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The Great Salt Plains (GSP) spans approximately 65 km2 in northwestern Oklahoma, USA. Although soil on the flats consistently retains about 10-20% water by weight, the flats are largely devoid of macroscopic plants due to seepage and evaporation of subterranean NaCl-dominated Permian brine at 15-25% salinity. Except following infrequent heavy rain, a thin (<1-10 mm) variable salt crust persists over much of the flats, and the interstitial water is often near NaCl saturation (>25%). However, several intermittent and a few permanent freshwater streams traverse the flats, providing localized lower salinity niches. Episodic heavy direct rainfall and associated flooding of these streams inundates vast areas of the flats with fresh or low salinity water, which quickly recedes. The flats then return to the more typical salt crust over a period of days to weeks. Other than the GSP, virtually nothing is known about algae of hypersaline intermittent lakes, even in Australia which has countless such lakes (Timms, in press). Algae are ubiquitous on the GSP flats, although chlorophyll biomass is typically very low, and diversity appears to be restricted to a small subset of genera in the divisions Cyanophyta, Chlorophyta, and Bacillariophyta (Major et al., 2005; Kirkwood and Henley, 2006). Chlorophyll biomass is correlated with interstitial dissolved inorganic nitrogen (DIN), particularly ammonium, but not soluble reactive phosphorus (Kirkwood and Henley, 2006). However, given the dynamic salinity and temperature conditions on the flats surface (Major et al., 2005; Kirkwood and Henley, 2006), nutrient availability may be a comparatively trivial problem for physically stressed algae and cyanobacteria. Indeed, most GSP algal isolates are unable to grow in the laboratory at the high interstitial salinities typically found in situ, yet direct soil samples invariably yield viable algae when exposed to reduced salinities in the laboratory (Major et al., 2005; Kirkwood and Henley, 2006). Thus, most or all of the algae of the GSP must tolerate high salinities that will not support growth. [ABSTRACT FROM AUTHOR]

The article presents chapter 98 of the book "William Congreve," edited by Alexander Lindsay and Howard Erskine-Hill. A reprint of literary editor and reviewer William Ernest Henley's review of the book "The Life of William Congreve," by Edmund Gosse, published in the November 17, 1888 issue of "The Athenaeum" and reprinted in the book "Views and Reviews: Essays in Appreciation," is presented.

Presents the poem "Arabian Nights' Entertainments," by William Ernest Henley. First Line: Once on a time; Last Line: The shining, shifting Sovranties of Dream.

Presents the poem "The Song of the Sword," by William Ernest Henley. First Line: The Sword; Last Line: His high, irresistible song.

The article presents Act III Scene I-IV of the drama titled "Macaire" by William Ernest Henley.

The article presents Act IV Scene I-IV of the drama titled "Admiral Guinea" by William Ernest Henley.

The article presents Act V Tableau VIII Scene I-VII of the drama titled "Deacon Brodie" by William Ernest Henley.

The article presents Act IV Tableau VII Scene I-IV of the drama titled "Deacon Brodie" by William Ernest Henley.

The article presents Act IV Scene I-V of the drama titled "Beau Austin" by William Ernest Henley.

The article focuses on the life and works of British sculptor Auguste Rodin. It states that Rodin was a pupil of Marye and Carrier-Belleuse at S èvres. It mentions that Rodin has been known to have received third-class medals for his innumerable figurines and fantasies. Moreover, other artistic works such as the bust called "The Hugo," can be compared with the artistic works of Donatello, and Michelangelo Buonarroti.

The article focuses on the life and works of English poet, illustrator, painter and translator Dante Gabriel Rossetti. It states that Rossetti was a temperament in poetry and paint. It mentions that British critic Theodore Watts claimed that Rossetti had an excellent intellectual ability in verbal mystery and was in touch with shifting issues of romance.

The article focuses on landscape painter J. M. W. Turner who live a gross and unworthy life. His paintings include "Burial of Sir David Wilkie," "The Exile and the Rock Limpet," and "Approach to Venice." Turner's works which worth 20,000 British pounds are given to the Royal Academy of Arts in Great Britain and the money is given to his next kin.

The article focuses on Dutch painter Matthew Maris who belongs to the least sexual painters and depicts morbid imagination. He has the ability of using exquisite color and a sense of tone. Maris is concerned with spiritual shapes of things such as their attribute to mystery, essence and innate significance.

The article focuses on the life and works of British painter George Morland. It states that Morland's father had trained him enough to become a good painter. It mentions that Morland was able to design and paint subjects and animals with enjoyment, dexterity and force. It also mentions that Morland had the craftsman's sense of his material and a vigorous and expressive draughtsman.

The article focuses on the life and works of Scottish portrait painter Henry Raeburn. It states that Raeburn was an excellent and distinguished artist in painting during his time. It mentions that Raeburn's passion for paint was very real with an intelligent, vigorous and expressive brush-work. Raeburn can perceive and represent individual character and form. Also, Raeburn was able to paint the aspects of men by doing his best.

The article profiles Dutch painter Jozef Israels. It describes his works, noting that his paintings had been focused on popular subjects. It mentions the conception and execution in his works, stating that he had been a leader in the revival of painting in Netherlands. It also notes that Israels is a painter of man's emotions.

The article profiles French painter Jules Bastien-Lepage. It states that Edouard Manet, an artist who developed the theory of impressionnisme, has influenced his works. It describes Bastien-Lepage's artistic styles, noting that he has a curious distinction of style. It also discusses the various criticisms for his works.

The article profiles Richard Parkes Bonington, an English Romantic painter. It mentions the characteristics of Bonington who had the makings of a greatest artist, he could achieve, suggest, inspire and could appeared that he was marked out for the highest destiny. It also notes the career of Bonington wherein he exhibited modern art in 1824, paintings as well as essays and lithography.

The article profiles Eugène Delacroix, a French painter. It mentions the works of Delacroix wherein he produced historic lithographs in illustration of "Faust" in 1826-1827, exhibited the "Mort de Sardanapale," the "Christ au Jardin des Oliviers," and painted the "le Vingt-Huit Juillet" in 1830. It also adds that he was saluted as a champion of Romanticism and was considered as a man of singular intelligence, lettered of a trenchant insight and broad sympathies.

The article focuses on Romanticism which refers to change in the material, treatment, technical methods and ideals of art which was made in France. It provides an overview of the causes of romanticism which is transmission as part of French influence, Germany, Europe and England. Moreover, several works of various painters including Jean François Millet, Jean Baptiste Camille Corot and Narcisse Virgile Diaz are also presented.

The poem "To A. C." by William Ernest Henley is presented. First Line: NOT to the staring Day, Last Line: The aims of His miraculous artistry.

A ballad titled "Double Ballade of the Nothingness of Things," by William Ernest Henley is presented. First Line: The big teetotum twirls, Last Line: 'O Vanity of Vanities!'.

The poem "Arabian Nights' Entertainments" by William Ernest Henley is presented. First Line: ONCE on a time; Last Line: The shining, shifting Sovranties of Dream.

The poem "The Song of the Sword" by William Ernest Henley is presented. First Line: The Sword; Last Line: His high, irresistible song.

Presents the poem "Largo e Mesto," by William Ernest Henley. First Line: Out of the poisonous East, Last Line: To the black job of burking London Town?

The poem "Margaret Emma Henley (1888-1894)" by William Ernest Henley is presented. First Line: WHEN you wake in your crib, Last Line: Peace of the Grave.

The poem "CARMEN PATIBULARE" by William Ernest Henley is presented. First Line: TREE, Old Tree of the Triple Crook; Last Line: In the ruining roar of Doom.

An untitled poem by William Ernest Henley is presented. First Line: MIDSUMMER midnight skies, Last Line: Twin-ministers of the unoriginal Will.

The poem "To R. F. B.," William Ernest Henley is presented. First Line: WE are the Choice of the Will: God , when; Last Line: all-whelming Grave.

The poem "Matri Dilectissimæ," by William Ernest Henley is presented. First Line: IN the waste hour; Last Line: Mother, a mother of men ?

The poem "To D. H.," by William Ernest Henley is presented. First Line: O, FALMOUTH is a fine town with ships in; Last Line: countrie.

The poem "To S. C." by William Ernest Henley is presented. First Line: BLITHE dreams arise to greet us, Last Line: And bless the God of all !

The poem "To F.W.," by William Ernest Henley is presented. First Line: Let us be drunk, and for a while forget, Last Line: Beside the idle summer sea.

The poem "Double Ballade of Life and Fate" by William Ernest Henley is presented. First Line: FOOLS may pine, and sots may swill, Last Line: Fate's a fiddler, Life's a dance.

The poem "Clinical" by William Ernest Henley is presented. First Line: Hist?...Last Line: Brilliantly hideous with red.

The poem "Vigil" by William Ernest Henley is presented. First Line: LIVED on one's back, Last Line: The unnatural, intolerable day.

The poem "England, My England," by William Ernest Henley, is presented. First Line: What have I done for you, Last Line: Out of heaven on your bugles blown!

Presents the poem "Prologue," by William Ernest Henley. First Line: Something is dead... Last Line: Dear Heart, no more—no more..

Presents an untitled poem by William Ernest Henley. First Line: A desolate shore, Last Line: Tells them this way is safety—this way home.

Presents the poem "Epilogue," by William Ernest Henley. First Line: These, to you now, O, more than ever now— Last Line: Mama, how long—how long!'

Presents an untitled poem by William Ernest Henley. First Line: What have I done for you, Last Line: Out of heaven on your bugles blown!

Presents an untitled poem by William Ernest Henley. First Line: Not to the staring Day, Last Line: The aims of His miraculous artistry.

Presents an untitled poem by William Ernest Henley. First Line: Here they trysted, here they strayed, Last Line: Fleet the times of the world away.

Presents an untitled poem by William Ernest Henley. First Line: The shadow of Dawn; Last Line: Can touch no more...no more!

Presents an untitled poem by William Ernest Henley. First Line: When you wake in your crib, Last Line: Peace of the Grave.

Presents an untitled poem by William Ernest Henley. First Line: Tree, Old Tree of the Triple Crook; Last Line: In the ruining roar of Doom.

Presents an untitled poem by William Ernest Henley. First Line: You played and sang a snatch of song, Last Line: Before we can be dead indeed.

Presents an untitled poem by William Ernest Henley. First Line: Under a stagnant sky, Last Line: These fatuous, ineffectual Yesterdays!