Another hyperspace philosopher with even more overtly Christian leanings was the Rochester, New York, architect Claude Bragdon. It was Bragdon who organized the English translation of Ouspensky's work, and the two men immediately recognized kin-dred spirits in one another. In addition to Bragdon's more philo- sophical works, his oeuvre also included a curious littte religious title called Man the Square: A Higher Space Parable. Here, Brag-don used the analogy of a two-dimensional world (rather like / Page 195 / Abbott's Flatland), "to convey a message of love and harmony."¹² As in Flatland, Bragdon's characters are also simple geo-
metric figures living on a flat surface (see Figure 5.1).As the story unfolds, however, we learn that all these figures are really cross sec-tions of cubes, tilted at different angles to their two-dimensional planar world (See Figure 5.2). Seen from the "higher" reality of three dimensions, the beings are not flat figures but hearty, solid cubes. At the end of the story, this higher-dimensional reality is demonstrated to the flatlanders by a "Christos cube," which reveals its true cubic nature by folding down its six sides to form the shape of a cross. In the logic of the story, what brings about disharmony in the two-dimensional world is that the cubes of the flatlanders are all tilted at odd angles to their plane. To reinstate harmony, the cubes need to be aligned upright so they are all "square" with their plane. The moral of the tale (of course) was that we too need to get ourselves properly aligned in our own higher space dimen-sion-i.e., the fourth.
Along with the supposedly philosophical and moral impli-cations of the fourth dimension, Bragdon was also interested in its aesthetic possibilities. "Consciousness is moving towards the con-quest of a new space," he wrote. "Ornament must indicate this movement of consciousness."13 To this end, Bragdon produced Projective Ornament, a book of images created by projecting four-dimensional figures onto two-dimensional surfaces. The result, as in Figures 5.3 and 5.4, was a kind of geometric Art Deco that was in truth, rather banal. Bragdon's imagery failed to precipitate the aesthetic revolution he was hoping for, but elsewhere real art- world heavyweights were looking to the fourth dimension for in-spiration. And some may even have taken cues from Bragdon's work..."

Page 208

" It turns out that in anything other than three dimensions, problems quickly arise with inverse square forces. For example, in four or more spatial dimensions, gravity would be so strong that planets would spiral into the sun; they would not be able to form stable orbits. Similarly, electrons would not be able to form stable orbits around nuclei.26 Hence atoms could not form. It can also be shown that in four spatial dimensions, waves cannot propagate cleanly. From these physical facts, Kant and others had concluded that we must live in a universe with just three spatial dimensions.
But all these arguments had assumed that any extra dimen- sions would be fully extended like the regular three. If an addi- tional dimension was tiny, however, it would not affect the regular functioning of gravity, electricity, and wave propagation. On the large scale, such a universe would operate as if there were just three dimensions; only on the microscopic scale would the extra one reveal itself. In other words, our universe could function prop-erly with five dimensions.
If Kaluza was right, and such a thing did exist, it would pack a very potent punch. "Viewed this way, there [would be] no forces at all, only warped five-dimensional geometry, with particles me-andering freely in a landscape of structured nothingness."27 It was a very beautiful idea, but for over half a century most physicists paid no more attention to Kaluza than to Hinton or Ouspensky, and the fifth dimension seemed little less than an oddity of math-ematical mysticism. Then suddenly in the 1980s that began to change when new developments in particle physics began to sug- gest that Kaluza might just be onto something.
By the 1980s, two new forces of nature had been discovered. In addition to gravity and electromagnetism, there was now the weak nuclear force and the strong nuclear force. These forces are what holds atomic nucleirogether, hence they are responsible for keeping matter stable. With these nuclear powers, the basic "forces of nature" had expanded in number from two to four. Today physi-/ Page 209 / cists feel confident that this set-gravity, electromagnetism, the weak force, and the strong force - represent the full complement of our physical universe. But what really began to excite them was the idea that all four might be just different aspects of a single overarching force-a kind of unifying super-force.
The idea of an underlying unity among all four forces of na-ture was so thrilling to many theoretical and particle physicists they were prepared to try anything to realize this vision. Many at-tempts were made to find a unifying theory, but after a decade of failure, they began to realize that desperate measures might be called for. At this point they began to look again at Kaluza. After all, he had been able to unify gravity and the electromagnetic force; perhaps his approach might be able to unify all four forces? Now, the idea of unseen hidden dimensions reared its head with a vengeance, for while Kaluza had been able to explain electro-magnetism by adding just one more dimension to Einstein's equa-tions, physicists found that in order to accommodate the weak and strong forces they had to add another six dimensions of space- bringing the total number of dimensions to eleven! As before, all these extra dimensions are microscopic-tiny little curled-up di-rections in space that can never be detected by human senses.
The picture that has emerged over the past decade is thus of an eleven-dimensional universe, with four extant, or large, di-mensions (three of space and one of time), and seven microscopic space dimensions all rolled up into some tiny complex geometric form. On the scale that we humans experience, the world is four-dimensional, but underneath, say these new "hyperspace" physi-cists, the "true" reality is eleven-dimensional. (Or, according to some of the latest theories, maybe ten-dimensional.)
Perhaps the most radical feature of this eleven-dimensional vision is the fact that it explains not only all the forces, but matter also, as a by-product of the geometry of space. In these extended Kaluza-Klein theories, matter too becomes nothing but ripples in / Page 210 / he fabric of hyperspace. Here, subatomic particles are also ex-plained by the properties of the seven curled-up dimensions. One of the major projects of theoretical physics over the past two decades has been to articulate precisely how the curling up of these extra spatial dimen~ions. occurs. Unfortunately there are an enormous number of possible topologies for a seven-dimensional space, and so far it has proved impossible to tease out which ones (if any) correspond to the real world we live in. Part of the prob- lem, again, is that all these dimensions are too tiny to be measured directly, so any such theories can only be tested indirectly-if at all. Nonetheless, hyperspace physicists are confident that they will find the correct one.
We have looked at how the curvature of space can produce the effect of physical forces such as gravity; let us consider now the even more radicatidea that the curvature of space may also be re- sponsible for matter. Forces such as gravity and magnetism (which travel through thin air) have always, in a sense, been closely allied with space, but how could matter - the concrete stuff of our flesh and bones-arise from the non-substance of space?
At first glance the whole notion seems absurd, but once again the idea of matter as ripples in space is actually quite old. As early as the 1870s Riemann's English disciple William Clifford de-livered an address to the Cambridge Philosophical Society "On the Space Theory of Matter."28 Taking Riemann's ideas further even than the master himself, Clifford put forward the view that particles of matter were just tiny kinks in the "fabric" of space. A more sophisticated version of the same idea arose early in our own century when physicists began to think about wormholes. Original interest in wormholes was not in the large-scale ones that would so excite science fiction writers, but in microscopic wormholes that might be associated with subatomic particles. A host of physics luminaries from Einstein to Hermann Weyl "wondered whether all fundamental particles might not actually be microscopic worm-/ Page 211 / holes."z9 In other words, just "the products of warped spacetime." Einstein in particular became obsessed with the notion that matter might be ripples in space, and he spent the last thirty years of his life trying to extend the equations of general relativity in this direction. He called this dream a "unified field theory" and his fail-ure to find such a theory was the greatest disappointment of his life. According to Kaku, "to Einstein the curvature of spacetime was like the epitome of Greek architecture, beautiful and serene."30 But he regarded matter as messy and ugly. He likened space to "marble" and matter to "wood," and he desperately wanted a theory that could transform ugly "wood" into beautiful "marble."
Neither Clifford nor Einstein had the mathematical tools to achieve the difficult synthesis of matter and space-above all they were trying to work with just four dimensions. Today physicists know that if matter is to be incorporated into the structure of space, it must be achieved with a higher-dimensional theory. In such a theory, matter, like force, would not be an independent en- tity, but a secondary by-product of the totalizing substrate of space. Here, everything that exists would be enfolded into the bosom of hyperspace. Theories that attempt to do this are sometimes known by the modest nickname "theories of everything," commonly re- ferred to as TOEs. In a successful TOE, every particle that exists would be described as a vibration in the microscopic manifold of the extra hidden dimensions. Objects would not be in space, they
would be space. Protons, petunias, and people - we would all be- come patterns in a multidimensional hyperspace we cannot even see. According to this conception of reality, our very existence as material beings would be an illusion, for in the final analysis there would be nothing but "structured nothingness."
With a hyperspatial "theory of everything" we thus reach the apogee of a movement that began in the late Middle Ages: The el-evation of space as an ontological category is now complete. As we / Page 212 / have seen, in the Aristotelian world picture, space was a very minor and unimportant category of reality-so unimportant that Aristo-tle didn't really have a theory of "space" per se but strictly speak-ing only a theory of "place." With the emergence of Newtonian physics in the seventeenth century, the status of space was raised so that along with matter and force it became one of three major categories of reality. Now, at the close of the twentieth century, space is becoming the only primary category of the scientific world picture. Matter and force, which in Newtonian physics were really above space in ontological status, have now been relegated to sec-ondary status, with space alone occupying the primary rung of the real. It is a little-remarked-upon feature of modem Western physics that one way of characterizing the enterprise is by the gradual as-cent of space in our existential scheme. The final triumph of this invisible, intangible entity to the ultimate essence of existence is surely one of the more curious features of any world picture.
Hyperspace physicists' intensely geometric vision of reality also marks the final chapter of the saga begun by Giotto and the geometer-painters of the Renaissance. Here in TOE physicists' equations would be the ultimate "perspective" picture of the world, a vision in which everything is refracted through the clari-fying prism of geometry. If, as Plato famously declared, "God ever geometrizes," here would be the last word on divine action. As the apotheosis of Roger Bacon's "geometric figuring," a hyper-spatial "theory of everything" would be, quite simply, a twenty- first-century realization of a thirteenth-century dream.
In another way also a "theory of everything" would be the ul-timate perspective picture of our universe, for this picture too has a single point from which the whole world-image originates. Physi- cists call it the big bang. According to hyperspace physics, at the initial split second of creation the entire universe was condensed into a microscopic point containing all matter, force, energy, and space. At this quintessential point, however, matter, force, energy, / Page 213 / nd space were not yet separated from one another, but were united in a single hyperspace substrate. In other words, at the split second of creation everything was folded within the all-embracing oneness of "pure" eleven-dimensional space. From this point of hyperspatial unity, the universe then unfolded.
As the single point from which the physicists' world picture originates, the big bang is a scientific equivalent of the perspective painters' "center of projection." It is the point at which all "lines" in the hyperspace universe converge. This is the place, then, where TOE physicists would dearly like to "stand." Just as the viewer of a perspective painting gets the most dramatic effect when standing in the place from which the artist constructed the image, so a hyperspace physicist could see his world picture most clearly if he "stood" at the cosmic center of projection-the big bang.
It is in search of this particular "point of view" that physicists build ever larger particle accelerators. The higher the energy one can generate in an accelerator, the closer one gets to "melting" to-gether the four separate forces, and thus the more one can see of the underlying hyperspatial unity. In a very real sense, particle ac-celerators are tools for exploring higher-dimensional space, and the final goal with such machines is to glimpse once more the ini-tial point of "pure" eleven-dimensional hyperspace. Physicists speak about this initial period of hyperspace unity as the time when there was "perfect symmetry" between all eleven dimen- sions. What they want to do is to glimpse for themselves this orig-inal perfect symmetry. Ironically, while artists long ago abandoned Renaissance aesthetics, those classical ideals of beauty live on in physicists' dream of a "theory of everything." Like the Renaissance painters, TOE physicists also hold mathematical symmetry as the highest aesthetic ideal. It is their dream, their goal, and, it has even been said, their "Holy Grail."..."

 

4	HOLY	60	24	6
5	GRAIL	47	29	2
9	-	107	53	8
-	-	1+0+7	5+3	-
9	-	8	8	8
-	-	-	-	-
-	-	-	-	-
1	A	1	1	1
4	HOLY	60	24	6
4	GIRL	46	28	1
2	IS	28	10	1
11	Add	135	63	9
1+1	Reduce	1+3+5	6+3	-
2	Deduce	9	9	9

DAILY MAIL

Monday, August 18 2003

Front Page

" 999 STORM"

"Anger as police take 2 1/2 hours to answer desperate home owner's emergency call"

THE

999

"system was under fire again last night after police took 2 1/2 hours to answer a call"

"The case comes in the wake of a string of a string of appalling 999 delays

"officers from the same force took three days to respond to a 999 call"

Page 2

" police take 2 1/2 hours to answer 999 alert"

"He rang 999 and was promised an immediate response"

"I could have pushed the panic button on the phone it might have had a better result than dialling 999"

DAILY MAIL

Thursday, October 7th 2004

Front Page

WHY BOTHER DIALLING

999

Page 12

"Police receive two 999 calls"

"asks for help more than 50 times"

"64 minutes after the first 999 call"

Page 13

"I dialled 999"

RAMAH II

Arthur C. Clarke & Gentry Lee 1989

Page179

"the Wakefield dossier"

"and Wakefield"

"Wakefield"

THE SUN

Saturday May 29th

Page 93

SUPERDAD
Chris is on  the March

By Julie Stott

Page 93

"CHRIS MARCH is getting shirty with twin sons Paul and David.
Devoted father Chris has followed his sons' careers religiously but the identical twins, 24, have threatened to tear his loyalties down the middle since joining different clubs.
So Chris has come up with the idea of having a two-way shirt espe- cially made for himself.
One half is made up of David's Wakefield Wildcats colours and the other half is Paul's Huddersfield Giants strip.
And Chris will be wearing it tomor- row when Giants host the Wildcats at the McAlpine Stadium.
Wildcats hooker and vice-captain David said: "Luckily we've both got the same squad number, so there is no problem there. Dad has the No 9 on the back and the name March above it and keeps us both happy."
Paul said: "When we play against each other mum and dad don't know who to cheer for."

"Dad has the No 9 on the back"

WAKEFIELD EXPRESS
Friday March 5th 2004

"ROOKIE officer PC999 Phil Jacobs met his' collar-number counterpart - and discovered they had the same surname too.
 In a bizarre coincidence 20-year-old Phil, of West Yorkshire Police, met PC 999 David Jacobs, who has been a North Yorkshire officer for more than 30 years, and realised they shared the same profession, name and famous number.
The veteran officer, who came to Wakefield to teach in the force's driver training school at Crofton, had a word of advice for his young namesake,
"Hand the number in," David joked. , "I heard the same jokes over and over again. A popular one was, 'What are you doing with your phone number on your shoulder?'
"Sometimes you just laugh it off and eventually your colleagues get sick of making jokes. But I stuck it for 30 years and they still remember me."
David, 51, spotted Phil's picture in West Yorkshire Police's internal magazine The Beat.
"I was snapped in an identical pose in the Police Review magazine as Phil was for his picture in The Beat almost 25 years later," he said.
David was front-page news in the national papers in 1980 when his quirky number was noticed and recent recruit Phil hit the headlines in December when he was given his collar number.
Phil, who will begin walking the beat in Wakefield next month after he finishes training, said: "It is such a coincidence and quite spooky that we both have the same name and unusual number. We're not related though."

"...999..." "...999..."

IN

MEMORIUM

WAKEFIELD EXPRESS
Friday March 5th 2004
OBITUARY NOTICES

DENISON , (Nee McTiernan)
NORAH ; On February 28 in Hospital after a short illness aged 93 years. Wife of the late Ernest,

beloved mother

of

Michael, David and John

and a loving grandma and friend.

Funeral Friday March 5th service at St Paul's Church, AIverthorpe at 9.45 am, followed by
internment in Wakefield Cemetery.

NORAH DENISON

Born 26 July 1910, died February 28th 2004

Rest In Peace

GOODNIGHT AND GOD BLESS DEAR MOTHER

Service of Thanksgiving

THE

HOLY BIBLE

Psalm

23

The LORD is my shepherd; I shall not want.

2
He maketh me to lie down in green pastures:
He leadeth me beside the still waters.

3
He restoreth my soul:
He leadeth me in the paths of
righteousness for his name's sake.

4
Yea, though I walk through the valley of the shadow of death,
I will fear no evil; For thou art with me;
Thy rod and thy staff they comfort me.

5
Thou preparest a table before me in the presence of mine enemies:
Thou anointest my head with oil;
My cup runneth over.

6
Surely goodness and mercy shall follow me all the days of my life:

And I will dwell in the house of the

LORD

forever.

Hymn

O Lord my God! when I in awesome wonder

Consider all the works Thy hand hath made,

I see the stars, I hear the mighty thunder,

Thy pow'r throughout the universe display'd:

Then sings my soul, my Saviour God, to thee,

How great thou art! How great thou art!

Then sings my soul, my Saviour God, to thee,

How great thou art ! How great thou art!

When through the woods and forest glades I wander

And hear the birds sing sweetly in the trees;

When I look down from lofty mountain grandeur,

And hear the brook, and feel the gentle breeze;

And when I think that God His Son not sparing,

Sent Him to die - I scarce can take it in.

That on the cross my burden gladly bearing,

He bled and died to take away my sin:

When Christ shall come with shout of acclamation

And take me home - what joy shall fill my heart!

Then shall I bow in humble adoration

And there proclaim, my God, how great Thou art!

HOW GREAT THOU ART MY GOD HOW GREAT THOU ART

OM

AUMMANIPADMEHUM

AZAZAZAZAZAZAZAZAZZAZAZAZAZAZAZAZAZA

The Natural Remedy For The Relief Of Arthritis

Dr. Anton Robinson

Bodywell (no date)

"The treatments active ingredient was a metal present in the soil, found almost everywhere on earth. In fact, silicon is the second most abundant element on the planet, after oxygen. The dioxide of silicon (SiO2), called silica, is an extremely hard solid that constitutes over half of the Earth's crust. That explains why clay, which is essentially composed of hydrated aluminum silicates, has been used to treat rheumatic and other types of joint pain since time immemorial."

LIVING AT THE END OF THE WORLD

Marina Benjamin

JOSEPH SMITHS KINGDOM

Page 144

"Mormonism is currently the fastest-growing new religion in the modern world.Its subscribers number 10 million and rising, it continues to attract converts from across the globe at an astonishing rate of 900 per day"

BREWER'S

 DICTIONARY OF PHRASE AND FABLE

Ivor H Evans

1985

Page 785
"Nihilism (ni' hil izm) (Lat. nihil, nothing). The name given to an essentially philo-sophical and literary movement in Russia which questioned and protested against conventional and established values, etc. The term was popularized by Turgenev's novel Fathers and Sons (1862) and was subsequently confused with a kind of re-volutionary anarchism. Although nihil-ism proper was basically non-political, it strengthened revolutionary trends. The term was not new having long been ap-plied to negative systems of philosophy..."

Nile. The Egyptians used to say that the rising of the Nile was caused by the tears of ISIS. The feast of Isis was celebrated at the anniversary of the death of OSIRIS, when Isis was supposed to mourn for her husband..."

BREWER'S

 DICTIONARY OF PHRASE AND FABLE

Ivor H Evans

1985

Page 785

"Nimbus (Lat., a cloud). In Christian art a HALO of light placed round the head of an eminent personage. There are three forms: (1) Vesica piscis, or fish form (cp. ICHTHYS), used in representations of Christ and occasionally of the Virgin Mary, extending round the whole figure; (2) a circular halo; (3) radiated like a star or sun. The enrichments are: (1) for our Lord, a CROSS; (2) for the Virgin, a circlet of stars; (3) for ANGELS, a circlet of small rays, and an outer circle of quatrefoils; (4) the same for SAINTS and martyrs, but with the name often inscribed round the circumference; (5) for the Deity the rays diverge in a triangular direction. Nimbi / Page 786 / of a square form signify that the persons so represented were living when they were painted.
The nimbus was used by heathen nations long before painters Introduced it into sacred pictures of saints, the TRINITY, and the Virgin Mary. PROSER. PINE was represented with a nimbus; the Roman EMPERORS were also decorated in the same manner because they were divi.  Cpo AUREOLE."

"Nimrod. Any daring or outstanding hun-ter; from the "mighty hunter before the Lord" (Gen. x, 9 , which the TARGUM says means a "sinful hunting of the sons of men". Pope says of him, he was "a mighty hunter, and his prey was man" (Windsor Forest, 62); so also Milton inter-prets the phrase (Paradise Lost, XII, 24, etc.).
The legend is that the tomb of Nimrod still exists in Damascus, and that no dew ever falls upon it, even though all its sur-roundings are saturated..."

Nine. Nine, FIVE, THREE are mystical num-mbers-the DIAPASON, diapente, and dia-trion of the Greeks. Nine consists of a trinity of trinities. According to the Pythagoreans man is a full chord, or eight notes, and deity comes next. Three, being the TRINITY, represents a perfect unity; twice three is the perfect dual; and thrice three is the perfect plural. This explains why nine is a mystical number.
From ancient times the number nine has been held of particular significance. DEUCALION'S ark was tossed about for nine days when it stranded on the top of Mount PARNASSUS. There were nine MUSES, nine Gallicenae or virgin priest-esses of the ancient Gallic ORACLE; and Lars Porsena swore by nine gods.
NIOBE'S children lay nine days in their blood before they were buried; the HYDRA had nine heads; at the Lemuria, held by the Romans on 9, 11 , and 13 May, persons haunted threw black beans over their heads, pronouncing nine times the words: "Avaunt, ye spectres, from this house!" and the EXORCISM was complete (see Ovid's Fasti).
There were nine rivers of HELL, or, according to some accounts, the STYX en-compassed the infernal regions in nine circles; and Milton makes the gates of HELL "thrice three-fold", "three folds were brass, three iron, three of adaman-tine rock". They had nine folds, nine plates, and nine linings (Paradise Lost, II, 645).
VULCAN, when kicked from OLYMPUS, was nine days falling to the island of LEM- NOS; and when the fallen ANGELS were cast out of HEAVEN Milton says "Nine days they fell" (Paradise Lost, VI, 871).
In the early Ptolemaic system of astronomy, before the PRIMUM MOBILE was added, there were nine SPHERES; hence Milton, in his Arcades, speaks of

The celestial siren's harmony
That sat upon the nine enfolded spheres.

In Scandinavian mythology there were nine earths, HEL being the goddess of the ninth; there were nine worlds in NIFL-HElM, and ODIN'S ring dropped eight other rings every ninth night.
In folk-lore nine appears frequently.
The ABRACADABRA was worn nine days, and then flung into a river; in order to see the FAIRIES one is directed to put "nine grains of wheat on a four-leaved clover"; nine knots are made on black wool as a charm for a sprained ankle; if a servant fmds nine green peas in a peascod, she lays it on the lintel of the kitchen door, and the fIrst man that enters is to be her cavalier; to see nine magpies is most un-lucky; a cat has nine lives (see also CAT O'NINE TAILS); and the nine of Diamonds is known as the CURSE OF SCOTLAND.
The weird sisters in Shakespeare's Macbeth (I, ill) sang, as they danced round the cauldron, "Thrice to thine, and thrice to mine, and thrice again to make up nine"; and then declared "the charm wound up"; and we drink a Three- limes-three to those most highly hon-oured.
Leases are sometimes granted for 999 years, that is three times three-three-three.

Page 787

Many run for 99 years, the dual of a trinity of trinities.
See also the NINE POINTS OF THE LAW below, and the NINE WORTHIES under WORTHIES. There are nine orders of angels; in HERALDRY there are nine marks of cadency and nine different crowns recognized.
Dressed up to the nines. See DRESSED. Nine days' Queen. Lady Jane Grey. She was proclaimed queen in London on 10 July 1553; Queen Mary was proclaimed in London on 19 July.
Nine days' wonder. Something that causes a great sensation for a few days, and then passes into the LIMBO of things forgotten. An old proverb is: "A wonder lasts nine days, and then the puppy's eyes are open", alluding to dogs, which like cats, are born blind. As much as to say, the eyes of the public are blind in aston-ishment for nine days, but then their eyes are open, and they see too much to won-der any longer.

King: You'd think it strange if I should marry her. Gloster: That would be ten days' wonder, at the least. Clar.: That's a day longer than a wonder lasts.
SHAKESPEARE: Henry VI, Pt. III, III, ii.

The Nine First Fridays. In the ROMAN CATHOLIC CHURCH the special observ-ance of the first FRIDAY in each of nine consecutive months, marked by receiv-ing the EUCHARIST. The practice derives from St. Mary Alacoque (see SACRED
HEART under HEART), who held that Christ told her that special grace would be granted to those fulfilling this observ-ance.
Nine Men's Morris. See under MORRIS. Nine-tail bruiser. Prison slang for the CAT-O'-NINE-TAILS.
Nine tailors make a man. See TAILOR.
Nine times out of ten. Far more often] than not.
Possession is nine points of the law. It is every advantage a person can have short of actual right. The "nine points of the law" have been given as: (1) a good deal of money; (2) a good deal of patience; (3) a good cause; (4) a good lawyer; (5) a good ]
counsel; (6) good witnesses; (7) a good jury; (8) a good judge; and (9) good luck. To look nine ways. To squint.
Ninepence. Commendation Nine-pence. See COMMENDATION.
Nice as ninepence. A corruption of "Nice as nine-pins". In the game of nine- pins, the "men" are set in three rows with the utmost exactitude or nicety.
Nimble as ninepence. Silver ninepences were common till the year 1696, when all Unmilled coin was called in. These nine- pences were very pliable or "nimble", and, being bent, were given as love tokens, the usual formula of presentation being To my love, from my love. There is an old proverb, A nimble ninepence is bet-ter than a slow shilling.
Ninepence to a shilling. An old rustic phrase in the West of England meaning that the person referred to is deficient in common sense or intelligence.
Right as ninepence. Perfectly well; in perfect condition.
Ninus. Son of Belus, husband of SEMI-RAMIS, and the reputed builder of Nineveh. It is at his tomb that the lovers meet in the PYRAMUS and This be trav-esty:

Pyr.: Wilt thou at Ninny's tomb meet me straight- way?
This.: 'Tide life, 'tide death, I come without delay.
SHAKESPEARE: Midsummer Night's Dream, V, i.

Niobe (ni' o be). The personification of maternal sorrow. According to Greek legend, Niobe, the daughter of TANTA-LUS and wife of AMPHION, King of THEBES, was the mother of fourteen chil-dren, and taunted LATONA because she had but two)-APOLLO and DIANA. Lato-na commanded her children to avenge the insult and they consequently de-stroyed Niobe's sons and daughters. Niobe, inconsolable, wept herself to death, and was changed into a stone, from which ran water, "Like Niobe, all tears" (SHAKESPEARE: Hamlet, I, ii).
The Niobe of Nations. So BYRON styles ROME, the "lone mother of dead empires", with "broken thrones and temples"; a "chaos of ruins"; a "desert where we steer stumbling o'er recollec-tions" (Childe Harold, iv, 79).

I

i i i i i i i i 

CASSELL'S ENGLISH DICTIONARY

1968

Page 775

"Nimrod (nim' rod) [the mighty hunter of Geo. x. 8-9], n. (fig.) A great hunter.
nincompoop (nin' k6m poop) [etym. unknown], no A noodle, a blockhead, a fool.
nine (nin) [A.-S. nigon (cp. Dut. mgen, G. neun, Icel. niu, L. novem, Gr. ennea, Sansk. navan)], a. Containing eight and one. n. The number com-posed of eight and one, 9, Ix; a card of nine pips. nine days' wonder: An event, person, or thing that is a novelty for the moment but ia soon for-gotten. nine times out often: Usually, generally. to the nines: To perfection, elaborately. the Nine: The Muses. nine-pins, n. A game with nine skittles set up to be bowled at, (Am. ten-pina). nine-tenths, n. (collq.) Nearly all. ninefold, a. Nine times repeated. nineteen, a. Containing one more than eighteen. n. The number representing this quantity, 19, xix. nineteen to the dozen: Volubly. nineteenth, a. nineteenth hole: (colloq. Golf) The clubhouse bar. ninety, a. Con-taining nine times ten. n. The number containing nine times ten, 90, xc; (pl.) the years between 89 and 100 in a century or a person's life. nine-tieth, a.

ninny (nin' i) [perh. imit., cpo Sp. nino, It. ninno, child], n. A fool, a simpleton.
ninon (ne' non) [F.~, no (Textiles) A aerni-diaphan- ous light silk material.
ninth (ninth) [NINE, -TH], a. Next after the eighth. n. One of nine equal parts; (Mus.) an interval of an octave and a second. ninthly, adu.
niobium (ni o' bi ium) [Niobe, daughter of Tantalus, -IUM], n. (Chern.) A metallic element occurring in tantalite etc. niobic (ni /I' bik), a. nioblte (ni' 6 bit), n. A niobic aalt; (Min.) a variety of tantalite.

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RAMADAN (ramadan') [Arab.(cp. Pers. and Turk.Ramazan), from ramada, to be hot], The ninth month of the Mohammedan year, the time of the great annual fast.