Development Act of 1986, as amended, Public Law 99-662; section 206 of the Water Resources Development Act of 1996, Public Law 104-303; and any other specific project authority, shall be limited to credits and reimbursements per project not to exceed $10,000,000 in each fiscal year, and total credits and reimbursements for all applicable projects not to exceed $50,000,000 in each fiscal year, except that for environmental infrastructure projects, the $10,000,000 limitation shall apply to each State wherein such projects are undertaken.

SEC. 102.

 * None of the funds appropriated in this or any other Act may be used by the United States Army Corps of Engineers to support activities related to the proposed Ridge Landfill in Tuscarawas County, Ohio.

SEC. 103.

 * None of the funds appropriated in this or any other Act shall be used to demonstrate or implement any plans divesting or transferring any Civil Works missions, functions, or responsibilities of the United States Army Corps of Engineers to other government agencies without specific direction in a subsequent Act of Congress.

SEC. 104. ALAMOGORDO, NEW MEXICO.

 * The project for flood protection at Alamogordo, New Mexico, authorized by the Flood Control Act of 1962 (Public Law 87-874), is modified to authorize and direct the Secretary to construct a flood detention basin to protect the north side of the City of Alamogordo, New Mexico, from flooding. The flood detention basin shall be constructed to provide protection from a 100-year flood event. The project cost share for the flood detention basin shall be consistent with section 103(a) of the Water Resources Development Act of 1986, notwithstanding section 202(a) of the Water Resources Development Act of 1996.

SEC. 105.

 * None of the funds appropriated in this or any other Act may be used by the United States Army Corps of Engineers to support activities related to the proposed Indian Run Sanitary Landfill in Sandy Township, Stark County, Ohio.

SEC. 106. ST. GEORGES BRIDGE, DELAWARE.

 * None of the funds made available in this Act may be used to carry out any activity relating to closure or removal of the St. Georges Bridge across the Intracoastal Waterway, Delaware River to Chesapeake Bay, Delaware and Maryland, including a hearing or any other activity relating to preparation of an environmental impact statement concerning the closure or removal.

SEC. 107. WATER REALLOCATION, LAKE CUMBERLAND, KENTUCKY.

 * (a) IN GENERAL—Subject to subsection (b), none of the funds made available by this Act may be used to carry out any water reallocation project or component under the Wolf Creek Project, Lake Cumberland, Kentucky, authorized under the Act of June 28, 1938 (52 Stat. 1215, chapter 795) and the Act of July 24, 1946 (60 Stat. 636, chapter 595).

 * (b) EXISTING REALLOCATIONS—Subsection (a) shall not apply to any water reallocation for Lake Cumberland, Kentucky, that is carried out subject to an agreement or payment schedule in effect on the date of enactment of this Act.

SEC. 108. LAKE TAHOE BASIN RESTORATION, NEVADA AND CALIFORNIA.

 * (a) DEFINITION—In this section, the term "Lake Tahoe Basin" means the entire watershed drainage of Lake Tahoe including that portion of the Truckee River 1,000 feet downstream from the United States Bureau of Reclamation dam in Tahoe City, California.

 * (b) ESTABLISHMENT OF PROGRAM—The Secretary may establish a program for providing environmental assistance to non-Federal interests in Lake Tahoe Basin.

 * (c) FORM OF ASSISTANCE—Assistance under this section may be in the form of planning, design, and construction assistance for water-related environmental infrastructure and resource protection and development projects in Lake Tahoe Basin—
 * (1) urban stormwater conveyance, treatment and related facilities;
 * (2) watershed planning, science and research;
 * (3) environmental restoration; and
 * (4) surface water resource protection and development.

 * (d) PUBLIC OWNERSHIP REQUIREMENT—The Secretary may provide assistance for a project under this section only if the project is publicly owned.

 * (e) LOCAL COOPERATION AGREEMENT—
 * (1) IN GENERAL—Before providing assistance under this section, the Secretary shall enter into a local cooperation agreement with a non-Federal interest to provide for design and construction of the project to be carried out with the assistance.
 * (2) REQUIREMENTS—Each local cooperation agreement entered into under this subsection shall provide for the following:
 * (A) PLAN—Development by the Secretary, in consultation with appropriate Federal and State and Regional officials, of appropriate environmental documentation, engineering plans and specifications.
 * (B) LEGAL AND INSTITUTIONAL STRUCTURES—Establishment of such legal and institutional structures as are necessary to ensure the effective long-term operation of the project by the non-Federal interest.
 * (3) COST SHARING—
 * (A) IN GENERAL—The Federal share of project costs under each local cooperation agreement entered into under this subsection shall be 75 percent. The Federal share may be in the form of grants or reimbursements of project costs.
 * (B) CREDIT FOR DESIGN WORK—The non-Federal interest shall receive credit for the reasonable costs of planning and design work completed by the non-Federal interest before entering into a local cooperation agreement with the Secretary for a project.
 * (C) LAND, EASEMENTS, RIGHTS-OF-WAY, AND RELOCATIONS—The non-Federal interest shall receive credit for land, easements, rights-of-way, and relocations provided by the non-Federal interest towards the non-Federal share of project costs (including all reasonable costs associated with obtaining permits necessary for the construction, operation, and maintenance of the project on publicly owned or controlled land), but not to exceed 25 percent of total project costs.
 * (D) OPERATION AND MAINTENANCE—The non-Federal share of operation and maintenance costs for projects constructed with assistance provided under this section shall be 100 percent.

 * (f) APPLICABILITY OF OTHER FEDERAL AND STATE LAWS—Nothing in this section waives, limits, or otherwise affects the applicability of any provision of Federal or State law that would otherwise apply to a project to be carried out with assistance provided under this section.

 * (g) AUTHORIZATION OF APPROPRIATIONS—There is authorized to be appropriated to carry out this section for the period beginning with fiscal year 2005, $25,000,000, to remain available until expended.

SEC. 109. WATERSHED MANAGEMENT AND DEVELOPMENT.

 * Section 503 of the Water Resources Development Act of 1996 (110 Stat. 3756) is amended in subsection (c) by inserting the following: "The non-Federal share of the cost to provide assistance for the Lake Tahoe watershed, California and Nevada, and Walker River Basin, Nevada may be provided as work-in-kind.".

SEC. 110.

 * The Assistant Secretary of the Army for Civil Works shall enter into an agreement with the Orange County Water District, Orange County, California for purposes of water conservation storage and operations to provide at a minimum a conservation level up to elevation 498 feet mean sea level during the flood season, and up to elevation 505 feet mean sea level during the non-flood season at Prado Dam, California. The Orange County Water District shall pay to the Government only the separable costs associated with implementation and operation and maintenance of Prado Dam for water conservation.

SEC. 111. BLACK WARRIOR-TOMBIGBEE RIVERS, ALABAMA.

 * (a) IN GENERAL—The Secretary is authorized to construct a new project management office located in the city of Tuscaloosa, Alabama, at a location within the vicinity of the city, at full Federal expense.

 * (b) TRANSFER OF LAND AND STRUCTURES—The Secretary is authorized to convey, or otherwise transfer to the City of Tuscaloosa, Alabama, at fair market value, the land and structures associated with the existing project management office, if the city agrees to assume full responsibility for demolition of the existing project management office.

 * (c) AUTHORIZATION OF APPROPRIATIONS—There is authorized to be appropriated to carry out subsection (a) $32,000,000.

SEC. 112.

 * Within 75 days of the date of the Chief of Engineers Report on a water resource matter, the Assistant Secretary of the Army (Civil Works) shall submit the report to the appropriate authorizing and appropriating committees of the Congress.

SEC. 113.

 * Within 90 days of the date of enactment of this Act, the Assistant Secretary of the Army (Civil Works) shall transmit to Congress his report on any water resources matter on which the Chief of Engineers has reported.

SEC. 114. COASTAL WETLAND CONSERVATION PROJECT FUNDING.

 * (a) FUNDING—Section 306 of the Coastal Wetlands Planning, Protection, and Restoration Act (16 U.S.C. 3955) is amended—
 * (1) in subsection (a), by striking ", not to exceed $70,000,000,";
 * (2) in subsection (b), by striking ", not to exceed $15,000,000,";
 * (3) in subsection (c), by striking ", not to exceed $15,000,000,";

 * (b) PERIOD OF AUTHORIZATION—Section 4(a) of the Dingell-Johnson Sport Fish Restoration Act (16 U.S.C. 777c(a)) is amended in the second sentence by striking "2009" and inserting "2019".

SEC. 115.

 * The Secretary of the Army, acting through the Chief of Engineers, is directed to design and construct a marina and associated facilities project capable of remaining in operation through extended drought conditions at Federal expense at Lake Sakakawea, North Dakota.

SEC. 116. CENTRAL CITY, FORT WORTH, TEXAS.

 * The project for flood control and other purposes on the Trinity River and Tributaries, Texas, authorized by the River and Harbor Act of 1965 (Public Law 89-298), as modified, is further modified to authorize the Secretary to undertake the Central City River Project, as generally described in the Trinity River Vision Master Plan, dated April 2003, as amended, at a total cost not to exceed $220,000,000, at a Federal cost of $110,000,000, and a non-Federal cost of $110,000,000, if the Secretary determines the work is technically sound and environmentally acceptable. The cost of work undertaken by the non-Federal interests before the date of execution of a project cooperation agreement shall be credited against the non-Federal share of project costs if the Secretary determines that the work is integral to the project.

SEC. 117.

 * Notwithstanding any other provision of law, the Secretary of the Army is authorized to carry out, at full Federal expense, structural and non-structural projects for storm damage prevention and reduction, coastal erosion, and ice and glacial damage in Alaska, including relocation of affected communities and construction of replacement facilities.

SEC. 118. COOK INLET, ALASKA.

 * (a) ANCHORAGE HARBOR—
 * (1) HARBOR DEPTH—The project for navigation improvements, Cook Inlet, Alaska, (Anchorage Harbor, Alaska), authorized by section 101 of the River and Harbor Act of 1958 (72 Stat. 299) and modified by section 199 of the Water Resources Development Act of 1976 (90 Stat. 2944), is further modified to direct the Secretary of the Army to construct a harbor depth of minus 45 feet mean lower low water for a length of 10,860 feet at the modified Port of Anchorage intermodal marine facility at each phase of facility modification as such phases are completed and thereafter as the entire project is completed.
 * (2) COST—SHARING—If the Secretary determines that the modified Port of Anchorage will be used by vessels operated by the Department of Defense that have a draft of greater than 35 feet, the modification referred to in paragraph (1) shall be at full Federal expense.
 * (3) TRANSITIONAL DREDGING—Before completion of the project modification described in paragraph (1), the Secretary may conduct dredging to a depth of at least minus 35 feet mean lower low water in such locations as will allow maintenance of navigation and vessel access to the Port of Anchorage intermodal marine facility during modification of such facility. Such work shall be carried out by the Secretary in accordance with section 101 of the River and Harbor Act of 1958.
 * (4) FACILITATING FACILITY MODIFICATION—Before establishing the harbor depth of minus 45 feet mean lower low water, the Secretary may undertake dredging in accordance with section 101 of the River and Harbor Act of 1958 within the design footprint of the modified intermodal marine facility referred to in paragraph (1) to facilitate modification. The Secretary may carry out such dredging as part of operation and maintenance of the project modified by paragraph (1).
 * (5) MAINTENANCE—Federal maintenance shall continue for the existing project until the modified intermodal marine facility is completed. Federal maintenance of the modified project shall be in accordance with section 101 of the River and Harbor Act of 1958; except that the project shall be maintained at a depth of minus 45 feet mean lower low water for 10,860 feet referred to in paragraph (1).

 * (b) NAVIGATION CHANNEL—The Secretary shall modify the channel in the existing Cook Inlet Navigation Channel approach to Anchorage Harbor, Alaska, to run the entire length of Fire Island Range and Point Woronzof Range and shall modify the depth of that channel to minus 45 mean lower low water. The channel shall be maintained at a depth of minus 45 feet mean lower low water.

 * (c) HYDRODYNAMIC MODELING—The Secretary shall carry out hydrodynamic modeling of the Knik Arm to identify causes of, and measures to address, shoaling at the Port of Anchorage, at a total cost of $3,000,000.

 * (d) ALTERNATIVES ANALYSIS—No alternative other than the alternative authorized in this section shall be considered in any analysis of the modified project to be carried out by the Secretary in accordance with this section.

SEC. 119. NORTHERN WISCONSIN.

 * Section 154(c) of title I of division B of the Miscellaneous Appropriations Act, 2001, enacted into law by the Consolidated Appropriations Act, 2001 (114 Stat. 2763A-252), is amended—
 * (1) by inserting after "design" the following: ", construction,"; and
 * (2) by inserting before "wastewater treatment" the following: "navigation and inland harbor improvement and expansion,".

SEC. 120. ST. CROIX FALLS ENVIRONMENTAL INFRASTRUCTURE, WISCONSIN. ADDITIONAL ASSISTANCE.

 * Section 219(f) of the Water Resources Development Act of 1992 (106 Stat. 4835; 110 Stat. 3757; 113 Stat. 335; 114 Stat. 2763A-220) is amended by adding at the end the following:
 * "(73) ST. CROIX FALLS, WISCONSIN—$5,000,000 for waste water infrastructure, St. Croix Falls, Wisconsin.".

SEC. 121. BURNS HARBOR, INDIANA.

 * The Secretary of the Army, acting through the Chief of Engineers, is authorized and directed to dredge sediments, at 100 percent Federal cost, in the vicinity of the Bailey (NIPSCO) intake structure that is approximately 5,000 feet east of and 2,300 feet north of the northern most point of the Burns Waterway Harbor Breakwater authorized by Public Law 89-298.

SEC. 122.

 * (a) The Secretary of the Army, acting through the Chief of Engineers, is authorized and directed to transfer the unexpended balance of funds appropriated in fiscal years 2003 and 2004 for the Duck River Water Supply Infrastructure Project, Cullman, Alabama, to the Appalachian Regional Commission.

 * (b) Funds transferred pursuant to subsection (a) of this section may be used for planning, engineering, and construction activities on the Duck River Water Supply Infrastructure Project under the Memorandum of Agreement between the Appalachian Regional Commission and the Army Corps of Engineers and may be used to reimburse the City of Cullman, Alabama, for expenses incurred by the City for planning and environmental work associated with the Project.

SEC. 123.

 * With the funds previously provided under the account heading "Flood Control and Coastal Emergency", the Secretary of the Army, acting through the Chief of Engineers is directed to provide assistance to Yakutat, Alaska Dam.

SEC. 124.

 * The Secretary of the Army, acting through the Chief of Engineers, shall not implement changes to existing shoreline protection policies that have not been specifically authorized by Congress.


text: Page:Halek's Stories and Evensongs.pdf/34