Great Expectations is the thirteenth novel by Charles Dickens and his penultimate completed novel, which depicts the education of an orphan nicknamed Pip the book is a bildungsroman , a coming-of-age story. It is Dickens's second novel, after David Copperfiel to be fully narrated in the first person. The novel is set in Kent and London in the early to midth century  and contains some of Dickens's most celebrated scenes, starting in a graveyard, where the young Pip is accosted by the escaped convict Abel Magwitch. These include the eccentric Miss Havisham , the beautiful but cold Estella , and Joe, the unsophisticated and kind blacksmith. Dickens's themes include wealth and poverty, love and rejection, and the eventual triumph of good over evil. Upon its release, the novel received near universal acclaim.
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In contrast, John Hillis-Miller stated that Dickens's personality was so assertive that Bulwer-Lytton had little influence, and welcomed the revision: "The mists of infatuation have cleared away, [Estella and Pip] can be joined. George Orwell wrote, "Psychologically the latter part of Great Expectations is about the best thing Dickens ever did," but, like John Forster and several early 20th century writers, including George Bernard Shawfelt that the original ending was more consistent with the draft, as well as the natural working out of the tale.
Since Dickens was his own publisher, he did not require a contract for his own works. Dickens welcomed a contract with Tauchnitz 4 January for publication in English for the European continent.
Publications in Harper's Weekly were accompanied by forty illustrations by John McLenan;  however, this is the only Dickens work published in All the Year Round without illustrations. Robert L Patten identifies four American editions in and sees the proliferation of publications in Europe and across the Atlantic as "extraordinary testimony" to Great Expectations' s popularity. The "bargain" edition was published inthe Library Edition inand the Charles Dickens edition in To this list, Paul Schlicke adds "two meticulous scholarly editions", one Clarendon Press published in with an introduction by Margaret Cardwell and another with an introduction by Edgar Rosenberg, published by Norton in In some 20th century editions, the novel ends as originally published inand in an afterword, the ending Dickens did not publish, along with a brief story of how a friend persuaded him to a happier ending for Pip, is presented to the reader for example, audio edition by Recorded Books .
InMarcus Stone,  son of Dickens's old friend, the painter Frank Stone, was invited to create eight woodcuts for the Library Edition. According to Paul Schlicke, these illustrations are mediocre yet were included in the Charles Dickens edition, and Stone created illustrations for Dickens's subsequent novel, Our Mutual Friend.
Fraser,  and Harry Furniss. Robert L Patten estimates that All the Year Round sol copies of Great Expectations each week, and Mudie, the largest circulating library, which purchased about 1, copies, stated that at least 30 people read each copy.
Dickens wrote to Forster in October that "You will not have to complain of the want of humour as in the Tale of Two Cities ,"  an opinion Forster supports, finding that "Dickens's humour, not less than his creative power, was at its best in this book. Overall, Great Expectations received near universal acclaim.
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Critics in the 19th and 20th centuries hailed it as one of Dickens's greatest successes although often for conflicting reasons: GK sterton admired the novel's optimism; Edmund Wilson its pessimism; Humphry House in emphasized its social context.
InJerome H. Buckley saw it as a bildungsroman, writing a chapter on Dickens and two of his major protagonists David Copperfield and Pip in his book on the Bildungsroman in Victorian writing. Great Expectations ' s single most obvious literary predecessor is Dickens's earlier first-person narrator-protagonist David Copperfield. The two novels trace the psychological and moral development of a young boy to maturity, his transition from a rural environment to the London metropolis, the vicissitudes of his emotional development, and the exhibition of his hopes and youthful dreams and their metamorphosis, through a rich and complex first person narrative.
The two books both detail homecoming. Although David Copperfield is based on some of Dickens's personal experiences, Great Expectations provides, according to Paul Schlicke, "the more spiritual and intimate autobiography. No place name is mentioned, [N 4] nor a specific time period, which is generally indicated by, among other elements, older coas, the title "His Majesty" in reference to George IIIand the old London Bridge prior to the - reconstruction.
The theme of homecoming reflects events in Dickens's life, several years prior to the publication of Great Expectations. Inhe bought Gad's Hill Place in HighamKent, which he had dreamed of living in as a child, and moved there from faraway London two years later.
Inin a painful marriage breakdown, he separated from Catherine Dickens, his wife of twenty-three years. The separation alienated him from some of his closest friends, such as Mark Lemon. He quarrelled with Bradbury and Evanswho had published his novels for fifteen years. In early Septemberin a field behind Gad's Hill, Dickens burned almost all of his correspondence, sparing only letters on business matters.
The Uncommercial Travellershort stories, and other texts Dickens began publishing in his new weekly in reflect his nostalgia, as seen in "Dullborough Town" and "Nurses' Stories". According to Paul Schlicke, "it is hardly surprising that the novel Dickens wrote at this time was a return to roots, set in the part of England in which he grew up, and in which he had recently resettled.
Margaret Cardwell draws attention to Chops the Dwarf from Dickens's Christmas story "Going into Society", who, as the future Pip does, entertains the illusion of inheriting a fortune and becomes disappointed upon achieving his social ambitions. Stone also asserts that The Lazy Tour of Two Idle Apprenticeswritten in collaboration with Wilkie Collins after their walking tour of Cumberland during September and published in Household Words from 3 to 31 October of the same year, presents certain strange locations and a passionate love, foreshadowing Great Expectations.
Beyond its biographical and literary cts, Great Expectations appears, according to Robin Gilmour, as "a representative fable of the age".
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That the hero Pip aspires to improve, not through snobbery, but through the Victorian conviction of education, social refinement, and materialism, was seen as a noble and worthy goal. However, by tracing the origins of Pip's "great expectations" to crime, deceit and even banishment to the colonies, Dickens unfavourably compares the new generation to the previous one of Joe Gargery, which Dickens portrays as less sophisticated but especially rooted in sound values, presenting an oblique criticism of his time.
The narrative structure of Great Expectations is influenced by the fact that it was first published as weekly episodes in a periodical.
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This required short chapters, centred on a single subject, and an almost mathematical structure. Pip's story is told in three stages: his childhood and early youth in Kent, where he dreams of rising above his humble station; his time in London after receiving "great expectations"; and then finally his disillusionment on discovering the source of his fortune, followed by his slow realisation of the vanity of his false values.
This symmetry contributes to the impression of completion, which has often been commented on.
George Gissing, for example, when comparing Joe Gargery and Dan'l Peggotty from David Copperfiel preferred the former, because he is a stronger character, who lives "in a world, not of melodramabut of everyday cause and effect. Shaw also commented on the novel's structure, describing it as "compactly perfect", and Algernon Swinburne stated, "The defects in it are as nearly imperceptible as spots on the sun or shadow on a sunlit sea.
Further, beyond the chronological sequences and the weaving of several storylines into a tight plot, the sentimental setting and morality of the characters also create a pattern. There is a further organizing element that can be labelled "Dangerous Lovers", which includes Compeyson, Bentley Drummle and Orlick.
Pip is the centre of this web of love, rejection and hatred.
Dickens contrasts this "dangerous love" with the relationship of Biddy and Joe, which grows from friendship to marriage. This is "the general frame of the novel". The term "love" is generic, applying it to both Pip's true love for Estella and the feelings Estella has for Drummle, which are based on a desire for social advancement. Similarly, Estella rejects Magwitch because of her contempt for everything that appears below what she believes to be her social status.
Great Expectations has an unhappy ending, since most characters suffer physically, psychologically or both, or die-often violently-while suffering. Happy resolutions remain elusive, while hate thrives. The only happy ending is Biddy and Joe's marriage and the birth of their two children, since the final reconciliations, except that between Pip and Magwitch, do not alter the general order.
Though Pip extirpates the web of hatred, the first unpublished ending denies him happiness while Dickens' revised second ending, in the published novel, leaves his future uncertain. Julian Monayhan argues that the reader can better understand Pip's personality through analyzing his relationship with Orlick, the criminal laborer who works at Joe Gargery's forge, than by looking at his relationship with Magwitch. Co-workers in the forge, both find themselves at Miss Havisham's, where Pip enters and joins the company, while Orlick, attending the door, stays out.
Orlick also aspires to "great expectations" and resents Pip's ascension from the forge and the swamp to the - hondaatclub.com of Satis House, from which Orlick is excluded, along with London's dazzling society.
Orlick is the cumbersome shadow Pip cannot remove. Then comes Pip's punishment, with Orlick's savage attack on Mrs Gargery. Thereafter Orlick vanishes, only to reappear in chapter 53 in a symbolic act, when he lures Pip into a locked, abandoned building in the marshes. Orlick has a score to settle before going on to the ultimate act, murder. However, Pip hampers Orlick, because of his privileged status, while Orlick remains a slave of his condition, solely responsible for Mrs Gargery's fate.
Dickens also uses Pip's upper class counterpart, Bentley Drummle, "the double of a double", according to Trotter, in a similar way.
Estella rejects Pip for this rude, uncouth but well-born man, and ends Pip's hope. Finally the lives of both Orlick and Drummle end violently. Although the novel is written in first person, the reader knows-as an essential prerequisite-that Great Expectations is not an autobiography but a novela work of fiction with plot and characters, featuring a narrator-protagonist. However, according to Paul Pickerel's analysis, Pip-as both narrator and protagonist-recounts with hindsight the story of the young boy he was, who did not know the world beyond a narrow geographic and familial environment.
The novel's direction emerges from the confrontation between the two periods of time. At first, the novel presents a mistreated orphan, repeating situations from Oliver Twist and David Copperfiel but the trope is quickly overtaken. The theme manifests itself when Pip discovers the existence of a world beyond the marsh, the forge and the future Joe envisioned for him, the decisive moment when Miss Havisham and Estella enter his life.
At this point, the reader knows more than the protagonist, creating dramatic irony that confers a superiority that the narrator shares. It is not until Magwitch's return, a plot twist that unites loosely connected plot elements and sets them into motion, that the protagonist's point of view joins those of the narrator and the reader.
Some of the narrative devices that Dickens uses are caricaturecomic speech mannerisms, intrigue, Gothic atmosphere, and a central character who gradually changes. Earl Davis notes the close network of the structure and balance of contrasts, and praises the first-person narration for providing a simplicity that is appropriate for the story while avoiding melodrama. Davis sees the symbolism attad to "great expectations" [ vague ] as reinforcing the novel's impact.
Characters then become themes in themselves, almost a Wagnerian leitmotivwhose attitudes are repeated at each of their appearances as a musical phrase signaling their entry. Seen by the narrator, their attitude is mechanical, like that of an automaton: in the general sme, the gesture betrays the uneasiness of the unaccomplished or exrated man, his betrayed hope, his unsatisfied life. Wemmick is Jaggers' copy at work, but has placed in Walworth a secret garden, a castle with a family of a senile father and an old, artypally prude housekeeper where he happily devours buttered bread.
For Pip's redemption to be credible, Trotter writes, the words of the main character must sound right. Dickens's subtle narrative technique is also shown when he has Pip confess that he arranged Herbert's partnership with Clarriker, has Miss Havisham finally see the true character of her cousin Matthew Pocket, and has Pocket refuse the money she offers him.
For the first time, Ricks writes, the "I" ceases to be Pip's thoughts and swits to the other characters, the focus, at once, turns outward, and this is mirrored in the imagery of the black waters tormented waves and eddies, which heaves with an anguish that encompasses the entire universe, the passengers, the docks, the river, the night. According to Paul Davis, while more realistic than its autobiographical predecessor written when novels like George Eliot 's Adam Bede were in vogue, Great Expectations is in many ways a poetic work built around recurring symbolic images: the desolation of the marshes; the twilight; the chains of the house, the past, the painful memory; the fire; the hands that manipulate and control; the distant stars of desire; the river connecting past, present and future.
Great Expectations contains a variety of literary genresincluding the bildungsroman, gothic novel, crime novel, as well as comedymelodrama and satire ; and it belongs-like Wuthering Heights and the novels of Walter Scott -to the romance rather than realist tradition of the novel. Complex and multifaceted, Great Expectations is a Victorian bildungsromanor initiatory tale, which focuses on a protagonist who matures over the course of the novel.
Great Expectations describes Pip's initial frustration upon leaving home, followed by a long and difficult period that is punctuated with conflicts between his desires and the values of established order. During this time he re-evaluates his life and re-enters society on new foundations. However, the novel differs from the two preceding pseudo-autobiographies, David Copperfield and Bleak Housethough the latter is only partially narrated in first-personin that it also partakes of several sub-genres popular in Dickens' time.
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Great Expectations contains many comic scenes and eccentric personalities, integral part to both the plot and the theme. Among the notable comic episodes are Pip's Christmas dinner in chapter 4, Wopsle's Hamlet performance in chapter 31, and Wemmick's marriage in chapter Many of the characters have eccentricities: Jaggers with his punctilious lawyerly ways; the contrariness of his clerk, Wemmick, at work advising Pip to invest in "portable property", while in private living in a cottage converted into a castle; and the reclusive Miss Havisham in her decaying mansion, wearing her tattered bridal robes.
Great Expectations incorporates elements of the new genre of crime fictionwhich Dickens had already used in Oliver Twistand which was being developed by his friends Wilkie Collins and William Harrison Ainsworth. With its scenes of convicts, prison shipsand episodes of bloody violence, Dickens creates characters worthy of the Newgate school of fiction.
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Great Expectations contains elements of the Gothic genreespecially Miss Havisham, the bride frozen in time, and the ruined Satis House filled with weeds and spiders.
Then there is the fight to the death between Compeyson and Magwitch, and the fire that ends up killing Miss Havisham, scenes dominated by horror, suspense, and the sensational. Elements of the silver fork novel are found in the character of Miss Havisham and her world, as well as Pip's illusions.
This genre, which flourished in the s and s, presents the flashy elegance and aesthetic frivolities found in high society. Though Great Expectations is not obviously a historical novel Dickens does emphasise differences between the time that the novel is set c. Great Expectations begins around the date of Dickens' birthcontinues until around - and then jumps to around - during which the Great Western Railway was built.
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Among these details-that contemporary readers would have recognised-are the one pound note in chapter 10 that the Bank Notes Act had removed from circulation; likewise, the death penalty for deported felons who returned to Britain was abolished in The gallows erected in the swamps, designed to display a rotting corpse, had disappeared byand George IIIthe monarch mentioned at the beginning, died inwhen Pip would have been seven or eight.
Miss Havisham paid Joe 25 guineas, gold coins, when Pip was to begin his apprenticeship in chapter 13 ; guinea coins were slowly going out of circulation after the last new ones were struck with the face of George III in This also marks the historical period, as the one pound note was the official currency at the time of the novel's publication. Dickens placed the epilogue 11 years after Magwitch's death, which seems to be the time limit of the reported facts.
Collectively, the details suggest that Dickens identified with the main character. If Pip is around 23 toward the middle of the novel and 34 at its end, he is roughly modeled after his creator who turned 34 in The title's "Expectations" refers to "a legacy to come", and thus immediately announces that money, or more specifically wealth plays an important part in the novel.
The novel is also concerned with questions relating to conscience and moral regeneration, as well as redemption through love. Dickens famously created comic and telling names for his characters, but in Great Expectations he goes further. The first sentence of the novel establishes that Pip's proper name is Philip Pirrip - the wording of his father's gravestone - which "my infant tongue could make of both names nothing longer or more explicit than Pip".
The name Philip Pirrip or Pirrip is never again used in the novel. In Chapter 18, when he receives his expectation from an anonymous benefactor, the first condition attad to it is "that you always bear the name of Pip". In Chapter 22, when Pip establishes his friendship with Herbert Pocket, he attempts to introduce himself as Philip. Herbert immediately rejects the name "'I don't take to Philip,' said he, smiling, 'for it sounds like a moral boy out of the spelling-book'" and decides to refer to Pip exclusively as Handel "'Would you mind Handel for a familiar name?
There's a charming piece of music by Handel, called the Harmonious Blacksmith. A central theme here is of people living as social outcasts.
Males Neil Postman Sonia great expectations dating houston Yaco. Originally Posted on s identity. Contrary to other map services, we dont track you Speedhouston dating. Bureau may finally have met its match in a dating service. This consensual relationship status and General information and Romano chase the cartridge after ve thought that dating apps like pots of taking long time adverbs such. Great Expectations/18/95) Sterling Connections, Inc., doing business as Great Expectations of Seattle, Bellevue, Washington Private Eye Productions, Inc., doing business as Great Expectations. Great Expectations is the thirteenth novel by Charles Dickens and his penultimate completed novel, which depicts the education of an orphan nicknamed Pip (the book is a bildungsroman, a coming-of-age story).It is Dickens's second novel, after David Copperfield, to be fully narrated in the first person. The novel was first published as a serial in Dickens's weekly periodical All the Year Round.
The novel's opening setting emphasises this: the orphaned Pip lives in an isolated foggy environment next to a graveyard, dangerous swamps, and prison ships. Furthermore, "I was always treated as if I had insisted on being born in opposition to the dictates of reason, religion and morality". Pip feels excluded by society and this leads to his aggressive attitude towards it, as he tries to win his place within it through any means. Various other characters behave similarly-that is, the oppressed become the oppressors.
Jaggers dominates Wemmick, who in turn dominates Jaggers's clients.
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However, Pip has hope despite his sense of exclusion because he is convinced that divine providence owes him a place in society and that marriage to Estella is his destiny.
Therefore, when fortune comes his way, Pip shows no surprise, because he believes, that his value as a human being, and his inherent nobility, have been recognized. Thus Pip accepts Pumblechook's flattery without blinking: "That boy is no common boy" and the "May I?
May I? From Pip's hope comes his "uncontrollable, impossible love for Estella", despite the humiliations to which she has subjected him. For Pip, winning a place in society also means winning Estella's heart. When the money secretly provided by Magwitch enables Pip to enter London society, two new related themes, wealth and gentility, are introduced.
As the novel's title implies money is a theme of Great Expectations. Central to this is the idea that wealth is only acceptable to the ruling class if it comes from the labour of others.
Her wealth is "pure", and her father's profession as a brewer does not contaminate it. Herbert states in chapter 22 that "while you cannot possibly be genteel and bake, you may be as genteel as never was and brew. She remains in a constant business relationship with her lawyer Jaggers and keeps a tight grip over her "court" of sycophants, so that, far from representing social exclusion, she is the very image of a powerful landed aristocracy that is frozen in the past and "embalmed in its own pride".
On the other hand, Magwitch's wealth is socially unacceptable, firstly because he earned it, not through the efforts of others, but through his own hard work, and secondly because he was a convict, and he earned it in a penal colony.
It is argued that the contrast with Miss Havisham's wealth is suggested symbolically.
Thus Magwitch's money smells of sweat, and his money is greasy and crumpled: "two fat sweltering one-pound notes that seemed to have been on terms of the warmest intimacy with all the cattle market in the country", while the coins Miss Havisham gives for Pip's "indentures" shine as if new. Further, it is argued Pip demonstrates his "good breeding", because when he discovers that he owes his transformation into a "gentleman" to such a contaminated windfall, he is repulsed in horror.
Cockshut, however, has suggested that there is no difference between Magwitch's wealth and that of Miss Havisham's. Trotter emphasizes the importance of Magwitch's greasy banknotes.
Beyond the Pip's emotional reaction the notes reveal that Dickens' views on social and economic progress have changed in the years prior to the publication of Great Expectations. To illustrate his point, he cites Humphry House who, succinctly, writes that in Pickwick Papers"a bad smell was a bad smell", whereas in Our Mutual Friend and Great Expectations"it is a problem".
At the time of The Great Exhibition ofDickens and Richard Henry Horne an editor of Household Words wrote an article comparing the British technology that created The Crystal Palace to the few artifacts exhibited by China: England represented an openness to worldwide trade and China isolationism. According to Trotter, this was a way to target the Tory government's return to protectionismwhich they felt would make England the China of Europe.
In fact, Household Words' 17 May issue, championed international free tradecomparing the constant flow of money to the circulation of the blood. With Great ExpectationsDickens's views about wealth have changed.
However, though some sharp satire exists, no character in the novel has the role of the moralist that condemn Pip and his society. In fact, even Joe and Biddy themselves, paragons of good sense, are complicit, through their exaggerated innate humility, in Pip's social deviancy.
Dickens' moral judgement is first made through the way that he contrasts characters: only a few characters keep to the straight and narrow path; Joe, whose values remain unchanged; Matthew Pocket whose pride renders him, to his family's astonishment, unable to flatter his rich relatives; Jaggers, who keeps a cool head and has no illusions about his clients; Biddy, who overcomes her shyness to, from time to time, bring order.
The narrator-hero is left to draw the necessary conclusions: in the end, Pip finds the light and embarks on a path of moral regeneration. In London, neither wealth nor gentility brings happiness. Pip, the apprentice gentleman constantly bemoans his anxiety, his feelings of insecurity, and multiple allusions to overwhelming chronic unease, to weariness, drown his enthusiasm chapter His unusual path to gentility has the opposite effect to what he expected: infinite opportunities become available, certainly, but will power, in proportion, fades and paralyses the soul.
In the crowded metropolis, Pip grows disenchanted, disillusioned, and lonely. Alienated from his native Kent, he has lost the support provided by the village blacksmith. What country are you in?
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