بسم الله الرحمن الرحيم


البشرى الحادية والعشرون بشرى فضل ترك حبِّ الشهرة
وهذه البشرى يا إخوانى من البشريات التى نحتاج لها بشدة هذه الأيام لماذا؟ لأن كل واحد يعمل صالحاً أو طيباً فى نفسه أو لغيره تقوم عليه نفسه وتأخذ تزين له الأسباب والأعذار ليعلم الناس بما خفى من حاله أو بما قام به نحو أحبابه أو مجتمعه وخلانه والأعذار كثيرة والمجتمع يحتاج للكثير من العمل وهذه الخصلة السيئة تفتح على الأمة والأفراد أبواباً من الشرور لا عدَّ لها ولا حصر لأنها تفتح باب الأنانية وحب مصلحة النفس وحب مدح الناس وإنشغال أهل قضاء المصالح بحبِّ ذكر الناس لهم وتقديمهم ثم انتفاعهم فى مقابل قضاء مصالحهم هذه الخصلة الذميمة تفتح باب الرشوة والنفاق والمجاملات الكاذبة والفارغة ولذلك بشَّر الحبيب المصطفى كلَّ من يعمل مراقباً مولاه لا يبغى سوى رضاه ومصلحة أهله وإخوانه ومجتمعه بشرهم بحب الله وما أعلاه فقال{إِنَّ اللّهِ يُحِبُّ الْعَبْدَ التَّقِيَّ الْغَنِيَّ الْخَفِيَّ}[1]ألا يكفى أحدكم أن يحبَّه الله فيطلب حب الشهرة والذكر بين الناس ألا يكفى أحدكم بشرى الذكر فى الملأ الأعلى على لسان مولاه فينادى الله جبريل أنه يحب فلاناً ويأمره بحبِّه فينادى جبريل ويأمر أهل السماء بحبه ثم يوضع له القبول فى الأرض بسرِّ الله وقدرته فيحبه أهل الأرض لماذا؟ لأنه طلب حبِّ الله وذكر مولاه أما من أحبَّ أن يذكر الناس أعماله أو يتحدثون بخصاله وفعاله أو تقواه وأحواله فهو على خطر عظيم إسمعوا إلى الحبيب يحذِّر من ذلك بشدة ويقول{إنَّ الاْتِّقَاءَ عَلَى الْعَمَلِ أَشَدُّ مِنَ الْعَمَلِ وَإنَّ الرَّجُلَ لَيَعْمَلُ الْعَمَلَ فَيُكْتَبُ لَهُ عَمَلٌ صَالِحٌ مَعْمُولٌ بِهِ فِي السِّرِّ يُضَعّفُ أَجْرُهُ سَبْعِينَ ضِعْفاً فَلاَ يَزَالُ بِهِ الشَّيْطَانُ حَتَّى يَذْكُرَهُ لِلنَّاسِ وَيُعْلِنَهُ فَيُكْتَبَ عَلاَنِيَةً وَيُمْحَى تَضْعِيفُ أَجْرِهِ كُلِّهِ ثُمَّ لاَ يَزَالُ بِهِ الشَّيْطَانُ حَتَّى يَذْكُرَهُ لِلنَّاسِ الثَّانِيَةَ، وَيُحِبُّ أَنْ يُذْكَرَ بِهِ، وَيُحْمَدَ عَلَيْهِ فَيُمْحَى مِنَ الْعَلاَنِيَةِ، وَيُكْتَبَ رِيَاءً، فَاتَّقَى اللَّهَ امْرُؤٌ صَانَ دِينَهُ وَإنَّ الرِّيَاءَ شِرْكٌ}[2] وأخطر من إعلان العمل وكشفه أن يعمل الواحد العمل فى منفعة نفسه أو أهله أو مجتمعه بغرض أن يتحدث الناس عنه بذلك فهذا أشدُّ و أنكى لماذا؟ لأنه يعمل رياءاً وهذا ما حذَّر منه الحبيب لأنه عمل سراً فأخذ أجراً مضاعفاً ثم أعلنه فخسر مضاعفة الأجر وصار علانية ثم استحب مدح الناس فتكلم وذكر ما عمل ليمدحوه فصار والعياذ بالله رياءاً وسمعة وشهرة أويس القرنى كم مجلساً حضرها مع النبى؟لم يحضر معه أى مجلس إذاً كيف أوصى النبى الصحابة أن يذهبوا إليه ويطلبوا منه أن يستغفر لهم؟وظلا عمر وعلى يبحثان عنه فى كل عام فى الحج إلى أن التقياه بعد جهد جهيد لأنه غير معروف فى قومه فطلبا منه أن يستغفر لهما وهما المبشَّران بالجنة لكن سيدنا رسول الله يعلِّمنا أقدار الرجال من الأتقياء الأخفياء المخلصين الذين لا يهمهم معرفة الناس بهم وإنما كل نظرهم إلى مولاهم وكل محل إهتمامهم أن يقوموا لله مخلصين صادقين بما أوجبه الله عليهم نحو أنفسهم وأهليهم ومجتمعهم ولذا قال{إِنَّ أَغْبَطَ أَوْلِيَائِي عِنْدِي لَمُؤْمِنٌ خَفِيفُ الْحَاذِ ذُو حَظٍ مِنَ الصَّلاَةِ أَحْسَنَ عِبَادَةَ رَبِّهِ وَأَطَاعَهُ فِي السِّرِّ وَكَانَ غَامِضاً فِي النَّاسِ لا يُشَارُ إِلَيْهِ بالاصَابِعِ وَكَانَ رِزْقُهُ كَفَافاً فَصَبرَ عَلَى ذَلِكَ ثم نَقَرَ بإصْبَعَيْهِ فَقَالَ: عُجِّلْتْ مَنِيَّتُهُ قَلَّتْ بَوَاكِيهِ قَلَّ تُرَاثُهُ}[3] ويضيف الصالحون لذلك من آداب السلوك كلَّ من رأى نفسه أولى من أخيه بفضيلة أو مزية فيجب عليه التوبة وسد منفذ الغرور والاعتذار لإخوانه قولاً وفعلاً فيرى نفسه أنه ليس أهلاً لمكانته وينزل إلى خدمتهم أو يترك التكلم عليهم والتقدم عليهم حتى يقيمه إخوانه برضاء منهم وصفاء بعد أن يترك بيقين حبًّ الشهرة بين إخوانه المؤمنين ولذا قالوا{الخمولُ نِعْمَةٌ والكلُّ يأباها والشهرةُ نِقْمَةٌ والكلُّ يتمنَّاها} ولأبى الحسن الاحنف العكبري:
من أراد العزَّ والراحة من هم طويل فليكن فردا من الناس ويرضى بالقليل
ويرى أن قليلا نافعا غير قليل ويرى بالحزم أن الحزم في ترك الفضول
ويداوى مرض الوحدة بالصبر الجميل لا يمارى أحدا ما عاش في قال وقيل
يلزم الصمت فإن الصمت تهذيب العقول يذر الكبر لاهليه ويرضى بالخمول
أي عيش لإمرى يصبح في حال ذليل بين قصد من عدو ومداراة جهول
واعتلال من صديق وتجنٍّ من ملول واحتراس من عدو السوء أو عذل عذول
ومماشاة بغيض ومقاساة ثقيل إن من معرفة الناس على كل سبيل
وتمام الامر لايعرف سمحا من بخيل فإذا أكمل هذا كان في ظلٍّ ظليل
البشرى الثانية والعشرون بشرى ترك الفضول
وهنا بشرى نحب أن تشيع بين الناس فكلُّ واحد منا يحبُّ أن يحسن إسلامه ويرقى حاله ويزيد قرباً من سيده ومولاه فتأتى له بشرى الحبيب الطبيب تقول له{مِنْ حُسْنِ إسْلاَمِ المَرْءِ تَرْكُهُ مَا لاَ يَعْنِيهِ}[4]وحتى يحسن إسلام المرء فلابد للسان ألا يتحرك إلا على الهدى المستقيم فلا يدخل فيما لا يعنيه فصاحب فضول ليس له نصيب فى الوصول إلا إذا اجتث من نفسه ومن قلبه كل آلات الفضول ولا يبقى له فضول إلا فى أحوال الصالحين وفى رؤية سيد الأولين والآخرين وفى المعانى العلية المبثوثة فى كتاب ربِّ العالمين لكن الفضول فيما فى أيدى الخلق أو ما على أجساد الخلق أو فيما يسكنه الخلق فلا شئ ينفعك من ذلك خبرونى بالله عليكم ما نفع أن تعرف ما دار بين أخيك وزوجه؟ إذا لم يطلعك هو بنفسه أو ما قال فلان لآخر؟ سيشغل إبليس قلبك بهواك فتضل وتزل وتنشغل جوارحك الظاهرة والباطنة بأسرار لا تنفع بل وستصبح مثل بالونة مليئة بعورات الناس وأخبارهم وتريد أن تتقيأها فى كل مكان تذهب إليه فتصير عند الناس قتاتا وممقوتاً ويغلق الله دونك أبواب القبول والوصول وكلُّ خيرٍ مأمول ولا يلبث الخلق أن يغلقوا أبوابهم بوجهك ولذلك روى سيدنا أَنَسٍ رَضِيَ اللَّهُ عَنْهُ قَالَ{تُوفِّيَ رَجُلٌ فَقَالَ رَجُلٌ آخَرُ ورَسُولُ اللَّهِ يَسْمَعُ: أَبْشِرْ بِالْجَنَّةِ فَقَالَ رَسُولُ اللَّهِ:أَوَ لاَ تَدْرِي؟ فَلَعَلَّهُ تَكَلَّمَ فِيمَا لاَ يَعْنِيهِ أَوْ بَخِلَ بِمَا لاَ يَنْقُصُهُ}[5] لأنه قد قال لهم محذراً ومنبهاً مراراً وتكراراً{إنَّ اللّهَ كَرِهَ لَكُمْ ثَلاَثاً: قِيلَ وَقَالَ وَإضَاعَةَ الْمَالِ وَكَثْرَةَ السُّؤَالِ}[6]وقيل فى مدح ترك الفضول :
قطعتُ مطامعي واعتضتُ عنها عزيزاً بالقَناعَةِ والخُمولِ
ورمتُ الزهدَ في الدنيا لأنّي رأيتُ الفضل في ترك الفضول
وقال أحد الحكماء فى ترك الفضول أبيات ظريفة لأبنائه نذكرها :
هذا وربِّ السماء أعـجـب مـن حمار وحشٍ في البر منـتـعـل
أخاطبه يا عاقل كـي أسـائلـه مالك وما للخلق من شغل
فقال يخشى فـوات حـاجـتـه أو ليس هذا من أفضل العمل
فقلت لم يفت للمرء شأن الرب قدره بل قد يفوت بذنب الجسِّ والحيل
فاترك شئون الخلق للرب خالقها إن الأذى كله من تلكم الـسبل
فصد عني تغـافـلاً ومـضـى يعجب من عقلـه ومن خـلـلـي
وصاح مـن خـلـفـه رويدك إنَ الفضول سرُّ النصر من قـبـل
قلت إرجع إلـى قول الرسول تفز إن الفضول حبلٌ بالنار متصل
أجب إذا ما سئلت مـقـتـصـداً في القول واسكت إن أنت لم تسل
أنت بترك الفـضـول أجـدر لـو سلمت من خـفةً ومـن خـطـل
أما بشرى ترك الفضول التى يفهمها الصالحون فلا تقتصر على ما مضى ولكن اسمع للعارفين إذ دأبوا على الحثِّ على ترك الفضول والبعد عن أخلاق الفضوليين الذميمة فيقول الشيخ ابْنَ الأَعْرَابِيِّ{الْمَعْرِفَةُ كُلُّهَا الاعْتِرَافُ بِالْجَهْلِ وَتَرْكُ الْفُضُولِ } ولذلك فإن من أعلى وأجمل ما قال العارفون فى ترك الفضول ما قاله أحد الحكماء فى بيان معنى ترك الفضول عند الصالحين إذ يوضح أن كل ما لا يسوق المرء لتهذيب النفس للوصول إلى الله هو من الفضول الممقوت والذى يجب تجنبه واستمتع بمعانى كلامه الراقى إذ يقول:
هذب النفس إن رمت الوصول غير هذا عندنا عين الفضول
حصل العلم بعزم صادق لا تكن في العلم كسلانا ملول
علم النفس توحيد العلي من بيان الآي عن فرد قئوول
حصل الأحكام بالقدر الذي يقتضيه الوقت لا قال يقول
حسن النيات وانهج نهج ما صح بالإسناد تحظى بالقبول
صاحبن أهل التقى والزمنهم واتبع نور الهدى فعل الرسول
وادخلن حصن الشريعة واهجرن كل مفتون ومغرور جهول
واصطف الرؤوف الرحيم اسع إلى من يزكي النفس عنه لا تحول
رتل القرآن وافقه آية وافهمن سر الإشارة والفضول
آثر الأخرى على الدنيا عسى يقبل الله فتحظى بالوصول
وازهدن فيما يزول مسارعا للذى يبقى بأحوال الفحول
أخلصن لله قلبا قالبا واسألنه الفضل منه والقبول
بر أصليك القريبين ارحمن كل فرد منهما عند المحول
فإذا صرت من أهل تلك الأخلاق العالية والآداب الراقية تزكو نفسك ويصير الشغل بذكر الله هو الأحب لقلبك فإذا شغلت نفسك بذكر الله وحب حبيبه ومصطفاه والرغبة فى معرفة أسرار التنزلات الرحمانية فى الآيات القرآنية والأحاديث النبوية فإن هذا بالطبع لن يستقيم لك إلا بدوام يقظة القلب و الإصرار على ترك الإشتغال بالخلق ولديها فتصير آلات استقبالك كلها موجهة للمصادر الربانية والفضائيات الإلهية السماوية وقنوات البث المحمدية العلوية لا للأوساخ الدنية والأخبار الدنيوية من القيل والقال أوكثرة السؤال عما لا يعنيك من الأحوال فهؤلاء الذين أكرموا هم مقتصدون حتى فى حديثهم فى كلام الواحد المتعال أو فى حديث الحبيب الأعظم أو سيرة الآل فكيف يستبيحون وقتهم فى الفضول أو اللهو فضلاً عن باطل أو قيل وقال بأى حال
البشرى الثالثة والعشرون بشرى السلامة فى الصمت
أما هذه البشرى فهى سرُّ من أسرار السلامة وتجنب الغى والعى والندامة ولذا بشَّر رسول الله سيدنا معاذ بالسلامة والنجاة فقال له ولنا ولمن يريدون النجاة والسعادة والسلامة إلى يوم القيامة{إِنَّكَ لَنْ تَزَالَ سَالِماً مَا سَكَتَّ، فَإِذَا تَكَلَّمْتَ كُتِبَ لَكَ أَوْ عَلَيْكَ}[7]ولذا نصحهم بوضوح لا يقبل الشك فقال{أَمْسِكْ عَلَيْكَ لِسَانَكَ}[8]أهذا صعبٌ أو ليس ممكناً قال الحكماء{ فعلٌ وليس بفعل به النجاة بالفعل علِّق باللسان ثقل أو ضع على الفم قفل} أفيعزُّ على أحدكم أن يسلم وينجو بغلق فمه فوالله لو عقل هذا أحد لصمت إلى الأبد فنجا ولم يكن مثله أحد إلا من فعل مثله أو زاد وما الزيادة إلا النطق عند الحاجة بقدر أما الفائدة الثانية فى بشرى الصمت أن الصمت سرٌّ من أسرار الوصول أوصى به الله وشدَّد عليه الرسول ونصح به كل عبد بالله موصول ولذا كانت المجالس العملية التى يرتفع بها أهل المعية إلى الدرجات العلية يقول فيها سيدنا أبو الدرداء{تعلموا الصمت كما تتعلمون الكلام فإن الصمت حكم عظيم وكن إلى أن تسمع أحرص منك إلى أن تتكلم ولا تتكلم في شيء لا يعنيك}[9] فكانوا يدخلون ورشة عملية يعلمهم فيها رسول الله الصمت كما نتعلم نحن ونعلم أولادنا الصغار الكلام ولذا كان ابن مسعود يقول فى الورشة العملية{إن كان الشؤم في شيء ففي اللسان}[10]وكانوا يستخدمون النماذج التعليمية فكان سيدنا أبو بكر يضع حجراً تحت لسانه فلا يتكلم إلا فيما يرضى الله فيسألونه ما هذا؟ فيقول وهو يشير إلى لسانه{هذا الذي أوردني الموارد}[11]{مَا يَلْفِظُ مِن قَوْلٍ إِلَّا لَدَيْهِ رَقِيبٌ عَتِيدٌ}فكانت الورشة الأولى فى العبادة العملية التى كان يُشرف عليها خير البرية هى تَعَلُم الصمت ومن يدخل هذه الورشة يأخذ ما فيها من بضاعة بعد أن يُحَصِّل وفى النهاية يعطيه الله جزاء هذه الطاعة مع شهادة التخرج{يُؤتِي الْحِكْمَةَ مَن يَشَاءُ وَمَن يُؤْتَ الْحِكْمَةَ فَقَدْ أُوتِيَ خَيْراً كَثِيراً}وشهادة التخرج مكتوب فيها " حكيم" قال النبى{إِذَا رَأَيْتُمُ الرَّجُلَ قَدْ أُعْطِيَ زُهْداً فِي الدُّنْيَا وَقِلَّةَ مَنْطِقٍ فَاقْتَرِبُوا مِنْهُ فَإنَّهُ يُلَقَّنُ الْحِكْمَةَ}[12]وقال الشاعر أبو نواس فى شىء من شعر الحكمة :
خلّ جنبيك لرام وامض عنه بسلام
مت بداء الصمت خير لك من داء الكلام
ربما استفتحت بالنطــق مغاليق الحمام
إنما السالم من ألــجم فاه بلجام
وقال حكيم لأبنائه معلماً ومربيَّاً{يا أبنائى صمتٌ قد يعقبه ندامة خيرٌ من نطق يسلب السلامة }ثم أنشدهم قائلاَ:
الصمت زين والسكوت سلامة فإذا نطقت فلا تكن مكثاراً
ما إن ندمت على سكوتي مرّة ولقد ندمت على الكلام مرارا
وقالوا{لسانك سبْعٌ إن عقلته حرسك وإن أرسلته افترسك}وقيل{اخزن لسانك كما تخزن مالك واعرفه كما تعرف ولدك وزنه كما تزن نفقتك وانفق منه بقدر وكن منه على حذر فإن انفاق ألف درهمٍ في غير بابها أيسر من إطلاق كلمة في غير حقها} وقال الشاعر فى بيان خطر اللسان:
احفظ لسانك واحتفظ من شرّه إنّ اللسان هو العدوّ الكاشح
وزن الكلام إذا نطقت بمجلس فيه يلوح لك الصواب اللائح
والصمت من سعد السعود بمطلع تحيا به والنطق سعد الذابح
وقال بعض الحكماء عليك بالصمت وإن أصبت في القول وبرزت في الفضل:
رب كلمة قلت جلبت المقدوراً خربت لك دوراً عمرت قبوراً
فاحفظ لسانك أن تنال ثبورا إن المناطق تجلب المحذورا
وللإمام الشافعى قول رائع فى ذلك اشتهر وذاع وروى لآخرين:
احفظ لسانك أيها الانسان لا يلدغنك إنه ثعبان
كم في المقابر من قتيل لسانه كانت تهاب لقاءه الشجعان

[1] صحيح مسلم عن عامر بن سعد.
[2] رواه البيهقي عَنْ أَبِي الدَّرْدَاءِ الترغيب والترهيب
[3] عن ابنِ عَبَّاسٍ جامع المسانيد والمراسيل، وكثير غيره.
[4] رواه الإمام الترمذى فى سننه عَنْ أَبي أُمَامَةَ
[5] عَنْ عَلِيِّ بْنِ حُسَيْنِ بْنِ عَلِيِّ بْنِ أَبِي طَالِبٍ، موطأ مالك ، وكثير غيره .
[6] رواه الترمذي عن أنس وقال: حديث حسن غريب قال الحافظ: رواته ثقات الترغيب والترهيب
[7] صحيح مسلم عن المغيرة بن شعبة.
[8] سير أعلام النبلاء
[9] عن معاذٍ للطبراني في الكبير وللبيهقي في شعب الإيمان جامع المسانيد والمراسيل
[10] رواه أحمد والطبرانى عن عقبة بن عامر.
[11] مكارم الأخلاق (الخرائطي)
[12] لأبي نعيم في الحلية وللبيهقي في شعب الإيمان عن أبـي هريرة فى جامع الأحاديث والمراسيل

Cairo is listed as Open Source, but their FAQ states that it is free of cost, but closed source.

â?? Previous revision Revision as of 21:57, 9 February 2012 Line 7: Line 7:   | [[bbLean]] || Open source || â??
  | [[bbLean]] || Open source || â??
  |-
  |-
â?? | [[Cairo (shell)|Cairo]] || Open source || XP, Vista, 7
+ | [[Cairo (shell)|Cairo]] || Proprietary || XP, Vista, 7
  |-
  |-
  | [[Calmira]] || Open source || 3.1
  | [[Calmira]] || Open source || 3.1
Line 44: Line 44:   ==External links==
  ==External links==
  *{{Cite web |url=http://msdn.microsoft.com/en-us/library/ms838576.aspx |title=Windows XP Embedded – Different Shells for Different Users |last1=Liming |first1=Sean |date=August 2003 |work=[[Microsoft Developer Network]] |publisher=[[Microsoft]] |accessdate=15 November 2011}}
  *{{Cite web |url=http://msdn.microsoft.com/en-us/library/ms838576.aspx |title=Windows XP Embedded – Different Shells for Different Users |last1=Liming |first1=Sean |date=August 2003 |work=[[Microsoft Developer Network]] |publisher=[[Microsoft]] |accessdate=15 November 2011}}
  + *{{Cite web |url=http://cairoshell.github.com/faq/ |title=Cairo - Windows Shell Alternative - FAQ |accessdate=9 February 2012}}
      {{DEFAULTSORT:List of alternative shells for Windows}}
  {{DEFAULTSORT:List of alternative shells for Windows}}

new user account

â?? Previous revision Revision as of 21:57, 9 February 2012 Line 1: Line 1:   {{Use British English|date=August 2011}}
  {{Use British English|date=August 2011}}
  [[Image:Frances Trollope by Auguste Hervieu.jpg|thumb|right|Oil on canvas of Frances Trollope by [[Auguste Hervieu]], circa 1832]]
  [[Image:Frances Trollope by Auguste Hervieu.jpg|thumb|right|Oil on canvas of Frances Trollope by [[Auguste Hervieu]], circa 1832]]
â?? '''Frances Milton Trollope''' (10 March 1779 â?? 6 October 1863) was an English novelist and writer who published as '''Mrs. Trollope''' or '''Mrs. Frances Trollope'''. Her first book, ''[[Domestic Manners of the Americans]]'' (1832) has been the best known, but she also published strong social novels: an [[anti-slavery]] novel said to influence the work of the American [[Harriet Beecher Stowe]], the first [[industrial novel]], and two [[anti-Catholic]] novels that used a Protestant position to examine self-making. Recent scholars note that [[modernist]] critics tended to exclude women writers such as Frances Trollope from serious consideration.{{Citation needed|date=June 2011}}
+ '''Frances Milton Trollope''' (10 March 1779 â?? 6 October 1863) was an English novelist and writer who published as '''Mrs. Trollope''' or '''Mrs. Frances Trollope'''. Her first book, ''[[Domestic Manners of the Americans]]'' (1832) has been the best known, but she also published strong social novels: an [[anti-slavery]] novel said to influence the work of the American [[Harriet Beecher Stowe]], the first [[industrial novel]], and two [[anti-Catholic]] novels that used a Protestant position to examine self-making.
    â?? Her detractors familiarly called her by the diminutive '''Fanny Trollope''', considered slightly vulgar, and discounted her prolific production. Her first and third sons, [[Thomas Adolphus Trollope|Thomas Adolphus]] and [[Anthony Trollope|Anthony]], also became writers; Anthony Trollope became respected for his social novels.{{Citation needed|date=June 2011}}
+ Recent scholars note that [[modernist]] critics tended to exclude women writers such as Frances Trollope from serious consideration.{{Citation needed|date=June 2011}}
  + Her detractors familiarly called her by the diminutive '''Fanny Trollope''', considered slightly vulgar, and discounted her prolific production.
  +   + Her first and third sons, [[Thomas Adolphus Trollope|Thomas Adolphus]] and [[Anthony Trollope|Anthony]], also became writers; Anthony Trollope became respected for his social novels.{{sfn|Chisholm|1911}}
      ==Biography==
  ==Biography==
  Born at [[Stapleton, Bristol]], Frances Milton at the age of 30 married Thomas A. Trollope, a [[barrister]], on 23 May 1809 at Heckfield, Hampshire. They had four sons and three daughters, and he struggled with financial misfortune.Frances Eleanor Trollope, "Frances Trollope Her Life and Literary Work from George III to Victoria, Vol. One", (Bentley and Son, 1895) p.42 [http://www.archive.org/stream/france...trol_djvu.txt]
  Born at [[Stapleton, Bristol]], Frances Milton at the age of 30 married Thomas A. Trollope, a [[barrister]], on 23 May 1809 at Heckfield, Hampshire. They had four sons and three daughters, and he struggled with financial misfortune.Frances Eleanor Trollope, "Frances Trollope Her Life and Literary Work from George III to Victoria, Vol. One", (Bentley and Son, 1895) p.42 [http://www.archive.org/stream/france...trol_djvu.txt]
    â?? In 1827 Frances Trollope took her family to [[Fanny Wright]]'s [[utopian]] community, [[Nashoba Commune]], in the United States. This community soon failed, and she ended up in [[Cincinnati]], Ohio with her sons. Although she tried to find ways to support herself, they were unsuccessful. She encouraged the sculptor [[Hiram Powers]] to do [[Dante Alighieri]]'s ''Commedia'' in waxworks. After her return to England, she began writing to support her family.{{Citation needed|date=June 2011}}
+ In 1827, Frances Trollope took her family to [[Fanny Wright]]'s [[utopian]] community, [[Nashoba Commune]], in the United States. This community soon failed, and she ended up in [[Cincinnati]], Ohio with her sons.
  + Although she tried to find ways to support herself, they were unsuccessful.
  + She encouraged the sculptor [[Hiram Powers]] to do [[Dante Alighieri]]'s ''Commedia'' in waxworks. After her return to England, she began writing to support her family.{{sfn|Chisholm|1911}}
      Two sons also became writers: her eldest surviving son, [[Thomas Adolphus Trollope]], wrote mostly histories: ''The Girlhood of Catherine de Medici'', ''History of Florence'', ''What I Remember'', ''Life of Pius IX'', and some novels. Her fourth son [[Anthony Trollope]] became the better known and received novelist, establishing a strong reputation, especially for his serial novels such as ''[[Palliser novels|The Pallisers]]''.{{Citation needed|date=June 2011}}
  Two sons also became writers: her eldest surviving son, [[Thomas Adolphus Trollope]], wrote mostly histories: ''The Girlhood of Catherine de Medici'', ''History of Florence'', ''What I Remember'', ''Life of Pius IX'', and some novels. Her fourth son [[Anthony Trollope]] became the better known and received novelist, establishing a strong reputation, especially for his serial novels such as ''[[Palliser novels|The Pallisers]]''.{{Citation needed|date=June 2011}}
      ==Writing career==
  ==Writing career==
â?? On her return to England, Trollope began writing and gained notice with her first book, ''[[Domestic Manners of the Americans]]'' (1832). She gave an unfavourable and, in the opinions of partisans of America, exaggerated account of the subject. She was thought to reflect the disparaging views of American society allegedly commonplace at that time among English people of the higher social classes. The book is also acerbic and witty. Her novel, ''The Refugee in America'' (1832), expressed similar views. {{Citation needed|date=June 2011}}
+ On her return to England, Trollope began writing and gained notice with her first book, ''[[Domestic Manners of the Americans]]'' (1832).
  + She gave an unfavourable and, in the opinions of partisans of America, exaggerated account of the subject. {{sfn|Chisholm|1911}}
  + She was thought to reflect the disparaging views of American society allegedly commonplace at that time among English people of the higher social classes.
  + The book is also acerbic and witty.
  + Her novel, ''The Refugee in America'' (1832), expressed similar views. {{Citation needed|date=June 2011}}
      Next came ''The Abbess'' (1833), an [[anti-Catholic]] novel, as was ''Father Eustace'' (1847). While they borrowed from [[Female Gothic|Victorian Gothic]] conventions, the scholar Susan Griffin notes that Trollope wrote a Protestant critique of Catholicism that also expressed "a gendered set of possibilities for self-making", which has been little recognised by scholars. She noted that "[[Modernism]]'s lingering legacy in criticism meant overlooking a woman's nineteenth century studies of religious controversy."[http://www.jstor.org/pss/25058624 Susan M. Griffin, "Revising the Popish Plot: Frances Trollope's 'The Abbess' and 'Father Eustace'"], ''Victorian Literature and Culture,'' 2003, p. 279, JSTOR, accessed 24 February 2011
  Next came ''The Abbess'' (1833), an [[anti-Catholic]] novel, as was ''Father Eustace'' (1847). While they borrowed from [[Female Gothic|Victorian Gothic]] conventions, the scholar Susan Griffin notes that Trollope wrote a Protestant critique of Catholicism that also expressed "a gendered set of possibilities for self-making", which has been little recognised by scholars. She noted that "[[Modernism]]'s lingering legacy in criticism meant overlooking a woman's nineteenth century studies of religious controversy."[http://www.jstor.org/pss/25058624 Susan M. Griffin, "Revising the Popish Plot: Frances Trollope's 'The Abbess' and 'Father Eustace'"], ''Victorian Literature and Culture,'' 2003, p. 279, JSTOR, accessed 24 February 2011
Line 19: Line 19:   Trollope wrote more travel works, such as ''Belgium and Western Germany in 1833'' (1834), ''Paris and the Parisians in 1835'' (1836), and ''Vienna and the Austrians'' (1838).The Cambridge Bibliography of English Literature, Volume 4; Volumes 1800-1900, Cambridge University Press, 2000
  Trollope wrote more travel works, such as ''Belgium and Western Germany in 1833'' (1834), ''Paris and the Parisians in 1835'' (1836), and ''Vienna and the Austrians'' (1838).The Cambridge Bibliography of English Literature, Volume 4; Volumes 1800-1900, Cambridge University Press, 2000
    â?? She received more attention during her lifetime for what are considered several strong novels of social protest: ''Jonathan Jefferson Whitlaw'' (1836) was the first anti-slavery novel, influencing the American [[Harriet Beecher Stowe]]'s ''[[Uncle Tom's Cabin]]'' (1852). ''Michael Armstrong: Factory Boy''{{cite web|url=http://www.spartacus.schoolnet.co.uk/IRarmstrong.htm |title=Michael Armstrong: Factory Boy |publisher=Spartacus.schoolnet.co.uk |date= |accessdate=2012-01-21}} began publication in 1840 and was the first [[industrial novel]] to be published in Britain. Other socially conscious novels included ''The Vicar of Wrexhill'' (1837 / Richard Bentley, London, 3 volumes), which took on corruption in the [[Church of England]] and evangelical circles. Possibly her greatest work is the ''Widow Barnaby'' trilogy (1839â??1855). This set a pattern of sequels which her son Anthony Trollope also used in his oeuvre. {{Citation needed|date=June 2011}}
+ She received more attention during her lifetime for what are considered several strong novels of social protest: ''Jonathan Jefferson Whitlaw'' (1836) was the first anti-slavery novel, influencing the American [[Harriet Beecher Stowe]]'s ''[[Uncle Tom's Cabin]]'' (1852). ''Michael Armstrong: Factory Boy''{{cite web|url=http://www.spartacus.schoolnet.co.uk/IRarmstrong.htm |title=Michael Armstrong: Factory Boy |publisher=Spartacus.schoolnet.co.uk |date= |accessdate=2012-01-21}} began publication in 1840 and was the first [[industrial novel]] to be published in Britain.
  + Other socially conscious novels included ''The Vicar of Wrexhill'' (1837 / Richard Bentley, London, 3 volumes), which took on corruption in the [[Church of England]] and evangelical circles. Possibly her greatest work is the ''Widow Barnaby'' trilogy (1839â??1855).
  + This set a pattern of sequels which her son Anthony Trollope also used in his oeuvre. {{Citation needed|date=June 2011}}
    â?? In later years Mrs. Trollope continued to write novels and books on miscellaneous subjects, writing in all over 100 volumes. She was considered to have powers of observation and a sharp and caustic wit, but her prolific production and the rise of modernist criticism caused her works to be overlooked in the twentieth century. Few of her books are now read, but her first and two others are available on [[Project Gutenberg]]. {{Citation needed|date=June 2011}} For a full list of her works, see [[Frances Trollope bibliography]].
+ In later years Mrs. Trollope continued to write novels and books on miscellaneous subjects, writing in all over 100 volumes.
  + She was considered to have powers of observation and a sharp and caustic wit, but her prolific production and the rise of modernist criticism caused her works to be overlooked in the twentieth century.
  + Few of her books are now read, but her first and two others are available on [[Project Gutenberg]]. {{Citation needed|date=June 2011}}
  + For a full list of her works, see [[Frances Trollope bibliography]].
      After the death of her husband and daughter, in 1835 and 1838 respectively, Trollope relocated to [[Florence]], Italy, where she lived until her death in 1863.{{cite book|editors=Krueger, Christine L. et al|chapter=Trollope, Frances Milton (1779â??1863)|title=Encyclopedia of British Writers: 19th and 20th Centuries|publisher=Infobase Publishing|year=2003|isbn=9780816046706|page=346|u rl=http://books.google.com/books?id=Dnqi3gRxgvQC&pg=PA346}} She was buried near four other members of the Trollope household in the [[English Cemetery of Florence]].{{Citation needed|date=June 2011}}
  After the death of her husband and daughter, in 1835 and 1838 respectively, Trollope relocated to [[Florence]], Italy, where she lived until her death in 1863.{{cite book|editors=Krueger, Christine L. et al|chapter=Trollope, Frances Milton (1779â??1863)|title=Encyclopedia of British Writers: 19th and 20th Centuries|publisher=Infobase Publishing|year=2003|isbn=9780816046706|page=346|u rl=http://books.google.com/books?id=Dnqi3gRxgvQC&pg=PA346}} She was buried near four other members of the Trollope household in the [[English Cemetery of Florence]].{{Citation needed|date=June 2011}}
Line 46: Line 46:   ==References==
  ==References==
  {{Reflist}}
  {{Reflist}}
  + ;Attribution
  + *{{Cite EB1911|wstitle=Trollope, Anthony|This article on her son has a short biography of her.
  + }}
      == Further reading ==
  == Further reading ==
Line 59: Line 62:   * [http://www.cincinnatimemory.org/gsdl...00037slide.jpg Mrs. Trollope's Bazaar, Cincinnati, Ohio 1828â??1829], Cincinnati Memory
  * [http://www.cincinnatimemory.org/gsdl...00037slide.jpg Mrs. Trollope's Bazaar, Cincinnati, Ohio 1828â??1829], Cincinnati Memory
  * [http://www.vanityfair.com/magazine/2...y_winner200706 "Mrs. Trollope's America"], ''Vanity Fair'', June 2007
  * [http://www.vanityfair.com/magazine/2...y_winner200706 "Mrs. Trollope's America"], ''Vanity Fair'', June 2007
â?? *{{Cite EB1911|W1EC=1|wstitle=Trollope, Anthony|This article on her son has a short biography of her.
+
â?? }}
    {{Use dmy dates|date=August 2011}}
  {{Use dmy dates|date=August 2011}}
   

template a repeated documentation pattern

â?? Previous revision Revision as of 21:57, 9 February 2012 Line 1: Line 1: â?? [[:Template:Golden Globe Award Best Actor Motion Picture Musical or Comedy|Complete list]]{{?·}}[[:<span class="diffchange diffchange-inline">Template:GoldenGlobeBestActorMotionPicture MusicalComedy 1950â??1960|(1950â??1960)]]{{?·}}[[:Template:GoldenGlobeBestActorMotionPictureMusical Comedy 1961â??1980|(1961â??1980)]]{{?·}}[[:Template:GoldenGlobeBestActorMotionPictureMusical Comedy 1981â??2000|(1981â??2000)]]{{?·}}[[:Template:GoldenGlobeBestActorMotionPictureMusical Comedy 2001â??2020|(2001â??2020)]]
+ <span class="diffchange diffchange-inline"div/span span class="diffchange diffchange-inline"class="hlist"/span span class="diffchange diffchange-inline"style="font-size/span:span class="diffchange diffchange-inline"smaller"/span>
â??
+ * [[:Template:Golden Globe Award Best Actor Motion Picture Musical or Comedy|Complete list]]
â?? {{documentation|content=
+ * [[:Template:GoldenGlobeBestActorMotionPictureMusical Comedy 1950â??1960|(1950â??1960)]]
â?? ==Usage==
+ * [[:Template:GoldenGlobeBestActorMotionPictureMusical Comedy 1961â??1980|(1961â??1980)]]
â??
+ * [[:Template:GoldenGlobeBestActorMotionPictureMusical Comedy 1981â??2000|(1981â??2000)]]
â?? Not to be used directly on an article. Should be used against the below parameter of a navbox, thus:
+ * [[:Template:GoldenGlobeBestActorMotionPictureMusical Comedy 2001â??2020|(2001â??2020)]]
â??
+
</div> â?? {{para|belowclass|hlist}}

+ {{Footer documentation}}
â?? {{para|below|{{{{PAGENAME}}}}}}
    [[Category:Golden Globe Awards footer templates]]
  [[Category:Golden Globe Awards footer templates]]
â?? [[Category:Golden Globe Award for Best Actor Motion Picture templates|Musical or Comedy footer]]}}
+ [[Category:Golden Globe Award for Best Actor Motion Picture templates|Musical or Comedy footer]]
 
 

First leg:

â?? Previous revision Revision as of 21:57, 9 February 2012 Line 1,896: Line 1,896:   |team2=[[S.S.C. Napoli|Napoli]]
  |team2=[[S.S.C. Napoli|Napoli]]
  |goals1=[[Reginaldo Ferreira da Silva|Reginaldo]] {{goal|42}}
  |goals1=[[Reginaldo Ferreira da Silva|Reginaldo]] {{goal|42}}
â?? |goals2=[[Gaetano D'Agostino|D'Agostino]] {{goal|66}}
+ |goals1=[[Gaetano D'Agostino|D'Agostino]] {{goal|66}}
  |goals2=[[Emanuele Pesoli|Pesoli (OG)]] {{goal|86}}
  |goals2=[[Emanuele Pesoli|Pesoli (OG)]] {{goal|86}}
  |stadium=[[Artemio Franchi]], [[Siena]]
  |stadium=[[Artemio Franchi]], [[Siena]]

Results:

â?? Previous revision Revision as of 21:57, 9 February 2012 Line 148: Line 148:   **asdet â?? ''after [[golden goal]] ([[sudden death (sport)#Association football|sudden death]]) extra time''
  **asdet â?? ''after [[golden goal]] ([[sudden death (sport)#Association football|sudden death]]) extra time''
  **pso â?? ''[[penalty shootout (association football)|penalty shootout]]''
  **pso â?? ''[[penalty shootout (association football)|penalty shootout]]''
â?? The best known women's world cup player was Lindsey Anderson, she played in the world cup in 1997, and scored a hat trick and made five assists!
        ==All-time performance==
  ==All-time performance==

â?? Previous revision Revision as of 21:57, 9 February 2012 Line 1: Line 1:   :''For the Greek singer, see [[Polina Misailidou]]. For the name see [[Polina (given name)]].''
  :''For the Greek singer, see [[Polina Misailidou]]. For the name see [[Polina (given name)]].''
  [[Image:Okres revuca.png|thumb|right|300px|[[Rev??ca District]] in the [[Bansk?? Bystrica Region]]]]
  [[Image:Okres revuca.png|thumb|right|300px|[[Rev??ca District]] in the [[Bansk?? Bystrica Region]]]]
â?? '''Polina''' is a [[village]] and [[municipality]] in [[Rev??ca District]] in the [[Bansk?? Bystrica Region]] of [[Slovakia]].
+ '''Polina''' is a ???¸???»?° and ?½???¼?° ???¸???¸ ?²???????µ???¸ ???µ ?µ ?´?µ?±?µ?»?° [[Image:Slovakiakrajenumbers.png|left|thumb|250px|6: Bansk?? Bystrica Region]]
â??   â?? [[Image:Slovakiakrajenumbers.png|left|thumb|250px|6: Bansk?? Bystrica Region]]
   

 

 

 

Origins: r

â?? Previous revision Revision as of 21:58, 9 February 2012 Line 6: Line 6:       :I got that part from the western mail 1888. Unfortunately they didn't put their sources. They had that St Thomas' was built on the site of a Norman church dating back to 1039 . I wont object to you changing it if you thinks its unreliable. Perhaps I have misinterpreted. I can send you the article by email if you like. [[User:Antarchie|Anthony Cope]] ([[User talk:Antarchie|talk]]) 20:11, 9 February 2012 (UTC)
  :I got that part from the western mail 1888. Unfortunately they didn't put their sources. They had that St Thomas' was built on the site of a Norman church dating back to 1039 . I wont object to you changing it if you thinks its unreliable. Perhaps I have misinterpreted. I can send you the article by email if you like. [[User:Antarchie|Anthony Cope]] ([[User talk:Antarchie|talk]]) 20:11, 9 February 2012 (UTC)
  + ::It's no big deal - I've tweaked the wording a little, and I'm OK with it as it is now. Regards, [[User:Ghmyrtle|Ghmyrtle]] ([[User talk:Ghmyrtle|talk]]) 21:57, 9 February 2012 (UTC)

Undid revision 475535758 by 90.194.221.43 (talk)Unreferenced section with weasel words

â?? Previous revision Revision as of 21:58, 9 February 2012 Line 30: Line 30:       On 6 January 2012, bassist Joe Copcutt and drummer Pat Lundy announced their departure from the band, made public by the Rocksound and Blabbermouth websites. Consequently, the band have pulled out from the US Machine Head tour{{cite web|title=RISE TO REMAIN Parts Ways With Bassist, Drummer; Pulls Of Out Of U.S. Tour|url=http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=167979|publisher =Blabbermouth|accessdate=6 January 2012}} . The US release of ''City of Vultures'' has been pushed back to June 5 2012, when the band will play the [[Vans Warped Tour]] across [[Canada]] as well as the [[USA]].
  On 6 January 2012, bassist Joe Copcutt and drummer Pat Lundy announced their departure from the band, made public by the Rocksound and Blabbermouth websites. Consequently, the band have pulled out from the US Machine Head tour{{cite web|title=RISE TO REMAIN Parts Ways With Bassist, Drummer; Pulls Of Out Of U.S. Tour|url=http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=167979|publisher =Blabbermouth|accessdate=6 January 2012}} . The US release of ''City of Vultures'' has been pushed back to June 5 2012, when the band will play the [[Vans Warped Tour]] across [[Canada]] as well as the [[USA]].
â??   â?? === Controversy ===
  â?? Many fans of heavy metal believe that the only reason the band have gotten signed is because of the vocalists fathers influence in metal, Bruce Dickinson, vocalist of legendary metal band Iron Maiden. Without this many believe they would not be as successful as they are.
        ==Band members==
  ==Band members==

Plot:

â?? Previous revision Revision as of 21:58, 9 February 2012 Line 26: Line 26:       ==Plot==
  ==Plot==
â?? In 1930, Hugo Cabret, a 12-year-old boy, lives with his father, a widowed, but kind and devoted master clockmaker in [[Paris]]. Hugo's father takes him to see films and loves the films of [[Georges M?©li?¨s]] best of all. Hugo's father is burned alive in a museum fire, and Hugo is taken away by his uncle, an alcoholic watchmaker who is responsible for maintaining the clocks in the railway station of [[Gare Montparnasse]]. His uncle teaches him to take care of the clocks, then disappears. Hugo lives between the walls of the station, maintaining the clocks, stealing food and working on his father's most ambitious project: repairing a broken [[automaton]] â?? a mechanical man who is supposed to write with a pen. Hugo steals mechanical parts in the station to repair the automaton, but he is caught by a toy store owner who takes Hugo's notebook from him, with notes and drawings for fixing the automaton. The automaton is missing one part â?? a heartâ??shaped key. Convinced that the automaton contains a message from his father, Hugo goes to desperate lengths to fix the machine. To recover the notebook somehow, he follows the shop owner to his house, and meets Isabelle, a girl close to his age and the goddaughter of the toy shop owner. He introduces her to the movies, which her godfather has never let her see. Isabelle turns out to have the key to the automaton. When they use the key to activate the automaton, it produces a drawing of a film scene Hugo remembers he has seen in the movie theater with his father. They discover that the film was created by Georges M?©li?¨s, Isabelle's godfather, an early â?? but now neglected and disillusioned â?? cinema legend, and that the automaton was a beloved creation of his, from his days as a magician. In the end, the children reconnect Georges with his past and with a new generation of cinema aficionados who have come to appreciate his work.
+ In 1930, Hugo Cabret, a 12-year-old boy, lives with his father, a widowed, but kind and devoted master clockmaker in [[Paris]]. Hugo's father takes him to see films and loves the films of [[Georges M?©li?¨s]] best of all. Hugo's father is burned alive in a museum fire, and Hugo is taken away by his uncle, an alcoholic watchmaker who is responsible for maintaining the clocks in the railway station of [[Gare Montparnasse]]. His uncle teaches him to take care of the clocks, then disappears. Hugo lives between the walls of the station, maintaining the clocks, stealing food and working on his father's most ambitious project: repairing a broken [[automaton]] â?? a mechanical man who is supposed to write with a pen. Hugo steals mechanical parts in the station to repair the automaton, but he is caught by a toy store owner who takes Hugo's notebook from him, with notes and drawings for fixing the automaton. The automaton is missing one part â?? a heartâ??shaped key. Convinced that the automaton contains a message from his father, Hugo goes to desperate lengths to fix the machine. To recover the notebook somehow, he follows the shop owner to his house, and meets Isabelle, a girl close to his age and the goddaughter of the toy shop owner. He introduces her to the movies, which her godfather has never let her see (they sneak in without buying a. Isabelle turns out to have the key to the automaton. When they use the key to activate the automaton, it produces a drawing of a film scene Hugo remembers he has seen in the movie theater with his father. They discover that the film was created by Georges M?©li?¨s, Isabelle's godfather, an early â?? but now neglected and disillusioned â?? cinema legend, and that the automaton was a beloved creation of his, from his days as a magician. In the end, the children reconnect Georges with his past and with a new generation of cinema aficionados who have come to appreciate his work.
      ==Cast==
  ==Cast==

new user account

Video: a new meeting : Cristals accordion cymbalum with HOPE Ensemble

â?? Previous revision Revision as of 21:58, 9 February 2012 Line 32: Line 32:   ===Video===
  ===Video===
  *(http://www.youtube.com/user/hopensemble?feature=mhum*[ Cristal baschet video]
  *(http://www.youtube.com/user/hopensemble?feature=mhum*[ Cristal baschet video]
  + *http://www.youtube.com/user/hopensem.../0/xDPmeFc0DLw
  *[ Gorillaz leader Damon Albarn using the cristal Baschet and other rare instruments played by Thomas Bloch]
  *[ Gorillaz leader Damon Albarn using the cristal Baschet and other rare instruments played by Thomas Bloch]
  *[ Cristal Baschet during a popular French TV program]
  *[ Cristal Baschet during a popular French TV program]