Kolleezje oer Rixt\nOp forsyk fan de redaksje fan Trotwaer ha wy op it literatuerkolleezje frysk op 'e VU gear west oer de bondel De gouden rider fan Rixt. It like my sinfol ta om op sa'n manier ris nei to gean hoe't guon út 'e studinte-generaesje fan nou tinke oer de poëzij fan Rixt. Oan it bisprek fan De gouden rider ha meidien: Ate Jelsma, Jelma Knol, Sjoukje Leegstra, Loes Oostenryk, Teake Oppewal, Rommert Steenbeek, Geke van der Wal en Anneke Wyngaard. Ik ha se frege om de bondel yn de krystfekânsje (1977-78) to lêzen; nei de fekânsje ha se stik foar stik har miening sein oer de bondel. Om it oardiel fan de studinten sa persoanlik en sa suver mooglik to hâlden, hie ik foartiid net oer Rixt en har dichtbondel praten. Globael sjoen kaem it oardiel fan de studinten aerdich\noerien, mar der wiene fansels ek wol forskillen. Ik ha bisocht om yn it ûndersteande ‘kollektive’ forslach (dat ek wer oan de studinten foarlein is) de mieningen sa goed mooglik wer to jaen en gear to fetsjen.\nDe oersettingen fan Van Goethem moasten eins bisjoen wurde yn forbân mei de originelen. Doe't wy dêr dochs mei to set wiene, ha iksels de forhâlding tusken it dichtwurk fan Rixt en Van Goethem noch hwat neijer bisjoen: ek dêrfan ha ik hjirûnder forantwurding ôflein. Foar it gemak fan de lêzer ha wy de trije Van Goethem-oersettingen fan Rixt njonken de originelen ôfprintsje litten.\nOm alles goed op in rychje sette to kinnen, krigen wy al studearjende forlet fan in foech Rixt-bibliografy. Dy is oan 'e ein ek opnommen.\nWy ha efternei noch forskillende skôgingen oer it wurk fan Rixt bisjoen. Ik ha bisocht om de forskillende oardielen út dy skôgingen gear to fetsjen en op in rychje to setten. Dêr komt wol hwat in byld út nei foaren fan de ûntwikkelingsgong fan de ‘resepsje’ fan Rixt.\nDe miening(en) fan de studiten\nAlgemien wurdt der in great ûnderskie makke tusken it earste en it (twadde en) tredde diel. It earste diel wurdt net sa posityf bioardiele: it docht âlderwetsk oan en sentimenteel, is to emosjoneel, en oerflakkich inkeld op eigen gefoel rjochte, to iensidich leafdespoëzij, net maklik mei to fielen, to patetysk, to kleijerich, mei tofolle triennen, to sweevjend. De foarm jowt net genôch spanning, der wurdt tomin iepenlitten (it wurdt to eksplisyt, yn sekere sin to útputtend, sein); steurende foarm-eleminten binne de herhellingen yn it fers, it hyltyd wer foarkommen fan deselde wurden (triennen, hert, tsjuster/ljocht, nacht/dei), en de ynfersys. Ien en oar jowt earder de yndruk fan foarm-trucs as dat it de fersen sterker makket. Opfallend is, hwat de foarm oangiet, ek dat de fersen sa faek bigjinne mei en boud binne op in oanspraek, in fokatyf (7 fan de 24 fersen út it earste diel bigjinne mei de oanhef ‘O!’); dat forsterket it patos. De grammatikale bou fan de fersen yn it earste diel is ienfâldiger en makliker lêsber as yn de lettere fersen, dy't grammatikael hwat slimmer binne. Yn it earste diel is der in soarte fan fanselssprekkende forbining tusken leafde en natûr, dy't letter in ein hinne fordwoun is.\nYn sekere sin is it earste diel to ‘persoanlik’, de persoanlike émoasje is to oerhearskjend; tsjinoer it forlet fan de emosjonele utering stiet tomin distânsje om der fersen fan to meitsjen dy't oerkomme, dy't hwat eigens sizze. Krekt troch it oerhearskjen fan de persoanlike emosjonele oandriuw bliuwe de fersen to algemien, bringe hja tomin persoanliks oer. Yn de fersen wurde to algemiene uteringen fan to algemiene fielings jown. De fersen dy't yn 1915 sa'n yndruk makken as iepenhertige, spontane, froulike utering, komme nou - alteast by de studinten op dit kolleezje - dúdlikernôch net mear oer.\nIn fers as Teiwaer, dat, alteast yn syn earste twa strofen, net oan de hjir-\nboppe jowne karakteristyk foldocht, leit better yn 'e merk: de konkrete biskriuwing yn dit fers bringt hwat oer op de lêzer. Langstme, dat ek wol positive réaksjes krige, sjogge de measten dochs tofolle as in algemiene biskriuwing fan in minsklik fielen, mei tomin persoanliks deryn. Ek in fers as Bitrouwen (nammers in oersetting fan in fers fan J. Philip van Goethem) wurdt troch de measten to algemien achte.\nOer it tredde diel wurdt folle gunstiger oardiele. It is yn forliking mei it earste diel fariearder (it giet net mear inkeld oer de leafde), mear algemien minsklik, it komt mear boppe de persoanlike yndruk út, is minder bombastysk, en biskiedener, út de eigen persoan wei. Dy fersen binne ‘better yn to fielen, en ha winliken ek mear in boadskip, se binne mear ‘medemenselijk’ wurden. Mei it âlder wurden fan de dichteres liket der in hwat ôfstanliker en relativearjender toan yn har gedichten to kommen. Hja bisjongt yn wêzen de fitaliteit en tagelyk wurdt de eigen persoan hwat relativearre. Men soe faeks sizze kinne dat it persoanlike, sentimentele earste diel earst akseptabel wurdt yn in gehiel yn forbân mei diel (2 en) 3.\nIt kleijerige, dat yn it earste diel as in biswier field wurdt, is der yn it tredde diel ek noch wol (bgl. yn Allinne). Der is nammers in great forskil yn toan tusken Allinne I en II. Allinne I uteret mear en eksistinsjeler, poëtysker. Allinne II is minder adekwaet, de klacht komt net troch, de dichteres jowt har net bleat; strofe 3 bgl. is suver hwat banael en neatsizzend. Allinne I is as gedicht better as Allinne II.\nOktober wurdt posityf bioardiele. De bylden en de simbolyk bringe wol hwat oer. De oergong fan de fraech ‘Bin ik locaste en bistou myn soan?’ nei ‘Ik bin locaste en dou bist myn soan’ in strofe letter, jowt in reële ûntjowing yn de sitewaesje wer. Hjir is de herhelling wol op syn plak, ‘funksjoneel’. Yn Oktober V wurdt de ambivalinte sitewaesje fan leafde en âlderdom ta utering brocht; binammen de lêste strofe mei syn ‘tsjin-lûd’ makket de syklus nochris wer hiel neidruklik iepen. De poëzij hat hjir net mear de wisse autobiografyske klank út it earste diel fan de bondel.\nIt is de fraech oft Portretten (suver hwat in net-emansipearre fers mei syn klam op it ‘forlern gean’ fan de frou as der gjin frucht droegen wurdt) sa iepenhertich en sa bleatjaend is as it fers wêze wol. De poëtyske tael en de slotrigel mei de offerstien meitsje dat de pylk net genôch troch it ‘hoedend skutsel’ hinne kringt. Folle ûnbarmhertiger (en bytiden suver húnjend) is de dichteres foar harsels yn Foar de spegel. De earste strofe (en binammen de slotrigel dêrfan: ‘Sels is se mei har ienfâld o sa wiis’) is sa konkreet dat dêrtsjin gjin forwar mear mooglik is.\nFan de Kwatrinen is it earste mei syn byld (en mei syn ûntbrekken fan kommintaer fan de dichteres!) in gehiel dat alles seit hwat de dichteres bidoelt en dat tagelyk oan de lêzer noch hwat oerlit. Dêr kinne de oare trije kwatrinen net earlik tsjinop. Mar ek yn it lêste kwatryn sit, njonken it net sa gelokkige byld fan it ‘tillen’ yn de twadde rigel, in relativearjende wysheit dy't mei it konkrete\nbyld út de tredde rigel (‘De hân giet streakjend oer in berneholle’) goed út 'e ferve komt.\nRixt har Hollânsk wurk\nRixt hat neffens de ynhâldsopjefte twa fersen (yn it earste diel) oerset fan J. Philip van Goethem. Yn har antwurd by de útrikking fan de Gysbert Japikspriis op 30 oktober 1953 neamt se syn namme: ‘Ynearsten haw ik Hollânske fersen skreaun. Ik hie doe kunde oan de jong forstoarne Hollânske dichter J. Philip van Goethem, dy't my nochal oanmoedige. Yn it tiidskrift Nederland binne doe in pear fersen fan my pubiisearre. Koart dêrnei rekke ik nei Davos’. Dêr is se winliken by it frysk kommen (sjoch Grouster almenak 1947, s. 12). Har hollânske fersen steane yn Nederland, 1913, I, p. 396-398:\nDer stiet boppe: Verzen door R. It binne fjouwer fersen:\nI. Hooge bergen, gij, die machtig\nII. Ik wil mijn liefste juichend welkom heeten\nIII. ‘Frau Carl Drusky’\nIV. In den nacht,\nHar earste fryske fersen binne ek yn 1913 forskynd yn Forjit my net.\nJ. Philip van Goethem\nEk fan J. Philip van Goethem (1885-1913) steane fersen yn Nederland. Van Goethem hie yn 1910 in dichtbondei útjown by W. Versluys yn Amsterdam: Uit eenzame uren Van Goethem syn bondel is, lykas Rixt harres, yn trijen fordield. Yn syn Toelichting skriuwt Van Goethem: ‘De verzen in dezen bundel zijn naar tijdsorde geplaatst en in drie afdeelingen verdeeld. In de eerste afdeeling staat een keuze uit mijn vroegste verzen. Zij zijn onafhankelijk van elkaar. De verzen der tweede afdeeling hooren bijeen en zijn uit een periode (Dy geane yn haedsaek oer it pasjint-wêzen, of binne yn alle getallen út dy sitewaesje wei tocht). De derde afdeeling bevat een keuze uit de latere verzen’. De yndieling is dus lykas by Rixt chronologysk.\nAs men it bondeltsje nou bisjocht, 68 jier nei't it útkommen is, dan kin men jin yntinke hoe't it yndertiid yn de winkels lein hat, yn wyt omslach mei goudgiele letters. Faeks hat it doe in tige gongber bondeltsje west, mei fersen dy't forskate minsken oansprutsen ha. Der moatte yn dy tiid hiel hwat dichtbondels foskynd wêze dy't yn de tsjintwurdige literêre hânboeken net of net mear neamd wurde.\nVan Goethem hie earst bisocht om syn bondel by C.A.J. van Dishoeck yn Bussum útjown to krijen. Yn in brief fan 15 july 1910 oan Van Dishoeck karakterisearret er sels syn fersen as ‘eenvoudig, eenvoudig genoeg om door een groote schare gemakkelijk begrepen te worden’. Dat soe neffens him it\nútjaen fan syn bondel foar in útjower hwat oantrekliker meitsje, ‘omdat het Nederlandsche publiek niet erg naar dichtwerk grijpt’. Hwat de literêre wearde fan syn wurk oangiet, neamt er dat ‘de meeste verzen van mijn bundel bij verschillende tijdschriftredacties zijn aangenomen (Nieuwe Gids, Nederland, Groot-Nederland, Elsevier, Europa).’ Ek hat Willem Kloos him oanret om in bondel út to jaen, sa skriuwt er oan Van Dishoeck. J.C. Bloem wurdt ien fan Van Goethem's bêste freonen neamd en dy hie nei Van Goethem's dea in kar út syn wurk útjaen sillen: ‘een klein, maar gekozen bundeltje’, dat ‘het beste uit zijn ‘Uit Eenzame Uren’ en een nagelaten bundel’ bifetsje soe. It materiael is by Bloem wei wurden, dat fan it útjefte is neat kommen. Oant safier de ynformaesje fan G.H. 's-Gravesande yn syn artikel (Vergeten figuren X.J. Philip van Goethem) yn Het Vaderland fan 20-7-1957.\nIen en oar makket wol dúdlik dat Van Goethem yn de literêre wrâld fan syn dagen wol akseptearre en wurdearre waerd. Ek yn de Geschiedenis der Nederlandsche letterkunde fan J. Greshoff en J. de Vries (19292) wurdt er neamd (p. 332-333). Hy is fierder ien fan de jong forstoarne dichters dêr't Barend de Goede fersen fan opnommen hat yn syn karlêzing Kort dag (Utrecht 1946).\nVan Goethem en Rixt\nNeffens 's-Gravesande hat Van Goethem yn 1908 en 1909 njoggen moanne lang yn in sanatoarium yn Putten op 'e Feluwe lein. Rixt hat kuerd yn Doorn en Putten, en yn Davos. Hwannear krekt, dat wie yn myn boarnen net to finen. Faeks hat Rixt Van Goethem yn Putten kennen leard. Van Goethem hat Rixt oanmoedige by har dichtsjen.\nDer binne trije fersen fan Rixt bikend dy't se, sa't liket in jier of hwat nei syn dea, oerset hat fan Van Goethem, de fersen Famke, forskynd yn it Harmen Sytstra-boek fan 1918 (s. 84-85) en net opnommen yn De gouden rider, en de fersen Bitrouwen en Nije leafde, dy't foar it earst forskynden yn Frisia VI (1922). It origineel fan Famke, Meisje, stiet yn Nederland 1911, II p. 477, dy fan Bitrouwen en Nije leafde (Vertrouwen en Een nieuwe gevoel) steane op s. 45 en 44 fan Vam Goethem syn bondel Uit eenzame uren.\nDe oersetting Famke is net sa slagge, en is ek dúdlik swakker as it origineel. Van Goethem's fers is ienfâldiger en strakker; yn dat fan Rixt steane de wurden lang net sa mei sin. Dat bigjint fuort al mei de earste strofe. Yn de oare trije strofes wurdt Rixt har fers tofolle dichterlik oppoetst en skout der in hinderlike waernimmer tusken fers en lêzer.\nDe beide oersettingen út 1922, dy't ek yn De gouden rider steane, binne better. Rixt hat ek yn dizze fersen de originelen aerdich trou folge, alteast hwat ynhâld en wurdkar oangiet, mar krekt dêrtroch wurde de forskillen tusken de twa dichters (en faeks ek tusken frysk en hollânsk as dichterstalen) namsto dúdliker Goethem syn fers Vertrouwen is hwat mear keuveljend en\nbernlik, wylst Rixt it byld fan it omrinnen, it biwegen yn ‘it hûs fan ús bitrouwen’ konsekwinter folhâldt en mei guon fryske wurden (togearre, teanten, skruten, smûke, eigen) de sfear goed (en ‘folwoechsen’) oanjowt. It fers, op himsels frij (to) algemien, is yn forliking mei it origineel better wurden. By Nije leafde kin eins net praten wurde fan sa'n kwaliteitsforskil. Typearjend foar Rixt binne wurden as ‘melodij’ (dat by har in folle bilangriker plak krijt troch it rym) en ‘wijing’ (foar hollânsk ‘aandacht’). Yn de earste rigel fan de twadde strofe forbrekt Rixt justjes it metrum: ‘It fûle libben rûz't súntsjes en fier’ foar ‘Het volle leven ruischt heel zacht en ver’. Dat liket gjin forbettering to wêzen. Rixt hâldt nammers net fêst oan it metrysk skema fan har foarbyld, mar se folget dat skema gauris àl yn rigels dy't emosjoneel en troch har plak yn it fers bilangryk binne. Men krijt de yndruk dat Rixt út dy rigels wei bigoun is mei de oersetting, en de oare rigels nei eigen goedfinen ynfold hat hwat it metrum oangiet.\nYn de beide lêstneamde fersen fan Van Goethem fine wy in pear algemienere trekjes werom hwat de foarm fan de fersen oangiet, dy't wy ek by Rixt sjoen ha. It ‘O!’ oan it bigjin fan de rigel en oan it bigjin fan it gedicht, de herhellingen fan wurden: ‘iedren dag’, ‘rijker’, ‘grooter’, en ek fan hiele rigels: ‘in 't stil en heilig huis van ons vertrouwen’.\nDe bisibbens mei Van Goethem blykt nammers net allinne út de oersette fersen. Ek by Van Goethem spilet de leafde in greate rol, en allyksa de mem; it forbân tusken natûr en minske, de stimmingen fan joun en nacht; de rein, de skierens fan it waer, de wyn, de wolkens en de loft, de beammen; en ek it moralisearjende, de langst nei en de twivel oer it lok, en de geastlike superieurens fan de dichter. It is wol dúdlik dat de dichterswrâlden fan Van Goethem en Rixt oan inoar bisibbe binne. De fersen fan Van Goethem moatte Rixt tige oansprutsen ha, sa moat men wol konkludearje as men de beide bondels neist inoar leit.\nDochs falt it net iens altyd ta om fersen fan de beide dichters njonken inoar to setten. De konkrete oerienkomst bistiet faek mar út in inkeld motyf, in stimming, in sintrael tema. En dan blykt dat Rixt dochs ek wer in hiel oare dichterspersoanlikheit is as Van Goethem. Van Goethem is faek somber en kleijend en opstannich, mar oan de oare kant ek wer meditearjend, idyllysk en bytiden sels hwat ankedoatysk. Rixt dêrfoaroer is - om mei Sierksma to sprekken - mear ‘hochromantisch’; mei mear hertstocht en ‘dichterlikens’, soe men sizze kinne. It wurk fan Van Goethem is hwat statysker, hwat mear pratend as dat fan Rixt. Wy moatte dêrby nammers net forjitte dat it hollânsk fan Van Goethem folle konvinsjoneel-âlderwetsker op ús oerkomt as it frysk fan Rixt.\nSette wy It skip njonken Als gij ver weg zijt by Van Goethem (p. 95), dan is der njonken de oerienstimming (de leafste fier fuort oer de sé, it oan inoar tinken oer dy ôfstân hinne; ek yn foarm lykje de beide fersen op elkoar; trije strofen fan fjouwer (hast like lange) rigels, de oerienstimming tusken earste en njoggende rigel) ek in wêzentlik forskil: Van Goethem jowt mear in medi-\ntaesje, by Rixt komt de leafde en de eangstme mear ta utering, en wylst Van Goethem him yn de slotrigel ôffreget: ‘zult gij dan weten dat wij u beminnen?’ komt Rixt dêr mei de rie: ‘sjoch stil omheech (nei de stjerren fan de tropenhimel), dan fielste: ik bin dy nei.’ Qua tematyk is Teiwaer bisbibbe oan (binammen de earste en de tredde strofe fan) Levensgang (p. 21-22): ‘Grijs ligt de weg’, de rein, dy't de hiele dei fallen is, de beammen dy't ‘glimmend nat’ binne, ‘de wolken in drommen geschaard, maken den dag vroeg donker’, it hinne en wer fan leed en freugde yn it libben, itselde soarte fan bylden en tinzen fine wy ek wer by Rixt, dy't dêr, ek qua foarm, in hiel oar gedicht fan makket. Forlykje ek O grijze, grijze dag (p. 60) mei syn rein, tsjusterens, stillens, en de ‘weeldewarme zonnelach’ dy't ‘achter der wolken droefenis, zóo streng verborgen is.’\nYn Leed biskriuwt Rixt yn fiif fjouwerrigelige strofen de langst nei har men, dy't fierôf is. Itselde docht Van Goethem yn Heimwee (p. 27-28) yn sawn fjouwerrigelige strofen By Rixt giet it folle direkter inkeld tusken mem en dochter, Van Goethem biskriuwt ek syn sitewaesje as pasjint en syn ûnwennigens fan de dingen fan thús.\nIt tema fan de foarbye leafde wurdt hiel oars útwurke yn Rixt har Hwat bleau as yn Van Goethem syn Liefste is voorgoed verloren? (p. 77-78): by Rixt giet it om de winst, ek nei it forlies fan de leafste; by Van Goethem de hyltyd herhelle fraech oft it nou wier foarby is en nea wer komt.\nIt tema fan it dichter-wêzen, dat by Rixt it dúdlikst ta utering komt yn Bern fan it ljocht, fine wy ek yn forskillende gedichten fan Van Goethem, b.g. yn de sonnetten Kracht (p 61), en binammen Avond (p. 91)en yn Wie dieper voelen (p. 54) en Liedje (p. 72). It fers fan Rixt is suver in utering fan ekstase, de fersen fan Van Goethem biskriuwe mear de superieurens fan de dichter dy't sa'n swiere wei lâns moat en dy't fan de net-dichters net bigrepen wurdt.\nEk guon rigels út Van Goethem fine wy parallellen fan by Rixt. Yn O, morgen (p. 97) b.g. skriuwt Van Goethem: ‘Kent gij de vreugd niet van dit eenzaam dwalen, /als wij de stemmen onzer ziel verstaan’, en by Rixt fine wy yn 'k Sil foar dy sjonge: ‘'k Sil foar dy sjonge as 't lúst'rjend hert/siele' stimme forstiet.’\nSa soe der noch wol mear to neamen wêze. Ik wit net - en it sil ek wol net sa maklik fêst to stellen wêze - oft Rixt op alle neamde punten troch Van Goethem biynfloede is. Ek Van Goethem is boun oan syn tiid, en Rixt sil fan syn tema's en dichtwize ek wol by oare dichters foun ha. Dat Van Goethem ynfloed op Rixt hawn hat stiet wol fêst En troch forliking fan it wurk fan Rixt mei dat fan Van Goethem komme wy in bytsje op it spoar fan it eigen lûd fan Rixt yn it ramt fan har eigen tiid. Krekt de forskillen fan Rixt mei de yn oare opsichten sa oan har bisibbe dichter Van Goethem meitsje dat mooglik.\nIt soe nammers in goed ding wêze as Rixt en de jongfryske dichters ris hwat mear forlike waerden mei hollânske dichters út har eigen tiid. Ik ha de yndruk dat se yn har dichtsjen frij aerdich op 'e hichte fan har tiid wiene. Mar dat soe ris better neigien wurde moatte\nObe Postma en Rixt\nIn oare dichter dy't Rixt yn de ynhâldsopjefte neamt, is Obe Postma. Yn har fers Wyk-ein yn Fryslân nat se fjouwer rigels frij oan him ûntliend, sa't se sels skriuwt. De earste twa dêrfan: ‘hy dy't oan alle fielen part hat/en hwa't licht it moed forweecht,’ komme út Myn bistean (Fryske lân en fryske libben, s. 132):\nMar oan alle fielen haw ik part\nEn licht forweecht it moed:\nen de lêste twa: ‘dy't it lûde laitsjen ôfstoarn is/en it stille glimke komd.’ út Fen lûd en rook (Fryske lân en fryske libben, s. 122):\nIt lûde laitsjen stoar ús ôf,\nIt stille glimke is komd\nYn dit fers binne ek stilistysk wol hwat Postma-ynfloeden oan te wizen yn de biskriuwing fan lânskip en omjowing. Dochs is dat net de ‘eigentlike’ en ‘eigen’ toan fan Rixt. Har inerlike bisibbens mei Van Goethem is folle greater as dy mei Postma.\nSkôgingen oer Rixt har wurk\nIt is yn forbân mei de fraech hwat de fersen fan Rixt de jongere generaesje fan nou sizze, nijsgjirrich om inkelde skôgingen to bisjen dy't yn 'e rin fan 'e tiid oer Rixt skreaun binne.\nDouwe Kalma hat yn Fen Fryslâns fjilden (XVIII. Nijere persoanlike skriuwers. 8 en 8 bis. De sjongster Rixt.) (yn de Nieuwe Sneeker Courant fan 27 febr. en 9 maert 1918) oer Rixt skreaun. Dat wol sizze, nei in wiidweidige ynlieding (oer de ‘hege, sjongende frou’, oer Sappho, Hadewych, Jeanne d'Arc, oer de (hiel inkelde) frou as hege-preesteresse, oer de twa froulju (Simke Kloosterman en Rixt) dy't de Jongfryske werberte yn Fryslân oankundigen ensfh.) en nei in lyryske biskriuwing fan de ûntjowing fan de dichteresse Rixt jowt Kalma lang om let syn tige heechstimde karakteristyk fan Rixt har wurk. It is ‘wûnder like wier en folslein-earlik’, it ‘jowt ús de djipten fen it minske-moed klear to sjen’, it is ‘in kosmos op himsels’. ‘Hjir seagen wy it ús ûnbiwende forskynsel, det ien út it Fryske lân hjar sa folslein wist to uterjen, det der yn hjar neat, yn it minst neat efterbleau, det it yet oan utering miskearre.’ De fersen fan Rixt sille ‘nea mear forgetten wirde’. Kalma priizget it greate en echte natûr-pathos, de spontaneïteit, de swietlûdichheit, de tsjoenende suverheit, om inkelde karakteristieken to neamen, en hy is fan bitinken dat men Rixt hast de Fryske Hadewych neame koe. En ‘mei de kosmyske ynhâld fen Rixt hjar fersen strykt de sterke technyk’, ornearret Kalma, ‘sims de lûden opdriuwend yn brokkige hirdens, den wer delflijend yn sêftens en ljeaflikheit. ‘Inkeld de rigel ‘lok en ljeafde dêr útstriel't’ yn Langstme neamt\ner ‘banael, ûnbihelperich en Rixt ûnweardich’. Op groun fan de 14 à 15 fersen dy't doe (1918) fan Rixt útkommen wiene, jowt Kalma har alle superlativen dy't foar in dichteresse to bitinken binne, en bislút er mei: ‘In kinstneresse fen moderne greatheit en klassike ienfâld.’\nEins is Jelle Brouwer yn syn skôging oer De gouden rider yn It Heitelân fan 1953 (s. 7-8) net folle minder optein as Kalma doedestiids, mar hy drukt him gâns nochterder en konkreter út, en hy jowt yn koart bistek hiel hwat goede ynformaesje, om to bigjinnen bibliografysk, en dêrnei oer kwaliteit, tematyk en technyk fan de fersen sels. Brouwer is o sa wiis mei it hiele oeuvre fan Rixt. Hy dielt noch altyd de opteinens fan Kalma út 1918. En oer de nije bondel seit er: ‘Folslein-earlik is de hiele bondel, dy't nou foar ús leit.’ Dochs sjocht Brouwer dúdlik it forskil tusken de eardere en de lettere fersen: ‘De âlde forlieze har glâns net, mar mei de nije binne wy noch wizer.’ Brouwer priizget it suvere en heldere lûd fan de fersen út it earste diel, de muzikalens fan 'k Sil foar dy sjonge en De lyster. It (lytse) twadde diel bifettet neffens Brouwer net allegearre fersen dêr't men foar de folle hûndert persint ja op seit. ‘Mar de greate forrassing komt pas mei ôfdieling III’, seit Brouwer; dy fersen binne ‘fan sa'n adel en heechheit, fan sa'n earlike minsklikens, fan sa'n sobere, bihearske bylding en muzyk fan tael, dat men hast gjin kar dwaen kin, as men it bêste oanwize wol.’ En Brouwer bislút mei de karkateristyk: ‘Dit is wurk fan in yn Fryslân to seltsum formaet.’\nFokke Sierksma soe men in ‘generaesje’ jonger neame kinne as Kalma en Brouwer. Syn biwûndering foar Rixt is lykwols net minder great. ‘Forhael fan in ivige jonkheit’ set er boppe syn skôging oer de bondel De Gouden Rider fan 1952 (yn de Tsjerne, jg. 8 (1953), s. 53-58). It dichtwurk fan Rixt fortjintwurdiget in wrâld op himsels, ornearret ek Fokke Sierksma, en syn bislút is: ‘Rixt wie en is in bigryp yn ús litteratuer.’ Rixt is ien fan dyjingen dy't de eigen dream op syn noed nommen hat, seit Sierksma. ‘Har alluere is folslein ûnfrysk’ en ‘Royael en ûnbikommere jowt hja har libben oer oan Eros en oan de Muze’. Guon aspekten hat Rixt sa adekwaet formulearre ‘dat it foar follen ûnforjitlik is’ (b.g. yn Freze dy't 'k gjin namme doar to jaen, en: O, kom net by my, kom nou net). ‘It hat der fan, dat hja de dream dy't har libben stjûrde, earst ‘probearje’ wollen hat Dêrom sil se har earste ‘hochromantische’ fersen net bondele ha. As in swak punt fan in fers as Teiwaer (en typearjend foar de earste perioade) neamt Sierksma ‘it plakkerich wurden, it útfloeijen fan it poëtysk skrift yn in machtich tal eigenskipswurden en in lyryk dy't net yn biheining har krêft siket’ Ek by Sierksma spant de tredde ôfdieling de kroan: ‘Fan 1942 oant 1952 slacht de bloei nei bûten.’ It is in werberte, mei't Rixt it eigen libben yn syn hiele hear en fear oannimt It is de forfolling fan in dream en ek dy fan in talint ‘Har gedichten wurde sterk, konkreet en tûk fan byldspraek, ynbannich herstochtlik fan alluere en mei it âlde fielen foar swietlûdichheit en klankwearde’\nAnne Wadman, dy't by gelegenheit fan Rixt har 70ste jierdei yn 1957 nochris in skôging oan har wurk wijt (RONO, Literair Kwartier, 27-9-1957), is gâns\nkritysker oer it earste wurk fan Rixt. Har poëzij wurdt ‘zwevend’ neamd, ‘ijl-melodisch, zwak naar de uiterlijke versvorm’, ‘vol van stille wijing en wûndere wijing, vol ivich ljocht, ivige harmonij’, ensfh. Wadman wiist op swakke plakken yn de bylden dy't tomin ‘sjoen’ binne. Der sit in soarte fan ‘mystieke eenheidsbeleving’ yn fan leafste, natûr, hielal, God. Mar dêrmei wurdt God in pantheïstyske abstraksje, ‘een naam die meer verhult dan hij openbaart.’ Neist it ‘verhullende’ karakter fan dizze poëzij is der faek ek in tomin oan ‘verhulling’, as it fers to direkt op it libben skreaun is. ‘Het gevoel heeft zich niet tot beeld gekristalliseerd’. It twadde diel fan de bondel wurdt konkreter en tsjûget fan ‘een helderder zelfinzicht’, wylst ‘hillich, wijing, ivich’ etc. fordwine of funksjoneler brûkt wurde. En dat wurdt hyltyd dúdliker yn it tredde diel. Dy fersen jowe ‘de mens, niets meer, niets minder, de complete mens, ontdaan van zijn masker en zijn literaire verhulling’. Der binne fersen by fan in ‘weerloze tegelijk manmoedige eerlijkheid’, skriuwt Wadman; hy neamt yn it bysûnder Leech en it earste Kwatryn, ‘waarin een geheel mensenbestaan is samengevat tot een pijnigend en tegelijk bevrijdend erkennen van eigen vruchteloosheid’. Rixt ‘heeft het antwoord gevonden op de vraag die haar jeugd was en heeft daarmee meer gedaan dan de meeste dichters’, ornearret Wadman\nWer in ‘generaesje’ jonger freget Ulkje Boermsa har (yn De Golle nr. 3, s. 33-34) yn 1953 ôf, oft dizze (Gouden) Rider fan Rixt de ridderslach wol wurdich wie. Hja hat yn it wurk fan Rixt net in ‘dúdlik eigen lûd’ opheine kind. Binammen de fersen út de Jongfrieze-tiid wurde qua ûnderwerp en bihanling net botte heech oanslein. Yn Teiwaer, Joun, Ad finem is in ienheit fan foarm en ynhâld birikt dy't symboalyske wearde oan it sa boppe de reäliteit úttilde gedicht jowt; mar fakentiden ‘binn’ de wurden topswier fan gefoel, dat hja net op 'e lêzer oerdrage kin’ Ek yn it twadde diel komt it yndividuële fortriet net oan in algemien minsklike tragyk ta, ek al is de toan hjir fordjippe. De ‘earlikens om eltse oandwaning to registrearjen’ wurdt posityf sjoen, mar selskrityk hie dêr mear yn skiftsje moatten. Ek yn de skôging fan Ulkje Boersma wurdt it tredde part it wichtichste achte, mei in earnstiger ûndertoan. Hjir bisiket Rixt ‘mei oandwanlike earlikens de balâns fan in libben op to meitsjen’. Mar der is tomin birêsting, ornearret Boersma. Konklúzje: ‘dizze hiele bondel makket de yndruk fan in clownerie, dêr't de make-up hwat fierder hwat mear fan loslit en yn it lêste stik der't it neakene fel toand wurdt, de bêste gedichten jowt (“Leech”, “Foar despegel”, en “'t Is letter as me tinkt”).’\nAl mei al wurdt dúdlik dat algemien it tredde diel it heechst oanslein wurdt, wylst it earste diel stadichoan minder wurdearring fynt. De jongfryske ile toan komt by letter generaesjes hyltyd minder oer, sa't liket. De kosmos, de dream fan de dichteres Rixt makket dat Sierksma noch yn 1953 greate wurdearring hat ek foar it earste diel. Dochs is it ek by Sierksma it tredde diel dat de bondel ta in gehiel makket\nTrije fersen fan Van Goethem mei oersetting fan Rixt\nWat is zij jong en rank Hwet is hja jong en slank,\nWat is zij blond en slank hwet is hja blond en blank\nen o muziek, muziek en o, muzyk, muzyk hjar wirden binne!\nzijn al haar woorden\nSjuch ho't hja sweevjend giet,\nHoe zwevend is haar gaan, hja roert mar amper de ierd,\nzij roert maar de aarde aan, as dreauw hja op ûnsichtbre wjuk derhinne!\nalsof onzichtbie wiek\nhaar toebehoorde En is hjar laitsjen net,\neft fûgleliet me heart,\nEn is haar lachen niet in ljurk, opjúbljend út biblomme miede?\nalsof van voglen 't lied\nwerd neergesprenkeld uit Is hja de freugde net?\nwat stille boomen? Is hja de skientme net?\nIs hja net as in goadebreid op ierde?\nIs zij de schoonheid niet,\nis zij de vreugde niet,\nIs zij niet godes bruid\nop aard gekomen?\nHoe heerlijk dat we ons beiden veilig voelen, Hoe hearlik dat wy bliid togearre en feilich\nin 't stil en heilig huis van ons vertrouwen; yn 't hillich hûs fan ús bitrouwen gean,\ndat we iedren dag weer rijker, rijker weten en eltse dei sjogg' wy it riker, rommer,\nen iedren dag weer grooter, grooter bouwen. en eltse dei witt' wy it fêster stean.\nWij hebben daadlijk met gedurfd, Wy teanten earst sa skruten en bidêst\nin teerst-vertrouwde hoekjes door to dringen, om smûke, stille herntsjes hinne;\nik hoop zoo dat wij 't langzaam zouden leeren, ik hoopje fêster, wisser wurd' ús trêd,\ndat óveral wij gingen, dat oeral frij wy rinne,\ndat wij ons óveral veilig voelden, oant we ienkear yn it hûs fan ús bitrouwen\nin 't stil en heilig huis van ons vertrouwen, sá thús en eigen wêze soene,\ntotdat wij àlles van ons hart, dat wy de tearste dingen fan ús hert\nelkaar wel zeggen wouen elkoar wol sizze woene.\nO 't zachte bloeien van een nieuw gevoel, As nije leafde 'm sêft yn 't hert ûntjowt,\nwat is dit schoon; hwat is dat swiet!\nhet schijnt mij nu of ik daarmee alleen, 'k Libje as in kening mei dy rykdom nou\nter wereld woon allinne op ierd.\nHet volle leven ruischt heel zacht en ver It folle libben rûz't súntsjes en fier,\nen vaag voorbij; as dream, foarby,\nmaar 't nieuw gevoel is klare melodie. mar yn myn hert de leafde júb'ljend sjongt\nalleen voor mij syn melodij.\nIn stille aandacht draagt mijn ziel 't geluid Yn stille wijing draecht myn siele it lûd,\no laat het klinken! o lit it klinke!\nhet is zoo heerlijk een nieuw jong geluk, It is sa hearlik 't nije, jonge lok,\nangstig-weifelend te drinken eangstich-skruten jit, to drinken.\nHollânske fersen fan Rixt yn Nederland 1913, dl. I, s. 396-398\nHooge bergen, gij, die machtig\nen zoo onbewogen troont,\nweet gij welke wilde onrust\nin dit menschenharte woont?\nHooge bergen, die beweegloos\ndààr staat en zoo stil, zoo stil,\nweet gij, dat dit menschenharte\nnu maar niet bedaren wil?\nGeef mij van uw trotsche ruste,\nbergen, die zoo rustig staat,\nmaak nu, dat mijn arme harte\nniet meer wild oproerig slaat!\nIk wil mijn liefste juichend welkom heeten\nmet najaarsbloemen rijke kleurenpracht.\nVan àl het schoone, dat mijn oogen vinden,\nheb ik mijn lief het schoonste toegedacht.\neen late rozeknop, nog half ontluikend,\nbeeld van mijn ziel, zich openend voor jou,\nbleek-blauw en lila asters zullen spreken\nvan eeuw'ge, onvergankelijke trouw.\nDan komen dahlia's mijn vreugde melden;\noranje, purper, paars, wit, geel en blond\nen helle, vlammenroode zullen branden,\nmijn lief, gelijk de kussen van mijn mond!\n‘Frau Carl Drusky’\nStil ligt de tuin\nin 't donker van den nacht,\nwaar in den maanglans zacht\nvaag schaduwen de boomen..\nGeen kleuren ziet het oog,\nalleen staat daar\nde eenzaam witte roos,\nde reine, pure,\noplichtend wit en stil\nin duisternis ringsom\nGeen geur gaat van u uit,\ngeen gloed verft uw petalen,\no, roerloos koude schoone, die\nstaag opwit in den nacht\nkomen de herinneringen\naan voorbijgegane dingen\nen ik wacht....\nHuppelend in feestkleedij\n't zijn de blijen\nze en lach zacht\nMaar daar komen als in rouwe\nom mij henen\ndie doen weenen,\nstijgt droeve klacht\nen ik wacht......\nPublikaesje fan fersen fan Rixt.\n(tusken heakjes binne dy fersen neamd dy't gjin titel hawwe; yn sa'n gefal is de earste fersrigel werjown)\n1. Nederland, 1913, I, side 396-398, ‘Verzen door R.’:\nI. (Hooge bergen, gij, die machtig)\nII. (Ik wil mijn liefste juichend welkom heeten)\nIII. ‘Frau Carl Drusky’.\nIV. (In den nacht,)\n2. Forjit my net, 1913, side 30-32, ‘Fersen fan Rixt’:\nI. Oan him\nII. Langstme (O, myn herte slacht sa wyld)\nIII. As de lêste blom forwylget\nIV. (God fen harmonije)\nV. (O freze, dy'k gjin namme doar to jaen)\nVI. Wêz by my\n3. D. Kalma, It sjongende Fryslân. In karlêzing út it wirk fen âlde en jonge fryske skriuwers (Berltsum, 1917), side 88-94:\nDêr kliuwt in skip de fiere, wide séen\nLangstme (O, myn herte slacht sa wyld)\nAs de lêste blom forwylget\nBern fan it ljocht!\nYn 't wâld\nLangstme (Mem, o, ljeave, liz dyn hân)\nHja dy't út 'e stiltme komme\n4. D. Kalma, De nije moarn, in karlêzing út it wirk fen jongfryske skriuwers (Dokkum 1922), side 13-19:\nAs de lêste blom fowylget.\n5. P. Sipma en D. Kalma, It Harmen-Sytstra-boek, In hilde fen de Jongfryske Mienskip en ûnderskate oaren (Snits 1918), side 83-85:\nI. Skimerjoun (net opnommen yn De gouden rider)\nII. De lyster\nIII. Famke (neffens J.P. van G.) (net opnommen yn De gouden rider)\n6. Frisia, 6e en 7e jg., 1922-1923, side 5-8:\nI. Myn liet\nII. Bitrouwen (neffens J.P. van G.)\nIV. Nije ljeafde (neffens J.P. van G.)\nV. Ljeafde ûnfolsleinens\nVI. Ad finem\nVII. Hwet bleau\n7. F. Schurer, Fiifentweintich fryske dichters (Amsterdam 1943), side 17-22:\n8. It Heitelân, 26e jg. 1948, side 261:\n9. A. Wadman, Frieslands dichters. Bloemlezing uit friese lyriek sinds 1880 met vertalingen in het Nederlands (Leiden 1949), side 120-123:\n'k Sil foar dy sjonge\n10. De Gouden Rider. Fersen fan Rixt, Dokkum 1952.\n11. Tsjerne, 1957, side 289. (sj. ek Grouster almanak 1974):\n12. Rymenûnrym, Frysk skriuwersalmanak 1972 (Dokkum 1972), side 76:\nTwa freonen (Yn hânskrift ôfprinte).\nDer bliuwe mar twa fersen út it earste diel fan De gouden rider oer dy't ik allinne yn dy bondel fine koe: Twivel (s. 19) en Teiwaer (s. 21).\nDe gedichten yn it twadde en tredde diel lykje hast allegear foar it earst opnommen to wêzen yn de bondel. Inkeld Rein en Buenos Aires út it twadde diel steane yn Fedde Schurer syn Fiifentweintich fryske dichters. Ut it tredde diel stiet Cordilleras de los Andes yn It Heitelân 1948.\nDe jiertallen boppe de dielen yn de ynhâldsopjefte (1911-1921, 1922-1941, 1942-1952) moatte wol hast slaen op de jierren dat de fersen skreaun binne; de earste publikaesjes fan de fersen út it earste diel b.g. rinne fan 1913 oant 1922. De fersen steane sa to sjen globaelwei yn folchoarder fan ûntstean yn de bondel. Fan de kwatrinen oan de ein fan de bondel wurde de earste twa datearre op 1942 en de lêste twa op 1952.\nNuttige ynformaesje foar dit stik ha wy hawn fan prof. dr. M.H. Schenkeveld (Amsterdam) en drs. T.J. Steenmeijer-Wielenga (Easterwâlde).


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Body: 1964 Lark Type Rear Window Adjustment [Archive] - Studebaker Drivers Club Forum\nStudebaker Drivers Club Forum > Your Studebaker Forum > Tech Talk > Body: 1964 Lark Type Rear Window Adjustment\nView Full Version : Body: 1964 Lark Type Rear Window Adjustment\nO.K. -- I just changed a bad window regulator in the left rear door of my 1964 Wagonaire and with the stop bolt at the farthest adjustment it leaves about 1" of glass above the top of the door.\nThe rear window on the other side was going all the way down -- but is it supposed to?\nI pulled the door panel off the right side and low and behold the stop bolt was missing which allowed the window to go all the way down -- but the bottom of the regulator mechanism hits the inside of the door with the stop bolt out.\nSo -- which is correct (I want to set them the same) -- keep the stop bolt in which will allow about 1" (or more if I want) of glass to show when the rear windows are down, or remove the stop bolt on both sides which will allow the windows to go down all the way but which might not be a good idea -- since the bottom of the regulator hits the side of the door with the stop bolt out (so the side of the door is actually serving as the stop).\nIf showing about 1" or so (or whatever) of the glass with the window down is correct I want to have it that way even though it looks better with the window down all the way.\nthe stop should have a rubber snubber on it subdue impacts and vibration. the side of the door (metal) will transfer the body movement to the window regulator and likely create a noise you won't like, or possibly a cracked glass.... of interest, besides the "look".... will (can) a rear occupant sit in the back seat and rest their arm out the window opening for "feel" & comfort ?\nWill you ever be in the back seat ?\nRight, and will you EVER open the rear windows ALL the way?\nI would bet 50 to 60% of the 4 Doors had their Rear Windows all the way down never, or under 10 times in their 53 years!\nDuring the 80's & 90's, when my kids were growing up, our daily driver was a '50 champ sedan. Those back windows were down a lot in the summer time.....


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Blau-alch De Vleyen It Amelân | Omrop Fryslân Skip to main content\nBlau-alch De Vleyen It Amelân 10 sep 2014 - 19:28\n0 reaksjes Blau-alch - Foto: ANP Yn it wetter fan De Vleyen by Nes op It Amelân is blau-alch konstatearre. Der jildt sûnt woansdei in negatyf swimadvys. De kâns op sûnsensklachten is dêr te heech. By De Vleyen binne yntusken buorden pleatst, dy't oanjouwe dat der net swommen wurde mei. Aktuele ynformaasje oer de situaasje fan blau-alch yn de provinsje is te finen op www.fryslan.nl\nKorreksje meldeLês foarTrefwurden: blau-alchnegatyf swimadvysDe VleyenView the discussion thread.Diel dit berjocht op: 10-09Fryske fytsers nei Kanada 10-09Takomst swimbad Gordyk ûnwis Besjoch ek...\nWaarme waar soarget foar mear meldings fan blau-alch 15 sep 2016 - 11:23 It waarme waar soarget op hieltyd mear plakken foar blau-alch yn it wetter. De provinsje warskôget dêr dan ek foar. Op in spesjale webside is te... Negatyf swimadvys: blau-alch oantroffen op swimplakken 24 aug 2016 - 15:04 De provinsje hat in negatyf swimadvys ynsteld foar de Aldegeaster Brekken by Aldegea, Hegemer Mar Heech en Hegemer Mar Yndyk. Op dy plakken is... Blau-alch by Langwar en Ealahuzen, by Balk warskôging opheft 18 aug 2016 - 10:47 De provinsje warskôget foar blau-alch by it swimplak yn de Langwarder Wielen en by de Lange Hoek by Ealahuzen. De warskôging foar blau-alch by it... Swimme yn De Leien by De Rottefalle kin no wer 15 aug 2016 - 17:10 It negative swimadvys foar it swimbad by De Leien by De Rottefalle is opheft. It ferbod waard ferline wike ynsteld om't der te folle baktearjes yn... (advertinsje)


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China Hexagonal Wire Netting fabryk en fabrikanten |Shengsong\nHexagonal wire gaas wurdt ek neamd Chicken wire en pluimvee mesh.It is makke fan draaiende koalstofstieldraad, kiezer as hyt dipped galvanisearre, dan plastyk coated, of gewoan.Hexagonal wire gaas wurdt brûkt yn tún foar beskerming fan lytse fûgel, of as plomfee of lytse bisten húsfesting.\nChicken wire, of pluimvee netting, is in gaas fan tried ornaris brûkt om fence pluimvee fee.It is makke fan tinne, fleksibele roestfrij stiel, swiere galvanisearre tried as koalstofstieldraad, mei hexagonale spaasjes.Beskikber yn 1 inch (sawat 2.5cm) diameter, 2 inch (sawat 5cm) en 1/2 inch (sawat 1.3cm), kip tried is beskikber yn ferskate tried gauges meastal 19 gauge (sawat 1mm tried) nei 22 gauge (sawat 0.7) mm draad).\nKippendraad wurdt soms brûkt om romme, mar goedkeape kooien te bouwen foar lytse bisten (of om planten en eigendom te beskermjen tsjin bisten), en de tinne en sink-ynhâld fan galvanisearre tried kin net geskikt wêze foar bisten dy't gefoelich binne foar knaagjen.\nChicken wire, rabbit netting, pluimvee hek, rockfall netting, stucco gaas.\nBeskerming fan apparatuer en masines, snelweihek, tennisbaanhek, beskermingshek foar road greenbelt.\nKontrolearje en liede wetter, sels oerstreaming.\nBeskermje seedyk, rivierbank, rivierbedding, pier.\nUtfiere oare needwurken.\nGalvanized hexagonal wire gaas netting foar helling shotcrete.\nGalvanized hexagonal tried gaas foar helling fegetaasje.\nHexagonal wire gaas is makke fan metalen tried en troch woven foarme de tried netting.De wire netting wurdt in soad brûkt yn in protte fjilden foar syn ynherinte skaaimerken.\nMateriaal: Kâld galvanisearre, hot dip galvanisearre, elektrysk galvanisearre, PVC-coated tried, ensfh.\n1. Maklik te brûken en gewoan betegele op 'e muorre en bou cement.\n2. Simply ynstallaasje en gjin ferlet fan mear spesifike feardichheden.\n3. Resist natuerlike skea, corrosie ferset en de mooglikheid om te wjerstean min waar.\n4.It kin grutskalige deformaasje ferneare en sil net ynstoarte.\n5. Heat behâld en waarmte isolaasje.\n6. Minimalisearjen fan ferfierkosten.\nHexagonal wire netting, ek wol chicken mesh of pluimvee gaas wurdt makke fan lowcarbon lron Wire.it gaas is stevich yn struktuer en hat plat oerflak.It wurdt wiidweidich brûkt yn yndustriële en agraryske konstruksjes as fersterking en hek.It wurdt ek brûkt as hek foar plomfeekooi.tún en boartersplak foar bern.\nYn engineering fjilden, hexagonal tried gaas wurdt tapast te beskermjen en stypje de seedyk, heuvels, dyk, brêge en oare engineering.\nUs fabryk leverje ferskate soarten en ferskillende spesifikaasjes hexagonal wire gaas.Hjir binne galvanisearre hexagonal tried gaas, PVC coated hexagonal tried gaas, woven gab gabion en oare soarten net.\nG/SQ.M Breedte Wire Gauge (diameter)\nInch mm Tolerânsje (mm)\n3/8" 10 mm ±1,0 0.7mm - 145 2' - 1M 27, 26, 25, 24, 23\n1/2" 13 mm ±1,5 0.7mm - 95 2' - 2M 25, 24, 23, 22, 21\n3/4" 20 mm ±3,0 0.7mm - 55 2' - 2M 25, 24, 23, 22, 21, 20, 19\n1" 25 mm ±3,0 0.9mm - 55 1' - 2M 25, 24, 23, 22, 21, 20, 19, 18\n1-1/4" 31 mm ±4,0 0.9mm - 40 1' - 2M 23, 22, 21, 20, 19, 18\n1-1/2" 40 mm ±5,0 1.0mm - 45 1' - 2M 23, 22, 21, 20, 19, 18\n2-1/2" 65 mm ±7,0 1.0mm - 30 1' - 2M 21, 20, 19, 18\n3" 75 mm ±8,0 1.4mm - 30 2' - 2M 20, 19, 18, 17\n4" 100 mm ±8,0 1.6mm - 30 2' - 2M 19, 18, 17, 16\nMesh Wire Gauge (MM) Breedte\n2" 50 mm 1.0mm - 1.4mm 1' - 2M\nwy biede ek oare spesifikaasjes dy't jo nedich hawwe\nFoarige: Common Nails\nFolgjende: Black Annealed Wire


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Nije aksje op Skier om ôffal kontenerramp op te romjen: "De vervuiler betaalt" | Omrop Fryslân\n02 jan 2020 - 21:40\nIn jier nei de kontenerramp lizze der noch hieltyd plestik kerrels op it strân fan Skiermûntseach. Ynkoarten sille de gemeente, Natuurmonumenten en Rykswettersteat oan de slach mei in nije opromaksje. Dat seit boargemaster Ineke van Gent. "We willen voor het broedseizoen zoveel mogelijk plastic bolletjes opruimen."\nIt briedseizoen begjint yn april. Foar dy tiid moat dus safolle mooglik ôffal fan it strân wêze. Maklik wurdt it net, jout Van Gent ta, want it binne hiel lytse kerreltsjes. "Je moet het zand een beetje omwoelen, zodat de korreltjes naar boven komen. Dan kun je met een zuiger wel opzuigen. Dan worden de korreltjes en het zand weer van elkaar gescheiden."\nOm de natuer tinke\nBy it opromjen sille se rekken hâlde mei de natuer. "We gaan ook heel goed opletten dat we het ecologische systeem op het strand niet verstoren, dus we doen het in etappes", seit Van Gent. "Rijkswaterstaat heeft daar een paar ecologen voor beschikbaar gesteld."\nIneke van Gent oer de nije opromaksje\nEn it is de bedoeling dat MSC, de rederij fan it skip dat de 342 konteners ferlear, betellet foar it opromjen. "Zoals het nu lijkt gaat de verzekering van MSC het betalen, zodat wij volgende week of zo snel mogelijk aan de slag kunnen."\nMSC stiet nei de kontenerramp net bekend as in partij dy't graach betellet. In diel fan de claims stiet noch iepen en de rederij stelde ek alris as betingst dat der gjin nije claims komme soene. Mar Van Gent giet derfan út dat it no goedkomt. "De vervuiler betaalt, dus dat is MSC. Het betalen kan wat sneller, maar ik hoop dat ze hun leven nog gaan beteren. Ook voor de toekomst. Want als er nieuwe rommel van de ramp aanspoelt, dan ga ik er wel vanuit dat MSC zijn verantwoordelijkheid neemt."\nPiet Paulusma debutearret foar Omroep MAX en seit noch hieltyd "Oant moarn"


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MAD - Global Thermonuclear Warfare Answers - GameSpot.com\nMAD - Global Thermonuclear Warfare Answers\nSearch MAD - Global Thermonuclear Warfare Questions:\nGameSpotScore5.7mediocreMetacritic Score- -No ReviewsUser Score6.87 votesYour Score- -hover & click to rate11.522.533.544.555.566.577.588.599.510About the rating system »Review the Game Hot Forum Topics\nsim city 2013 working online origin june 20132112TD - Tower DefenceWhere am I?See All MAD - Global Thermonuclear Warfare Forum Topics » MAD - Global Thermonuclear Warfare\nPublisher(s): Real.comDeveloper(s): Small RocketsGenre: StrategyRelease: Feb 1, 2001 (US) More info »Game StatsRank:118,478 of 0PC Rank:16,741 of 18,727Followers:13Follow»Wishlists:4Wish It»Player Ratings: 7Users Now Playing: 1Number of Players:1-2 PlayersCloseMAD - Global Thermonuclear Warfare NavigationSummary ›Reviews ›News ›Images ›Answers ›All Questions ›Answered Questions ›Open Questions ›MAD - Global Thermonuclear Warfare Forum ›PC Forum › Games You May Like\nKohan: Immortal Sovereig (PC)Desperados (PC)Promoted TitleThe Elder Scrolls Online (PC)S.W.I.N.E. (PC)Car Tycoon (PC)M.A.D.: Mutually Assured Destruction (PC)Users who looked at content for this game also looked at these games. GameSpot


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