Susan curtsies and wishes to have her for himself. Plans are displayed for you to read. And—is it you my Lady? Spanish immigrants were mainly Galicians and Basques. You may quote material on this web page as long as you cite American Merchant Marine at War, www. This floating museum was named after Isaac Lane who was born into slavery and later founded Lane College in Jackson, Tennessee [Alex Hailey, author of "Roots" is a famous alumnus].
Stop, most formidable Orator; and ere you proceed, enquire whether the Defendant does not contest the validity of your Deed. To Figaro Do you co-ontest the va-va-va-va-lidity of the Dee-eed? My Lord and Gentlemen! There is in this Case, either Fraud, Error, Malice, or mischievous Intention, for the Words of the Acknowledgment are, I promise to repay the said Marcelina-Jane-Maria-Angelica-Mustachio, the said sum of two thousand Piasters or to marry her, which is very different.
No matter; the sense of the Phrase is equally clear. This learned Court is not now to be informed the word or particle, Or, hath various significations—It means otherwise and either —It likewise means before —For example, in the language of the Poet.
For what reason could Edition: Let us then substitute the adverb Wherefore, and the intent and meaning of the Promise will be incontestable; for, after reciting an acknowledgement of the debt, it concludes with the remarkable words, Or to marry her, that is, wherefore, for which reason, out of gratitude, for the Favour above done me, I will marry her.
Pointing first to the Doctor, and then to Marcelina. Count and the Counsellors rise and consult together. Their Whisperings and wise Grimaces forebode me no good. That Susan has corrupted the chief Judge, and he is corrupting all the others. The Count and Counsellors resume their seats. The judgment of the Court is, that since the validity of the promise of Marriage is not well-established, Figaro is permitted to dispose of his Person.
But as the Acknowledgement clearly expresses the words, Which sum I promise to pay the said Marcelina-Jane-Maria-Angelica-Mustachio, or to marry her, the said Figaro stands condemned to pay the two thousand Piasters to the Plaintiff, or marry her in the course of the Day. Thank your noble Lordship! Most humbly thank your noble Lordship! Exeunt Guards, Counsellors, and Vassels. Sits down dejected I will never marry her. Returning Where are they? Allow me time, my Lord—I must first know where to find them, and yet it ought not to be long, for I have been seeking them these five Years.
Pointing to the Doctor. Come to my arms, my dear, my long lost Child. Figaro and Marcelina embrace, the Doctor leans against the Benches. The latter runs to find the Count. In great Agitation Oh, where is my Lord? Here is the Money to pay Marcelina with!
The Portion which my noble and generous Lady has given me! Susan, at seeing them embrace becomes furious, and is going away, Figaro runs and brings her back. I have seen enough—Since you are so fond of her, pray marry her. Gives him a slap in the face. Prithee come hither, look at that Lady—How dost thou like her? Yes, my dearest Susan, embrace thy Mother—Thy Mother, who will love thee dearly.
Willingly, Susan runs and kisses her Here, my Son, here is the Promise. Gives him the Paper. Gives him a Purse of Money. Oh, my Mother, Oh, my Susan! They all three embrace, weeping.
What a Foo-oo-ool am I! A Knave that tricked me of my Ward, cheated me of my Money, and now has been turning my Wisdom into ridicule.
And are not you, being a wise Man, proud to have a Son wiser than yourself? Susan strokes his Cheek, Figaro kneels, and Marcelina coaxes him. Bursts out a crying See, if I am not even Edition: Exeunt Doctor, Marcelina, Figaro and Susan. SHE has converted her Doctor at last—They are to be married, and these so late implacable Enemies are now become our dearest Friends.
And think of that other blind beggar, Love—Most willingly, my Angel. Rather say it was not half thy meaning, or thy meaning ill expressed. Truths that may not be spoken: As it is for thee, my gentle, kind, and beauteous Bride, to be transformed into an ill-tempered, extravagant slatternly Wife.
Aye, and thus live a happy Exception to the established usage of a mad World. Thinkest thou I am as learned as thou art? And that I keep several sorts of Truths? And dost thou love me? Too much, I doubt. I understand nothing of this over-refinement, but I feel I shall love my Husband most heartily. Wherever you meet One of them, be certain you shall find a Pair.
I will take my excuse in my hand— Going to lead out Susan —Few offenders can plead so charming a one. No, no; stop Susan: I want you—She Edition: Catching hold of her and kneeling. Let me conjure you to hear me, to pardon me. That must be fixed—Sit down, take the pen and write— Susan sits down, the Countess dictates. Looking archly at the Countess. Fasten it with a Pin, and write on the direction, Return the Seal. Wouldst thou have me let him wear it? It will do for Agnes; I will give it her the first Bouquet she presents me.
Looking at the Page What pretty maiden is this? Well, then, as we can wear but one nosegay, let us do honour to the Stranger Takes the Nosegay from the Page, and kisses his forehead. Aside What a precious kiss!
I feel it here. Putting his hand on his heart. Enter the Count, and Antonio with a hat in his hand. The rakish little Rascal is disguised among the Girls. I found his new hat and cockade here—hid in a basket. The Countess and Susan surprised, look at the Page, and then at each other. The girls surround and endeavour to hide Hannibal; Antonio seeks among them. Ay, ay, here he is—here he is.
Antonio takes off his cap, and puts on his hat There, my Lord! This young gentleman Pointing to the Page was hid in my Dressing-room. Because, my Lord, when your Passions are predominant, you are incapable of either listening to or believing the Truth. Turning with great wrath towards the Page What is the reason, Sir, you have not obeyed my Commands? Draws back frightened, and takes off his hat My-my-my Lord, I staid to teach Agnes the Love scene she is to play in the Comedy this evening.
Steps forward Ah, my Lord, when you come to my room, you know, and want to kiss me—. The Countess remarks his embarrassment, Susan laughs silently, and makes signs to the Countess. You say to me, My pretty Agnes, if you will but love me, I will give you any thing you wish to have; now, my Lord, if you will give me Hannibal for a husband, I will love you with all my heart.
You hear, my Lord! And do not circumstances prove, how injurious your Suspicions have been, and how well founded mine? Count bows to the Countess. Come, my pretty Maidens, come. Turning him back You were very lucky to light upon such soft ground. Turning him back on the other side And then you double yourself up, when you take a leap? Yet, like a Cat, you fall on your feet. Bringing the Page forward Do you know this bashful young Lady? Well, and what Riddle has he to propound?
No Riddle, Sir, but a simple matter of fact: Why not, my Lord? One sheep begins, and the rest naturally follow: Quick, quick, run, run, run. Exeunt Susan and Figaro, with the Girls. Putting on his hat No matter—I bare away that upon my forehead, which would compensate for an age of imprisonment Exit joyously. Looks at the Countess, who recollects the kiss she had just given the Page His forehead! Every new Bauble pleases a Child. Enter the Procession of the two Weddings.
They all salute the Count and Countess as they pass; and after making the tour of the stage, Antonio presents his Niece to the Count; Susan kneels, one of the Bridemaids gives the Count the nuptial Cap; and Susan, while the Count is placing it on her head, plucks him by the cloak, and shews him the Note she had just before written.
He pretends to keep adjusting the Cap, and slily reaches to take the Note, which he instantly claps in his bosom, having previously unbuttoned himself for that purpose. While this is transacting a Castanet-Dance is performed. As soon as Susan rises, she purposely places herself before the Countess, to encourage the Count to read the Note, who accordingly steps forward, is going to open it, and pricks his finger with the Pin, which he plucks out and throws angrily on the floor.
This is a new fashion, which he does not seem to admire. To his Mother Every thing is precious that appertains to a beloved object. All this while Susan and the Countess remark who is passing with laughter, and private looks and gestures.
Rising Come with me, Susan. We shall soon be back, my Lord, Aside to Susan Let us make haste and exchange dresses. Exeunt Countess and Susan. Basil coming, my Lord, with the whole Village at his heels, because he has been singing all the way he went. I assure your Lordship he has not amused me in the least.
Imitates beating up a Lather. When, it is well known, there is not, in all Andalusia, a more eminent! Basil, what you have to say. Renounce your best Friend? And I will go and prepare the Fireworks in the Garden, near the Pavilion. Returning Who, pray Sir, gave you those Orders? Figaro turns and sees Agnes just behind him, coming down the Stage. What you have been listening, my little inquisitive Cousin?
Striding about in great anger A Pin! Have you learnt your trade already? Coaxing Only to hear what my Lord said when he sent thee on this errand. Here, said he, here, my pretty little Agnes, take this Pin to thy Cousin Susan, and tell her it is the Seal of the new Song about the Twilight and the Pavilion.
The Pavilion—And take great care, said he, that nobody sees thee. Well, well, I was but joking; go and execute thy Message faithfully, exactly as my Lord bade thee. My Cousin takes me for a Ninny, I believe. Nay, but gently, my Son, gently; recollect that Jealousy is the disease of a Madman, and that your Philosophy is invulnerable. A Pin that has wounded me to the heart!
We did so; but how can we tell whether she means to deceive thee or him? I am sorry—I am a Fool—And yet! With walks of cut trees in the back ground, and two Pavilions, one on each side of the stage. A lanthorn in one hand, and two cakes and an orange in the other.
THE Pavilion to the left? Figaro imagines at first Agnes to be Susan; and, as it is too dark to see, endeavours to follow the sound of her voice, having entered while she was speaking. Agnes enters the Pavilion on the left. They all grope down the stage till they get round Figaro What a clock is it? You understand, Gentlemen, why you are come hither—It is to be Witnesses of the Conduct of the virtuous Bride I am soon to espouse, and the honourable Lord who has graciously bestowed her upon me.
Aside This will be a precious Revenge. Remember, Figaro, a wife Man has never any Contest with the Great; it is the Battle of Don Quixote with the Windmills; they whirl and dash you to a Distance, without once altering or retarding their Course.
Hide yourselves hereabouts, and come running the Moment you hear me call. Manent Figaro and Doctor. Inconstant, weak, deceitful Woman! Because you are a great Man, you fancy yourself a great Genius. Why truly, you gave yourself the Trouble to be born! While the obscurity in which I have been cast demanded more Abilities to gain a mere Subsistence than are requisite to govern Empires.
And what, most noble Count, are your Claims to Distinction, to pompous Titles, and immense Wealth, of which you are so proud, and which, by Accident, you possess? For which of your Virtues? Be advised, Figaro—be calm—there has ever been a Respect paid—.
To Vice—where it is not due. A Lord—and I am—a Man! Agnes hears the voice of the Doctor, and runs in again I will retire, but if you are wise, you will wait the Event patiently; your suspicions may be unjust,—should they prove real, then shake her from you, as her Ingratitude deserves. Figaro listens I hear nothing—all is silent—and dark as their designs. I was once more turned adrift into the wide World, with leave to provide Straw and Bread and Water for myself. And now, for once, behold the Scene changed!
See me equally familiar with Lords as with their Lacquies! Every door was open to me! Every hand held out! But, notwithstanding my desire to be Something in this world, my detestation of the brazen Effrontery, profound Ignorance, and insupportable Insolence of these fashionable Friends of Nobility was so innate that I found I could better endure all the Miseries of Poverty than the Disgrace and Disgust of such Society. My Parents all at once claim me! A little, wise, foolish Animal, ardent in the pursuit of Pleasure, capricious through Vanity, laborious from Necessity, but Edition: Figaro sinks melancholy upon the garden-seat; but being suddenly roused by a noise, wraps himself up in his Rocquelaure.
So Figaro is to be here. In an under voice. Thus one is come to lay the Springe, and the other to seize the Game. I will go and hide myself in this Pavilion, where I shall hear all. Exit into the Pavilion on the left. Speaks louder If my Lady does not want me, I will walk and enjoy the fresh air. Is that Agnes, yonder? In a feigned voice. I know it is not Figaro you are waiting for, it is my Lord the Count—What!
Did not I hear, this Morning, when I was behind the great Chair? The babbling little Villain. Is not that somebody with Susan? Susan keeps out of the way and silently laughing. The Countess draws back to avoid being kissed by the Page, and the Count advances and presents himself in her place; the Page feels the rough beard of the Count, and suddenly retreats, crying in an under voice —Oh, the Devil!
Exit Page into the Pavilion on the left. Thinking he speaks to the Page. Since you are so fond of kissing, take that. Gives Figaro a severe box on the ear. I have paid for listening. Susan cannot contein herself, but bursts out a laughing.
Why this is inconceiveable! It would be strange if he should cry this time. Count and Countess approach. But let us not lose the precious moments, my charming Susan!
Kisses the Countess several times with rapture. Aside, and beating his forehead. Cominuing her feigned voice. Because I am afraid. Thou seemest to have got a cold. And yet you loved her once. Yes—Yes—I did so—But three Years of better Acquaintance has made the Marriage-state so respectable—And then Wives are so loving—when they do love, that is—that one is surprised when in search of Pleasure, to find Satiety. Are there Echoes here?
And now, my sweet Susan, receive the Portion I promised thee. Gives a purse and puts a ring upon her finger —And continue likewise to wear this Ring for my sake. Was there ever so faithless a Hussey? These riches are all for us! Still keeps chuckling very heartily at what is going forwards.
They are preparatory to thy Nuptials. Come, come, let us retire for a moment into the Pavilion. Yes, but there are; and evil ones Edition: Countess follows the Count.
Raising his voice majesterially. Aside to the Countess. The Countess enters the Pavilion on the right hand and the Count retires. They are gone in. Let her go—Let her go! Thou shalt pay presently for these fine Suspicions. Susan advances and mimics the voice of the Countess. That the Count and my very virtuous Bride are this moment in yonder Pavilion Madam!
Very well, my Gentleman! What does she mean? Jealous What does the good-for-nothing Fellow mean? Speaks in a tone of compliance to Figaro. Pardon my Presumption, Madam! On any other occasion, the Respect I bear your Ladyship would keep me silent, but on the present I dare encounter all!
Falls on his knees. Unable any longer to contain herself gives him a slap on the face. Susan gives it thee as soon as Figaro hears it is Susan, his satisfaction is so extreme, he laughs very heartily, and keeps laughing all the while she keeps beating him and that, and that, and that, and that for thy Insolence—And that for thy Jealousy—And that for thy Infidelity Susan out of breath, Figaro still laughing.
How durst you, you good for nothing, base, false-hearted Man, make love to me, supposing me the Countess. Talk not of Revenge, my Love, but tell me what blest Angel sent thee hither, and how thou camest by this Disguise, which so fully proves thy Innocence! Holding out her Hand Dost thou want another Proof?
Thine are but proofs of Love—That of the Count, indeed, was not so gentle. A Man on his Knees to the Countess! Furiously So this is our Dressing-room Gentleman, at last! I shall know all at least, now— Figaro kisses her hand again. Figaro and Susan still inwardly laughing Quickly then, Madam, let us repair the wrong which Love this Morning suffered at the impertinent intrusion of your Lord.
This is not to be borne Darts between them, seizes Figaro by the Collar, while Susan escapes into the Pavilion on the left. Pretends amazement My Lord! And is it you! Just arrived from Seville! But he is not there! I might as well have sought for this Page in my pocket! Here is the Packet again. Stand out of the way, Rascal—Hollo! To the Servants Guard that Door and some of you seize this Fellow. You command, with absolute Authority, over all present, my Lord, except yourself.
Be pleased, Sir, to declare, before this Company, who the—the—Woman is that just now ran into that Pavilion. Into that— Going to cross to the Pavilion on the right. Stopping him No, prevaricating Fiend; into that.
Pointing to the other. Come forth, I say, shew yourself. Enter, dragging out the PAGE, still speaking and not looking at him till he gets on a line with the rest of the Company. Happily, Madam, there is no Pledge of a Union, now so justly detested.
After all the rest. This five-card draw variation is similar to deuces wild except that the wild card is determined during the deal rather than specified in advance. This is done by dealing a card dealt face up to the table, usually after the fourth card has been dealt to each player. The other three cards of the same rank as the face up card are wild.
This is a five-card draw in which deuces are wild and players are not allowed to draw more than two cards. There is an extra rule that the player who opens makes the first bet must either win the pot or match it. In other words, if the pot is won by a player other than the opener, the opener must pay to create a new pot equal to the pot was just won. The deal then passes to the left with no new antes and the game is played for this new pot. This continues until a hand is played in which the opener wins the pot.
If this variant is played in a dealer's choice game, it continues until the opener wins the pot, after which the deal passes to the player to the left of the player who called Diablo, who can then select another game. To avoid the pot becoming too large, some groups may prefer to put a fixed limit on the size of the new pot that the opener must create after failing to win.
This variation of Jacks or Better works well for smaller groups, say 3 to 5 players, in which case there will be many deals on which no one can open. The game begins like Five Card Draw. Five cards are dealt to each player and there is a betting round, in which Jacks or Better are required to open.
If someone opens the betting the game proceeds exactly like normal Five Card Draw, and in a showdown the highest hand wins the pot. If no one opens in the first betting round the cards are not thrown in. Instead the players keep their cards and the game changes to Ace-to-five Lowball , and there is a new betting round begun by the player to dealer's left. Provided that the betting is opened in this new betting round, the players then have the chance to draw with the aim of making a low hand.
After the draw there is another betting round, begun by the first active player to dealer's left. If more than one player stays in there is a showdown in which the lowest poker hand wins. Aces are low and straights and flushes do not count, so the best hand is A a "bicycle". A-A is a pair, so it is worse than any hand without a pair, but better than any other pair since aces are low. It may happen that no one opens in the first betting round, and then after the game changes to Lowball everyone checks again.
In this case the cards are thrown in and the turn to deal passes to the left. To avoid the possibility that a hand is thrown in, some clubs have a rule that when the game changes to Lowball the player to dealer's left must place a "blind" bet, and the betting round begins with the next player to the left.
The player who placed the blind may raise after everyone else has acted even if no one did more than call. The betting round after the draw is begun by the first active player to dealer's left as usual. Some play that check-raising is not allowed in the Lowball part of this game, and also apply the betting sevens rule as for California Lowball.
Jacks Back is often played with a joker, which acts as a bug for high hands. When the game is played for low, the joker is known as a fitter , and it represents the lowest card not already present in the player's hand. Other forms of Lowball Draw Poker are described on the Lowball page. This process is repeated: Each drawing round is followed by a betting round.
The card deck consists of cards from Ace high to Seven low in each suit. The main differences from normal Five Card Draw are as follows:. The four-player versions of Italian Poker and Turkish Poker are forms of card poker with some special rules. The following variant is found in Bosnia and Herzegovina, and perhaps other places. A player who asks to exchange four cards discards four and is first dealt three cards face down to look at.
Then the dealer deals one card face up and one face down, and the player must choose which of these to take as the fourth card. If the face up card is chosen the face down card is discarded unseen. This variant is not widespread but it is played to a minor extent in the Netherlands. It is seen as a novelty game with a greater element of risk than 5 card draw, in that players have a better chance to make a high ranking combination.
Because of the larger number of cards dealt, this game does not work well with more than four players. Before the deal, the player to dealer's left places a small blind, and the next player to the left a big blind.
The size of the blinds is agreed in advance - the small blind should be half the value of the big blind. We support staff training across many areas including - child development, the early years curriculum, leadership, management, health and safety, safeguarding, human resources, computer skills, administration, maths, English and customer service.
Most importantly, we listen to our children and parents. Your views as carers and parents are most important to us. We really welcome your feedback, comments and suggestions. These are helpful in shaping what we do. All 3 of our Southampton nurseries that have been able to join the Flying High quality accreditation award have achieved it and continue to hold it. We were the first private day nursery in the city to achieve the Southampton Healthy Early Years award. Our other Southampton settings are currently undergoing assessment.
As a nursery group, we achieved Investors in People accreditation in July We teach children right from wrong; learning to take turns and share. We challenge negative views and stereotypes. We have clear and negotiated boundaries of behaviour. Our 'Golden Rules' and positive behaviour policy effectively support the fundamental values of democracy; the rule of law; individual liberty and mutual respect and tolerance of those with different faiths or beliefs. We recognise that even though they are very young, children join us with a variety of life experiences and individual needs.
In , Paint Pots pooled it's EYPP funding across all our settings and put it towards the cost of training for all our staff in a music programme from Boogie Mites - a specialist Early Years music provider. For children needing additional language support, we have seen improvements in their capabilities.
Our Staff All our staff have been carefully chosen for their ability, dedication and love of children, in addition to their qualifications.
Our History Paint Pots has always been far more than just a business to us. Paint Pots in the s. Our Services Operating Hours We accept children full and part time and run term-time school day and pre-school sessions. Meals Lunch and Tea, mid-morning and afternoon snacks are included in your fees.
A typical day's menu will look something like: Lunch - roast chicken, fresh vegetables, fruit crumble and custard. High Tea - assorted rolls, fruit, and homemade cake. Babies 4 to 18 months Toddlers 18 to 33 months Pre-School 33 months plus High Tea - assorted rolls, fruit, and homemade cake. Our Curriculum Planning Our activities are planned using the government's "Early Years Foundation Stage" guidance which covers children aged 0 - 5 years and continues on into the School Reception Year.