* SETTINGS MAX HEADER LIST SIZE (0 x 6)-maximum size of header list that the sender is prepared to accept, in octets. Initially, there is no limit to this value.
The default value of stream and connection flow control window is 65,535 octets. Subject of flow control are only DATA frames.
The payload of WINDOW UPDATE frame contains one reserved bit field and Windows Size Increment field, which is an unsigned 31-bit integer (0 value is not allowed) that indicates the number of octets that the sender can transmit in addition of the existing flow-control window.
It threats header fields as an ordered collection of name-value pairs, considered as sequences of octets, with the possibility of their duplication.
social climbing listed in the first and third octets. He does so in line
meter, with alternating feminine-masculine rhymes in the eight octets
five quatrains do not lend themselves into fashioning as octets, for the
even in octet 8, where "gramotei" (an ironic and now obsolete
Life (whose is not clear) can be perceived as like a flowering bush in winter in two ways: mentally "as Spring's authentic harbinger" and sensorily "when in the winter grave / Her funeral flowers were snow-flakes shed on her." Here the mental perception is not retrospective as in the octet but anticipatory; life and the flowering bush glow "with fresh hours for hope to glorify." In "Life the Beloved" the vehicle-topic relation is so incongruent and labored that it is almost unchartable.
In "Lost on Both Sides" (#91), the octet presents a tableau of two men who competed unsuccessfully for the love of the same woman; meeting at her grave and reconciling their "feud forlorn," they become "dear friends." As when two men have loved a woman well, Each hating each, through Love's and Death's deceit; Since not for either this stark marriage-sheet And the long pauses of this wedding-bell: Yet o'er her grave the night and day dispel At last their feud forlorn, with cold and heat: Nor other than dear friends to death may fleet The two lives left that most of her can tell....
These rival hopes are themselves vague and abstract in contrast to the vividly rendered reconciliation of the two rival lovers in the octet. Nevertheless, the concluding personification of those two despondent "hopes" roaming the streets of the soul together is powerful and suggestive: "So through that soul, in restless brotherhood, / They roam together now and wind among / Its bye streets, knocking at the dusty inns." The death of the wooed feminized "Peace" forces upon the surviving male hopes a life of metaphoric homosocial promiscuity.
The Horn Octet
, however, has already been heard much further away than Prague, as Downes explains.