Pasha (PA-shuh, PASH-uh, puh-SHAH) : A person of high rank or importance. From Turkish pasa, from Persian padshah, from pati (master) + shah (king). Pasha was used as a title of high-ranking officials in the Ottoman Empire.
Loquacious (Loh-KWAY-shus) full of excessive talk : wordy, given to fluent or excessive talk: garrulous. Loquacious made its first appearance in English in the 17th century and, with poetic license, stretched its meaning to include such things as the chattering of birds and the babbling of brooks. In less poetic uses, loquacious usually means "excessively talkative." The ultimate source of all this chattiness is loqui, a Latin verb meaning "to speak." Other words descended from loqui include colloquial, eloquent, soliloquy, and ventriloquism.
Ayatollah (ah-yuh-TO-luh) 1. A high-ranking religious leader of the Shiite Muslims. 2. A person having authority and influence, especially one who’s dogmatic. From Persian ayatollah (literally, sign of god), from Arabic ayatullah, from aya (sign) + allah (god).
Moue: (MOO) a little grimace: pout. Moue is one of two similar words in English that refer to a pout or grimace; the other is mow, which is pronounced to rhyme either with no or now. Mow and moue share the same origin—the Anglo-French mouwe—and have a distant relationship to a Middle Dutch word for a protruding lip. (They do not, however, share a relationship to the word mouth, which derives from Old English mūth.) While current evidence of moue in use in English traces back only a little more than 150 years, mow dates all the way back to the 14th century. Moue has also seen occasional use as a verb, as when Nicholson Baker, in a 1988 issue of The New Yorker, described how a woman applying lip gloss would "slide the lip from side to side under it and press her mouth together and then moue it outward…."
Baksheesh (BAK-sheesh) A payment, such as a tip or bribe. From Persian bakhshish, from bakhshidan, from baksh (to give). Ultimately from the Indo-European root bhag- (to share) that is also the source of nebbish, Sanskrit bhagya (good fortune), and words related to -phagy (eating), such as onychophagia (the biting of one’s nails) and xerophagy (the eating of dry food).
Engender (in-JEN-der) 1: beget, procreate 2: to cause to exist or to develop : produce 3: to assume form : originate. When engender was first used in the 14th century, it meant "propagate" or "procreate," but extended meanings soon developed. Engender comes from the Latin verb generare, which means "to generate" or "to beget." Generate, regenerate, degenerate, and generation are of course related to the Latin verb as well. As you might suspect, the list of engender relatives does not end there. Generare comes from the Latin noun genus, meaning "birth," "race," or "kind." From this source we have our own word genus, plus gender, general, and generic, among other words.
Dervish (DUHR-vish) 1. A Muslim monk of various ascetic orders, some of whom take part in ecstatic rituals such as whirling dances or chants. 2. Someone who exhibits frenzied movements. From Turkish, from Persian darvish (poor, beggar).
Squinny (SKWIN-ee) To look or peer with eyes partly closed: squint.
“I remember thine eyes well enough. Dost thou squiny at me?" So asks Shakespeare's mad King Lear of blind Gloucester, marking the first known use of the verb squinny. It is likely that Shakespeare formed the word from an earlier English word squin, meaning "with the eye directed to one side." Shakespeare also uses the more familiar squint in King Lear: "This is the foul fiend Flibbertigibbet.… He gives the web and the pin, / squints the eye … mildews the white wheat, / and hurts the poor creature of earth." Although this is not the first known use of the verb squint, it is the first known use of the verb's transitive sense.
Prodnose (PROD-nohz) verb intr.: To pry. noun: A prying person. After Prodnose, a pedantic and nosy character, who appeared in the columns of J B Morton in the Daily Express. Earliest documented use: 1954.
Penchant (PEN-chunt) A strong and continued inclination; broadly: liking.
Like its synonyms leaning, propensity, and proclivity, penchant implies a strong instinct or liking for something. Penchant, a descendant of Latin pendere (meaning "to weigh"), typically implies a strongly marked taste in the person ("a penchant for jazz music") or an irresistible attraction in the object ("a penchant for taking risks").
Ascetic (uh-SET-ik) 1: practicing strict self-denial as a measure of personal and especially spiritual discipline 2: austere in appearance, manner, or attitude. Ascetic comes from askētikos, a Greek adjective meaning "laborious." Ultimately, it comes from the Greek verb askein, which means "to exercise" or "to work." There aren't many other English words from askein, but there's no dearth of synonyms for ascetic. Severe and austere, for example, are two words that share with ascetic the basic meaning "given to or marked by strict discipline and firm restraint." Ascetic implies abstention from pleasure, comfort, and self-indulgence as spiritual discipline, whereas severe implies standards enforced without indulgence or laxity and may suggest harshness (as in "severe military discipline"). Austere stresses absence of warmth, color, or feeling and may apply to rigorous restraint, simplicity, or self-denial (as in "living an austere life in the country").
Calaboose (KAL-uh-booss) jail; especially: a local jail. Calaboose is Spanish in origin; it's from the Spanish word calabozo, meaning "dungeon."
“Suppose the strong had become master in everything, even in moral valuations. Self-contempt on the part of the weak would be the result, and they would try to disappear and extinguish themselves. Would we really want a world in which the influence of the weak with their subtlety, consideration, spirituality, and pliancy was lacking?”—F. Nietzsche, The Will to Power
“To laugh often and much; to win the respect of intelligent people and the affection of children; to earn the appreciation of honest critics and to endure the betrayal of false friends. To appreciate beauty; to find the best in others; to leave the world a bit better whether by a healthy child, a garden patch, or a redeemed social condition; to know that even one life has breathed easier because you have lived. This is to have succeeded.”
Ralph Waldo Emerson
“…It is not enough to allow dissent. We must demand it. For there is much to dissent from. We dissent from the fact that millions are trapped in poverty while the nation grows rich. We dissent from the conditions and hatred which deny a full life to our fellow citizens because of the color of their skin. We dissent from the monstrous absurdity of a world where nations stand poised to destroy one another, and men must kill their fellow men. We dissent from the sight of most of mankind living in poverty, stricken by disease, threatened by hunger and doomed to an early death after a life of unremitting labor. We dissent from cities which blunt our senses and turn the ordinary acts of daily life into a painful struggle. We dissent from the willful, heedless destruction of natural pleasure and beauty. We dissent from all those structures-of technology and of society itself-which strip from the individual the dignity and warmth of sharing in the common tasks of his community and his country.”
Wharton’s No. 1 professor: 'Never give up is bad advice. Sometimes quitting is a virtue.'
When it comes to success, unwavering determination is often revered as the secret to achieving your dreams. If you have grit and just never give up, then you will, eventually, win.
Not so, says Adam Grant, the No. 1 professor at top-tier business school Wharton, best-selling author and management consultant to the likes of Facebook, Google, Goldman Sachs and the NBA. Grant says there's a time when grit will get you nowhere but stuck further in a hole.
"Never give up is bad advice. Sometimes quitting is a virtue," says Grant in a speech he delivered to Utah State University graduates.
Grant researched graduation speeches before giving his and learned that most extol the importance of living with generosity, authenticity and grit. And while he doesn't argue that these are values worth respecting, he also offers a warning.
"If you're too obsessed with any of these virtues, you might undermine your own resilience," he says. "Virtues can be a little bit like vitamins. Vitamins are essential for health. But what if you get more than your body needs? If you take too much Vitamin C, it won't hurt you. If you overdose on Vitamin D, though, it can do serious harm: you could wind up with kidney problems."
Grant does not dispute that great success often requires determination in the face of rejection.
"Persistence is one of the most important forces in success and happiness," says Grant. "There's the author whose novel was rejected half a dozen times. The artist whose cartoons were turned down over and over. And the musicians who were told 'guitar groups are on the way out' and they'd never make it in show business. If they had quit, Harry Potter, Disney and the Beatles wouldn't exist.
"But that's only half the story," he says. "For every J.K. Rowling and Walt Disney and Lennon and McCartney, there are thousands of writers and entrepreneurs and musicians who fail not for lack of grit, but because of how narrowly they apply it.
"Sometimes resilience comes from gritting your teeth and packing your bags," says Grant.
For example, when Grant was young, he wanted to be a basketball player. He dreamed of being in the NBA, he says. And yet, despite his gallant efforts practicing as a kid, Grant didn't make the seventh grade team or the eighth grade team. And when he got to high school, he still wasn't even five feet tall.
He dropped his basketball dreams. Instead, he picked up diving.
And while he wasn't an instant champion — "My coach told me I walked like Frankenstein and his grandmother jumped higher than me" — he did excel with time and hard work. Grant qualified for the junior Olympic nationals twice and competed at the NCAA level in diving.
"Grit doesn't mean keep doing the thing that's failing. It means define your dreams broadly enough that you can find new ways to pursue them when your first and second plans fail. I needed to give up on my dream of making the NBA, but I didn't need to give up on my dream of becoming a halfway decent athlete."
He also didn't have give up being an author just because his publisher didn't want the first book he wrote. Grant scrapped the original rejected draft — all 102,000 words — and started over nearly from scratch. His new draft became "Give and Take," which went on to be a New York Times bestseller translated into 30 languages.
"Don't give up on your values, but be willing to give up on your plans," he says.
Norway wants China to forget about the human rights thing and eat salmon instead
Echo Huang & Isabella Steger
June 14, 2017
Norway is the world’s biggest producer of salmon. But hardly any of it goes to China, the biggest consumer of seafood.
Since the Nobel Prize was awarded to human rights activist Liu Xiaobo in 2010—at a ceremony in Oslo where the award was famously placed on an empty chair as Liu was in prison in China—Norway, and its fish, have been given the cold shoulder in China. In 2010, the country almost accounted for all of China’s salmon exports, according to data from the Norwegian government and DNB Markets, a Norwegian bank. Since then, its salmon exports to the mainland have plummeted, and by 2015 even the Faroe Islands, Norway’s tiny Nordic neighbor, was exporting more salmon to China.
So strained were relations that Norway’s ambassador to China, Svein O. Sæther, remained five years longer than the usual four-year tenure in his post for fear that a new ambassador may not be confirmed by Beijing, according to Norwegian newspaper Aftenposten (link in Norwegian).
In December, the two countries made a breakthrough when they normalized relations (paywall) after Norway’s foreign minister visited Beijing. China said that Norway had “deeply reflected upon the reasons bilateral mutual trust was harmed.” Norway’s foreign ministry didn’t immediately respond to a request for comment for this story.
Last month, Norway’s seafood industry appeared to get the firmest sign yet that the Chinese market would be fully opened back to them when a delegation visited China and signed a seafood trade agreement, with the aim of exporting $1.45 billion worth of salmon to China by 2025. The agreement came after Norwegian prime minister Erna Solberg’s visit to e-commerce giant Alibaba in April. Taobao and Juhuasuan, two Alibaba-affiliated shopping sites, hosted promotional events for Norwegian salmon in May.
A Chinese state-owned company will also deliver intelligent offshorefish farms—installations equipped with advanced technologies—estimated to be worth around $300 million, to Norwegian fish-farming giant SalMar, China Daily reported on June 5.
Ivar Kolstad, an economist, calculated in a paper for Norwegian think-tank CMI that the freeze in Norway-China relations cost Norway $780 million to $1.3 billion in exports and said that China had become “too big to fault,” according to the Financial Times (paywall). Norway’s annual global exports totaled $104 billion in 2015.
Norwegian fisheries minister Per Sandberg, head of the delegation, said that Norway “speaks up about human rights in many other circumstances,” and added “This time it is fish that matters!” according to Aftenposten (link in Norwegian) and a statement from the Norwegian Ministry of Trade, Industry and Fisheries.
A spokesman for the ministry told Quartz that as part of prime minister’s Solberg’s April visit, Norway and China agreed to regularly discuss matters including human rights.
A spokesman for the Norwegian foreign ministry told Quartz that “the normalization of relations” would “create major business opportunities for both countries,” with discussions on a free trade agreement to resume. “Norway and China has agreed to establish a consultation mechanism at political level between our foreign ministries, where we can discuss all matters of common interest, both bilateral and multilateral, including issues relating to the UN, human rights, and trade policy,” the spokesman added.
In a counter view, more Norwegian salmon may have been reaching Chinese consumers than the official numbers suggest. In a paper (pdf, paywall) published last year, researchers at the Norwegian University of Life Sciences, said Norwegian salmon likely made its way around rules aimed at the product, possibly by entering the mainland via Vietnam, which appeared to see a sudden surge in salmon imports from Norway around 2011. The researchers based their conclusions on export figures in the region and interviews with stakeholders.
In general, the overall impact of the Chinese salmon freeze on Norway’s economy has been “negligible,” according to an independent researcher on China and the Arctic who writes under a pseudonym, adding that overall trade between Norway and China continued have grown since the Nobel incident. Still, blocking salmon was an important way for China to express its “Nobel revenge” in a visible way, he said.
It seems to have had results—in 2015, no Norwegian government members would meet with Tibetan spiritual leader the Dalai Lama, who is labeled as a separatist by Beijing, when he visited the country.
“The Norwegian administration took some domestic criticism for submitting to Chinese pressure in recent years,” said the researcher, and if a salmon deal hadn’t been achieved “all that China-friendliness can be perceived as delivering no results.”
Visen Liu contributed reporting
Därkhorse Drämatists “Tales from the Script” HALLOWEEN THEMED PLAY FESTIVAL. It’s important to note, that while we favor newer plays, this festival is not limited to original work. Your submissions may have been produced at other venues, so long as it is unpublished and wasn’t featured in last year’s festival. Besides one-act plays, we are also looking for 1-person shorts & monologues.
NEWvember is a festival of rehearsed readings of new plays that will take place over four days at Belvedere House in Dublin’s city centre. There is no fee for submissions and all plays are read blind of name or gender by our panel. The spirit of NEWvember is to provide a dynamic, interactive and comfortable place where writers can hear their plays read by professional actors and discuss their work and creative process.
Fred Ebb Award - Each applicant must be a composer/lyricist or composer/lyricist team wishing to create work for the musical theatre, and must not yet have achieved significant commercial success.
Application Materials: A CD of up to four songs from one or more musical theatre pieces, with typewritten lyrics and a description of the dramatic context for each song; and
A completed application form.
*** FOR MORE INFORMATION about these and other opportunities see the web site at http://www.nycplaywrights.org ***
*** LYING LIARS ***
Review: A Revival of ‘The Liar’ Plays Alternative Facts for Laughs
Dorante, the title character in Pierre Corneille’s 17th-century comedy “The Liar,” has a little problem with truth-telling. Even when it serves no discernible purpose, he compulsively and ceaselessly — er, how shall I put it? Makes false statements? Proffers unsubstantiated assertions? Presents alternative facts?
Well, since Dorante (Christian Conn) is himself so blithe about his penchant for fabrication — and we are talking matters of romantic comedy, not matters of state — let us just say that he cannot not tell a lie.
Setting his sights on the comely Clarice (Ismenia Mendes), whom he sees strolling in a Paris park, Dorante, portrayed with swashbuckling heartiness by Mr. Conn, boasts that he’s a soldier from the German wars — although, in fact, he ditched a boring law career in another city. When she demurs at his sudden intimacy, he insists that he’s been haunting her doorstep for six months — when, really, he has arrived in Paris just hours before.
Watching in stupefaction is his newly hired servant, Cliton (the superlative comic actor Carson Elrod), who himself has a psychological tic that gets him into hot water. His “tragic flaw,” as he puts it: He cannot stop his tongue from uttering the unvarnished truth.
A LIE OF THE MIND involves two desperate families connected by the marriage of the son of one (Jake) to the daughter of the other (Beth). As the play begins Beth, brain-damaged from a savage beating that Jake has given her, is being tended by her parents, Baylor and Meg. Jake sends his brother, Frankie, to Montana to see if she is dead or alive, but Beth's father, mistaking Frankie for a poacher, shoots him in the leg and takes him prisoner. Thereafter the tensions and enmities that motivate the two families grow increasingly disturbing and dangerous. Frankie falls in love with Beth, but her brother, Mike, is bitterly determined that she no longer have anything to do with her husband or his loathsome family. Meanwhile the distraught, hysterical Jake, back home in California, is nursed by his possessive mother, Lorraine, and his sister, Sally, to whom Lorraine is openly hostile. Having gotten Jake back from Beth, Lorraine is determined to keep him with her forever, but Jake soon recovers and sets out to regain his wife. In the end, however, his will fails, and he allows Beth to stay with Frankie; Lorraine burns down her house and departs for Ireland with Sally; and Jake, bereft and alone, seeks communication with his dead father by gently dispersing his ashes into the moonlight—hoping to find order and meaning in the present by coming to terms with the haunting spectres of the past.
A modern ‘Misanthrope’ in the play ‘School for Lies,’ at Shakespeare Theatre
Until the middle of the 19th century, most plays were written, at least in part, in rhyming verse. Today, that’s as rare as powdered wigs.
“I’m definitely working against the grain,” acknowledges playwright David Ives, whose “The School for Lies” and its rhyming couplets are coming to the Shakespeare Theatre Company next week.
Ives has his character Philinte explain to the audience that this new show is based on Molière’s 1666 play “The Misanthrope.” Unfortunately, Philinte explains, Molière is not only dead, but he also wrote in French. “So screw Molière,” the character announces. “We’ll do our rendition in English.” And in this version, modern audiences are asked to imagine a long-ago, unbelievably primitive era when “scoundrels, loons and clowns of wild variety had influence, positions of great power.”
Ives didn’t write a word-for-word translation of “The Misanthrope,” but rather a kind of sequel, in which the same plot points in the same 1666 setting are presented in a similar sequence but with rawer rhymes and a more modern sensibility.
Farce: It’s all about lies and the lying liars who tell them
When I was growing up, my mother taught me that if you always tell the truth you don’t have to worry, because you won’t have to keep track of what you said and remember which lie you told to what person.
That philosophy might work for maintaining clear consciences and authentic relationships, but it’s poor advice for a farce.
Farces are built upon lies.
It can be a simple white lie a character initially tells to get out of a jam, but then discovers he has to tell more and more in order to keep up the deception.
As Dr. David Mortimore declares in “It Runs in the Family” at the Herb Strauss Theater, “If you’re going to tell a lie, tell a whopper!”
And he does. One right after the other.
And when all the lies he’s told seem to contradict each other, he creates even more lies. They pile up like the December snow outside his hospital.
Dr. Mortimore, played by Matthew Edwards, is about to give what could be the most important speech of his life. It’s three days before Christmas, and he’s to address 200 fellow neurologists; he could very well become the head of physicians and be knighted.
“Clever Little Lies,” yes, but not clever liars
Prolific playwright Joe DiPietro (Memphis; The Toxic Avenger; I Love You, You’re Perfect, Now Change) had an off-Broadway hit with his 2013 comedy Clever Little Lies, currently being presented at the Bickford Theatre in Morristown. The show starts out as an amiable enough comedy, yet by the end it has made its way into darker territory in which the characters’ cleverness provides no defense.
The first half of this one-act play (the first three scenes) establishes us in familiar sitcom territory. Bill Senior’s married son Billy has confessed to falling in love with another woman, and makes his dad promise not to say anything to his mother, Alice. Naturally, Bill’s father leaves enough clues (while thinking he is cleverly deceiving Alice) so that his wife guesses their son’s secret. To make matters worse, Alice is convinced that Billy’s wife Jane must be told the situation. In the fourth and final scene, things come to a head during a disastrous get-together at Bill Sr. and Alice’s home. One final lie that rings with just a little too much truth brings the evening to an unsettled close, leaving the audience guessing about the futures of both couples.
LIARS IN FUR COATS
It’s the title of a whimsical dance/theatre piece at Baldwin Wallace this weekend inspired by the university’s research on the social and mating habits of squirrels, presented as part of “fyoo zh en 17,” their new music and dance project. But it could describe a whole range of folks busy at work this winter.
New music ensemble No Exit is trying their damnedest NOT to lie as they present honest contemporary classical music at venues like SPACES, CSU & Heights Arts. Cleveland concert photographer and ailurophile Joe Kleon is hosting an online auction of some of his stunning concerts shots to raise money for the Medina cat shelter. Lee Chilcote’s new book of poetry hones in on the exactitude of love, family and marriage. Claudia Taller experienced the legitimacy of resistance when she traveled to D.C. for the recent women’s march, witnessing a solid wall of Pussyhats.
It’s a Bumpy Ride, What With Bette Davis in the Driver’s Seat
‘The Lying Lesson,’ Starring Carol Kane
Lightning flickers, rain pelts against the windows, and an ominous thunderclap is heard shortly after Bette Davis — portrayed by Carol Kane — enters the slightly seedy house where “The Lying Lesson,” the new play by Craig Lucas, takes place. The year is 1981, and Davis has long since descended into, and not quite recovered from, her period of low camping as a gorgon in Grand Guignol B movies.
A few minutes later, after the lights have gone out and the tempest outside has reached a ferocious pitch, there goes Bette into the kitchen, only to emerge with — gasp! — a butcher knife. Soon she is coolly barking out threats to the mysterious figure who has climbed through the window: “I will sever your carotid artery, woman!”
Watch out, folks. Could Baby Jane be priming herself for another rampage?
Review: ‘Double Falsehood,’ and Just Maybe a Double Byline
Whether Shakespeare or someone else wrote it, you have to admire the prescience of “Double Falsehood,” at least as it’s being staged in a well-conceived production by the Letter of Marque Theater Company. Thanks largely to a scalding scene in the first half of the show, a central plotline seems as if it could be a commentary on the modern-day scourges of date rape and on-campus assaults.
The play has long been a source of debate among scholars over whether it can be wholly or partly attributed to Shakespeare. Last year, two experts who analyzed its language asserted that Shakespeare’s hand is unmistakable.
THEATER: 'PACK OF LIES' AT THE ROYALE
HUGH WHITEMORE'S ''Pack of Lies,'' the new play at the Royale, tells a cold war spy story about KGB agents and purloined NATO secrets, but its author won't settle for entertaining the audience with anything as trivial as a suspense yarn. This is a play about the morality of lying, not the theatrics of espionage, and, in Mr. Whitemore's view, lying is a virulent disease that saps patriots and traitors alike of their humanity.
The playwright, who has the aspirations but not the skills of a Graham Greene or John LeCarre, may be too high-minded for his own good. ''Pack of Lies'' - which is adapted from a real-life spy case of the 1960's - comes across as a terribly polite English attempt at a Lillian Hellman melodrama; it's too flimsy and low- keyed to support its weighty polemical message and yet too pretentious to cover its ideological bets with cheap cloak-and-dagger thrills. What Mr. Whitemore does is allow some terrific actors the opportunity to shine in the sweat generated by their characters' many betrayals.
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The Derby Historical Society put on a magnificent program on June 12 at the Humphreys House at 37 Elm Street in Ansonia.
Joining the program were reenactors from the 6th Connecticut Regiment. The 6th Connecticut Regiment, a provincial regiment, was raised on May 1, 1775, under the command of Col. Samuel Holden Parsons.
Known as the "Connecticut State Regiment" it was authorized by Connecticut on June 20, 1776, for home defense with William Douglas, then a captain of the 1st Connecticut Regiment, appointed as its colonel. The state regiment was raised at New Haven by Douglas and in Middletown by Return Jonathan Meigs, a major of the 2nd Connecticut Regiment then on parole after being captured during Arnold's Invasion of Canada.
Ansonian Biaggia Ryan joined the tour
On May 23, 1777, three weeks after the Battle of Ridgefield, Col. Meigs and 170 men from New Haven left Guilford, Connecticut in 13 whale boats and 2 armed sloops, bringing with them an extra sloop in which to bring back prisoners. This raid was planned as a reprisal for the British Brig. Gen. William Tryon's raid on Danbury, Connecticut whose action had cost the life of General David Wooster of New Haven.
Landing on Long Island they marched across to Sag Harbor, surprised the garrison, burned a dozen vessels, destroyed a large quantity of military stores, killed several of the enemy and took 90 prisoners, without losing a man. For this action, Col. Meigs was voted a Sword by Congress, which now hangs in the National Museum of American History in Washington, D.C.
After the Sag Harbor raid, the 6th Connecticut went to Peekskill, New York to join the other regiments of the Connecticut Line. The Connecticut Line wintered at West Point during the winter of 1777-1778. While there, they constructed the "Meigs Redoubt" and other fortifications in the area.
In the summer of 1778, the Connecticut Line was encamped with the Main Army under General Washington at White Plains, New York, near the site of the 1776 battle. It was here that the Connecticut Line was divided into two brigades, which stood until January 1, 1781. The 6th Connecticut was placed in the 1st Brigade under Parsons. From White Plains, they took up winter quarters at Redding, Connecticut. The troops built huts and settled in. Maj. Gen. Israel Putnam took command of all forces at Redding.
In the early part of 1779, the 6th Connecticut was encamped on the Highlands across from West Point. When Tryon raided Connecticut in July, the Connecticut Line was sent to defend its own state, but arrived after Tryon and his men had left.
On July 15, 1779 this force successfully stormed the British fort at Stony Point on the Hudson River.
From Stony Point, the 6th Connecticut was stationed with the Connecticut Line around West Point where it worked again on fortifications in the area. Maj. Gen. Baron Von Steuben praised the Connecticut Line for their proficiency on performing his manual of arms exercises.
In 1781, the 6th Connecticut was consolidated with part of the 4th as the Continental forces wound down their forces pending the outcome of peace talks in Paris. Peace came two years later in September 1783 with the signing of the Treaty of Paris.