I recommend that you progressively stage the investment you want from users into small chunks of work, starting with small, easy tasks and building up to harder tasks during successive cycles through the Hook Model.
Not one man in five cycles, who is wise, will expect appreciative recognition from his fellows, or any one of them. Appreciation! Recognition! Is Jove appreciated? Why, ever since Adam, who has got to the meaning of his great allegory — the world? Then we pigmies must be content to have our paper allegories but ill comprehended.
And, oh! what beautiful years were these When our hearts clung each to each; When life was filled and our senses thrilled In the first faint dawn of speech. Thus life by life and love by love We passed through the cycles strange, And breath by breath and death by death We followed the chain of change.
Perfect works are rare, because they must be produced at the happy moment when taste and genius unite; and this rare conjuncture, like that of certain planets, appears to occur only after the revolution of several cycles, and only lasts for an instant.
Life by life and love by love We passed through the cycles strange, And breath by breath and death by death We followed the chain of change. Till there came a time in the law of life When o’er the nursing sod, The shadows broke and soul awoke In a strange, dim dream of God.
Perfect works are rare, because they must be produced at the happy moment when taste and genius unite: and this rare conjunction, like that of certain planets, appears to occur only after the revolution of several cycles, and only lasts for an instant.
The slow wheel turns, / The cycles round themselves and grow complete, / The world's year whitens to the harvest-tide, / And one word only am I= (Psyche) =sent to say ... / To all things living, and the word is "Love."
Giving up on assembly language was the apple in our Garden of Eden: Languages whose use squanders machine cycles are sinful. The LISP machine now permits LISP programmers to abandon bra and fig-leaf. -- Epigrams in Programming, ACM SIGPLAN Sept. 1982
What does it take for Americans to do great things; to go to the moon, to win wars, to dig canals linking oceans, to build railroads across a continent? In independent thought about this question, Neil Armstrong and I concluded that it takes a coincidence of four conditions, or in Neil's view, the simultaneous peaking of four of the many cycles of American life. First, a base of technology must exist from which to do the thing to be done. Second, a period of national uneasiness about America's place in the scheme of human activities must exist. Third, some catalytic event must occur that focuses the national attention upon the direction to proceed. Finally, an articulate and wise leader must sense these first three conditions and put forth with words and action the great thing to be accomplished. The motivation of young Americans to do what needs to be done flows from such a coincidence of conditions. ... The Thomas Jeffersons, The Teddy Roosevelts, The John Kennedys appear. We must begin to create the tools of leadership which they, and their young frontiersmen, will require to lead us onward and upward. -- Dr. Harrison H. Schmidt
With respect to the variation of hysteresis loss in magnetic cycles having different maximum values for the flux density, Steinmetz found that the hysteresis loss (W), as measured by the area of the complete (B, H) cycle and expressed in ergs per centimetre-cube per cycle, varies proportionately to a constant called the _hysteretic constant_, and to the 1.6th power of the maximum flux density (B), or W = [eta]B
Family 4. STYLINIDAE.--Colonial corals allied to the Amphiastraeidae, but with radially symmetrical septa arranged in cycles. Typical genera--_Stylina_, Lamarck (Jurassic). _Convexastraea_, D'Orb. (Jurassic). _Isastraea_, M. Edw. and H.(Jurassic). Ogilvie refers the modern genus _Galaxea_ to this family. Entry: GROUP
The following table, taken from Woolhouse's _Measures, Weights and Moneys of all Nations_, shows the dates of commencement of Mahommedan years from 1845 up to 2047, or from the 43rd to the 49th cycle inclusive, which form the whole of the seventh period of seven cycles. Throughout the next period of seven cycles, and all other like periods, the days of the week will recur in exactly the same order. All the tables of this kind previously published, which extend beyond the year 1900 of the Christian era, are erroneous, not excepting the celebrated French work, _L'Art de vérifier les dates_, so justly regarded as the greatest authority in chronological matters. The errors have probably arisen from a continued excess of 10 in the discrimination of the intercalary years. Entry: 970224
To complete our survey of life-cycles in the Hydromedusae it is necessary to add a few words about the position of _Hydra_ and its allies. If we accept the view that _Hydra_ is a true sexual polyp, and that its gonads are not gonophores (i.e. medusa-buds) in the extreme of degeneration, then it follows from Brooks's theory that _Hydra_ must be descended from an archaic form in which the medusan type of organization had not yet been evolved. _Hydra_ must, in short, be a living representative of the ancestor of which the actinula-stage is a transient reminiscence in the development of higher forms. It may be pointed out in this connexion that the fixation of _Hydra_ is only temporary, and that the animal is able at all times to detach itself, to move to a new situation, and to fix itself again. There is no difficulty whatever in regarding _Hydra_ as bearing the same relation to the actinula-stage of other Hydromedusae that a Rotifer bears to a trochophore-larva or a fish to a tadpole. Entry: FIG
The element which transformed lyrical tragedy into the tragic drama was added by the Ionians. The custom of the recitation of poetry by wandering minstrels, called _rhapsodes_ (from [Greek: rhabdos], staff, or from [Greek: rhaptein], to piece together), first sprang up in the Ionia beyond the sea; to such minstrels was due the spread of the Homeric poems and of subsequent epic cycles. These recitations, with or without musical accompaniment, soon included gnomic or didactic, as well as epic, verse; if Homer was a rhapsode, so was the sententious or "moral" Hesiod. The popular effect of these recitations was enormously increased by the metrical innovations of Archilochus (from 708), who invented the trochee and the _iambus_, the latter the arrowy metre which is the native form of satirical invective--the species of composition in which Archilochus excelled--though it was soon used for other purposes also. The recitation of these iambics may already have nearly approached to theatrical declamation. The rhapsodes were welcome guests at popular festivals, where they exercised their art in mutual emulation, or ultimately recited parts, perhaps the whole, of longer poems. The recitation of a long epic may thus have resembled theatrical dialogue; even more so must the alternation of iambic poems, the form being frequently an address in the second person. The rhapsode was in some sense an actor; and when these recitations reached Attica, they thus brought with them the germs of theatrical dialogue. Entry: 7
_Solar Cycle._--In the Julian calendar the dominical letters are readily found by means of a short cycle, in which they recut in the same order without interruption. The number of years in the intercalary period being four, and the days of the week being seven, their product is 4 × 7 = 28; twenty-eight years is therefore a period which includes all the possible combinations of the days of the week with the commencement of the year. This period is called the _Solar Cycle_, or the _Cycle of the Sun_, and restores the first day of the year to the same day of the week. At the end of the cycle the dominical letters return again in the same order on the same days of the month; hence a table of dominical letters, constructed for twenty-eight years, will serve to show the dominical letter of any given year from the commencement of the era to the Reformation. The cycle, though probably not invented before the time of the council of Nicaea, is regarded as having commenced nine years before the era, so that the year _one_ was the tenth of the solar cycle. To find the year of the cycle, we have therefore the following rule:--_Add nine to the date, divide the sum by twenty-eight; the quotient is the number of cycles elapsed, and the remainder is the year of the cycle._ Should there be no remainder, the proposed year is the twenty-eighth or last of the cycle. This rule is conveniently expressed by the formula ((x + 9) / 28)_r, in which x denotes the date, and the symbol r denotes that the remainder, which arises from the division of x + 9 by 28, is the number required. Thus, for 1840, we have (1840 + 9) / 28 = 66-1/28; therefore ((1840 + 9) / 28)_r = 1, and the year 1840 is the first of the solar cycle. In order to make use of the solar cycle in finding the dominical letter, it is necessary to know that the first year of the Christian era began with Saturday. The dominical letter of that year, which was the tenth of the cycle, was consequently B. The following year, or the 11th of the cycle, the letter was A; then G. The fourth year was bissextile, and the dominical letters were F, E; the following year D, and so on. In this manner it is easy to find the dominical letter belonging to each of the twenty-eight years of the cycle. But at the end of a century the order is interrupted in the Gregorian calendar by the secular suppression of the leap year; hence the cycle can only be employed during a century. In the reformed calendar the intercalary period is four hundred years, which number being multiplied by seven, gives two thousand eight hundred years as the interval in which the coincidence is restored between the days of the year and the days of the week. This long period, however, may be reduced to four hundred years; for since the dominical letter goes back five places every four years, its variation in four hundred years, in the Julian calendar, was five hundred places, which is equivalent to only three places (for five hundred divided by seven leaves three); but the Gregorian calendar suppresses exactly three intercalations in four hundred years, so that after four hundred years the dominical letters must again return in the same order. Hence the following table of dominical letters for four hundred years will serve to show the dominical letter of any year in the Gregorian calendar for ever. It contains four columns of letters, each column serving for a century. In order to find the column from which the letter in any given case is to be taken, strike off the last two figures of the date, divide the preceding figures by four, and the remainder will indicate the column. The symbol X, employed in the formula at the top of the column, denotes the number of centuries, that is, the figures remaining after the last two have been struck off. For example, required the dominical letter of the year 1839? In this case X = 18, therefore (X/4)_r = 2; and in the second column of letters, opposite 39, in the table we find F, which is the letter of the proposed year. Entry: 1
GUILLAUME D'ORANGE (d. 812), also known as Guillaume Fierabrace, St Guillaume de Gellone, and the Marquis au court nez, was the central figure of the southern cycle of French romance, called by the _trouvères_ the _geste_ of Garin de Monglane. The cycle of Guillaume has more unity than the other great cycles of Charlemagne or of Doon de Mayence, the various poems which compose it forming branches of the main story rather than independent epic poems. There exist numerous cyclic MSS. in which there is an attempt at presenting a continuous _histoire poétique_ of Guillaume and his family. MS. Royal 20 D xi. in the British Museum contains eighteen _chansons_ of the cycle. Guillaume, son of Thierry or Theodoric and of Alde, daughter of Charles Martel, was born in the north of France about the middle of the 8th century. He became one of the best soldiers and trusted counsellors of Charlemagne, and In 790 was made count of Toulouse, when Charles's son Louis the Pious was put under his charge. He subdued the Gascons, and defended Narbonne against the infidels. In 793 Hescham, the successor of Abd-al-Rahman II., proclaimed a holy war against the Christians, and collected an army of 100,000 men, half of which was directed against the kingdom of the Asturias, while the second invaded France, penetrating as far as Narbonne. Guillaume met the invaders near the river Orbieux, at Villedaigne, where he was defeated, but only after an obstinate resistance which so far exhausted the Saracens that they were compelled to retreat to Spain. He took Barcelona from the Saracens in 803, and in the next year founded the monastery of Gellone (now Saint Guilhem-le Désert), of which he became a member in 806. He died there in the odour of sanctity on the 28th of May 812. Entry: GUILLAUME
_Iron and Steel for Electromagnetic Machinery._--In connexion with the technical application of electromagnets such as those used in the field magnets of dynamos (q.v.), the testing of different kinds of iron and steel for magnetic permeability has therefore become very important. Various instruments called permeameters and hysteresis meters have been designed for this purpose, but much of the work has been done by means of a ballistic galvanometer and test ring as above described. The "hysteresis" of an iron or steel is that quality of it in virtue of which energy is dissipated as heat when the magnetization is reversed or carried through a cycle (see MAGNETISM), and it is generally measured either in ergs per cubic centimetre of metal per cycle of magnetization, or in watts per lb. per 50 or 100 cycles per second at or corresponding to a certain maximum flux density, say 2500 or 600 C.G.S. units. For the details of various forms of permeameter and hysteresis meter technical books must be consulted.[3] Entry: 1
The introduction of the _danz_, ballads (or _fornkvædi_, as they are now called) for singing, with a burden, usually relating to a love-tale, which were immensely popular with the people and performed by whole companies at weddings, yule feasts and the like, had relegated the regular Icelandic poetry to more serious events or to the more cultivated of the chiefs. But these "jigs," as the Elizabethans would have called them, dissatisfied the popular ear in one way: they were, like old English ballads, which they closely resembled, in rhyme, but void of alliteration, and accordingly they were modified and replaced by the "rimur," the staple literary product of the 15th century. These were rhymed but also alliterative, in regular form, with prologue or _mansong_ (often the prettiest part of the whole), main portion telling the tale (mostly derived in early days from the French romances of the Carlovingian, Arthurian or Alexandrian cycles, or from the mythic or skrök-sögur), and epilogue. Their chief value to us lies in their having preserved versions of several French poems now lost, and in their evidence as to the feelings and bent of Icelanders in the "Dark Age" of the island's history. The ring and melody which they all possess is their chief beauty. Entry: ANCIENT
Adequately to measure the risk of loss by fire demands not merely reference to an extended experience but a watchful regard to current changes. While the profits of fire insurance business fluctuate considerably from year to year, and seem even to follow cycles of elevation and depression, the tendency on the whole appears to be towards a growth of risk, although excessive competition among offices prevents the rates from rising in proportion. Entry: A
1. The _Alcestis_, as the didascaliae tell us, was brought out in Ol. 85. 2, i.e. at the Dionysia in the spring of 438 B.C., as the fourth play of a tetralogy comprising the _Cretan Women_, the _Alcmaeon at Psophis_, and the _Telephus_. The _Alcestis_ is altogether removed from the character, essentially grotesque, of a mere satyric drama. On the other hand, it has features which distinctly separate it from a Greek tragedy of the normal type. First, the subject belongs to none of the great cycles, but to a byway of mythology, and involves such strange elements as the servitude of Apollo in a mortal household, the decree of the fates that Admetus must die on a fixed day, and the restoration of the dead Alcestis to life. Secondly, the treatment of the subject is romantic and even fantastic,--strikingly so in the passage where Apollo is directly confronted with the daemonic figure of Thanatos. Lastly, the boisterous, remorseful, and generous Heracles makes, not, indeed, a satyric drama, but a distinctly satyric scene--a scene which, in the frank original, hardly bears the subtle interpretation which in _Balaustion_ is hinted by the genius of Browning, that Heracles got drunk in order to keep up other people's spirits. When the happy ending is taken into account, it is not surprising that some should have called the _Alcestis_ a tragi-comedy. But we cannot so regard it. The slight and purely incidental strain of comedy is but a moment of relief between the tragic sorrow and terror of the opening and the joy, no less solemn, of the conclusion. In this respect the _Alcestis_ might more truly be compared to such a drama as the _Winter's Tale_; the loss and recovery of Hermione by Leontes do not form a tragi-comedy because we are amused between-whiles by Autolycus and the clown. It does not seem improbable that the _Alcestis_--the earliest of the extant plays--may represent an attempt to substitute for the old satyric drama an after-piece of a kind which, while preserving a satyric element, should stand nearer to tragedy. The taste and manners of the day were perhaps tiring of the merely grotesque entertainment that old usage appended to the tragedies; just as, in the sphere of comedy, we know from Aristophanes that they were tiring of broad buffoonery. An original dramatist may have seen an opportunity here. However that may be, the _Alcestis_ has a peculiar interest for the history of the drama. It marks in the most signal manner, and perhaps at the earliest moment, that great movement which began with Euripides,--the movement of transition from the purely Hellenic drama to the romantic. Entry: 1
Coventry was formerly noted for its woollens, and subsequently acquired such a reputation for its dyeing that the expression "as true as Coventry blue" became proverbial. Existing industries are the making of motor cars, cycles and their accessories, for which Coventry is one of the chief centres in Great Britain; sewing machines are also produced; and carpet-weaving and dyeing, art metal working and watch making are carried on. An ancient fair is held in Whit-week. A county of itself till 1843, the town became a county borough in 1888. The corporation consists of a mayor, 10 aldermen and 30 councillors. The parliamentary borough returns one member. In 1894 a suffragan bishopric of Coventry was established under the see of Worcester, but no longer exists. Area, 4149 acres. Entry: COVENTRY
_Mahommedan Calendar._--The Mahommedan era, or era of the Hegira, used in Turkey, Persia, Arabia, &c., is dated from the first day of the month preceding the flight of Mahomet from Mecca to Medina, _i.e._ Thursday the 15th of July A.D. 622, and it commenced on the day following. The years of the Hegira are purely lunar, and always consist of twelve lunar months, commencing with the approximate new moon, without any intercalation to keep them to the same season with respect to the sun, so that they retrograde through all the seasons in about 32½ years. They are also partitioned into cycles of 30 years, 19 of which are common years of 354 days each, and the other 11 are intercalary years having an additional day appended to the last month. The mean length of the year is therefore 354-11/30 days, or 354 days 8 hours 48 min., which divided by 12 gives 29-191/360 days, or 29 days 12 hours 44 min., as the time of a mean lunation, and this differs from the astronomical mean lunation by only 2.8 seconds. This small error will only amount to a day in about 2400 years. Entry: TABLE
The Etruscan scarab has its beetle form more minutely engraved than that of the Greeks. It is further distinguished in the better examples, alike from the Greek and the Egyptian form, by a small border of a sort of petal ornament round the lower edge of the beetle. Like the earlier Greek scarabs it has the cable border round the design, but the border continued in use in Etruria when it had been abandoned in Greece. The scarabaeoid form does not occur in Etruscan deposits. Etruscan engraving begins when Greek art was approaching maturity, with studies, sometimes stiff and cramped, of the heroic nude form. Some of the Greek deities such as Athena and Hermes occur, together with the winged personages of Greek mythology. To the heroic types the names of Greek legend are attached, with modifications of form, such as [Greek: TYTE] for Tydeus, and [Greek: KAPNE] for Capaneus. Sometimes the names are appropriate and sometimes they are assigned at random. The subjects include certain favourite incidents in the Trojan and Theban cycles (e.g. the death of Capaneus); myths of Heracles; athletes, horsemen, a few scenes of daily life. Certain schemes of composition are frequent. In particular, a figure too large for the field, standing and bending over, is made to serve for many types. The engraving of the finer Etruscan gems is minute and precise, marked with elegance and command of the material. Its fault is its want of original inspiration. Special mention must be made of a very numerous group of cornelian scarabs, roughly engraved for the most part with cup-shaped sinkings (whence they are known as gems _a globolo tondo_) roughly joined together by furrows. Notwithstanding their apparent rudeness, these gems are shown, by the conditions in which they are found, to be comparatively late works of the 4th century. Furtwängler ingeniously suggests that the rough execution was intended to emphasize the shining surfaces of the cup-sinkings, rather than to produce any particular intaglio subject. (For an elaborate classification of the Etruscan scarabs see Furtwängler, _Geschichte_, p. 170.) Entry: 4
The Old-Dorian Hercules is represented in three cycles of myth, the Argive, the Boeotian and the Thessalian; the legends of Arcadia, Aetolia, Lydia, &c., and Italy are either local or symbolical and comparatively late. The fatality by which Hercules kills so many friends as well as foes recalls the destroying Apollo; while his career frequently illustrates the Delphic views on blood-guiltiness and expiation. As Apollo's champion Hercules is Daphnephoros, and fights Cycnus and Amyntor to keep open the sacred way from Tempe to Delphi. As the Dorian tutelar he aids Tyndareus and Aegimius. As patron of maritime adventure ([Greek: hêgemonios]) he struggles with Nereus and Triton, slays Eryx and Busiris, and perhaps captures the wild horses and oxen, which may stand for pirates. As a god of athletes he is often a wrestler ([Greek: palaimôn]), and founds the Olympian games. In comedy and occasionally in myths he is depicted as voracious ([Greek: bouphagos]). He is also represented as the companion of Dionysus, especially in Asia Minor. The "Resting" ([Greek: anapauomenos]) Hercules is, as at Thermopylae and near Himera, the natural tutelar of hot springs in conjunction with his protectress Athena, who is usually depicted attending him on ancient vases. The glorified Hercules was worshipped both as a god and a hero. In the Attic deme Melita he was invoked as [Greek: alexikakos] ("Helper in ills"), at Olympia as [Greek: kallinikos] ("Nobly-victorious"), in the rustic worship of the Oetaeans as [Greek: kornopiôn] ([Greek: kornopes], "locusts"), by the Erythraeans of Ionia as [Greek: ipoktonos] ("Canker-worm-slayer"). He was [Greek: sôtêr] ("Saviour"), i.e. a protector of voyagers, at Thasos and Smyrna. Games in his honour were held at Thebes and Marathon and annual festivals in every deme of Attica, in Sicyon and Agyrium (Sicily). His guardian goddess was Athena (Homer, _Il._ viii. 638; Bacchylides v. 91 f.). In early poetry, as often in art, he is an archer, afterwards a club-wielder and fully-armed warrior. In early art the adult Hercules is bearded, but not long-haired. Later he is sometimes youthful and beardless, always with short curly hair and thick neck, the lower part of the brow prominent. A lion's skin is generally worn or carried. Lysippus worked out the finest type of sculptured Hercules, of which the Farnese by Glycon is a grand specimen. The infantine struggle with serpents was a favourite subject. Entry: 12