CHAPTER XI IN COMMAND OF A GALLEY

William Neave, the governor of the prison, looked astonished indeed when, upon his opening the door, the grand master and the bailiff of the English langue, with the twelve knights behind them, entered. He had been puzzled when, four days before, he had received an order from the grand master that Ahmet, a servitor in the auberge of the English langue, should be permitted to pass the night in his house, with authority to move freely and without question, at any hour, in the courtyard of the gaol, and to depart at any hour, secretly and without observation, by the private gate. Still more had he been surprised when he received the message that the grand master would pay him a secret visit at eleven o'clock at night.

"Let no word be spoken until we are in your apartments," D'Aubusson said in a low voice, as he entered. "But first lead four of these knights and post them so that none can enter the gaol from the house. If there are more than four doors or windows on that side, you must post a larger number. It is imperative that there shall be no communication whatever between your servants and the gaol."

As soon as this was done, the rest of the party were taken to the governor's rooms.

"I can now explain to you all," the grand master said, "the reason of our presence here. I have learned that at twelve tonight there will be a general rising of the slaves in this prison, and that, aided by treachery, they will free themselves from their fetters, overpower and slay such of the guards in their rooms as have not been bribed, throw open the gates, make their way down to the port, burn all the shipping there, and make off in the six galleys manned by them, having first overpowered the sentries in the three forts commanding the entrance, and spiked the guns." What are the answers to this following set of questions: 1. who got a message that he would be visited by the grand master?
2. where did he work?
3. was he the governor there?
4. what he shocked when he opened his door?
5. how many days before that did he receive an order?
6. when was the grand master suppose to visit him?
7. what is his name?
8. did he tell neave to post four knights?
9. who was given authority to move around as they wished?
10. was he the bailiff?
11. what gate was he suppose to use?
12. who was going to start a riot in the prison?
13. were some of the guards bribed?
14. what would they burn at the port?
15. how would they leave?
16. were they going get by the sentries?
Answer: 1. William Neave
2. at the prison
3. yes
4. the grand master and the bailiff of the English langue, with the twelve knights behind them
5. four
6. eleven o'clock at night
7. D'Aubusson
8. yes
9. Ahmet
10. yes
11. the private gate
12. the slaves in this prison
13. no
14. all the shipping there
15. and make off in the six galleys manned by the shipping port
16. yes

Problem: For most caffeine consumers, its chief benefit is that it helps you get more done. This is what makes it unusual, says Stephen Braun, author of Buzz: The Science and Lore of Alcohol and Caffeine. "Its appeal is that it helps us earn more money," he adds. "What makes it different from other drugs is that it's used as a productivity tool -- not for pleasure." Many of history's creative minds have also been associated with a large amount of caffeine consumption. According to one biographer, the French novelist and playwright Balzac drank as many as 50 cups of coffee a day. "Were it not for coffee one could not write, which is to say one could not live," he once insisted. For seven years, the film-maker David Lynch ate at the same Los Angeles diner every day, drinking up to seven sweetened cups of coffee "with lots of sugar" in one sitting, which he said would guarantee that "lots of ideas" arrived. Ludwig van Beethoven was said to have painstakingly counted out exactly 60 coffee beans per cup when he brewed coffee. Perhaps recent tales of caffeine excess featured the singer Robbie Williams, who reportedly consumed 36 cups of black coffee and 20 cans of Red Bull a day. It is the routine task itself, as much as the stimulating effects of caffeine, that makes the process so important, says Mason Currey, author of Daily Rituals: How Artists Work. "A lot of artists use the process of making coffee as a gateway to the creative process," he adds. "You need to get into the right mindset to do that sort of work, and the preparation process provides a focus." One problem with attempting to control caffeine, says Braun, is that it affects everyone differently -- it is impossible to work out a "safe" limit that works for everyone. "Eventually, you have to become your own scientist -- there isn't an alternative to careful self-experimentation," he says.
1. What is the main side effect of caffeine?
2. What makes this more unique than other drugs?
3. What do many of the famous creative people have in common?
4. What famous play writed would drink a ton of it?
5. How much did he drink?
6. What would happen if he didn't?
7. What film maker was famous of eating at the same place?
8. How much would he drink?
9. What famous composer was specific about his coffee?
10. How?
11. What did a famous sing consume along side his coffee?
12. How much?
Answer: 1. it helps you get more done
2. it's used as a productivity tool
3. They have been associated with a large amount of caffeine consumption.
4. Balzac
5. 50 cups of coffee a day
6. he could not write
7. David Lynch
8. seven sweetened cups
9. Ludwig van Beethoven
10. he counted out exactly 60 coffee beans per cup
11. Red Bull
12. 20 cans

question: A parody (; also called a spoof, send-up, take-off, or lampoon) is a work created to imitate, make fun of, or comment on an original workits subject, author, style, or some other targetby means of satiric or ironic imitation. As the literary theorist Linda Hutcheon puts it, "parody is imitation, not always at the expense of the parodied text." Another critic, Simon Dentith, defines parody as "any cultural practice which provides a relatively polemical allusive imitation of another cultural production or practice." Parody may be found in art or culture, including literature, music (although "parody" in music has an earlier, somewhat different meaning than for other art forms), animation, gaming, and film.

The writer and critic John Gross observes in his "Oxford Book of Parodies", that parody seems to flourish on territory somewhere between pastiche ("a composition in another artist's manner, without satirical intent") and burlesque (which "fools around with the material of high literature and adapts it to low ends"). Meanwhile, the "Encyclopedie" of Denis Diderot distinguishes between the parody and the burlesque, "A good parody is a fine amusement, capable of amusing and instructing the most sensible and polished minds; the burlesque is a miserable buffoonery which can only please the populace." Historically, when a formula grows tired, as in the case of the moralistic melodramas in the 1910s, it retains value only as a parody, as demonstrated by the Buster Keaton shorts that mocked that genre.
1. Who wrote "Oxford Book of Parodies?"
2. What Is his profession?
3. He said parody flourishes somewhere between what and what?
4. What's another word for a parody?
5. What else?
6. Does a parody make fun of someone or something?
7. By what means?
8. Who is Linda Hutcheon?
9. Who wrote "Encyclopedie"
10. Does he think a good parody is funny, even to scholars?
11. What does he call burlesque?
12. Who mocked melodramas?
13. What was basically wrong with those melodramas?
14. Who did Diderot think enjoyed burlesque?
****
answer:
1. John Gross
2. he is a writer
3. pastiche and burlesque
4. a spoof
5. a send-up
6. it can
7. imitation
8. a literary theorist
9. Denis Diderot
10. Yes
11. a miserable buffoonery
12. Buster Keaton
13. the formula grew tired
14. the populace