2007 Treasure Hunt II
Rehash Bash
Allison Wonderland\'s Mason Lodge
1044 Front Avenue
Starting at Noon on Sunday
Map and directions
Medallion Hotline 651-228-5547
Noodle Recap Folder HERE
Rehash discussion folder HERE
Nightly Pre-Clue Get-Together
354 Wabasha St N
Saint Paul, MN 55102-1418, US&cid=lfmaplink2&name=&dtype=s\">Map of 354 Wabasha St N
Saint Paul, MN 55102-1418, US
Matty B\'s is the home of the Cooler Crew. We\'ve got a party going on every evening from 8 until the clue is released. Sunday night, if the hunt goes that long, the bar will be open but food will not be available.
Recent Clues:
Clue #1 Congrats to the finder, to all a reminder
To hunt hard from first to last clues
Medallion I is history. Now a new mystery
Begins -- strap on your hunting shoes
To some its demented, for all unprecedented
But hunters’ thirst must be quenched
Tell sister and brother we’ve hidden another
In a park where a body can be benched
Our 2nd prize? Don’t laugh -- 10-thou cut in half
So get out there even if it’s snowy
And as a special bonus -- some might say an onus --
A meal with our own Clueless Joey
Good hunting to you, let this be the first clue
Think of a woodsy retreat
It won’t be so hard if you channel the bard
You’ll get warm and smell pretty sweet
To hunt hard from first to last clues
Medallion I is history. Now a new mystery
Begins -- strap on your hunting shoes
To some its demented, for all unprecedented
But hunters’ thirst must be quenched
Tell sister and brother we’ve hidden another
In a park where a body can be benched
Our 2nd prize? Don’t laugh -- 10-thou cut in half
So get out there even if it’s snowy
And as a special bonus -- some might say an onus --
A meal with our own Clueless Joey
Good hunting to you, let this be the first clue
Think of a woodsy retreat
It won’t be so hard if you channel the bard
You’ll get warm and smell pretty sweet
Clue #2 If you\'re thinking big you\'re sure to dig
Near flora with growing pain
Winter or summer is never a bummer
A menagerie of fun wild or tame
Near flora with growing pain
Winter or summer is never a bummer
A menagerie of fun wild or tame
Clue #3 Success on the third clue will never do
We had to stash a second
Round you go if you seek to know
Where swatters of orbs are beckoned
We had to stash a second
Round you go if you seek to know
Where swatters of orbs are beckoned
Clue #4: A walk in the park can be a lark
If cell phones are left at home
Heed the siren of your desirin\'
And do not revolt against this poem
If cell phones are left at home
Heed the siren of your desirin\'
And do not revolt against this poem
Clue #5 Over hill and dale hit the trail
With a handy locating device
Fulfill your wishes like loaves and fishes
And put your victory on ice
With a handy locating device
Fulfill your wishes like loaves and fishes
And put your victory on ice
Clue #6 A famous singer and a diamond dinger
Might put you oh so close to the spot
With the whites of your eyes you should look for the prize
Within this convenient plot
Might put you oh so close to the spot
With the whites of your eyes you should look for the prize
Within this convenient plot
Clue #7 Don\'t turn up your noses at the city of roses
The home of the park that you seek
It\'s just north of town so come on down
Our hunt is not for the meek
The home of the park that you seek
It\'s just north of town so come on down
Our hunt is not for the meek
Clue #8 Don\'t go mental just head for Central
Lexington Avenue will show you the way
Your spirits won\'t sag when you see the big flag
Into the trees you want to stray
Lexington Avenue will show you the way
Your spirits won\'t sag when you see the big flag
Into the trees you want to stray
Anyone can purchase their own folder. If others have done that, it's not within this board.
Anyone not posting here is likely out hunting and if they have another board somewhere, they paid for it.
No one has to share their thoughts and ideas here. I do because for me, it's fun to share and noodle clues with others.
Missed ya at como green, going to Harriet Island with the kids the aft, then take them to a part, most likely como, central...
I know, my singing voice sucks.
I guess people just don't want to share their good noodles with us slummers anymore. :grin:
there is a long list of peeps who havent posted - and I could actually care less - but it dawned on me today that i havent seen post from more then a few....
We all pay to post here and pay to have the Cooler Crew Refugee Camp folder.
If others aren't posting here, that's their doing and their right to share or not.
:wink:
 :pbpt:
They are noodling clues live and in person.
I am gonna do a few thigns and then run out to do some diggin i think.....
I will be out and about tonight :smile:
NewDaddy- My son (the Boy) works at Air Traffic- good deal on a sweet kite?
Talk to you later!
There are mock hunts created by various members here, festivals in the area that have hunts and get discussed here, and a spot just to shoot the breeze.
Clue 1
"To hunt hard from first to last clues" do you think the CW means we need to use the first 3 clues from the first hunt? Or possibly some part of every clue starting with the first? Or is it just filler?
"To some its demented, for all unprecedented
But huntersÂ’ thirst must be quenched" Talking about 2005 when they held a summer hunt...demented to have a hunt in the summer? It was found in Indian Mounds.
"Think of a woodsy retreat" - In the woods or possibly in site of a cabin looking house?
CLue number 2
"Near flora with growing pain" - Thorn street runs along the park, there are several patches of wild flowers throughout the park
Clue 3
Round you go if you seek to know
Where swatters of orbs are beckoned
The light beackon is near the tennis courts
Clue 4
"Heed the siren of your desirin'
And do not revolt against this poem" - Some sort of literal siren or could be talking about the siren calling you to the cliffs and its near there. The last line could mean there is something substantial in this poem that we shouldn't just get upset because it doesn't seem to make sense?
Larry, Ho, Milton, Joyce Kilmer (who the Dutch Oven's dedicated to), That Schiffler guy (or whoever that statue of is).
Did I miss any?
I am taking the word menagerie to be a zoo. Without the zoo, nothing else fits - except for the Edgecumbe Rec that Evildoer was talking about last night.
"Agree 100%! I was there also. I posted this last night, about 15 people stumbled out of the bar and cut in line in front of us. They all were drinking, smelled horrible, yelling about porn, all while their kids were there. I would love to know who was driving the kids home.
When I got home, I went on the Cooler Crew website and there they were, right on the front page.
I am all about having a good time, but be a little more considerate. Atleast pop a breath mint!"
How sad.
Liquor Lady?
I also wish I could noodle a good spot to go digging. Como is so dang huge and we have clues from everywhere out there.
Ibsen is held to be the greatest of Norwegian authors and one of the most important playwrights of all time, celebrated as a national symbol by Norwegians.
His plays were considered scandalous to many of his era, when Victorian values of family life and propriety largely held sway in Europe and any challenge to them was considered immoral and outrageous. Ibsen's work examined the realities that lay behind many facades, possessing a revelatory nature that was disquieting to many contemporaries.
Ibsen largely founded the modern stage by introducing a critical eye and free inquiry into the conditions of life and issues of morality. Victorian-era plays were expected to be moral dramas with noble protagonists pitted against darker forces; every drama was expected to result in a morally appropriate conclusion, meaning that goodness was to bring happiness, and immorality pain. Ibsen challenged this notion and the beliefs of his times and shattered the illusions of his audiences.
IN the entire history of literature, there are few figures like Ibsen. Practically his whole life and energies were devoted to the theater; and his offerings, medicinal and bitter, have changed the history of the stage. The story of his life -- his birth March 20, 1828, in the little Norwegian village of Skien, the change in family circumstances from prosperity to poverty when the boy was eight years old, his studious and non-athletic boyhood, his apprenticeship to an apothecary in Grimstad, and his early attempts at dramatic composition -- all these items are well known. His spare hours were spent in preparation for entrance to Christiania University, where, at about the age of twenty, he formed a friendship with Björnson. About 1851 the violinist Ole Bull gave Ibsen the position of "theater poet" at the newly built National Theater in Bergen -- a post which he held for six years. In 1857 he became director of the Norwegian Theater in Christiania; and in 1862, with Love's Comedy, became known in his own country as a playwright of promise. Seven years later, discouraged with the reception given to his work and out of sympathy with the social and intellectual ideals of his country, he left Norway, not to return for a period of nearly thirty years. He established himself first at Rome, later in Munich. Late in life he returned to Christiania, where he died May 23, 1906.
IBSEN'S PLAYS
The productive life of Ibsen is conveniently divided into three periods: the first ending in 1877 with the successful appearance of The Pillars of Society; the second covering the years in which he wrote most of the dramas of protest against social conditions, such as Ghosts; and the third marked by the symbolic plays, The Master Builder and When We Dead Awaken. The first of the prose plays, Love's Comedy (1862) made an impression in Norway, and drew the eyes of thoughtful people to the new dramatist, though its satirical, mocking tone brought upon its author the charge of being a cynic and an athiest. The three historical plays, or dramatic poems, Brand, Emperor and Galilean, and Peer Gynt, written between 1866 and 1873, form a monumental epic. These compositions cannot be considered wholly or primarily for the stage; they are the poetic record of a long intellectual and spiritual struggle. In Brand there is the picture of the man who has not found the means of adjustment between the mechanical routine of daily living and the deeper claims of the soul; in Emperor and Galilean is a portrayal of the noblest type of pagan philosophy and manhood, illustrated in the Emperor Julian, set off against the ideals of the Jewish Christ; and in Peer Gynt is a picture of the war within the soul of a man in whom are no roots of loyalty, faith, or steadfastness.
When The Young Men's League was produced, the occasion, like the first appearance of Hernani, became locally historic. The play deals with political theories, ideas of liberty and social justice; and in its presentation likenesses to living people were discovered, and fierce resentments were aroused. The tumult of hissing and applauding during the performance was so great that the authorities interfered. The Pillars of Society, Ibsen's fifteenth play, was the first to have a hearing throughout Europe. It was written in Munich, where it was performed in the summer of 1877. In the autumn it was enacted in all the theaters of Scandinavia, whence within a few months it spread over the continent, appearing in London before the end of the year. The late James Huneker, one of the most acute critics of the Norwegian seer, said: "The Northern Aristophanes, who never smiles as he lays on the lash, exposes in The Pillars of Society a varied row of white sepulchres. . . . There is no mercy in Ibsen, and his breast has never harbored the milk of human kindness. This remote, objective art does not throw out tentacles of sympathy. It is too disdainful to make the slightest concession, hence the difficulty in convincing an audience that the poet is genuinely humain."
The Pillars of Society proved, once and for all, Ibsen's emancipation, first, from the thrall of romanticism, which he had pushed aside as of no more worth than a toy; and, secondly, from the domination of French technique, which he had mastered and surpassed. In the plays of the second period there are evident Ibsen's most mature gifts as a craftsman as well as that peculiar philosophy which made him the Jeremiah of the modern social world. In An Enemy of the People the struggle is between hypocrisy and greed on one side, and the ideal of personal honor on the other; in Ghosts there is an exposition of a fate-tragedy darker and more searching even than in Oedipus; and in each of the social dramas there is exposed, as under the pitiless lens of the microscope, some moral cancer. Ibsen forced his characters to scrutinize their past, the conditions of the society to which they belonged, and the methods by which they had gained their own petty ambitions, in order that they might pronounce judgment upon themselves. The action is still for the most part concerned with men's deeds and outward lives, in connection with society and the world; and his themes have largely to do with the moral and ethical relations of man with man.
In the third period the arena of conflict has changed to the realm of the spirit; and the action illustrates some effort at self-realization, self-conquest, or self-annihilation. The Master Builder and When We Dead Awaken must explain themselves, if they are to be explained at all; for they are meaningless if they do not light, in the mind of the reader or spectator, a spark of some clairvoyant insight with which they were written. In them are characters which, like certain living men and women, challenge and mystify even their closest friends and admirers. Throughout all the plays there are symbols -- the wild duck, the mill race, the tower, or the open sea -- which are but the external tokens of something less familiar and more important; and the dialogue often has a secondary meaning, not with the witty double entendre of the French school, but with suggestions of a world in which the spirit, ill at ease in material surroundings, will find its home.
It is significant that Ibsen should arrive, by his own route, at the very principles adopted by Sophocles and commended by Aristotle -- namely, the unities of time, place and action, with only the culminating events of the tragedy placed before the spectator. After the first period he wrote in prose, abolishing all such ancient and serviceable contrivances as servants discussing their masters' affairs, comic relief, asides and soliloquies. The characters in his later dramas are few, and there are no "veils of poetic imagery."
IBSEN'S MORAL IDEALS
The principles of Ibsen's teaching, his moral ethic, was that honesty in facing facts is the first requisite of a decent life. Human nature has dark recesses which must be explored and illuminated; life has pitfalls which must be recognized to be avoided; and society has humbugs, hypocrisies, and obscure diseases which must be revealed before they can be cured. To recognize these facts is not pessimism; it is the moral obligation laid upon intelligent people. To face the problems thus exposed, however, requires courage, honesty, and faith in the ultimate worth of the human soul. Man must be educated until he is not only intelligent enough, but courageous enough to work out his salvation through patient endurance and nobler ideals. Democracy, as a cure-all, is just as much a failure as any other form of government; since the majority in politics, society, or religion is always torpid and content with easy measures. It is the intelligent and morally heroic minority which has always led, and always will lead, the human family on its upward march. Nevertheless, we alone can help ourselves; no help can come from without. Furthermore -- and this is a vital point in understanding Ibsen -- experience and life are a happiness in themselves, not merely a means to happiness; and in the end good must prevail. Such are some of the ideas that can be distilled from the substance of Ibsen's plays.
On the plane of practical methods Ibsen preached the emancipation of the individual, especially of woman. He laid great stress upon the principle of heredity. He made many studies of disordered minds, and analyzed relentlessly the common relationships -- sister and brother, husband and wife, father and son. There is much in these relationships, he seems to say, that is based on sentimentalism, on a desire to dominate, on hypocrisy and lies. He pictured the unscrupulous financier, the artist who gives up love for the fancied demands of his art, the unmarried woman who has been the drudge and the unthanked burden-bearer -- all with a cool detachment which cloaks, but does not conceal, the passionate moralist.
From the seventh decade of the last century to his last play in 1899, the storm of criticism, resentment, and denunciation scarcely ceased. On the other hand, the prophet and artist which were united in Ibsen's nature found many champions and friends. In Germany he was hailed as the leader of the new era; in England his champion, William Archer, fought many a battle for him; but in the end no one could escape his example. Young playwrights learned from him, reformers adopted his ideas, and moralists quoted from him as from a sacred book. His plays scorched, but they fascinated the rising generation, and they stuck to the boards. Psychologists discovered a depth of meaning and of human understanding in his delineation of character. He did not found a school, for every school became his debtor. He did not have followers, for every succeeding playwright was forced in a measure to learn from him.
:wink: