We numerically model the dynamics of the Enceladus plume ice grains and define our nominal plume model as having a particle size distribution n(R) ~ R−q with q = 4 and a total particulate mass rate of 16 kg s−1. This mass rate is based on average plume brightness observed by Cassini across a range of orbital positions. The model predicts sample volumes of ~1600 µg for a 1 m2 collector on a spacecraft making flybys at 20–60 km altitudes above the Enceladus surface. We develop two scenarios to predict the concentration of amino acids in the plume based on these assumed sample volumes. We specifically consider Glycine, Serine, α-Alanine, α-Aminoisobutyric acid and Isovaline. The first ‘abiotic’ model assumes that Enceladus has the composition of a comet and finds abundances between 2 × 10−6 to 0.003 µg for dissolved free amino acids and 2 × 10−5 to 0.3 µg for particulate amino acids. The second ‘biotic’ model assumes that the water of Enceladus's ocean has the same amino acid composition as the deep ocean water on Earth. We compute the expected captured mass of amino acids such as Glycine, Serine, and α-Alanine in the ‘biotic’ model to be between 1 × 10−5 to 2 × 10−5 µg for dissolved free amino acids and dissolved combined amino acids and about 0.0002 µg for particulate amino acids. Both models consider enhancements due to bubble bursting. Expected captured mass of amino acids is calculated for a 1 m2 collector on a spacecraft making flybys with a closest approach of 20 km during mean plume activity for the given nominal particle size distribution.

Thomas Hardy came to the writer’s life with prodigious endowments and little self-confidence. His struggle with this unlikely predicament shows up repeatedly in his career, but nowhere so often as in its early stages. The “Studies and Specimens” Notebook, completed in the mid-1860s, bears touching witness to the labor of a greatly gifted writer teaching himself the very rudiments of literary form. The editors of the notebook speak accurately of the “diligence and doggedness” of his striving (Dalziel and Millgate xv). At the time his striving was dedicated to mastering poetry, the first and always most favored of his muses. But in 1867 “under the stress of necessity” he shifted his focus to “a kind of literature in which he had hitherto taken but little interest – prose fiction” (Life and Work of Thomas Hardy 58). With varying results he turned to writing novels, still testing his vocation until 1873 when he published A Pair of Blue Eyes, which, together with his impending marriage, fixed his literary course for decades to come.

In spite of his commitment to the classical tradition, Matthew Arnold saw tragedy not as man's violation of a supernal order, but as his victimization by a historical order. Arnold's essay on Lord “Falkland”, rather than the 1853 Preface, provides us with our most useful guide to his understanding of the tragic experience. In “Falkland” Arnold explicitly indicates that history becomes a tragic action in epochs of revolution when civilized life breaks down into a clash between a superannuated orthodoxy and a banal radicalism. In such periods, gifted individuals are left to wander, hopelessly, between two worlds. Four important works are informed by this vision. Empedocles on Etna shows that the protagonist's crisis is precipitated by the isolation Empedocles suffers in a world dominated by superstition on the one hand and sophistry on the other. “Lucretius” was to have used a similar background, the revolutionary clash between the conservative “Milonians” and the democratic “Clodians”. In Balder Dead Arnold turned to the myth of the Twilight of the Gods in order to dramatize the theme of “Falkland”. Finally, the heroine in Merope is forced to choose between the barbarism of the old order and the nullity of the new one.