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), The Historical Imagination in Early Modern Britain: History, Rhetoric, and Fiction, 1500 1800 (Washington: Woodrow Wilson Center Press / Cambridge: Cambridge University Press, 1997), 343 359, especially 343 345 The theory that poetry, especially epic and tragedy, is related to, and because of the universal truths it expresses, even greater than, history and historiography goes back to Aristotle s Poetics Northrop Frye, The Great Code: The Bible and Literature (New York: Harcourt Brace Jovanovich, 1982; rpt 1983), 32, observes that Gibbon s work was intended to be a history but that the phrase decline and fall in the title indicates the narrative principle on which Gibbon selected and arranged his material: that is his mythos, and without such a mythos the book could have no shape Cf Frye, 46 47 and 92.

Un avored gelatin must often be added to consomm to make jellied consomm . The amount needed depends on the strength of the stock and on the amount of jelling desired. Classically, a chilled consomm is only half jelled, more like a thick syrup. Some people, however, prefer a gelatin content high enough to solidify the consomm . In the following guidelines, use the lower quantity of gelatin for a partially jelled soup, the higher quantity for a fully jelled soup. Also, for tomatoed consomm (madril ne), increase the gelatin slightly because the acidity of the tomatoes weakens the gelatin. 1. If the stock is thin when cold, add 1 2 oz (30 60 g) gelatin per gallon (4 L). 2. If the stock is slightly jelled and syrupy when cold, add 1 2 1 oz (15 30 g) gelatin per gallon (4 L). 3. If the stock is jelled when cold, no gelatin is needed. Add up to 1 2 oz (15 g) per gallon (4 L) if a rmer texture is desired. Gelatin may be added to the clearmeat (in step 2 of the recipe). This is the best method because there is no danger of clouding the consomm . It may also be added to the nished consomm after softening it in cold water. See page 717 for instructions on the use of gelatin.

When my wife and I were in counseling we were made to touch in some way while we argued, even if it was just to touch her foot with my toe The touch created a bond between us even though all other bonds were nearly destroyed The touch kept us connected in some small way Hug Kiss Pat Whatever it takes to stay in physical contact Why do you think people shake hands when they meet It establishes a physical bond that can then be built upon What is the first thing two people are told to do when they are pronounced man and wife They are told to kiss It is a physical bond that can then be built upon The first thing that usually goes away when a couple has a problem is the physical contact.

Gibbon himself wrote an Essai sur l tude de la litt rature in 1762, on which see Craddock, 349 350, and now J G A Pocock, Barbarism and Religion, vol 1: The Enlightenments of Edward Gibbon, 1737 1764 (Cambridge: Cambridge University Press, 1999), 208 239, with additional references Peter Ghosh, Gibbon s Timeless Verity: Nature and Neo-Classicism in the Late Enlightenment, in Womersley (ed), Edward Gibbon: Bicentenary Essays, 121 163, examines the timeless or unhistorical elements in Gibbon s history (122) Timeless verity is one of the provinces of art and one of the reasons why Aristotle extolled literature over historiography.

That is why our counselor wanted us to touch in some small way while we worked out our problems When you touch there is an exchange of energy that can heal and bond together two separate entities..

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That Gibbon was himself attuned to the importance of literature for history and to the innate visual quality of narrative literature and historiography is made abundantly clear throughout HDF; a brief but representative example occurs in one of his notes in XL in the context of the ancient games, when Gibbon exhorts his readers: Read and feel the twenty-third book of the Iliad, a living picture of manners, passions, and the whole form and spirit of the chariot-race (HDF 4, 181 n 3) Cf Porter, 89: Gibbon constantly reminds us that history is a show Gibbon s dominant metaphor portrays the world as a theatre See further Porter, 160, on the connections between HDF and literature, and Martine Watson Brownley, The Theatrical World of the Decline and Fall , Papers on Language and Literature, 15 (1979), 263 277.

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