¹ Anne Catherine Emmerich
"... Anne Catherine Emmerich's Visions Thing" Rather strange stuff , at least to me,Anne Catherine Emmerich seems to have had a lot of influence on Gibson.

² Quem quaeritis
"... the famous 'Quem quaeritis?' trope" This trope was part of the Introit of the Easter Mass; the questions and answers would be sung by two halves of the choir. The tropes were eventually shifted from the Mass to the services of the hours, particularly Matins, the service before daybreak. From a tenth-century manuscript found in the monastery of St. Gall. Reproduced in Medieval and Tudor Drama, ed. John Gassner (1963: New York: Applause Theatre Book Publishers, 1987), 35. quod vide

Interrogation: Quem quaeritis in sepulchro, o Christicolae?
Responsio: Jesum Nazarenum crucifixum, o caelicolae.
Angeli: Non est hic; surrexit, sicut praedixerat. Ite, nuntiate quia surrexit de sepulchro

Question (by the Angels): Whom do ye seek in the sepulcher, O followers of Christ?
Answer (by the Marys): Jesus of Nazareth, who was crucified, O Heavenly Ones.
The Angels: He is not here: he is risen, just as he foretold. Go, announce that he is risen from the sepulcher

¹ From a BBC News Release:

Radio 4 Goes Potter At Christmas

Harry Potter comes to Radio 4 this Christmas. In an unprecedented move, Radio 4 is clearing its FM frequency on Boxing Day (26 December) to broadcast Harry Potter And The Philosopher’s Stone in its entirety.

BBC Radio 4 is the first broadcaster in the world to transmit the complete, unabridged story by J K Rowling, read by Stephen Fry.

Helen Boaden, Controller, Radio 4 says: " When I became Controller I was determined to get Harry Potter on Radio 4 because Harry Potter is now part of the imaginative landscape of several generations of children[*]. I felt Harry Potter might be a way of bringing a new generation of children - however briefly - to the magical experience of listening to speech radio and seeing the pictures in their heads".

Stephen Fry’s reading, the only one authorised by J K Rowling, will begin at 12 noon on Boxing Day on Radio 4 FM and continue until just after 8.00pm.

The author J K Rowling herself is pleased by the venture: "I don't think anyone could read Harry Potter And The Philosopher’s Stone better than Stephen Fry, so I'm really delighted that Radio 4 listeners will get a chance to hear him on Radio 4 on Boxing Day".

Radio 4’s regular schedule will be broadcast on Radio 4LW. Highlights on Long Wave include a Desert Island Discs special with Norman Painting, aka Phil Archer. Norman has played the part of Phil since the drama began in January 1951. Would-be singer/songwriter John Shuttleworth drops in on the network in Shuttleworth’s Christmas Special and Stuart Jeffries’s series of light-hearted essays, Mrs Slocombe’s Pussy, subtitled Growing Up In Front Of The Telly, should appeal to anyone who has watched television at any time over the past 47 years.

Issued November 29th 2000

 ____________________

* Which just goes to show that The Harry Potter series does encourage early reproductive activity---If you can accept that there have been several generations of children since the first one came out in July 1977.(My note.)

 Since the mid-1970s the Haggis has been protected under the Endangering Species Act, with strict (and very limited) limits placed on hunting, and then only by native crofters who are themselves nearly extinct. This means that the only Haggis available on the market is now ersatz: however still on Burns Nicht to maintain the ancient traditions, one of these substitutes is ceremoniously piped in to the dining room whilst all about salute it with toasts of a 'wee dram'; and then, since they are now made out of a sheep's stomach crammed with all sorts of vile, offal things, immediately and with much less ceremony piped out again accompanied with toasts of a not-so-wee dram, lest they spoil the appetites of the diners.
Should you be foolish enough to desire a (for want of a better word) taste here is an old recipe.

¹ "... Sesqui-Scot" Ahh! the perils of the half-breed!
I am clearly either a Scot and a half or an Englishman and a half, the logic being as follows:---
Each of my parents insists, following ancient tradition, that one of their race is equal to any two of the other.
Thus my composition is either:

one half English plus one half Scottish times two, totalling 1.5

or

one half Scottish plus one half English times two, totalling 1.5

Hence a Sesqui-Scot since that flows so much better than *Sesqui-Englishman.

²"... downhill leg." One of the most cogent arguments against Intelligent Design is this arrangement of the Haggis's legs since an Intelligent Designer would have realised that having two long legs on the downhill side is considerably more stable*. This is, interestingly, a strong argument against Darwinian evolution too, since this instability should result in strong selective pressure against the observed jambenation**.

Some say porridge should only be stirred in a clockwise direction using the right hand to avoid attracting the attention of the Devil. The stirring to be done with a straight wooden spoon or stick without a moulded or flat end and known is Scotland as a 'Spurtle' or 'Theevil'.
Porridge should always be spoken of as 'they' and old custom states that it should be eaten standing up. A bone spoon should always be used for eating porridge.

__________________
* This does not, we hasten to add, add up to an argument against Really-Stupid Design nor indeed Rather-Weird-Sense-of-Humour Design.

** Well you try to find a word that means 'the arrangement of a given number of legs on a body'.

¹Interestingly in Chris Sugden and Sid Kipper's _Prewd and Prejudice, A Norfolk Exile_ (p 137) it is mentioned that the Norfolk village of Trunch was on the side of the French Revolutionaries and so at war with England. This might explain our sailor's presence on L'Orient, if there was any evidence that he was not a Beccles native, but a ' damn furriner' from the far North of Norfolk. This would also explain his and Sue's treatment at the hands of the true-bread Becclesians.

² With the decline of the 'silver darlings' and the demise of the fishing industry and a general increase in the gag reflex of the general populace, I believe this to be no longer the case.

¹ Sumer Canon
"... talking about the Sumer canon" I thought it would be fun to put the contrafacta together! I've lined up the syllables for easy substitution. They are:
     1 The Middle English,
     2 The Latin (note that I use u as in the ms for both 1 and 2)
     3 A modernization of the ME
     4 A translation of the Latin
     5 Ezra Pound's winterized version.

        1 Su- mer is      i   -  cu -  men in-, *Lhu -de  sing cuc- cu.
        2 Per-spi-ce      Xri  - sti - co- la-, *que  di- gna- ci - o
        3 Sum-mer is      a   -  com - ing in-, *loud-ly  sing cuck-oo
        4 Pay at- tention Christ-i  -  a -  n-, *what hon-our  it   is
        5 Win-ter is      i  -   cu -  men in-, *Lhu- de  sing God- damm
                                                *subsequent voices enter

        1 Grow- eth sed  and blow - eth med   and sprignth the w -   de   nu.
        2 Cae - li- cus  ag- ri  -  co- la    pro ui   -   tis ui-   ci - o.
        3 Grows the seed and blooms the mead  and sprouts  the green wood now.
        4 The   Hus-band-man of Hea-ven for   a   blem  -  ish in    the  vine
        5 Rain- eth drop and stain- eth slop. And how      the wind  doth ramm!

        1 Sing cuc- cu.
        2 Fi - li - o
        3 Sing cuck-oo
        4 Hi - s    Son
        5 Sing God- damm!

        1 Aw-  e    ble - teth af - ter  lomb, lhouth af  -   ter cal- ue  cu
        2 Non  par- cens  ex - po - su - it,   mor -  tis     ex- i -  ci- o
        3 Ewe  she  bleat-eth  for  her  lamb, lows   for     her calf the cow
        4 Did  not  spare but  did  ex - pose  to     death's des-truc-ti- on
        5 Skid-deth bus   and  slop-peth us,   An     a   -   gue hath my  ham

        1 Bul - luc  stert-eth buc- ke  uer- teth, mu - rie  sing cuc- cu
        2 Qui   cap- ti -  uos se - mi- ui - uos   a    sup- pli- ci - o
        3 Young bull start-eth buck he  fart- eth  pret-t'ly sing cuck-oo
        4 Who   the  half  liv-ing  cap-tives did  from tor- ment of   Hell
        5 Free- zeth ri -  ver turn-eth li - ver   Damn you, sing God- damm!

        1 Cuc  -  cu!   Cuc -cu!    Wel  sing-est thu  Cuc -  cu!
        2 Vi  -   tae   do - nat    Et   se - cum co - ro -   nat
        3 Cuck -  oo!   Cuck-oo!    Well do   you sing Cuck-  oo!
        4 Restore to    li - fe!    And  with Him-self crowns them
        5 God  -  damm! God- damm! 'Tis  why  I   am,  God -  damm!

        1 Ne  swik   thu    na- uer  nu.
        2 In  cae -  li     so- li - o.
        3 Nor stop   you    ne- ver  now.
        4 On  the    throne of  hea- ven.
        5 So 'gainst the    win-ters balm.
__________________
Various Pedes:
            1 Sing  cuc - cu   nu    sing    cuc - cu
             I seem to remember that someone (Dobson?) thought the Lat. pes was
            2 Resur-rexit Domi-nus!  Dominus Resur-rexit! but I can't remember why.
            3 Sing  cuck- oo   now   sing    cuck- oo
            4 Risen has   the  Lord! Lord    has   risen
            5 Sing  God-  damm damm  sing    God - damm

Near the celebrated Lido where the breeze is fresh and free
Stands the ancient port of Venice called the City of the Sea.

All its streets are made of water, all its homes are brick and stone,
Yet it has a picturesqueness which is justly all its own.

Here for centuries have artists come to see the vistas quaint,
Here Bellini set his easel, here he taught his School to paint.

Here the youthful Giorgione gazed upon the domes and towers,
And interpreted his era in a way which pleases ours.

A later artist, Tintoretto, also did his paintings here,
Massive works which generations have continued to revere.

Still to-day come modern artists to portray the buildings fair
And their pictures may be purchased on San Marco's famous Square.

When the bell notes from the belfries and the campaniles chime
Still to-day we find Venetians elegantly killing time

In their gilded old palazzos, while the music in our ears
Is the distant band at Florians mixed with songs of gondoliers.

Thus the New World meets the Old World and the sentiments expressed
Are melodiously mingled in my warm New England breast.