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Haven DVD Commentaries: 5.16 - The Trial of Nathan Wuornos

Commentary with Speed Weed (writer for the episode) and Adam Higgs (writer for 5.15)

SW: This was really a two-parter. We tried to make these not look like two-parters, but they were. AH: And this season became even more serialised than 5A, which was pretty chocablock. SW: Yeah, well we’re heading towards the end, wrapping things up.

[*Flashback on screen to Duke’s eyes turning black*] SW: We talked a lot about what colour Duke’s eyes should be. AH: And the pupils; shark eyes, no pupils … red, black, white.

SW: So really, right from the start, we felt it a little bit ourselves but we get a lot of shellacking from a certain core of fans who feel that we don’t give Nathan his due. And, we love Nathan as a character, and this episode was really meant to highlight all the heroism that he has done for the town over five seasons. And, we thought we would put him on trial. AH: It was a great idea. I remember we went back and forth on how much of a trial it would be, and what would the trial look like. SW: Right. And at the time I was listening to a lecture, during my commute in the car, on ancient Greek democracy. So it sort of got based on that. AH: And that’s a good touchstone for this episode; democracy. Who is allowed to make decisions in this new world order?

[*Demands on screen for Nathan to be banished*] AH: We put Dwight between a rock and a hard place here, and he did a really good job with that. SW: Yeah, and Tony’s right - Dwight in 5.15 banished a guy for doing less.

[*Audrey on screen: We need to put Nathan on trial*] AH: Remember, she is an FBI agent. SW: We’d sort of forgotten that for a bunch of seasons. And speaking of FBI agents, we tried so hard to bring Fraudrey back. We never found a way. That’s a regret. AH: We tried. Fraudrey fans, we tried. SW: We did.

[*Dwight on screen telling Haven they need to come up with a legal process for Nathan*] SW: We’re supposed to be commenting. I’m just enjoying Adam’s performance. He did a great job. AH: You wrote a good speech for him there. SW: Ah, he makes it good.

[*Vince on screen: I’m unclear, is this a stalling tactic or the rebirth of democracy?] SW: *laughing* Vince can’t imagine something straight up, can he?

[As we see Duke and Hailie in Halifax] AH: So again, these scenes were shot a long time after the rest of the episode. SW: What happened to the truck? Did they shoot these scenes out of order? AH: I think they did. So, he traded in the truck because it was hot and he didn’t want to be caught. SW: And because we have product placement with Toyota maybe. [The car they just got out of is a Toyota] and the truck was a Ford as I recall. But that’s not a new Toyota, I don’t know if we got any money for that. [*Duke to Hailie: When I almost hit you with the car, what were you thinking about? Was there anything else in your world or just the car?] SW: Yeah and it was a truck [not a car] - I think they shot these scenes out of order. AH: Yeah and it was two different units too, so the continuity process might not have coped SW: And it might have been two different directors as well I can’t remember exactly who shot what.

[*Vince and Dave addressing the school*] AH: You did a great job with this PA system. I remember when you were trying to figure out exactly how to do this - I thought it was brilliant. It’s one of those things sometimes when your hands are tied (where it has to all be in the school) you can come up with really clever execution. SW: This is true by the way, history fans; the prosecutor in ancient Athenian trials offered what he thought the punishement should be. The prosecutor proposed a punishment and the defence also proposed a punishment if found guilty. It was a way of getting some moderation. Because the jury could only choose between the two options, so if the prosecutor over reached, you could get off with a light sentence.

[*Tony talking about Nathan’s previous ‘crimes’ eg stopping Duke leaving town] SW: And so we were trying to make the trial about everything, to let Nathan justify himself for the series AH: Yeah and prove that he’s that hero. Because he really is. I do think these episodes really kicked it off for this season in which he has a strong heroic arc. SW: Yep. AH: And we talked a lot about that near the end of the season when it came down to, everybody else seems pre-destined and he’s the everyman. SW: Yes, he’s the everyman. He’s the only guy with no supernatural fate.

[*Audrey talking about wanting to stop the trial*] AH: And this was nice. I remember when we were breaking this one of the things you were talking about was flipping the usual paradigm of Nathan doing everything in his power to save Audrey - now Audrey’s doing everything in her power to save Nathan. SW: Right.

SW: We haven’t got any character payments yet, have we? Wouldn’t it be nice if we got Trouble payments. AH: Oh my goodness. We put so many Troubles in this episode. SW: So, by guild rules when you introduce a new character in a series, when you’re the first writer to write that character, you’re defining that character and so - it’s really nominal, but you get a payment for the creation of that character, when they appear in future episodes. So by gentleman’s agreement Adam and I have agreed to split them on the ones we two-parted; we haven’t gotten those yet. We’re in a fight [presumably a good natured one] with Nick Parker about who introduced Charlotte. Because she actually appears right at the end of episode 8, and it’s a question of how many lines she has, or how substantial they are I think is the actual question. And just to be clear - we’re talking about, maybe enough money for a dinner out. AH: Yeah, nothing more than that. It’s more the fun of it than anything.

[*As Hailie realises she’s cut her heel*] AH: I thought this was a great moment you put in here of Duke, you know … SW: Worried about the blood touching him? AH: You can’t escape your past, is his whole story line here SW: Right. AH: And he’s just trying, so desperately.

[*Audrey telling Peggy that her husband Rolf is dead*] SW: Jennifer Morris does a good job here - this is thankless for an actor. To go to the most emotionally difficult place you could possibly imagine, without any ramp up - the scene just starts on it. Thankless. Good work. You try not to write things that way because it’s just too much; you’re not going to get a good performance out of it. You try to cut out of a scene on telling the bad news and then cut back in when the character’s had ten minutes to digest it.

[*Vince, Dave and Nathan arguing about whether they can let the trial carry on or whether they can stop it*] AH: There’s some great tension - here you are in a classroom and yet the stakes are so high. SW: Yeah, number two on the call sheet and his life’s on the line.

[*Kira trapped underground with her fluorescent tube*] SW: I think this looks really cool, that she’s lighting that thing with her Trouble. But what was the Adam’s Family reference that Matt was worried about? AH: Oh, he was worried it was going to look like Uncle Fester who could put a lightbulb in his mouth and light it up. SW: Right. I don’t see Uncle Fester in that. AH: Yeah I don’t see it at all.

[Charlotte: I lost my husband to it] AH: And that was a big reveal SW: That was a big moment. AH: I’m so interested - we haven’t seen these episodes air yet and seen the reactions, so I’m so interested to see what people will make of this. Putting their thinking caps on trying to deduce who’s the husband.

[*Tony spinning tales about Nathan to the school*] AH: And you did a really good job here with Tony of not making him arch. And making him formidable. SW: Well Paul [in the role] did a great job with that too, he really threaded the needle on it. And actually, props as well to Rick, our director, who helped get him there.

[*Audrey threatening to set fire to the school to disrupt the trial*] SW: They did a great job with this. This switch where he’s calm and cool and she’s, you know … Thinking of the end of season three where Nathan shoots Howard; he’s willing to do anything. And now she’s willing to do anything to save her one true love. AH: I think it’s nice. I think it really shows how much they care for each other and that the relationship is growing. And the characters are growing too.

SW: And here’s Faber Haskins. AH: This was cool. This was one of the worst bad guys we’ve had on this show. Because usually on this show people with Troubles are conflicted; they don’t have malice in their hearts. But this guy is just … SW: And props to the actor, he did a great job. Oh wow I like the nose ring. It’s funny, I’ve seen this cut before but he delivered a really good audition so I remember that (when he didn’t have the nose ring)

[*As Faber shows us the pile of bodies*] SW: Oh yeah, jeez wow. Remember when we had to review pictures of the props for that? AH: Yeah we talked about what would the bones look like, how fresh … SW: How much meat should be left on them. Oh my god, only on this show

SW: So Grayson, we auditioned a bunch of Graysons, many of whom were very good - and they had to actually really truly sign, but also talk because in episode 17, he is no longer deaf, he actually talks. So getting someone who can act, sign and talk is rarer than you might think. And we auditioned a bunch of people and low and behold, seeing that Grayson appears in episode 17 which is directed by Lucas Bryant, he said; I have a friend in LA who can do all those things and he’s a good actor. And he delivered a great tape. And at this point in the show, and especially given what a great job Lucas did directing 17 … [*as Grayson sets off his Trouble*] ...That’s another cheap Trouble to produce, sound is cheap, shaky cameras are cheap ... um, anyway what I wanted to say is I’m really glad we cast him and really glad Lucas nominated him. I just remember that there’s always that slight nervousness you get when somebody on the show, who isn’t a producer, nominates someone for a role. Not because you expect them to be worse than normal, but because if they are, then you have to tell someone who you respect, that you can’t cast them. So it was really great that Lucas nominated the best person for the role and we cast him. AH: And another thing we should mention is that Emily Rose does know American Sign Language. SW: Oh yes! She does. AH: And she’s an ambassador I believe for them, in some way. So that’s one of the reasons we wanted to, you know, utilise some of the skills that our actors have.

[*Duke and Hailie about to rob a bank*] AH: It’s nice that Halifax is actually Halifax. SW: Yeah, how often does Halifax actually get played for Halifax. AH: Very seldom. It does look like our ferns though. SW: Yes and I think it’s our signs too. AH: That’s a cheap effect [as Hailie disappears into the wall] but it looks well done.

[*Nathan to Audrey: You’re stealing my line now? When you went into the Barn, I was willing to risk anything to keep you with me while you faced your fate head-on.] SW: Props to our show runner Gabrielle Stanton who, as we were breaking this story, pointed out that that was what the flip was, and then we throttled into it. I hadn’t quite realised but then she pointed out that we were doing the opposite of what had been done before. So then we wrote to it, which was cool. AH: It’s neat because we continue to pay off on that decision he made about the Barn later in other episodes SW: Yeah. All of season four was about it, in a way. But oh yeah also later episodes in this season.

AH: One of the things I liked about these episodes was everyone had something to do. Everybody had something incredibly important to take care of. SW: Yeah the stakes are high. We’re just throttlin up stakes all the way.

[*As the poltergeist Trouble shuts Dwight and Charlotte in the dark.] AH: This was nice to have what seems like an innocent Trouble

AH: I like this relationship [Audrey and Grayson] SW: Yeah and Shernold really runs with it in 17. Look for Shernold’s name on other shows to come. She next appears on a show that has stolen rampantly from us … AH: *laughing* SW: … whether they know it or not [imdb would seem to indicate that her next job after Haven was Sleepy Hollow]

SW: I’m just so impressed with Lucas’s work in this episode. These two episodes, because as he was shooting these two episodes he was prepping 17 as a director. And when you see 17, if you have a directorial eye, you will see it is really, really planned. He knew what he was doing, and he brings some real beauty and attention and design and precision to the show. Which means he was working his butt off. AH: Yeah. And we tried to give him some time off to prep, but at the same time - he’s number two on the call sheet. SW: Well and 16 is his episode in a way.

[*As Tony’s Trouble starts to ramp up*] SW: This was thankless. To make one room get darker from the outside in. My apologies to Rick [the director], Jennifer Stewart our production designer, Eric Cayla our DP - you all did great. This was not easy. Very hard to pull off AH: Yeah because it wasn’t smoky or inky or anything, it was just dark. And it’s a good twist here that Tony the prosecutor is actually responsible. SW: When it comes down to it, about half the Troubles are about denial.

[*Dwight trying to break out of the shed*] AH: The silence says so much here. SW: And this was important to us in the room. Because, Dwight broke some relationships at the end of season 5A to believe in Charlotte’s science. So we really wanted to make sure that it actually meant something in the end, so her reveal wasn’t just a betrayal of their romantic relationship, it was also a betrayal of the cure that he believed in. AH: And he’s invested so much.

AH: Oh and here’s Nathan’s speech. And the intercut here [between the speech and Audrey talking down Tony] worked really well. SW: It’s nifty to write quite a long monologue for a character who never talks. AH: Yeah, he’s so quiet. SW: I love that line in the first season where Audrey says something about how his clipped sentences … I can’t think of the exact line, but. AH: Yeah it’s a clever line but [can’t remember it either] SW: And I thought about Eric Taylor in Friday Night Lights, writing this. AH: That’s a good touchstone because it’s another very quiet person who needs to give those big motivational speeches. SW: Right. To a community. AH: And again I just love the intercut here [to Dwight and Charlotte] of how all the stories come together. It’s well designed. SW: Smooch! Don’t you want them [Dwight and Charlotte] to smooch? And we had five seconds of screen darkness there, that’s great. And we had the five seconds of silence earlier. Things you’re not supposed to do. AH: But it worked so well.

[*As Charlotte looks through the wooden slats to the space beyond filled with aether*] SW: It was Rick’s idea how to shoot this which was really cool, with this VFX shot to get a huge amount of aether. It was scripted as a ‘stadium sized cavern’ full of aether, and there you get the idea that there’s just insane amounts of it. AH: Yeah wow, that was well shot.

[*As Hailie reappears out of the bank with the money*] SW: We originally wanted to do this on a yacht, where she actually phased through the side of the hull. But it didn’t work for locations. AH: I love that, just as you wrote it with the blood spatter on Duke’s face. He’s got no choice in the matter again. SW: Shark eyes. [Hailie to Duke: What are you doing?] SW: Resisting the urge to kill you.

[*As Audrey asks Tony where he got the info in his notebook*] AH: It was so interesting to work on this story line with the notebook because we had set some of this up in 5 and 6 and there was so much being planted there that doesn’t really come out until 10 episodes later; by the time they air it’ll be over a year later.

[Vince; And the verdict is … *Kira returns*] AH: How can he be guilty of killing someone if she’s still alive? SW: The best of TV timing.

[Dwight to Nathan: That’s a hell of a lot of aether you found] AH: He’s vindicated in so many ways.

[*Hailie running from Duke and into the shipping container*] SW: She was supposed to have the money with her in this scene, but for some reason she doesn’t so we had to write around it. AH: Yeah she didn’t have it any more SW: Ooops.

SW: I can’t remember how we did Duke’s black eyes - was it totally VFX or did we go with contacts? AH: VFX. We wanted to go with contacts, and Eric wanted to use contacts, but we just decided it would be easier to go with VFX.

[*Dwight and Charlotte sharing milk and cookies*] AH Oh I love this scene! This was one of my favourites. It’s their night under the stars romantic dinner - with milk cartons. SW: At the last minute they cut the line that I really liked. Charlotte says ‘I like your hand’ and then would have said ‘There’s a lot I’d like to do with it.’ But they cut it - we were just getting too randy in the writer’s room AH: I think we need an uncut edition SW: That’s right - a writer’s cut.

AH: In the original break, before we knew what the next episode was going to be, you had a great turn at the end of the episode where Nathan would be found guilty. But that did not line up with the next episode.

#haven syfy #haven dvd commentaries #haven 5 #5.16 - the trial of nathan wuornos

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dougmeet · 6 years ago

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she went out to look for the Dog's Meat Man But she couldn t find the Dog's Meat Man Some friends gave her for to understan He da wife and seven children had this Dog's Meat Man So she went home in grief and tears All her hopes transformed to fears And her hungry cat to mew began As much as to say Where s the Dog's Meat Man She couldn t help thinking of that Dog's Meat Man That cheating good looking Dog's Meat Man So you see in one day's short span She lost her heart her five pound note and the Dog's Meat Man Emilius Ralph Norman

http://books.google.com/books?id=dfzfAAAAMAAJ&pg=PA456&img=1&zoom=3&hl=en&sig=ACfU3U0ihlz9o9fLNfMGBMHgPTn8Pcs9eg&ci=558%2C100%2C404%2C251&edge=0 http://books.google.com/books?id=dfzfAAAAMAAJ&dq=dog%20meat&pg=PA456So

This sentence is taken word for word from Burton's introduction, see p. 4. But the instances are too many. Alas, many of Sterne's beauties are Burton's!

"'Tis an inevitable chance-the first statute in Magna Charta-it is an everlasting Act of Parliament, my dear brotlier-all must die."-Tristram Shandy, vol. v. chap. iii.

(Every word of this except the italics is Burton's, ^■upusry, in verses prefixed as an epigraph, in the face of Ferriar's first chapter, he asserts that this plagiarism does not detract-nor does it as to the creation of character-from Sterne's originality. As Mr. Forde and your readers may like to see them, I copy them :-

"Sterne, for whose sake I plod through miry ways Of antic wit, and quibbling mazes drear, Let not thy shade malignant censures fear Though aught of borrow'd mirth my search betrays; Lon^ slept that mirth in dust of ancient days (Krewhile to Guise or wanton Valois dear) Till, wak'd by thee in nkel ton's joyous pile, She flung on Tristram her capricious rays. But the quick tear, that checks our wond'ring smile, In sudden pause, or unexpected story, Owns thy true mast'ry: and Le Fevre's woes, Maria's wand'rings, and the Pris'ner's throes. Fix thee conspicuous on the shrine of glory."

J. Hain Friswell.

Lowndes says of Burton's Anatomy of Melancholy:-

sight astern.

sessions lipid in the present reign, inquired for by W. M. M., I believe they were-First, Archbishop Trench of Tuam, Bishop Knox of Limerick, Bishop Saurin of Droinore, and BtsKui Leslie of Elphin : second, Archbi.-diop L'.eresford btSArjnagh, Bishop Mount of Down, Bishop Fowler of Oligorv, and Bishop Kyle of Cork. H^

The spectacle was fearfully grand; but the voyagers breathed freer when they had worked their way into the eddy. Then they hugged the shore carefully, and so made gradual progress. At length the tide changed and bore them with it.

wind

"Faugh!"

What a realm of novelty was before the idventurers when they looked out into the snnligh;on the following day! The air was balmy and summer-like. It was the warmest day of the season, the thermometer marking 80° in the shade. Each of the fourteen buildings belonging to the post, comprising houses for the officers and servants, store-houses for furs and other -;oods, a sale shop, coopers' shop, oil-house, fishhousc, ing him. ction, although the ordinary rise of tide is but six feet.

In a sparkling rivulet (Rigolette) Half

ing tide.

This is now the liveliest portion of the year at the Company's post. Long days of actinadian voyayeur, with his best dog-driver on the Bay. He has driven from Rigolette to Norwest River and back, 120 miles, in eighteen hours, changing dogs but once.

What is the jingle of sleigh-bells and a 2.40 nag in comparison with a dog-sledge ride over the smooth frozen crust, in the gleaming light of the aurora boreafis! frosty air-" Coii! coh! rnh.'" and in an instant the eager crew come dashing helter-skelter, scattering the snow-flakes as they run. With practiced dexterity he quickly adjusts each leathern collar, and fastens each dog to its long seal-skin trace, while they sit fidgeting on their haunches, or strain upon the leashes, whining their impatience. Now all is ready. Scarce time has h<to bestow himself in his ample robes and seize his whip, before the eager team dash away pellmell, now to the right, now to the left, crossing traces, and mingling in utter confusion. But a sharp "st-vt" and a flourish of the whip, which brings a yelp at every crack, soon disciplines them to order, and away they seurry, eightabreast, spread out like a fan-the driver halfreclining, with the whip over his shoulder trailing behind, five fathoms long! "Twet! twet!" on! on !-" ouk! ouk.'" to the right!-" urrah! urrah!" to the left! Trees and shrubs whirl past with dizzy speed, the crisp snow sparkles as it flies from the bone-shod runners, and the lambent flames of the aurora borealis dance to the music of pattering feet. What winter sport so exhilarating as dog-driving! But there are difficulties by the way. Perchance the sledge encounters some sudden obstruction-a hidden stone or icy hummock-which checks its impetuous career; driver and sledge at once assert the laws of centrifugal force and rotate rapidly, while the dogs pitch into each other indiscriminately, as if to punish the supposed offender for the mishap. Then the fight can only be stopped by a vigorous application of the whip; and this must be quickly done, otherwise the battle would rage until the stronger triumphed; and that dog which first succumbed would at once receive the vengeance of all the rest, and speedily end his "day."

The sledge-adventures related by Oliver excited the ardor of his listeners. The Doctor could not restrain his desire. There were dogs and kommetiks in abundance-why should he not have a sledge-ride? Truly, the ground was barren of snow, but the dogs were strong, and spoiling from lack of work. Oliver was prevailed upon to harness a team; the Doctor was instructed, and with whip in hand forthwith embarked upon his oxperimental trip. The dogs started at the word, but from lack of recent training dashed away in great disorder. Stones

steps.

At that"

Those were pleasant days at Rigolette. But the visit of the tourists approached its close, and the holiday season of the natives waned rapidly. Festivities are now redoubled. There are varied out-of-door sports, and feasting on seal-meat, young dog-meat, and salmon, smoked, boiled, baked, and roasted. At night, in the servants' room, are uncouth dances and strange music- dances by the dim light of burning seal-oil and deer's tallow candles, energetic and fantastic-a strange commingling of dusky shadows that flit athwart the walls and ceiling and through the veiling smoke-a ceaseless thump and twirl, a Babel of tongues, and a suffocating permeation of perspiration and combined nameless stenches. There are no invitations to dance. Each one pulls his partner to the floor, willy nilly, vi et armis; but Smidt innocently begs to be introduced, bows, offers his arm, and-all grin horribly! Not at all abashed, he "switches off," takes the floor, and improvises an inimitable pas seul, with pigeon-wings, double shuffles, and grape-vine twists without stint, that win for him the applause of all. When he yields, the dance progresses according to native programme; and thus the night is made merry.

Pans.

A Papal Bull (5th S. vi. 329.)-No doubt the fcull which your correspondent inquires about was ■that of Pope Pius V. fulminated against Queen Elizabeth in the year 1569. The original is given by Bishop Burnet in his Collection of Records, -and numbered thirteen, vol. ii., in the folio edition of his works published 1715. The whole document is too long to give in extenso, but if the editor will afford me sufficient space for the concluding paragraph (the only part really bearing upon the query), with Jeremy Collier's translation into English, I think perhaps he may be doing a service to many of his readers to whom such documents are not accessible. After a fierce tirade Against the Queen for her many and grave sins and misdemeanours against the "Holy See," the Pope then proceeds to judgment:-

i.e. George II. In Noorthouck's History of London, published in 1773, this church is described ; and, a3 part of the description, we are told (p. 742) that "on a round pedestal at the top of a pyramid is placed a colossal statue of the late king" (George II.).

In the History and (Surrey of London and Westminster, published by Thornton in 1785, it is stated that on the top of this church "is a statue of his late Majesty, King George II." (p. 463).

The author of the Jacobite poem, The Devil o'er Lincoln, evidently believed that the statue represented the king then reigning (George II.), for George I. was then dead, and he says :-

"Since you make me such bishops, George, you may reign on."

Now the writer of this poem and Ralph were both living when the church was built, and must be supposed to know what king the statue was intended to represent.

I have only to add that I was a curate of the adjoining parish, St. Giles'-in-the-Fields, thirty years ago, and that the tradition then existing assigned the statue to George II. J. D.

Belsize Square.

Smith, in his Antiquarian Ramble in the Streets of London, edited by Mackay, 1846, a work on which reliance may be placed, states positively that the statue is that of George I. He says (vol. i. p. 141), "When Bloomsbury Church was finished, the figure of King George I. surmounting the steeple excited much criticism." He adds an epigram to which it gave rise, printed in a sixpenny book for children about 1756. Noble, in his continuation of Granger, states that the statue was erected by William Hucks, M.P. for Abingdon, and afterwards for Wallingford, who was Brewer to the Household, and who appears, he says, to have been "a very honest and a very loyal man: that he might make the latter appear most conspicuous, he placed the statue of the king,

George I., upon Bloomsbury steeple." Noble adds a satirical epigram on the statue, made by a wag at the time of its erection. It is probably to one of the epigrams mentioned that a writer in the Penny Cyclopa:dia refers under the article "Hawksmoor," the architect of Bloomsbury Church. After quoting Walpolc's dictum, that the steeple is a "masterstroke of absurdity," he proceeds to defend the architect, and adds that the statue "gave rise to a paltry epigram, that had perhaps quite as much influence in exciting a prejudice against the structure as Walpole's dictum." This writer repeats the common mistake that the statue is that of George II. Assuming Noble's statement with regard to the donor of the statue to be correct, it is rather remarkable that Hucks should thus have honoured the deceased, instead of the reigning sovereign, unless on the accession of George II. he had been deprived of the office of Brewer to the Household. H. P. D.

Chess Among The Malays (5lh S. vi. 346.)- The invention of chess in India, regarding which Mr. Galton appears to be uncertain, is a fact completely demonstrated by my late esteemed friend and brother chess-player, Prof. Duncan Forbes, of King's College, London, in the early chapters of his History of Chess. From India as a centre, the game of chess has been diffused over a great portion of the world. Westward of Hindostan, it was brought to Persia in the sixth century of our era. There it became known to the Arabs, who took it with them, and planted it in the sacred cities of Mecca and Medina. From thence it passed to Syria and the Byzantines of the lower empire, who received it in the seventh century. From Constantinople it was, by various channels, gradually spread over Europe, and carried by the Varangians, the disbanded body guards of "the Byzantine emperors, to Scandinavia, and the peoples of the North. From the land of its birth, chess found its way eastward to Burmah, Tibet, Siam, China, and Japan ; south-eastward to Malacca, Sumatra, Java, and Borneo. One proof of the Indian origin of Malayan chess, I may mention, is its nomenclature.

"The terms giijah, chatur, raja, and mantrl," writes Prof. Forbes, ■' are Sanskrit. Knda, horse, and TVr, a chariot, are Tamul. B'idah, laidah, or beidak, together with mCtt and tammat, are pure Arabic. The only Persian word in the whole list is tah (for Shiih), and that happens to be the word always used by the Arabs to denote the ' Chess King,' and the term ' check.' " *

The intercourse established of late years between Japan and the outer world has made us acquainted with the mode of playing chess in that country, which differs materially from other varieties of this ancient pastime. The game is there called Shogi, and the board consists of eighty-one squares,

* History of Chest, p. 271.

instead of our sixty-four. It is a faTourite recreation with all classes, holding much the same position as draughts in Great Britain. The pieces occupy three lines on either side, in place of the ordinary two. Those on the first line are Yari. or spear; JCeima, or horse, identical with the knight; Gin, silver; Kin, gold; and Ou, king, in all respects the same as our potentate. On the second line are only two pieces, Hisha, a chariot, which moves similarly to a rook, and Kaku, a corner or angle, which traverses the hoard diagonally, like our bishop. The Fu, or pawns, nine in number, are stationed on the third line.* From their proximity to China it appears to me extremely probable that the Japanese, by some means or other, obtained chess from the Celestials, who lave been from time immemorial ardent cultivators of it. I am the more inclined to this opinion on account of some points of resemblance which exist between the Chinese game and that of Japan. It is allied, for instance, by the Japanese " a game of mimic warfare," and, as Capt. Hiram Cox states in his interesting paper on chess in Burmah and China, in the Asiatic Researches,f the Chinese designate chess Cholce-choo-hong-ki, literally, "the play of the science of war."

Hugh A. Kennedy. Junior United Service Club.

"Pedacii Dioscorid.e Anazarbei De Medica Materia. . . Colonne, opera et impensa Joannis Soteris, anno M.d.xxix. mense augusto, fol." (5th S. vL 347), is a very rare book, but I do not think it to be valued at a high price. It must have fourteen preliminary leaves and 753 pages. Very often " Hermolai Barbari . . . in Dioscoridem corollarioru libri quinque . . ., Colonia?, ap. Joan. Soterem, 1530," fol., of seventy-eight leaves and a frontispiece, is bound with it. The first edition of Pedacii Dioscorides was published (Gr;ece) in 1499, Venetiis, apud Alduin Manutium, fol., along with Nicandri Theriaca et Alexipharmaca. Another edition, in Greek also, cur. Fr. Asulani, appeared in 1518, Venetiis, in redibus Aldi, small 4to. The best modern edition has been given by C. Sprengel, Leipzig, 1829-30, 2 vols., 8vo. There is a French translation by Martin MatWe (Matthseus), Lyon, Thibault Payan, 1559, 4to., plates. Matthiolus (P. A.) was the author of Commentarii in sex libros Pedacii Dioscoridis Anazarbei de medica materia. The best editions of this commentary, once famous, are Venetiis, ex. off. valgrisiana, 1565, fol., plates; Venetiis, 1583, fol. ; Basileie, 1598, fol. It was translated into French by J. Desmoulins, Lyon, 1579, fol., and by Ant. du Pinet, Lyon. 1680, fol.

It is thought that the books vi., vii., and viii.

* Vide Japanese Chea, by Mr. W. B. Mason, Watminster Papers, vol. viii. p. 68. VeL vii. p. 489.

of Medica Materia, which treat of poisons, are not really the work of this Greek physician, who lived in the first century of the Christian era, and has left also a treatise on botany, which for a long time enjoyed a very high reputation.

Henri Gausseron. Ayr Academy.

This edition, says Brunet (Manuel, ii. 734), is more rare than recherchie, and, though sold for twenty-three francs at Jussieu's sale, produced only four francs at Huzard's. In itself it would not seem worth much, unless the MS. notes should give this copy some additional value.

W. E. Buckley.

"lawless Court" (5th S. vi. 409.)-The answer respecting the old manorial court held at Rochford, in Essex, is best given by referring to that curious book, Cowel's Law Dictionary; or, Interpreter of Words and Terms used, either in the Common or Statute Lavs of Great Britain, and in Tenures and Jocular Customs, of which the first edition was printed at Cambridge in 1607. Under the title " Lawless Court," Cowel has:-

"On Kingshill, at Rochford, in Essex, on Wednesday morning next after Michaelmas Day, at cock-crowing, is held a court, vulgarly called Lawless Court. They whisper, and have no candle, nor any pen and ink but a coal ILe. a piece of charcoal to write with); and he that owes suit or service, and appears not, forfeits double his rent for every hour that he is missing. This cour belongs to the honour of Raleigh and to the Earl of Warwick, and is denominated Lawless because held at unlawful or lawless hours. The title of it in the Court Rolls runs thus:-

Curia de Domino Rege

Dicta sine lege,

Tenta est ibidem

Per ejusdem consuetudinem,

Ante ortum solis

Luceat nisi polus,

Senescallus solus

Nil scribit nisi colis,

Toties voluerit

Gallus ut cantaverit,

Per cujus soli sonitus

Curia est summonita:

Clamat clam pro rege

In curia sine lege,

Et nisi cito venerint

Citius pcenituerint,

Et nisi clam accedant,

Curia nrai attendat,

Qui venerit cum lumine

Errat in regimine,

Et dum sunt sine lumine,

Capti sunt in crimine,

Curia sine curfi,

Jurati de injuria. A piece of Latin doggerel, which has been freely turned into this English jingle:-

This court of our Lord the King Held without law, or anything But custom old, before Bunrise And while the stars are in the skies: No pen and ink the steward uses But rather ends of charcoal chooses. The court is summoned by cock-crow, No other summoning they know. He whispers all the king's demands Upon their persons and their lands, And unless they soon appear, Soon they find they have much to fear, And unless they quickly sneak in, They will find the court up breaking. Whoever comes and brings a candle This court's rules don't understand well; But while they sit in darkness blinking. The dues are paid with money chinking; Cureless court, and ill-used suitors Paying in this way their pewters."

An account of this court is also to be found in Blunt's Jocular Tenures, the best authority on such matters, of which a new edition has recently been published by Mr. Hazlitt. V. F. P.

Mr. Cooke will find a very full and particular account of everything connected with this court, and of its being held on October 13-14, 1868, in the Proceedings of the Society of Antiquaries of London, vol. iv., Second Series, pp. 172-182, by the late eminent antiquarian, W. H. Black, Esq., F.S.A. Samuel Shaw.

Andover.

"the Dog's Meat Man," Tune "white Cockade" (5th S. vi. 410.)-

"In Gray's Inn Lane not long ago An old maid lived a life of woe; She was fifty-three, with a faco like tan, When she fell in love with the Dog's Meat Man. She very much liked this Dog's Meat Man, He was a good-looking Dog's Meat Man; Her roses and lilies were turned to tan When she fell in love with the Dog's Meat Man.

Every morning he went by, "Whether the weather was wet or dry; And right opposite to her door did stan', And cried ' Dog's meat,' did the Dog's Meat Man. Then her cat would run out to the Dog's Meat Man, And rub against the legs of the Dog's Meat Man; Then ho took up his barrow, and away ho ran, And cried ' Dog's meat,' did the Dog's Meat Man.

One day she kept him at her door

A-talking half an hour or more,

For you must know this was her plan

To get a good look at the Dog's Meat Man.

'If I M a five pound note,' snid the Dog's Meat Man,

'I \1 setup a tripe shop,' said the Dog's Meat Man,

'And I 'd marry you to-morrow'; she admired the

plan, And Biic lent a five pound note to the Dog's Meat Man.

The very next morning he was seen

In coat and breeches of velveteen,

To Bagnigge Wells she went in a bran

New gown, and she walked with the Dog's Meat Man.

She had hiscakes (tic) and ale with the Dog's Meat Man,

And she walked arm in arm with the Dog's Meat Man,

And all the people that round did stan'

Said,' My eye, what a dandy is the Dog's Meat Man!'

Next morn she at her door did stan'

To keep a look out for the Dog's Meat Man;

But he never corned, and she then began

To think that she was diddled by the Dog's Meat Man.

So she went out to look for the Dog's Meat Man, But she couldn't find the Dog's Meat Man; Some friends gave her for to understan' He 'd a wife and seven children had this Dog's Meat Man.

So she went home in grief and tears, All her hopes transformed to fears, And her hungry cat to mew began, As much as to say,' Where's the Dog's Meat Man?' She couldn't help thinking of that Dog's Meat Man, That cheating, good-looking Dog's Meat Man. So you see in one day's short span She lost her heart, her five pound note, and the Dog's Meat Man."

Emilius Ralph Norman. Melton Mowbray.

Fleur-de-lis will find " The Dog's Meat Man" in the second vol. of The British Minstrel, published by Sherwood & Co., Paternoster Bow, 1827.

H. H.

"Herb John" (5"1 S. vi. 328.)-Does not this refer to the goat-weed (genus JEgopodium, from the supposed resemblance of the leaves to the foot of the goat), which was known as Herb Gerarde, from John Gerarde, the old botanist? If so, the allusion of Charles II. is clear, viz., that Lord. Hereford was cloven footed, otherwise the d-1, and not to be trusted. W. Phillips.

Euripides (5th S. vi. 325.)-But Ainsworth and Lord Brougham were not so completely wrong after all. There is ancient authority for the long i in Euripides. Forcellini has :-

"Psenultima fere corripitur. Producitur a Sidon. Cam. xxiii. v. 127: 'Cessissent Sophocles et Euripides.' Adde Carm. ix. v. 235."

Ed. Marshall.

In my Ainsworth, also edited by Thomas Morell, new edition, 1773, Euripides has both the r's short. It is easy to see how the second i came to be marked long; the accent being on the penult, it is pronounced as if long. A Greek would pronounce the name Euripides, or rather Evripides. All Greek names ending in ides are accentuated on the penult.

E. Leaton Blenkinsopp.

Feathers (5th S. vi. 347.)-The allusion to feathers at the above reference reminds the undersigned of an epigram read some forty-three years or so ago, but where has vanished from the tablets of memory. It was something as follows :- "' Wit is a feather,' Pope has said, And females never doubt it; For those who 've least within their (the) head Display the most without it"

K. & -.

The "Illooisms" Of The French Language (5tt S. vi. 360.)-Your list of "illogisms" of the French language is a very good and curious collection. You will probably have noticed that in a

This sentence is taken word for word from Burton's introduction, see p. 4. But the instances are too many. Alas, many of Sterne's beauties are Burton's!

"'Tis an inevitable chance-the first statute in Magna Charta-it is an everlasting Act of Parliament, my dear brotlier-all must die."-Tristram Shandy, vol. v. chap. iii.

J. Hain Friswell.

Lowndes says of Burton's Anatomy of Melancholy:-

sight astern.

wind

"Faugh!"

In a sparkling rivulet (Rigolette) Half

ing tide.

steps.

At that"

Pans.

In the History and (Surrey of London and Westminster, published by Thornton in 1785, it is stated that on the top of this church "is a statue of his late Majesty, King George II." (p. 463).

The author of the Jacobite poem, The Devil o'er Lincoln, evidently believed that the statue represented the king then reigning (George II.), for George I. was then dead, and he says :-

"Since you make me such bishops, George, you may reign on."

Now the writer of this poem and Ralph were both living when the church was built, and must be supposed to know what king the statue was intended to represent.

I have only to add that I was a curate of the adjoining parish, St. Giles'-in-the-Fields, thirty years ago, and that the tradition then existing assigned the statue to George II. J. D.

Belsize Square.

* History of Chest, p. 271.

Hugh A. Kennedy. Junior United Service Club.

It is thought that the books vi., vii., and viii.

* Vide Japanese Chea, by Mr. W. B. Mason, Watminster Papers, vol. viii. p. 68. VeL vii. p. 489.

Henri Gausseron. Ayr Academy.

W. E. Buckley.

Curia de Domino Rege

Dicta sine lege,

Tenta est ibidem

Per ejusdem consuetudinem,

Ante ortum solis

Luceat nisi polus,

Senescallus solus

Nil scribit nisi colis,

Toties voluerit

Gallus ut cantaverit,

Per cujus soli sonitus

Curia est summonita:

Clamat clam pro rege

In curia sine lege,

Et nisi cito venerint

Citius pcenituerint,

Et nisi clam accedant,

Curia nrai attendat,

Qui venerit cum lumine

Errat in regimine,

Et dum sunt sine lumine,

Capti sunt in crimine,

Curia sine curfi,

Jurati de injuria. A piece of Latin doggerel, which has been freely turned into this English jingle:-

An account of this court is also to be found in Blunt's Jocular Tenures, the best authority on such matters, of which a new edition has recently been published by Mr. Hazlitt. V. F. P.

Andover.

"the Dog's Meat n

November 20, 2011 at 4:51

meeting Doug, I'll sleep now J. Nettles Oak-Land

All the same - # 227 Snap | Snap Off

Most of us go through life doing our own thing. We are trained to be independent, need people . But one day you realize the people around you at random, the foreign, you are just too busy to give a second glance, they are actually on your team. Snap Judgement On the next ... All in this together ...

November 20, 2011 at 3:29

two people like this

Boyfriend the night Nettles J. Oak-Land. "

November 20, 2011 at 3:31

Meet Doug "iamsorryforallofthis"

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Meet Doug Facebook Today "iamsorryforallofthis"

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November 20, 2011 at 3:11

Doug Perfect American DIY 7"

American DIY 7"

07.12.2005 The Perfect American DIY 7 "Our Favorite Band! S / t 7 "(Praxis, 1982) Here's another, I bought blind. I'm in a thrift store for battered women, rummaging through the files and check the chicks (no no no no no give me a break god damn. He was just too horrible for a joke to pa ...

November 20, 2011 at 2:59

Meet Doug 12/07/2005 Perfect American DIY 7" Our favorite band! s / t 7" (Praxis, 1982) Here is another that I bought blind. I'm in a thrift store for battered women, rummaging through the files and check the chicks (no no no no no give me a break god damn. It was just too horrible for a joke to pass up). I find this little thing in a tattered blanket. Watch coverage and see two guys sitting in a car. Look at the back, two guys are still sitting in a car and have slightly long hair, and there is a small state of Louisiana circled below. Label says 1982. Record is beaten shit. Awww what the hell. At worst it will be a bad move from a male. I walk to the counter, put my dollar down and say the girl, "There's more where that came from ..." and crawl out the door. I go home and slap this puppy on the stage. my god! distorted guitar and lift the bass, no drums and is a first, development of smoking rockabilly worthy of Cramps / Hasil worship. Second song is a slow and damn if it could not be the Gibson Brothers. Look at the label again. 1982. Damn, this pre-Gibs five or six years. Turn it off-ramp and strangeness of the groove. Some Kinda reverb drenched, bell soaked creepiness on the Atlanta child murders oozes from speakers! Now I'm really excited. Really really excited. And the EP ends with some fans a little modern meets the Only Ones meets Alex "Flies on Sherbert" popper Power Chilton. Baton Rouge is our favorite band! is the perfect American DIY 7 "! It is not a god damn thing wrong with that and the only reason it is an unknown because of the heavy Killed by means of death among collectors of punk, which is doubly stupid because one these guys were in toxin III! # Posted by Scott Soriano: 19:21 can I be the first to say it's pretty fucking great? and thank you? and thank you remind me that I need this disk toxin III? # Posted by Anonymous bronkulator: 02:43 Excellent! # Posted by Anonymous Scott: 8:33 Listened to these last night. We loved "Pink Cadillac" and "Inside of me". Good stuff. # Posted by Blogger Todd Lucas: 09:38 Fascinating and wonderful! # Posted by Anonymous Stanlet: 03:24 thank you for the great review, Scott. Don and I really enjoyed reading it. hope you can find album on the big time after. although not as eccentric, always a little weird that way craunchy. Maury # Posted by Blogger THE PERFECT AMERICAN: 00:23

November 20, 2011 at 2:56

Meet Doug http://whatgetsmehot.posterous.com/perfect-american-diy-7

November 20, 2011 at 2:59

Doug Meet Share this status This has been successfully shared Newbook.

November 20, 2011 03:00 AM

Meet Doug http://crudcrud.blogspot.com/2005/07/perfect-american-diy-7.html

November 20, 2011 at 3:01

Doug Meet So there is this girl. Shes beautiful, funny, has a great personality and guess what? It reads this right now. (> Ω <*) / hugs: * I love you friend - Send this to your 10 best five sisters so nice to You are loved and pretty! (^ O ^) / ♥ - You are one of my 15 favorite girls. If I do not get this back, I'm obviously not a good friend, sniff. Now I have a game for you. This game has been played since 1977. Once you read this, you must copy and send it to 15 of your favorite girls in five days. On the 5th day the male of your choice, or ask you out, or say I love you. Please send your 15 favorite girls . He has worked for years ♥

November 20, 2011 at 2:13

since Rachel McCartney met Doug Wall is the strangest place ever

November 20, 2011 at 2:15

Doug Meet YOULIKEANYTHINGTHATISACOCKANDGOESINTHESHOWER YOUSHOULDMAYBEGETALOOFAHIMPLANTINYOURCLEAVAGE

November 20, 2011 at 2:03

Doug Meet وداع نيللي

وداع نيللي 'n Blom mooi bald Sie die Treppe hinunter ella y lucha por su vida όπως έβαλε στο παλτό της כשהיא להילחם על החיים שלה ברכבת वह बारिश देखो Глядя на чужую любовь, but no one knows HAVE planned my death since the age of fifteen years do not protected me from that winter, I like Mon gra ...

November 19, 2011 at 10:39 p.m.

Doug Meet Angie found the best service in the world

Leonard Cohen - This Hour Has Seven Days

Leonard Cohen - This Hour Has Seven Days - 05/01/66

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Doug Meet THISISTHEWORSTSECRETLANGUAGEEVER

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Doug Meeting

error or Blondie? THISISTHEWORSTSECRETLANGUAGEEVER

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Doug Meet wait kiss I'm not telling people's minds about this dangerous

Blondie - Denis - Live on the Mike Douglas Show

_Denis_ Blondie live on the Mike Douglas Show

November 19, 2011 at 7:57 p.m.

Meet Doug ok, ALL OF U.S. are going to follow me to find the first TV appearance Blondie and c ' is repost later by Marc Campbell of Dangerous Minds. It's going to be so long and not so drawn and sweeter than a peach

November 19, 2011 at 21:45

Meet Doug www.dailymotion.com

Leonard Cohen - This Hour Has Seven Days

Leonard Cohen - This Hour Has Seven Days - 05/01/66

November 19, 2011 at 7:54 p.m.

Meet Doug this is a good year for the blind boyz @ dangerousmindsblog of Interview fly "genius" by Bob Dylan http://post.ly/wflW via @ mrjyn

"genius" of Bob Dylan Interview

Interview "genius" by Bob Dylan, we received a complaint from author (s) regarding material you posted, as follows: from the Web Sheriff about Bob Dylan Genius (Interview in French) - YouWeirdTube Video ID: a1YteEijfIM delete any videos to which you do not have the rights, and refrain from downloading add ...

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Doug Meeting

Bob Dylan: Genius geinus! Pulled from YouTube by WebSheriff!

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"Engineering" Doug Meet Bob Dylan Interview

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Leonard Cohen - 1966 - This Hour Has Seven Days (flv video)

Dogmeat the Producer Sings Dogmeat

the Blogger's Official First Half-Music Video created by Dogmeat the Director and Sung by Dogmeat the Singer duetting with Linda Gail Lewis the sister (Jerry Lee Lewis) in a song written and originally performed by Buddy Holly the Rock 'n' Roller!

DEAR DAVID HAMILTON, MS. LAI, PATTI D'ARBAVILLE, I HOPE YOU GET TO SEE YOUR SOFT-FOCUS MASTERPIECE AGAIN ON YT AND BITE INTO IT'S SWEET LITTLE GREEN APPLECORE.

ESPECIALLY YOU, D.H., WHAT WITH THE TROUBLES AT HOME OVER SILLY PUBLIC OFFICIALS WEARING WIGS AND BEING NOSY. YOU SHOULD SAY, "EXCUSE ME GOVERNOR, BUT ARE YOU AWARE THAT YOU ARE QUESTIONING THE MORALS AND ARTISTIC FREEDOMS OF ONE WHO INVENTED THE OUEVRE OF SOFT-FOCUS PHOTOGRAPHY, EXACTLY, SIR, SO THAT ONE SUCHLIKE YOURSELF WOULD NOT BE ABLE TO MAKE OUT MY FUZZY FURLESS FOLDS OF FECUND FEMININITY, FULLY...PERHAPS TOO FEW IN YEARS FROM WHAT "A" SOCIETY SAYS IS ART, BUT ART , MY KIND SIR, IT IS; AND FOR IT SO WOULD I RATHER BURN CLUTCHING ITS PINKNESS IN A PREMATURE PYRE, PETTING ITS PEELING PORTFOLIO, BLURRED AT THE STAKE LIKE JOAN, THAN LET YOU OR ANY MEMBER OF YOUR TRIBUNAL CAST A DOUBTING AYE TO ITS POSSIBLE POTENTIALLY PROBLEMATIC POR MOI, PERVERSITY . IT IS THE PURITY OF MY ADOLESCENT CHRONICLES WHICH YOU WANT TO POP, IS IT NOT? SO LIGHT THE FIRE, OR TAKE OUT YOUR PIN, SIR, IF YOU WISH, SIR, BUT YOU'LL GAIN NO ENTRANCE INTO MY HOME OR OF THAT WHICH MY HOME HOLDS HOLY--TREASURES."

SOME SNAKE SOON SHALL SEND YOU OUT OF THIS SCENIC EDEN SOON. SO...

BONJOUR, BON SOIR, BOLITIS...THANKS FOR THE SPECIAL MOOD YOU PUT--SOMEWHERE BETWEEN OPIUM AND LAUGHING GAS PROBABLY AROUND 2:30, WHEN THE CHINESE MAN GOES TO THE DENTIST. AND LAI LADY, LAI; LAI ACROSS MY BIG BRASS BED AND MAKE US CRY WITH YOUR ACADEMY AWARD WINNING THEME FROM LOVE STORY--IT WAS TRULY BATHETIQUE MAXIMUM TRES BON. AND I DEDICATE THIS TO MY SPECIAL MUSE WHOM IT WAS THAT WE FIRST DID WATCH ITS PRETTY PLAYING AND DID LAUGH AND LISTEN TO DULCET TONES AND VIEW FRIENDS TOWELING FRIENDS. [TO THE HORROR OF AN ENTIRE GENERATION OF PHOTOGRAPHERS AFTER WILLIAM EGGLESTON, BUT TO THE DELIGHT OF MILLIONS OF 1970s LADIES WHO RECEIVED HALLMARK VALENTINES WITH BEADS OF DEW AS THE ONLY DISTINGUISHABLE PART OF THE PHOTOGRAPH, AS IF A MAN WITH A CATARH OF BOTH EYES WERE WALKING IN WINDSOR AND BENT TO INHALE A FRAGRANT BLUR AND WEPT A TEAR AT ITS BEAUTY FOR HE HAD SEEN THE WORLD THROUGH DAVID HAMILTON-FOCUSED GLASSES] NICHOP

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