Review of: Solfs Bonn

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On 04.03.2020
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Solfs Bonn

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Solfs Bonn Word position Video

BLOOTSBRÖDER - Deckel (Bonn im Stiefel, LMS, 16.01.2014)

I'm just saying that to be relevant to the students' environment and experiences, we should be searching for music that they know and love.

I've heard a few people say that pop music is like the folk music of today but that's a whole other blog post, and probably one that's even more controversial!

When I have used pop music, the excitement in the room is palpable. Students are jumping up and down with glee. Not that they never jump up and down with glee for other music we do, but seriously, they get pretty excited.

My number one goal for my classroom is that it is joyful, so this is a pretty good reason to try it! So after thinking about how to include pop music in my lessons since my training didn't include it at all , I realized the reason it can be so hard to do is that pop music keeps changing.

The 1 hit that everyone loves in will surely not be 1 in , and in five years it may be somewhat obsolete. So this means we have to change our pop music lessons, at least every few years, so that they remain relevant.

Then, of course, there is the issue of appropriateness. SO many pop songs are just not appropriate. Maybe kids don't realize the true meaning of the song—as was so often the case with music I listened to growing up—but still, there are songs we just can't do, no matter how much the kids love them.

After considering the reasons why I wanted to include pop music more, and why creating lessons using pop music is tricky, I have come up with a few ideas over the last couple of years that have worked for me and my students.

I am truly at the beginning of this journey, so will blog more as more ideas come to me! Here are a few ideas to get started on your journey:.

Then when you change to a different motion, they do too! Halfway through the song, you could have student volunteers lead the beat!

This works even better if the students have done this same activity with Beethoven or Brahms or Miles Davis…they they try it with pop music!

I have recently found a couple songs with Orff accompaniment on Pinterest. Here are arrangements to check out:.

I had each kid pair up on a barred instrument with a friend, wrote the first measure on the board with rhythm and note letters, and had them figure out how to play it!

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Vastas his reading was, it had availed him notMng without his stiperb temperament, Eiis gift of using it to effect. Vaster still was his knowledge of men, his acquaintance with the seamy side of life, his interest in things common and rare, his observation of manners, and his lyrical endow- ment.

His ambi- tion is, not to idealise, but to realise existence, and he interprets its sensuous animalism in the spirit of pica- resque enjoyment.

Jewesses, Moorish dancers, the procuress Trota-conventoSy her finicking customers, the loose nuns, great ladies, and brawny daughters of the plough, — Ruiz renders them with the merciless exactitude of Velizquez.

The arrangement of Ruiz' verse, disorderly as his life, foreshadows the loose construction of the picaresque novel, of which his own work may be considered the first example.

One of his greatest discoveries is t he rare value le autobio graphic form. Poet, novelist, expert in observa- tion, irony, and travesty, Ruiz had, moreover, the sense of style in such measure as none before him and few after him, and to this innate faculty of selection he joined a great capacity for dramatic creation.

Hence the im- possibility of exhibiting him in elegant extracts, and hence the permanence of his types. The most familiar figure of Lazarillo de Tormes — the starving gentleman — is a lineal descendant of Ruiz' Don Fur6n, who is scru- pulous in observing facts so long as there is nothing to eat ; and Ruiz' two lovers, Mel6n de la Uerta and Endrina de Calatayud, are transferred as Calisto and Melibea to Rojas' tragi-comedy, whence they pass into immortality as Romeo and Juliet.

Lastly, Ruiz' repute might be staked upon his fables, which, by their ironic apprecia- tion, their playful wit and humour, seem to proceed from an earlier, ruder, more virile La Fontaine.

Ferdinand and nephew of Alfonso J he Learned. Mariana's denunciation of '' him who seemed born solely to wreck the state" fits Juan Manuel so exactly that it is commonly applied to him ; but, in truth, its author in- tended it for another Don Juan without the ''Manuel" , uncle of the boy-king, Alfonso XI.

Upon the regency followed a spell of wars, broils, rebellions, assassinations, wherein King and ex-Regent were pitted against each other. In the General Introduction to his works he foresees, so he announces, that his books must be often copied, and he knows that this means error: — ''as I have seen happen in other copies, either because of the transcriber's dulness, or because the letters are much alike.

And he closes his General Introduction with this prayer : — " And I beg all those who may read any of the books I made not to blame me for whatever ill-written thing they find, until they see it in this volume which I myself have arranged.

The loss of the Book of Verses is a real calamity ; all the more that it existed at Peftafiel as recently as the time of Argote de Molina , who meant to publish it.

A treatise like his Libro de Caza Book of Hawking , recently recovered by Professor Baist, needs but to be mentioned to indicate its aim.

His histories are mere epitomes of Alfonso's chronicle. The Libro dei. Caballero et del Escudero Book of the Knight and Squire , in fifty-one chapters, of which some thirteen are missing, is a didacticism,?

A hermit who has abandoned war instructs an ambitious squire in the virtues of chivalry, and sends him to court, whence he returns "with much wealth and honour.

In some sort the Tratado sobre las Armas Treatise on Arms is a memoir of the writer's house, containing a powerful presentation of the death of Juan Manuel's guardian.

King Sancho, passing to eternity beneath his father's curse. He repro- duces Sancho's excellent manner and sound practical advice without the flaunting erudition of his cousin.

The Castigos are suspended to supply the monk, Juan Alfonso, with a treatise on the Modes of Love, fifteen in number ; being, in fact, an ingenious discussion on friend- ship.

The allegorical didactic vein is worked to exhaustion in one hundred and fifty chapters, which relate the education of the pagan Morovan's son, Johas, by a certain Turfn, who, unable to satisfy his pupil, calls to his aid the celebrated preacher Julio.

After interminable discussions and resolutions of theo- logical difficulties, the story ends in the baptism of father, son, and tutor.

Dominic who, as a matter of fact, died before Juan Manuel's father was born. This confused philosophic story, suggestive of the legend of Barlaam and Josaphat, is in truth the vehicle for conveying the author's ideas on every sort of question, and it might be described without injustice as the carefully revised commonplace book of an omni- vorous reader with a care for form.

A postscript to the Book of States is the Book of Preaching Friars y a summary of the Dominican constitution expounded by Julio to his pupil.

A very similar dissertation is the Treatise showing that the Blessed Mary is, body and soul y in Paradise , directed to Rem6n Masquefa, Prior of Peftafiel.

The convention of the " moral lesson " is maintained, and each chapter of the First Part the others are rather un- finished notes ends with a declaration to the effect that "when Don Johan heard this example he found it good, ordered it to be set down in this book, and added these verses" — the verses being a concise summary of the prose.

Boccaccio used the frame- work first in Italy, but Juan Manuel was before him by six years, for the Conde Lucanor was written not later than The examples are taken from experience, and are told with extraordinary narrative skill.

Simplicity of theme is matched by simplicity of expression. He lacks the merri- ment, the genial wit of the Archpriest ; but he has the same gift of irony, with an added note of cutting sarcasm, and a more anxious research for the right word.

In mind as in blood he is the great Alfonso's kinsman, and the relation becomes evident in his treat- ment of the prose sentence.

He inherited it with many another splendid tradition, and, while he preserves entire its stately clearness, he polishes to concision ; he sets with conscience to the work, sharpening the edges of his instrument, exhibits its possibilities in the way of trenchancy, and puts it to subtler uses than heretofore.

In his hands Castilian prose acquires a new ductility and finish, and his subjects are such that dramatists of genius have stooped to borrow from him.

Pilferings by Le Sage are things of course, and Gil Bias benefits by its author's reading. Translations apart — and they are forthcoming — the Conde Lucanor is one of the books of the world, and each reading of it makes more sensible the loss of the verses which, one would fain believe, might place the writer as high among poets as among prose writers.

That King's sole exploit in literature is a handbook on venery, often attributed to Alfonso the Learned. It is to be noted that he speaks of rendering Merlin's prophecy in the Castilian tongue : — " Yo Rodrigo Yannes la noti En lenguaje castellafio" Everything points to his having translated from a Galician original, being himself a Galician who hispaniolised his name of Rodrigo Eannes.

Strong arguments in favour of this theory are advanced by great authorities — Pro- fessor Cornu, and that most learned lady, Mme. Carolina Michaelis de Vasconcellos.

In the first place, the many technical defects of the Poema vanish upon translation into Galician ; and next, the verses are laced with allu- sions to Merlin, which indicate a familiarity with Breton legends, common enough in Galicia and Portugal, but absolutely unknown in Spain.

Be that as it prove, the Poema interests as the last expression of the old Castilian epic. His last appearance on any stage is marked by a portent — the suppression of the tedious Alexandrine, and the resolution into two lines of the sixteen-syllabled verse, Yaftez is an excellent instance of the third-rate man, the amateur, who embodies, if he does not initiate, a revolution.

His own system of octosyllabics in alter- nate rhymes has a sing-song monotony which wearies by its facile copiousness, and inspiration visits him at SEM TOB 87 rare and distant intervals.

But the step that costs is taken, and a place is prepared for the young romance in literature. The moral is pressed with insistence, the presentation is haphazard ; while the extreme con- cision of thought, the exaggerated frugality of words, tends to obscurity.

Against this is to be set the exalted standard of the teaching, the daring figures of the writer, his happiness of epithet, his note of austere melancholy, and his complete triumph in naturalising a new poetic genre.

In the case of the anonymous Danza de la Muerte the metre once more fixes the period of composition at about the end of the fourteenth century.

It is not rash to assume that its immediate occasion was the last terrific outbreak of the Black Death, which lasted from to Death bids mankind to his revels, and forces them to join his dance.

The form is superficially dramatic, and the thirty-three victims — pope, emperor, cardinal, king, and so forth, a cleric and a layman always alternating — reply to the summons in a series of octaves.

Whoever composed the Spanish version, he must be accepted as an expert in the art of morbid allegory.

A writer who represents the stages of the literary evo- lution of his age is the long-lived Chancellor, Pero L6pez DE Ayala His career is a veritable romance of feudalism.

Living under Alfonso XL, he became the favourite of Pedro the Cruel, whom he deserted at the psychological moment. He chronicles his own and his AY ALA 89 father's defection in such terms as Pepys or the Vicar of Bray might use: — "They saw that Don Pedro's affairs were all awry, so they resolved to leave him, not intend- ing to return.

Loyalty he held for a vain thing compared with interest ; yet he earned his money and his lands in fight. He ever strove to be on the winning side, but luck was hostile when the Black Prince captured him at Ndjera , and when he was taken prisoner at Aljubarrota The fifteen months spent in an iron cage at the castle of Oviedes after the second defeat gave Ayala one of his opportunities.

He had wasted no chance in life, nor did he now. It were pleasant to think with Ticknor that some part of Ayala's Rimado de Palacio " was written during his imprisonment in England," — pleasant, but difficult.

To begin with, it is by no means sure that Ayala ever quitted the Penin- sula. More than this : though the Rimado de Palacio was composed at intervals, the stages can be dated approxi- mately.

The earlier part of the poem contains an allu- sion to the schism during the pontificate of Urban VI.

Rimado de Palacio Court Rhymes is a chance title that has attached itself to Ayala's poem without the author's sanction.

It gives a false impression of his theme, which is the decadence of his age. Only within narrow limits does Ayala deal with courts and courtiers ; he had a wider outlook, and he scourges society at large.

Ruiz had a natural sympathy for a loose-living cleric ; Ayala lashes this sort with a thong steeped in vitriol. The one looks at life as a farce ; the other sees it as a tragedy.

Where the first finds matter for merriment, the second burns with the white indignation of the just.

The deliberate mordancy of Ayala is impartial insomuch as it is universal. Courtiers, statesmen, bishops, lawyers, merchants — he brands them all with corruption, simony, embezzlement, and exposes them as venal sons of Belial.

And, like Ruiz, he places himself in the pillory to heighten his effects. He spares not his superstitious belief in omens, dreams, and such-like fooleries ; he dis- covers himself as a grinder of the poor man's face, a libidinous perjurer, a child of perdition.

But not all Ayala's poem is given up to cursing. In his th stanza he closes what he calls his sermSn with the confession that he had written it, "being sore afflicted by many grievous sorrows," and in the re- maining stanzas Ayala breathes a serener air.

In both existing codices — that of Campo-Alange and that of the Escorial — this huge postscript follows the Rimado de Palacio with no apparent break of continuity; yet it differs in form and substance from what precedes.

The cuaderna via alone is used in the satiric and auto- biographical verses ; the later hymns and songs are metrical experiments — echoes of Galician and Provencal measures, redondillas of seven syllables, attempts to raise the Alexandrine from the dead, results derived from Alfonso's Cantigas and Juan Ruiz' loores.

In his seventy-third year Ayala was still working upon his Rimado de Palacio. Gregory's Job, If he be the writer of the Pro- verbios en Rimo de SalomSn — a doubtful point — his pre- ference for the old system is there undisguised.

Could that system have been saved, Ayala had saved it : not even he could stay the world from moving. His prose is at least as distinguished as his verse.

A treatise on falconry, rich in rarities of speech, shows the variety of his interests, and his version of Boc- caccio's De Casibus Virorum illustrium brings him into touch with the conquering Italian influence.

His refer- ence to Amadh in the Rimado de Palacio stanza , the first mention of that knight-errantry of Spain, proves acquaintance with new models.

Translations of Boetius and of St. Isidore were pastimes ; a partial rendering of Livy, done at the King's command, was of greater value.

In person or by proxy, Alfonso the Learned had opened up the land of history ; Juan Manuel had summarised his uncle's work ; the chronicle of the Moor Rasis, other- wise Abu Bakr Ahmad ibn Muhammad ibn Musa, had been translated from the Arabic ; the annals of Alfonso XL and his three immediate predecessors were written by some industrious mediocrity — perhaps Ferndn Sanchez de Tovar, or Juan Niifiez de Villaizdn.

These are not so much absolute history as the raw material of history. Songs, legends, idle reports, no longer serve as evidence. Ayala sifts his testimonies, compares, counts, weighs them, checks them by personal knowledge.

He deals with events which he had witnessed : plots which his crafty brain inspired, victories wherein he shared, battles in which he bit the dust.

The portraits in his gallery are scarce, but every likeness is a masterpiece rendered with a few broad strokes.

He records with cold-blooded im- partiality as a judge ; his native austerity, his knowledge of affairs and men, guard him from the temptations of the pleader.

With his unnatural neutrality go rare in- stinct for the essential circumstance, unerring sagacity in the divination and presentment of character, unerring art in preparing climax and catastrophe, and the gift of concise, picturesque phrase.

Few, if any, of the existing ballads date from Ayala's time ; and of the nineteen hundred printed in Duron's Romancero General the merest handful is older than , when Antonio de Nebrija examined their structure in his Arte de la Lengua Castellana.

Yet the older romances were numerous and long-lived enough to sup- plant the cantares de gesta, against which chronicles and annals made war by giving the same epical themes with more detail and accuracy.

In turn these chronicles afforded siijajects for romances of a later day. An illus- tration suffices to prove the point. Representative of these innovations is the grandson of Enrique II.

Villena, of whose treatise mere scraps survive, shows minute acquaintance with the works of early trovadores ; of general principles he says naught, losing himself in discursive details.

Early in followed the Trabajos de Hercules Labours of Her- cules , first written in Catalan by request of Pero Pardo, and done into Castilian in the autumn of the year.

This tedious allegory, crushed beneath a weight of pedantry, is unredeemed by ingenuity or fancy, and the style is disfigured by violent and absurd inversions which bespeak long, tactless study of Latin texts.

Juan Manuel's digni- fied restraint is lost on his successor, itching to flaunt 1 Strictly speaking, this writer should be called Enrique de Arag6n ; but, since this leads to confusion with his contemporary, the Infante Enrique de Arag6n, it is convenient to distinguish him as Enrique de Villena.

He was not a marquis, and never uses the title. Still odder is the Libro de Aoja- miento Dissertation on the Evil Eye with its three "preventive modes," as recommended by Avicenna and his brethren.

Translations of Dante and Cicero are lost, and three treatises on leprosy, on consolation, and on the Eighth Psalm are valueless. Villena piqued himself on being the first in Spain — he might perhaps have said the first anywhere — to translate the whole jEneid ; but he marches to ruin with his mimicry of Latin idioms, his abuse of inversion, and his graces of a cart-horse in the lists.

No contemporary was more famed for uni- versal accomplishment ; so that, while he lived, men held him for a wizard, and, when he died, applauded the partial burning of his books by Lope de Barrientos, afterwards Bishop of Segovia, who put the rest to his private uses.

Santillana and Juan de Mena assert that Villena wrote Castilian verse, and Baena implies as much ; if so, he was probably a common poetaster, the loss of whose rhymes is a stroke of luck.

A Castilian poem on the labours of Hercules, ascribed to him by Pellicer, is a rank forgery. Measured by his repute, Villena's works are disappointing.

But if we reflect that he translated Dante, that he strove to naturalise successful foreign methods, and that in his absurdest moments he proves his susceptibility to new ideas, we may explain his renown and his influence.

To Villena's time belong two specimens of the old encyclopaedic school : the Libro de los Gatos, translated from the Narrationes of the English monk, Odo of Cheriton ; and the Libro de los Enxemplos of Clemente SAnchez of Valderas, whose seventy-one missing stories were brought to light in by M.

The style is carefully modelled on Juan Manuel's manner. This collection, first pub- lished in , mirrors two conflicting tendencies. The old Galician school is represented by Alfonso Alvarez de Villa- sandino sometimes called de lUescas , a copious, foul- mouthed ruffian, with gusts of inspiration and an abiding mastery of technique.

Macfas has left five songs of slight distinction, and, as a poet, ranks below Rodriguez de la Cimara. Yet he lives on the capital of his legend, the type of the lover faithful unto death, and the circumstances of his passing are a part of Castilian literature.

Quoted times innumerable, this more or less authentic story of Macfas' end ensured him an immortality far beyond the worth of his verses : it fired the popular imagination, and enters into literature in Lope de Vega's Porfiar hasta morir and in Larra's El Doncel de Don Enrique el Doliente, A like romantic memory attaches to Macfas' friend, Juan Rodriguez de la Cdmara also called Rodrfguez del Padr6n , the last poet of the Galician school, re- presented in Baena's Cancionero by a single cdntica.

The conjectures that make Rodrfguez the lover of Juan II. None the less it is certain that the writer was concerned in some myste- rious, dangerous love-affair which led to his exile, and, as some believe, to his profession as a Franciscan monk.

His seventeen surviving songs are all erotic, with the exception of the Flama del divino RayOy his best performance in thanksgiving for his spiritual conversion.

His loves are also recounted in three prose books, of which the semi-chivalresque novel, El Siervo litre de Amory is still readable.

But Rodrfguez interests most as the last representative of the Galician verse tradition. Save Ayala, who is exampled by one solitary poem, the oldest singer in Baena's choir is Pero Ferrus, the connecting link between the Galician and Italian schools.

A learned rather than an inspired poet, Ferrus is remeiti- bered chiefly because of his chancy allusion to Amadis in the stanzas dedicated to Ayala.

Imperial, as his earliest poem shows, read Arabic and English. He may have met with Gower's Confessio Amantis before it was done into Castilian by Juan de la Cuenca at the beginning of the fifteenth century — being the first translation of an English book in Spain.

Howbeit, he quotes English phrases, and offers a copy of French verses. These are trifles : Imperial's best gift to his adopted country was his transplanting of Dante, whom he imitates assiduously, reproducing the Florentine note with such happy intonation as to gain for him the style of poet — as distinguished from trovador — from Santi- llana, who awards him '' the laurel of this western land.

At least one piece by Ferrant Sdnchez Talavera is memorable — the elegy on the death of the Admiral Ruy Diaz de Mendoza, which anticipates the mournful march, the solemn music, some of the very phrases of Jorge Manrique's noble coplas.

In the Dantesque manner is Gonzalo Martinez de Medina's flagellation of the cor- ruptions of his age. Baena, secretary to Juan II. A remarkable letter to the Constable of Portugal shows Santillana as a pleasant prose-writer ; in his rhetorical Lamentation en Propheqia de la segunda Destruyqion de Espafia he fails in the grand style, though he succeeds in the familiar with his collection of old wives' fireside proverbs, Refranes que diqen las Viejas tras el Huego.

It is impossible to say of Santillana that he was an original genius : it is within bounds to class him as a highly gifted versifier with extraordinary imitative powers.

He has no " message " to deliver, no wide range of ideas : his attraction lies not so much in what is said as in his trick of saying it.

He is one of the few poets whom erudition has not hampered. He was familiar with writers as diverse as Dante and Petrarch and Alain Chartier, and he reproduces their characteristics with a fine exactness and felicity.

But he was something more than an intelligent echo, for he filed and laboured till he acquired a final manner of his own. Commonplace in thought, stiff in expression, the sonnets are only historically curious.

It is in his lighter vein that Santillana reaches his full stature. The grace and gaiety of his dedreSy serranillas and vaqueiras are all his own.

If he borrowed suggestions from Provencal poets, he is free of the Provencal artifice, and sings with the simpli- city of Venus' doves.

Here he revealed a peculiar aspect of his many-sided temperament, and by his tact made a living thing of primitive emotions, which were to be done to death in the pastorals of heavy-handed bunglers.

The first-fruits of the pastoral harvest live in the house where Santillana garnered them, and those roses, amid which he found the milkmaid of La Finojosa, are still as sweet in his best known — and perhaps his best — ballad as on that spring morning, between Calatevefto and Santa Marfa, some four hundred years since.

Ceasing to be an imitator, Santillana proves inimitable. The official court-poet of the age was JUAN DE Mena , known to his own generation as the "prince of Castilian poets," and Cervantes, writing more than a hundred and fifty years afterwards, dubs him ''that great C6rdoban poet.

The Italian travels of his youth undid him, and set him on the hope- less line of Italianising Spanish prose. A false attribution enters the Annals of Juan II.

Simplicity and vulgarity were for him synonyms, and he carries his doctrine to its logical ex- treme by adopting impossible constructions, by wrench- ing his sentences asunder by exaggerated inversions, and by adding absurd Latinisms to his vocabulary.

These defects are less grave in his Verse, but even there they follow him. The poet is whisked by the dragons in Bellona's chariot to Fortune's palace, and there begins the inevitable imitation of Dante, with its machinery of seven planetary circles, and its grandiose vision of past, present, and future.

The work of a learned poet taking himself too seriously and straining after effects beyond his reach, the Laberinto is tedious as a whole ; yet, though Mena's imagination fails to realise his abstractions, though he be riddled with purposeless conceits, he touches a high level in isolated episodes.

A poet by flashes, at intervals rare and far apart, Mena does himself injustice by too close a devotion to aesthetic principles, that made failure a cer- tainty.

Careful, conscientious, aspiring, he had done far more if he had attempted much less. Meanwhile Castilian prose goes forward on Alfonso's lines.

Mingled with many chivalresque details concerning the hidalgos of the court is the central episode of the book, the execution of the Constable, Alvaro de Luna.

The last great scene is skilfully prepared and is recounted with artful simplicity in a celebrated pas- sage : — " He set to undoing- his doublet-collar, making ready his long garments of blue camlet, lined with fox- skins ; and, the master being stretched upon the scaffold, the executioner came to him, begged his pardon, em- braced him, ran the poniard through his neck, cut off his head, and hung it on a hook ; and the head stayed there nine days, the body three.

After much violent controversy, it may now be taken as settled that the CrSnica del Cid is based upon Alfonso's Estoria de Espanna.

The first deals with emperors and kings ranging from Alexander to King Arthur, from Charlemagne to Godfrey de Bouillon ; the second treats of saints and sages, their lives and the books they wrote ; and both are arrange- ments of some French version of Guido delle Colonne's Mare Historiarum.

Foreign critics have compared him to Plutarch and to St. He argues from the seen to the unseen with a curious anticipation of modern psychological methods; and it forms an integral part of his plan to draw his personages with the audacity of truth.

He does his share, and there they stand, living as our present-day acquaint- ances, and better known. Take a few figures at random from his gallery : Enrique de Villena, fat, short, and fair, a libidinous glutton, ever in the clouds, a dolt in practice, subtle of genius so that he came by all pure knowledge easily ; Niiftez de GuzmAn, dissolute, of giant strength, curt of speech, a jovial roysterer ; the King Enrique, grave - visaged, bitter - tongued, lonely, melancholy ; Catherine of Lancaster, tall, fair, ruddy, wine-bibbing, ending in paralysis; the Constable L6pez DAvalos, a self-made man, handsome, taking, gay, amiable, strong, a fighter, clever, prudent, but — as man must have some fault — cunning and given to astrology.

The picture costs him no effort : the man is seized in the act and delivered to you, with no waste of words, with no essential lacking, classified as a museum specimen, impartially but with a tendency to severity ; and when Perez de Guzmdn has spoken, there is no more to say.

He is a good hater, and lets you see it when he deals with courtiers, whom he regards with the true St. Simonian loathing for an upstart.

But history has confirmed the substantial justice of his verdicts, and has thus shown that the artist in him was even stronger than the malignant partisan.

It is saying much. Det hölls föredrag, gavs teaterföreställningar och det sjöngs och spelades mycket. Inflyttningen, som varit stor, ser ut att fortsätta.

Sulvan ensimmäiset kunnanvaltuustovaalit toimitettiin Valtuuston ensimmäisenä puheenjohtajana toimi Edvard Helenelund, josta tuli sittemmin myös kansanedustaja.

Talvi- ja jatkosodan aikana aika ja voimavarat menivät pitkälti selviämiseen vaikeiden aikojen yli.

Rauhan jälkeen Sulvalla vallitsi talkoohenki, joka mahdollisti uuden alun. Rappeutuneet talot kunnostettiin ja maalattiin useissa kylän maatiloissa keitetyllä punamullalla.

Taloustilanteen kohentuessa myös talojen sisätilat saatettiin kunnostaa ja varustaa keskuslämmityksen ja WC:n kaltaisilla nykyaikaisilla teknisillä ratkaisuilla.

Maastamuutto Ruotsiin oli sodanjälkeisen suuren työttömyyden takia merkittävää, erityisesti nuorison keskuudessa.

Tänä aikana perustettiin useita pienyrityksiä, mm. Kaivojen poraus oli toinen menestyvä teollisuudenala ja Sulvalla sijaitsi peräti 11 kaivonporauskonetta.

Muut sodanjälkeisenä aikoina perustetut yritykset olivat pieniä työpajoja, sahoja, puusepän verstaita, yksi ompelimo ja jopa nappitehdas.

Tämän lisäksi alueelta löytyi kauppapuutarhoja, kasvihuoneita ja turkistarhoja, joista muutamia on yhä jäljellä. Sulvalla toimi ja luvulla kymmeniä kyläkauppoja.

Tieverkko kehittyi ja useampi bussiyhtiö huolehti matkustajaliikenteestä Vaasaan. Aiemmin, aina luvulle saakka, maantie Vaasaan kulki Tuovilan kivisillan yli.

Yhdistystoiminta aktivoitui sodan jälkeen ja kirjamuodossa julkaistussa Jockes brev saatettiin lukea merkittävistä häistä, juhlista ja kokouksista.

Alueella pidettiin esitelmiä, järjestettiin teatteriesityksiä sekä soitto- ja laulutilaisuuksia. Aina ja luvuille saakka väestönmäärä kasvoi verkkaisesti.

Sparlanda oli ensimmäinen kunnan suunnittelema asuinalue, tontit rakennettiin sinne luvun alussa. Tämän jälkeen alueelle on kaavoitettu ja rakennettu useampia asuinalueita.

Alueelle on muuttanut paljon väkeä ja kasvun odotetaan jatkuvan. Vad har Solf att erbjuda? Mitä Sulva voi tarjota?

Sulvan maaseutuympäristö tarjoaa asumiseen ja varttumiseen turvallisen paikan. Kyrkan invigdes Altaruppsatsen, som är inköpt i Hudiksvall , är en stor sevärdhet i den vackra kyrkan.

Grundservicen är bra i Solf. Lukukautena Sulvan koulussa on oppilasta. Söderfjärden on merkittävä viljelysalue ja merkittävä linnustonsa takia keväisin ja syksyisin.

Pumppuasemalla puolestaan voit osallistua Söderfjärdenin kuivatustarinaan ja ihailla kauniita maisemia. Kirkko, pappila, seurakuntakoti ja hautausmaa muodostavat kauniin kokonaisuuden.

Kirkko vihittiin käyttöön Alttariosa on ostettu Hudiksvallista ja se on kauniin kirkon merkittävimmistä nähtävyyksistä.

Stundarsin ulkoilmamuseo on rakennettu seurakunnan maille ja kuuluu näin ollen alueeseen. Seurakunta tarjoaa toimintaa eri-ikäisille lapsille sekä nuorille, aikuisille ja eläkeläisille.

Laulu ja musiikki ovat aina olleet merkittäviä tekijöitä Sulvan kulttuurielämässä. Jousiorkesteri, puhallinorkesteri, kuoro ja lasten musiikkikoulu kuuluvat kylän kulttuuritarjontaan.

Föräldra-barn-träff vid Solf församlingshem. Vanhemmat ja lapset—ryhmä Sulvan seurakuntatalolla. Ett flertal föreningar ordnar ledda fritidsaktiviteter.

Fotboll och orientering hör till de populäraste sporterna. Tack vare närheten till Vasa har Solf länge varit en populär inflyttningsort.

Alla tillgängliga hyreslägenheter är uthyrda och de kommunala bostadstomterna säljs vartefter de kommer till salu. Stundars är ett stort museum och ett levande kulturcentrum, som starkt präglar bygden.

Sulvalla on hyvät peruspalvelut. Alueella sijaitsee päiväkoti, ruotsinkielinen ala-aste, kirjasto ja terveysasema. Saatavilla on useita lastenhoitajia sekä kerhotoimintaa ala-astelaisille.

Lähikauppa, pankki, kukkakauppa, lahjatavarakauppa sekä ravintolat palvelevat niin kylän asukkaita kuin vierailijoitakin. Useat yhdistykset järjestävät ohjattua vapaa-ajan toimintaa.

Jalkapallo ja suunnistus kuuluvat suosituimpien urheilulajien joukkoon. Folkhälsan järjestää uimakouluja kylän maauimalan yhteydessä. Västersolfin ladut houkuttelevat talvisaikaan kilpailijoita ja kuntoilijoita hiihtämään.

Alueelta löytyy lukuisia hevostalleja ja jopa ratsastushalleja hevosihmisille. Vaasan läheisyyden ansiosta Sulvasta on tullut suosittu muuttokunta.

Kaikki vapaana olevat vuokra-asunnot on vuokrattu ja kunnan rakentamat asuintalot käyvät välittömästi kaupan sen jälkeen kun ne ovat tulleet myyntiin.

Alueella on tarjolla myös yksityisiä asuintontteja, mutta nämä ovat hieman etäämpänä keskustasta. Stundars on suuri museo ja elävä kulttuurikeskus, jossa heijastuu alueen elämää.

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Solfs Bonn

Die meisten Spiele entstammen der Rubrik der Solfs Bonn. - Spielothekeninformation "Spielothek Solf´s"

Oktober als viertes Red Lady insgesamt sieben Kindern in Berlin geboren.
Solfs Bonn
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Seine Gesprächspartner waren Billard Saarlouis seinem persönlichen Auftreten und seinen Kenntnissen so angetan, dass ihm schnell Vertrauen entgegengebracht wurde.


1 Kommentare

Fausho · 04.03.2020 um 01:23

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