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Lord William Cecil (bishop)

Lord Rupert Ernest William Gascoyne-Cecil was Bishop of Exeter from 1916 to 1936. He was the second son of Prime Minister Lord Salisbury. Educated at Eton and Oxford, he was rector of Hatfield for 28 years before being appointed bishop. Married in 1887, he had three daughters and four sons, three of whom were killed in the First World War; as bishop he was liked, but had a reputation for eccentricity. William Cecil was born at Hatfield House, the second son of Prime Minister Robert Arthur Talbot Gascoyne-Cecil, the 3rd Marquess of Salisbury, he was educated at Eton, where he was bullied and nicknamed "Fish", a name that stuck with him among family and friends throughout his life. Following Eton he was educated at Oxford where he gained a third in law. After leaving university, Cecil worked for a few months in London's East End slums, he was ordained in 1887, married Lady Florence Mary Bootle-Wilbraham, daughter of Edward Bootle-Wilbraham, 1st Earl of Lathom on 16 August of the same year. They had three daughters.

Their eldest son Randle William was born 28 November 1889 and was killed in action during the First World War on 1 December 1917. Their third and fourth sons were killed in that war: John Arthur and Rupert Edward, their second son Victor Alexander survived. Their three daughters were Eve Alice who married Vice-Admiral Richard Shelley, her twin sister Mary Edith, Anne. Cecil's first curacy was in Great Yarmouth, but this lasted for less than a year, because in 1888 his father had him appointed as Rector of Hatfield, which came with a fine rectory some distance from the town; however he persuaded his father to build him a smaller house nearer to the town so he could be closer to his parishioners. He remained in that post for the next 28 years becoming Rural Dean of Hertford from 1904. In 1908 he attended the fifth Lambeth Conference which led him to an interest in China, which country he visited several times, he tried unsuccessfully to establish a Christian university there and in 1910, with his wife, he wrote a book: Changing China.

In 1916 the Prime Minister, H. H. Asquith offered him the post of Bishop of Exeter, although unwilling to move, he accepted. Trevor Beeson, in his book The Bishops, expresses surprise at the appointment, stating that it was "easily the most extraordinary episcopal appointment of the twentieth century" because of his total unsuitability "by aptitude and experience for a bishopric". Beeson went on to surmise that only a person with a large personal income such as Cecil could have been appointed to the see at the time because one third of its annual income was being paid as a pension to his predecessor, Archibald Robertson who had resigned aged 63 and lived until 1931. Cecil's episcopate was notable for its tolerance, he took the view that the principles of the Church were broad enough to allow wide latitude in the permissible forms of religious service, so he did not try to enforce any particular theological school of thought, maintained a friendly relationship with the leaders of Nonconformist groups.

He did, quarrel with his cathedral when he suggested the abolition of the office of the Dean, with the money that would be saved being used to pay for a suffragan bishop to increase pastoral care in the diocese. His proposal was put down as one of "Love in a Mist's" madcap ideas; as bishop, Cecil gained a reputation for eccentricity and the nickname of "Love in a Mist" was given to him, according to Beeson, on account of his "administrative ineptitude and autocratic unwillingness to take advice", ameliorated by a most loving personality. Beeson relates several instances of Cecil's eccentric behaviour. On one occasion a guest having tea with him at his home was surprised when he fed pieces of crumpets to two rats that came out of holes in the floor, threw powdered copper sulphate on the fire to turn the flames green, remarking that he liked the colour. Once, goes another story, while robing in the vestry before a service, he held a handkerchief between his teeth, but forgot to return it to his pocket and proceeded to the altar with it still hanging from his mouth.

He had been heard to complain that the Bible was "an awkward book", while travelling around his diocese he would ring up his wife to ask where he was. Shortly after his death in 1936, he was commemorated in the cathedral by two sculptures, both bearded: one is on the screen of the Speke chapel in which he is depicted as St Martin giving his cloak to a beggar. A tablet in the floor by the throne expresses the wish that the statue will "keep for alive the memory" of Lord William Cecil. Science and Religion, Changing China Difficulties and Duties Bishop Cecil married on 16 August 1887, Lady Florence Mary Bootle Wilbraham, daughter of 1st Earl of Lathom, they had issue: Randle William Gascoyne-Cecil Victor Alexander Gascoyne-Cecil John Arthur Gascoyne-Cecil Rupert Edward Gascoyne-Cecil Eve Alice Gascoyne-Cecil Mary Edith Gascoyne-Cecil Anne Gascoyne-Cecil. Works by William Gascoyne-Cecil at Project Gutenberg Works by or about William Gascoyne-Cecil at

Cone snail

Cone snails, cone shells, or cones are common names for a large group of small- to large-sized venomous predatory sea snails, marine gastropod molluscs. Until recently, over 600 species of cone snails were all classified under one genus, Conus, in one family, the Conidae. However, in recent years, it was suggested that cone snails should occupy only a subfamily that should be split into a large number of genera. A 2014 paper attempted to stabilize a newer classification of the group reducing the number of new genera but keeping a large number of subgenera. Although the taxonomy has changed several times during recent years, in the current version of the taxonomy of these snails and their close relatives, cone snails once again compose the entire family Conidae. Geologically speaking, fossils of cone snails are known from the Eocene to the Holocene epochs. Cone snail species have shells that are shaped less like geometric cones. Many species have colorful patterning on the shell surface. Cone snails are all tropical in distribution.

Because all cone snails are venomous and capable of "stinging" humans, live ones should never be handled, as their venomous sting will occur without warning and can be fatal. The species most dangerous to humans are the larger cones. Cone snails use a hypodermic needle–like modified radula tooth and a venom gland to attack and paralyze their prey before engulfing it; the tooth, sometimes likened to a dart or a harpoon, is barbed and can be extended some distance out from the head of the snail, at the end of the proboscis. Cone snail venoms are peptides; the venoms contain many different toxins. The sting of small cones is no worse than a bee sting, but the sting of a few of the larger species of tropical cone snails can be serious even fatal to humans. Cone snail venom is showing great promise as a source of new, medically important substances. There are over 800 different species of cone snails. Cone snails are found in warm and tropical seas and oceans worldwide, they reach their greatest diversity in the Western Indo-Pacific region.

However, some species are adapted to temperate environments, such as the Cape coast of South Africa, the Mediterranean, or the cool waters of southern California, are endemic to these areas. Cone snails are found in all tropical and subtropical seas, from the intertidal zone to deeper areas, living on sand or among rocks or coral reefs; when living on sand, these snails bury themselves with only the siphon protruding from the surface. Many tropical cone snails live near coral reefs; some species are found under rocks in shallow subtidal zones. This group of sea snails shows a large variety of colors and patterns, local varieties and color forms of the same species occur; this has led to the creation of a large number of known synonyms and probable synonyms, making it difficult to give an exact taxonomic assignment for many snails in this genus. As of 2009, more than 3,200 different species names have been assigned, with an average of 16 new species names introduced each year; the shells of cone snails vary in size.

The shells are shaped more or less like the geometric shape known as a cone, as one might expect from the popular and scientific name. The shell is many-whorled and in the form of an inverted cone, the anterior end being the narrow end; the protruding parts of the top of the whorls that form the spire are more or less in the shape of another, much more flattened, cone. The aperture is narrow; the horny operculum is small. The outer lip is simple and sharp, is without a callus, has a notched tip at the upper part; the columella is straight. The larger species of cone snails can grow up to 23 cm in length; the shells of cone snails are brightly colored and have interesting patterns, although in some species the color patterns may be or hidden under an opaque layer of periostracum. In other species, the topmost shell layer is thin periostracum, a transparent yellowish or brownish membrane. Cone snails are carnivorous, predatory, they hunt and eat prey such as marine worms, small fish and other cone snails.

Because cone snails are slow-moving, they use a venomous harpoon to capture faster-moving prey, such as fish. The venom of a few larger species the piscivorous ones, is powerful enough to kill a human being; the osphradium is more specialized than the same organ in any other group of gastropods. It is through this sensory modality that cone snails become aware of the presence of a prey animal, not through vision; the cone snails immobilize their prey using a modified, barbed radular tooth, made of chitin, along with a venom gland containing neurotoxins. Small species of these cone snails hunt small prey, such as marine worms, whereas larger cone snails hunt fish. Molecular phylogeny research by Kraus et al. based on a part of "intron 9" of the gamma-glutamyl carboxylase gene has shown that feeding on fish has evolved at least twice independently in the group. Cone snails use a radula tooth as a harpoon-like structure for predation; each of these harpoons is a modified tooth made of chitin and formed inside the mouth of the snail, in a structure known as the toxoglossan radula.

Each specialized cone snail tooth is stored in the radula sac (an everted pocket in the posterior wall o

Des Raj Goyal

Des Raj Goyal known as Desraj Goyal or D. R. Goyal, is an Indian journalist, academic and a well-known author of books on secularism and communalism. Having been a member of the Hindu nationalist organisation Rashtriya Swayamsevak Sangh in his younger days, he wrote a seminal book on the organisation in 1979, cited in academic works. Des Raj Goyal was born in 1929 in Panjab. Goyal became a member of the RSS in 1942, he joined it with the belief that it was an organisation fighting for India's independence and worked as a full-time pracharak. He subsequently got disillusioned with the organisation and left it in 1947, he continued with his interest in the organisation at an analytical level and published a book on it in 1979, considered authentic by academics. Goyal started working as a journalist since 1946, associated with several publications, including the Urdu weekly Sandesh, Urdu daily Sangram and Hindu daily Milap. While working at Milap, he was told by acquaintances in the Hindu Mahasabha Bhawan in Delhi to go to Gandhi's prayer meeting on 30 January 1948 because "something historic was to happen."

By the time he reached the meeting, Gandhi had been assassinated. Subsequently, Goyal was arrested on suspicion of involvement in a conspiracy to assassinate Jawaharlal Nehru. While in prison, he read various books borrowed from the prison library, which broadened his horizons and helped him get out of the indoctrination he has had from the RSS. Determined to find an organisation different from the RSS but opposed to the Congress, he joined the Communist Party of India. Goyal worked as a lecturer at the Kirori Mal College of the Delhi University between 1956 and 1963, he was led to renew activism after noting the diatribes of M. S. Golwalkar against Nehru after the 1962 India-China War, he found it odd that Golwalkar had no issues with keeping aloof from the freedom struggle but was now prone to equate anti-Nehruism with patriotism. Jointly with Subhadra Joshi, Member of Parliament from Jabalpur, he co-founded the organisation Sampradayikta Virodhi Committee, renamed to Qaumi Ekta Trust, it focuses on inter-faith dialogue and communal harmony in India and publishes the Seculary Democracy magazine.

Goyal was the editor of the Mainstream Weekly from 1963 to 1967 and the editor of Secular Democracy since 1968. Goyal died on 4 February 2013. Kashmir, ASIN B0007JARPM RSS, Bulwark of Militant Communalism, ASIN B0007BYECC The Eagle Democracy, ASIN B002H9BK1A Rashtriya Swayamsevak Sangh, ISBN 0836405668, second edition, ISBN 8171195784. Communalism vs. Nationalism: The Nehru Approach, OLID OL17859333M. Afghanistan: Behind the Smoke Screen, ISBN 8120201094, ASIN B005Z4XAXA. Non-alignment: Concepts and Concerns, ISBN 8120201612 Nuclear Disarmament: The Six-nation Initiative and the Big Power Response, ISBN 8120707346 Kahani Jawaharlal ki, ISBN 81-237-2019-X. Maulana Husain Ahmad Madni - A Biographical Study, ISBN 8179750884 Historian Ramachandra Guha has called Goyal's Rashtriya Swayamsevak Sangh the "best book on the RSS." Lloyd I. Rudolph called it a "polemically critical work" and included it among 3 best references for the RSS. Mainstream Weekly Secular Democracy magazine Books of Sampradayikta Virodhi Committee A brief history of Sampradayikta Virodhi Andolan

Tetsuya Nomura

Tetsuya Nomura is a Japanese video game artist and director working for Square Enix. He designed characters for the Final Fantasy series, debuting with Final Fantasy VI and continuing with various installments. Additionally, Nomura has led the development of the Kingdom Hearts series since its debut in 2002 and was the director for the CGI film Final Fantasy VII: Advent Children. Nomura's father influenced his interest in art and games early on, creating little drawings and unique Sugoroku board games for him. Nomura started drawing at the age of three years and developed his own Sugoroku games during his elementary school years; as a child, he spent much of his free time playing baseball, swimming and building fortresses. When he was in middle school, his father told him that an era of computers would come and bought him his own computer. Nomura played Legends of Star Arthur: Planet Mephius on it and started creating his own video games by learning programming, he first tried a Nintendo product with the tennis and ping-pong variant of the Color TV Game console and borrowed a Family Computer in high school.

Around that time, Dragon Quest became Nomura's favorite because it surprised him and introduced him to video games with story elements. His art teacher in high school pointed him towards the works of Final Fantasy illustrator Yoshitaka Amano. Nomura created his own manga during class and intended to do this as a profession although he abandoned the idea. Nomura went to vocational school to learn advertising artwork. Nomura looked for an advertising job at a publishing company. However, he applied at Square after he had seen a job advertisement with a drawing by Yoshitaka Amano. In the early 1990s, Nomura was hired by Square and at first worked as a debugger for Final Fantasy IV; some time the company's staff was divided and he was placed in the team in charge of Final Fantasy. After he had received some training by artist Tetsuya Takahashi, Nomura designed the monsters for Final Fantasy V. At that time, each Final Fantasy developer had their own plan book as a compilation of ideas to present to the director of a game.

While the others typed their plan books at the computer and printed them out, Nomura wrote his by hand and attached many drawings which impressed director Hironobu Sakaguchi and event planner Yoshinori Kitase. Nomura became the graphic director of Final Fantasy VI. For this game, he conceived Setzer as well as their background stories, their designs were reused from some of Nomura's abandoned concepts for Final Fantasy V. Following several smaller projects, Nomura was asked to be the principal character designer of Final Fantasy VII in replacement for Amano. Nomura drew the game's characters in a stylized and super deformed way and came up with the idea for the "Limit Break" attacks, he took part in the making of the story and had a hand in plot elements such as Aerith's death. In 1998, Nomura worked on both Parasite Brave Fencer Musashi, he designed characters and monsters for Final Fantasy VIII in what he described as his "actual style of drawing", working alongside art director Yusuke Naora to realize the more realistic approach to the game's graphics.

Additionally, he wrote the character's background stories and was the battle visual director in charge of designing fight sequences. Afterwards, Nomura worked on several different projects for Square, for example as a character designer of the 1998 fighting game Ehrgeiz which used characters from Final Fantasy VII. Nomura was the character designer for 2000's beat'em up The Bouncer before he returned to the Final Fantasy series in the same capacity with 2001's Final Fantasy X, he worked with the staff so that the characters' clothes would be identical in full motion videos and in-game scenes, unlike in Final Fantasy VIII, In February 2000, he started working as the director of Kingdom Hearts with the production team consisting of over one hundred members from both Square and Disney Interactive. Nomura first heard of the game during a discussion between Shinji Hashimoto and Hironobu Sakaguchi regarding the use of the character of Mickey Mouse in a video game, he was inspired to work on Kingdom Hearts by Nintendo's platforming game Super Mario 64.

After discussing with the Disney staff, Nomura convinced them to use original characters with him as the character designer. The game's protagonist, became his favorite character he had designed so far. Following Kingdom Hearts, Nomura worked once again on the Final Fantasy series with Final Fantasy XI and Final Fantasy X-2. For the Compilation of Final Fantasy VII metaseries which featured new titles based on Final Fantasy VII, Nomura was once again the character designer. A sequel to Kingdom Hearts started development around the completion of Kingdom Hearts Final Mix, an international version which added more foreshadowing elements regarding the series' plot. Nomura continued his work on the series with Kingdom Hearts: Chain of Memories for the Game Boy Advance in 2004, he had planned to work directly on the PlayStation 2 sequel Kingdom Hearts II. However, desire from fans to play the original game on a portable console resulted in the creation of Chain of Memories which would bridge the gap between Kingdom Hearts and Kingdom Hearts II.

Afterwards, Nomura was the director and lyricist for the CGI animated film Final Fantasy VII: Advent Children, released in 2005 in Japan. This marked his film debut, he redesigned the characters as well. Nomura joined the film's crew after producer Yoshinori Kitase called him and became the director because of his attachment to the character of Cloud Strife, he split the role of directing with Takeshi

We Are Seven

"We are Seven" is a poem written by William Wordsworth and published in his Lyrical Ballads. It describes a discussion between an adult poetic speaker and a "little cottage girl" about the number of brothers and sisters who dwell with her; the poem turns on the question of. Wordsworth claimed that the idea for We are Seven came to him while travelling alone across England in October 1793 after becoming separated from his friend, William Calvert; this solitude with nature he claimed encouraged him to reach a deeper understanding where the experience was no longer just for pleasure, as it was in his earlier days, but hinted at a darker side. Immersed in these feelings, Wordsworth came to Goodrich Castle and met a little girl who would serve as the model for the little girl in We are Seven. Although there is no documentation on what the little girl told him during their conversation, she interested Wordsworth to such an extent that he wrote: I have only to add that in the spring of 1841 I revisited Goodrich Castle, not having seen that part of the Wye since I met the little Girl there in 1793.

It would have given me greater pleasure to have found in the neighbouring hamlet traces of one who had interested me so much. Wordsworth began to write the poem in early 1798 while working on many other poems modelled on the ballad form for a joint poetry collection with Samuel Coleridge; the collection was proposed in March because Wordsworth needed to raise money for a proposed journey to Germany with Coleridge. These poems were included in A Few Other Poems with a few written by Coleridge. Wordsworth describes the moment of finishing the poem: My friends will not deem it too trifling to relate that while walking to and fro I composed the last stanza first, having begun with the last line; when it was all but finished, I came in and recited it to Mr. Coleridge and my Sister, said,'A prefatory stanza must be added, I should sit down to our little tea-meal with greater pleasure if my task were finished.' I mentioned in substance what I wished to be expressed, Coleridge threw off the stanza thus:-'A little child, dear brother Jim,' — I objected to the rhyme,'dear brother Jim,' as being ludicrous, but we all enjoyed the joke of hitching-in our friend, James T —'s name, familiarly called Jim.

He was brother of the dramatist, this reminds me of an anecdote which it may be worth while here to notice. The said Jem got a sight of the Lyrical Ballads as it was going through the press at Bristol, during which time I was residing in that city. One evening he came to me with a grave face, said,'Wordsworth, I have seen the volume that Coleridge and you are about to publish. There is one poem in it which I earnestly entrate you will cancel, for, if published, it will make you lastingly ridiculous.' I answered that I felt much obliged by the interest he took in my good name as a writer, begged to know what was the unfortunate piece he alluded to. He said,'It is called "We are seven."' Nay! said I, that shall take its chance, he left me in despair. The collection, including We are Seven, was accepted by Joseph Cottle in May 1798 and was soon after published anonymously. In 1820, the poem was republished as a broadside and titled "The Little Maid and the Gentleman"; some guidebooks and locals in the city of Conwy, claim Wordsworth was inspired to write the poem after seeing a gravestone in St Mary and All Saints Church.

The poem is a dialogue between a narrator who serves as a questioner and a little girl, with part of the evolving first stanza contributed by Coleridge. The poem is written in ballad form; the poem begins with the narrator asking: A simple child, dear brother Jim, That draws its breath, And feels its life in every limb, What should it know of death? He transitions to describe a girl whose beauty pleased him: She had a rustic, woodland air, And she was wildly clad, he begins to question her about her siblings: "Sisters and brothers, little Maid, How many may you be?" How many? seven in all," she said, And wondering looked at me. He questions her further, asking where they are, she responds that two are in Wales, two are at sea, two are buried in a churchyard near her home, he is confused by her answer and asks: "Yet you are seven. She replies: "girls are we, he questions her further, trying to have her admit that there are only five but she responds: "Their graves are green, they may be seen," The little Maid replied, "Twelve steps or more from my mother's door," "And they are side by side."

"My stockings there I knit, "My'kerchief there I hem. "And after sun-set, Sir, "When it is light and fair, "I take my little porringer, "And eat my supper there She describes how they die, which prompts the narrator to ask: "How many are you then," said I, "If they two are in Heaven?" After the little girl repeats that they were seven in number, the narrator, replies: "But they are dead: those two are dead! "Their spirits are in Heaven!" The poem ends with a divide between the child and the narrator:'Twas throwing words away: for still The little Maid would have her will, And said, "Nay, we are seven!" Ownership of the poem is in the public domain and the full text can be found on wikisource. In his preface to Lyrical Ballads