"Give it up, and I just leaving this country forever! Give it up and maybe never have another chance. I tell you again, as I've told you before, I don't care for her swag--you may have it. But her husband was rough on me--many times he was rough on me--and mainly he was the justice of the peace that jugged me for a vagrant. And that ain't all. It ain't a millionth part of it! He had me _horsewhipped_!--horsewhipped in front of the jail, like a nigger!--with all the town looking on! _Horsewhipped_!--do you understand? He took advantage of me and died. But I'll take it out of _her_."
"I know what it is. You got into No. 2 and never found anything but whiskey. Nobody told me it was you; but I just knowed it must 'a' ben you, soon as I heard 'bout that whiskey business; and I knowed you hadn't got the money becuz you'd 'a' got at me some way or other and told me even if you was mum to everybody else. Tom, something's always told me we'd never get holt of that swag."
Men who make money rarely saunter; men who save money rarely swagger.
"One day a gold convoy came down from Ballarat to Melbourne, and we lay in wait for it and attacked it. There were six troopers and six of us, so it was a close thing, but we emptied four of their saddles at the first volley. Three of our boys were killed, however, before we got the swag. I put my pistol to the head of the wagon-driver, who was this very man McCarthy. I wish to the Lord that I had shot him then, but I spared him, though I saw his wicked little eyes fixed on my face, as though to remember every feature. We got away with the gold, became wealthy men, and made our way over to England without being suspected. There I parted from my old pals and determined to settle down to a quiet and respectable life. I bought this estate, which chanced to be in the market, and I set myself to do a little good with my money, to make up for the way in which I had earned it. I married, too, and though my wife died young she left me my dear little Alice. Even when she was just a baby her wee hand seemed to lead me down the right path as nothing else had ever done. In a word, I turned over a new leaf and did my best to make up for the past. All was going well when McCarthy laid his grip upon me.
"Oh, partly, partly. Nearly time for us to be moving, pard. What'll we do with what little swag we've got left?"
Evolution is a bankrupt speculative philosophy, not a scientific fact. Only a spiritually bankrupt society could ever believe it. ... Only atheists could accept this Satanic theory. -- Rev. Jimmy Swaggart, "The Pre-Adamic Creation and Evolution"
"So-called Christian rock. . . . is a diabolical force undermining Christianity from within." -- Jimmy Swaggart, hypocrite and TV preacher, self-described pornography addict, "Two points of view: 'Christian' rock and roll.", The Evangelist, 17(8): 49-50.
"If I do not return to the pulpit this weekend, millions of people will go to hell." -- Jimmy Swaggart, 5/20/88
"I turn on my television set. I see a young lady who goes under the guise of being a Christian, known all over the nation, dressed in skin-tight leather pants, shaking and wiggling her hips to the beat and rhythm of the music as the strobe lights beat their patterns across the stage and the band plays the contemporary rock sound which cannot be differentiated from songs by the Grateful Dead, the Beatles, or anyone else. And you may try to tell me this is of God and that it is leading people to Christ, but I know better. -- Jimmy Swaggart, hypocritical sexual pervert and TV preacher, self-described pornography addict, "Two points of view: 'Christian' rock and roll.", The Evangelist, 17(8): 49-50.
FESTOON (from Fr. _feston_, Ital. _festone_, from a Late Lat. _festo_, originally a "festal garland," Lat. _festum_, feast), a wreath or garland, and so in architecture a conventional arrangement of flowers, foliage or fruit bound together and suspended by ribbons, either from a decorated knot, or held in the mouths of lions, or suspended across the back of bulls' heads as in the Temple of Vesta at Tivoli. The "motif" is sometimes known as a "swag." It was largely employed both by the Greeks and Romans and formed the principal decoration of altars, friezes and panels. The ends of the ribbons are sometimes formed into bows or twisted curves; when in addition a group of foliage or flowers is suspended it is called a "drop." Its origin is probably due to the representation in stone of the garlands of natural flowers, &c., which were hung up over an entrance doorway on fête days, or suspended round the altar. Entry: FESTOON
It was that first period of a campaign when troops are still in full trim, almost like that of peacetime maneuvers, but with a shade of martial swagger in their clothes, and a touch of the gaiety and spirit of enterprise which always accompany the opening of a campaign.
Anatole with his swaggering air strode up to the window. He wanted to smash something. Pushing away the footmen he tugged at the frame, but could not move it. He smashed a pane.
"They're having such fun," said he, coming back. "Two Frenchies have turned up. One's quite frozen and the other's an awful swaggerer. He's singing songs...."
Gania, little as he felt inclined for swagger at this moment, could not avoid showing his triumph, especially just after such humiliating remarks as those of Hippolyte. A smile of self-satisfaction beamed on his face, and Varia too was brimming over with delight.
"Freely depicted in his own vocation, gentlemen, the Canaller would make a fine dramatic hero, so abundantly and picturesquely wicked is he. Like Mark Antony, for days and days along his green-turfed, flowery Nile, he indolently floats, openly toying with his red-cheeked Cleopatra, ripening his apricot thigh upon the sunny deck. But ashore, all this effeminacy is dashed. The brigandish guise which the Canaller so proudly sports; his slouched and gaily-ribboned hat betoken his grand features. A terror to the smiling innocence of the villages through which he floats; his swart visage and bold swagger are not unshunned in cities. Once a vagabond on his own canal, I have received good turns from one of these Canallers; I thank him heartily; would fain be not ungrateful; but it is often one of the prime redeeming qualities of your man of violence, that at times he has as stiff an arm to back a poor stranger in a strait, as to plunder a wealthy one. In sum, gentlemen, what the wildness of this canal life is, is emphatically evinced by this; that our wild whale-fishery contains so many of its most finished graduates, and that scarce any race of mankind, except Sydney men, are so much distrusted by our whaling captains. Nor does it at all diminish the curiousness of this matter, that to many thousands of our rural boys and young men born along its line, the probationary life of the Grand Canal furnishes the sole transition between quietly reaping in a Christian corn-field, and recklessly ploughing the waters of the most barbaric seas.
His whiskers cut off, Noirtier gave another turn to his hair; took, instead of his black cravat, a colored neckerchief which lay at the top of an open portmanteau; put on, in lieu of his blue and high-buttoned frock-coat, a coat of Villefort's of dark brown, and cut away in front; tried on before the glass a narrow-brimmed hat of his son's, which appeared to fit him perfectly, and, leaving his cane in the corner where he had deposited it, he took up a small bamboo switch, cut the air with it once or twice, and walked about with that easy swagger which was one of his principal characteristics.
What a hero Tom was become, now! He did not go skipping and prancing, but moved with a dignified swagger as became a pirate who felt that the public eye was on him. And indeed it was; he tried not to seem to see the looks or hear the remarks as he passed along, but they were food and drink to him. Smaller boys than himself flocked at his heels, as proud to be seen with him, and tolerated by him, as if he had been the drummer at the head of a procession or the elephant leading a menagerie into town. Boys of his own size pretended not to know he had been away at all; but they were consuming with envy, nevertheless. They would have given anything to have that swarthy sun-tanned skin of his, and his glittering notoriety; and Tom would not have parted with either for a circus.
"As the eleventh hour struck, he entered with a swaggering air, attended by two of the most dissolute and reckless of his boon companions. She stretched out her arms to him, but they seized hold of her, and one of the three--none other than the accursed Benedetto exclaimed,--'Put her to torture and she'll soon tell us where her money is.'
"Oh, you damned dandies! Clean and fresh as if you'd been to a fete, not like us sinners of the line," cried Rostov, with martial swagger and with baritone notes in his voice, new to Boris, pointing to his own mud- bespattered breeches. The German landlady, hearing Rostov's loud voice, popped her head in at the door.
"Likely I should refuse it," boomed Rakitin, obviously abashed, but carrying off his confusion with a swagger. "That will come in very handy; fools are made for wise men's profit."
All these people and horses seemed driven forward by some invisible power. During the hour Pierre watched them they all came flowing from the different streets with one and the same desire to get on quickly; they all jostled one another, began to grow angry and to fight, white teeth gleamed, brows frowned, ever the same words of abuse flew from side to side, and all the faces bore the same swaggeringly resolute and coldly cruel expression that had struck Pierre that morning on the corporal's face when the drums were beating.
Mitya walked with a drunken swagger to the locked door, and began knocking to the Poles with his fist.
At a moment when all was quiet before the commencement of a song, a door leading to the stalls on the side nearest the Rostovs' box creaked, and the steps of a belated arrival were heard. "There's Kuragin!" whispered Shinshin. Countess Bezukhova turned smiling to the newcomer, and Natasha, following the direction of that look, saw an exceptionally handsome adjutant approaching their box with a self-assured yet courteous bearing. This was Anatole Kuragin whom she had seen and noticed long ago at the ball in Petersburg. He was now in an adjutant's uniform with one epaulet and a shoulder knot. He moved with a restrained swagger which would have been ridiculous had he not been so good-looking and had his handsome face not worn such an expression of good-humored complacency and gaiety. Though the performance was proceeding, he walked deliberately down the carpeted gangway, his sword and spurs slightly jingling and his handsome perfumed head held high. Having looked at Natasha he approached his sister, laid his well gloved hand on the edge of her box, nodded to her, and leaning forward asked a question, with a motion toward Natasha.
However, as the reader has been able to conjecture, Mademoiselle Gillenormand had failed in her attempt to substitute her favorite, the officer of lancers, for Marius. The substitute, Theodule, had not been a success. M. Gillenormand had not accepted the quid pro quo. A vacancy in the heart does not accommodate itself to a stop-gap. Theodule, on his side, though he scented the inheritance, was disgusted at the task of pleasing. The goodman bored the lancer; and the lancer shocked the goodman. Lieutenant Theodule was gay, no doubt, but a chatter-box, frivolous, but vulgar; a high liver, but a frequenter of bad company; he had mistresses, it is true, and he had a great deal to say about them, it is true also; but he talked badly. All his good qualities had a defect. M. Gillenormand was worn out with hearing him tell about the love affairs that he had in the vicinity of the barracks in the Rue de Babylone. And then, Lieutenant Gillenormand sometimes came in his uniform, with the tricolored cockade. This rendered him downright intolerable. Finally, Father Gillenormand had said to his daughter: "I've had enough of that Theodule. I haven't much taste for warriors in time of peace. Receive him if you choose. I don't know but I prefer slashers to fellows that drag their swords. The clash of blades in battle is less dismal, after all, than the clank of the scabbard on the pavement. And then, throwing out your chest like a bully and lacing yourself like a girl, with stays under your cuirass, is doubly ridiculous. When one is a veritable man, one holds equally aloof from swagger and from affected airs. He is neither a blusterer nor a finnicky-hearted man. Keep your Theodule for yourself."
And so we came into Tsarskoye, all bustling with the swaggering heroes of the proletarian horde. Now the palace where the Soviet had met was a busy place. Red Guards and sailors filled the court-yard, sentries stood at the doors, and a stream of couriers and Commissars pushed in and out. In the Soviet room a samovar had been set up, and fifty or more workers, soldiers, sailors and officers stood around, drinking tea and talking at the top of their voices. In one corner two clumsy-handed workingmen were trying to make a multigraphing machine go. At the centre table, the huge Dybenko bent over a map, marking out positions for the troops with red and blue pencils. In his free hand he carried, as always, the enormous bluesteel revolver. Anon he sat himself down at a typewriter and pounded away with one finger; every little while he would pause, pick up the revolver, and lovingly spin the chamber.
"You hear him! You count upon it, too," she continued, turning upon Doktorenko. "You are as sure of him now as if you had the money in your pocket. And there you are playing the swaggerer to throw dust in our eyes! No, my dear sir, you may take other people in! I can see through all your airs and graces, I see your game!"
"Make allowances? For whom? Him--the old blackguard? No, no, Varia--that won't do! It won't do, I tell you! And look at the swagger of the man! He's all to blame himself, and yet he puts on so much 'side' that you'd think--my word!--'It's too much trouble to go through the gate, you must break the fence for me!' That's the sort of air he puts on; but what's the matter with you, Varia? What a curious expression you have!"
"Oh, _that's_ all the same! The chief thing is that she wants to see you after six months' absence. Look here, Gania, this is a _serious_ business. Don't swagger again and lose the game--play carefully, but don't funk, do you understand? As if she could possibly avoid seeing what I have been working for all this last six months! And just imagine, I was there this morning and not a word of this! I was there, you know, on the sly. The old lady did not know, or she would have kicked me out. I ran some risk for you, you see. I did so want to find out, at all hazards."
Alyosha was well aware that the story of the terrible case had spread all over Russia. And, good heavens! what wild rumors about his brother, about the Karamazovs, and about himself he had read in the course of those two months, among other equally credible items! One paper had even stated that he had gone into a monastery and become a monk, in horror at his brother's crime. Another contradicted this, and stated that he and his elder, Father Zossima, had broken into the monastery chest and "made tracks from the monastery." The present paragraph in the paper _Gossip_ was under the heading, "The Karamazov Case at Skotoprigonyevsk." (That, alas! was the name of our little town. I had hitherto kept it concealed.) It was brief, and Madame Hohlakov was not directly mentioned in it. No names appeared, in fact. It was merely stated that the criminal, whose approaching trial was making such a sensation--retired army captain, an idle swaggerer, and reactionary bully--was continually involved in amorous intrigues, and particularly popular with certain ladies "who were pining in solitude." One such lady, a pining widow, who tried to seem young though she had a grown-up daughter, was so fascinated by him that only two hours before the crime she offered him three thousand roubles, on condition that he would elope with her to the gold mines. But the criminal, counting on escaping punishment, had preferred to murder his father to get the three thousand rather than go off to Siberia with the middle-aged charms of his pining lady. This playful paragraph finished, of course, with an outburst of generous indignation at the wickedness of parricide and at the lately abolished institution of serfdom. Reading it with curiosity, Alyosha folded up the paper and handed it back to Madame Hohlakov.
Fullering denotes the preliminary roughing-down of the material between tools having convex edges; swaging, the completion or finishing process between swages, or dies of definite shape, nearly hemispherical in form. When a bar has to be reduced from larger to smaller dimensions, it is laid upon a fuller or round-faced stake, set in the anvil, or, in some cases, on a flat face (fig. 1), and blows are dealt upon that portion of the face which lies exactly opposite with a fullering tool A, grasped by a rather loosely-fitting handle and struck on its head by a sledge. The position of the piece of work is quickly changed at brief intervals in order to bring successive portions under the action of the swages until the reduction is completed; the upper face, and if a bottom fuller is used the under face also, is thus left corrugated slightly. These corrugations are then removed either by a flatter, if the surfaces are plane (fig. 2), or by hollow swages, if the cross section is circular (fig. 3). Spring swages (fig. 4) are frequently used instead of separate "top and bottom tools." Frequently swaging is practised at once, without the preliminary detail of fullering. It is adopted when the amount of reduction is slight, and also when a steam hammer or other type of power hammer is available. This process of drawing down or fullering is, when practicable, adopted in preference to either upsetting or welding, because it is open to no objection, and involves no risk of damage to the material, while it improves the metal by consolidating its fibres. But its limitations in anvil work lie in the tediousness of the operation, when the part to be reduced is very much less in diameter, and very much longer, than the original piece of bar. Then there are other alternatives. Entry: FORGING
Before 1790 women had begun to dismantle their high headgear, returning to nature by way of a frizzled bush, like a bishop's wig, with a few curls hanging over the shoulders. Over such heads would be seen towering mob-caps tied with ribbon and edged deeply with lace. Skirts took a moderate size and even court hoops were but panniers hung on either side of the hips. Short jackets with close half-sleeves were worn with the neck and breast covered with a cambric _buffant_ that borrowed a mode from the pouter pigeon. A riding habit follows as far as the short waist the new fashions for men's coats, the wide-brimmed hat being to match. Short waists came in soon after 1790, the bodice ending under the arm pits, "a petticoat tied round the neck: the arms put through the pocket-holes." With these French gowns came small coal-scuttle-shaped bonnets of straw, hung with many ribbons and decorated with feathers. At last the woman of fashion, dressed by a Parisian modiste after the orders of David the painter, gathered her hair in a fillet and clothed herself in little more than a diaphanous tunic gown over a light shift and close, flesh-coloured drawers. Her shoes became sandals: her jewels followed the patterns of old Rome. Yet the same woman, shivering half-clad in something that wrapped her less than a modern bathing-dress, appeared at court in the ancient hoop-skirt, tasselled, ribboned and garlanded, hung with heavy swags of coloured silk, and this until George IV. at last broke the antique order by a special command. Entry: FIG
At Coleshill, Berkshire, a ceiling by Inigo Jones (1650) shows a type which became more or less universal for a century, viz. deeply sunk panels with modillions round, and bands enriched with foliage, fruit, &c., in bold relief. Wren, Nicholas Hawksmoor, James Gibbs, John Webb and other architects continued on the same lines, and in 1760 Robert Adam introduced his type of ceiling, sometimes horizontal, and sometimes segmental, in which panels are suggested only, with slight projecting lines and rings of leaves, swags and arabesque work, which, like Raphael's, was found on the ceilings of the Roman tombs and baths in Rome and Pompeii. George Richardson followed with similar work, and Sir W. Chambers, in the rooms originally occupied by the Royal Academy and the learned societies in Somerset House, designed many admirable ceilings. The moulds of all the ornamental devices of Robert Adam are preserved and are still utilized for many modern ceilings. (R. P. S.) Entry: CEILING
During this period comedy had likewise been influenced by classical models; but the distance was less between the national farces and Terence, than between the mysteries and moralities, and Seneca and the Greeks. _L'Eugène_ differs little in style from the more elaborate of the old farces; and while it satirizes the foibles of the clergy without any appreciable abatement of the old licence, its theme is the favourite burden of the French comic theatre in all times--_le cocuage_. The examples, however, which directly facilitated the productivity of the French comic dramatists of this period, among whom Jean de la Taille was the first to attempt a regular comedy in prose,[88] were those of the Italian stage, which in 1576 established a permanent colony in France, destined to survive there till the close of the 17th century, by which time it had adopted the French language, and was ready to coalesce with French actors, without, however, relinquishing all remembrance of its origin. R. Belleau, a member of the "Pleiad," produced a comedy in which the type (already approached by Jodelle) of the swaggering captain appears,[89] J. Grévin copied Italian intrigue, characters and manners;[90] O. de Turnèbe (d. 1581) borrowed the title of one Italian play[91] and perhaps parts of the plots of others; the Florentine F. d'Amboise (d. 1558) produced versions of two Italian comedies;[92] and the foremost French comic poet of the century, P. de Larivey, likewise an Italian born (of the name of Pietro Giunto), openly professed to imitate the poets of his native country. His plays are more or less literal translations of L. Dolce,[93] Secchi[94] and other Italian dramatists; and this lively and witty author, to whom Molière owes much, thus connects two of the most important and successful growths of the modern comic drama. Entry: 11
_Dental Prosthesis._--The fastening of natural teeth or carved substitutes to adjoining sound teeth by means of thread or wire preceded their attachment to base-plates of carved wood, bone or ivory, which latter method was practised until the introduction of swaged metallic plates. Where the crown only of a tooth or those of several teeth were lost, the restoration was effected by engrafting upon the prepared root a suitable crown by means of a wooden or metallic pivot. When possible, the new crown was that of a corresponding sound tooth taken from the mouth of another individual; otherwise an artificial crown carved from bone or ivory, or sometimes from the tooth of an ox, was used. To replace entire dentures a base-plate of carved hippopotamus ivory was constructed, upon which were mounted the crowns of natural teeth, or later those of porcelain. The manufacture of a denture of this character was tedious and uncertain, and required much skill. The denture was kept in place by spiral springs attached to the buccal sides of the appliance above and below, which caused pressure upon both jaws, necessitating a constant effort upon the part of the unfortunate wearer to keep it in place. Metallic swaged plates were introduced in the latter part of the 18th century. An impression of the gums was taken in wax, from which a cast was made in plaster of Paris. With this as a model, a metallic die of brass or zinc was prepared, upon which the plate of gold or silver was formed, and then swaged into contact with the die by means of a female die or counter-die of lead. The process is essentially the same to-day, with the addition of numerous improvements in detail, which have brought it to a high degree of perfection. The discovery, by Gardette of Philadelphia in 1800, of the utility of atmospheric pressure in keeping artificial dentures in place led to the abandonment of spiral springs. A later device for enhancing the stability is the vacuum chamber, a central depression in the upper surface of the plate, which, when exhausted of air by the wearer, materially increases the adhesion. The metallic base-plate is used also for supporting one or more artificial teeth, being kept in place by metallic clasps fitting to, and partially surrounding, adjacent sound natural teeth, the plate merely covering the edentulous portion of the alveolar ridge. It may also be kept in place by atmospheric adhesion, in which case the palatal vault is included, and the vacuum chamber is utilized in the palatal portion to increase the adhesion. Entry: DENTISTRY