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Layer Profiler

The Layer Profiler is an interface to profile a running program in real time, and browse and compare profile data later.

Joe Wreschnig
(piman)

The Layer Profiler is a standalone or pure-Python importable module to help you profile your programs interactively or offline. It is a single file which has no dependencies beyond PyGTK+. It hooks into your PyGTK, pyglet, or Pygame application with minimum fuss. The only dependencies are on Python 2.4 and PyGTK 2.12. It is licensed under the GNU LGPL

Changes

applications 93 pyglet 14 development 10 code 6 pygtk 2

Links

Home Page: http://code.google.com/p/layer/wiki/LayerProfiler

Releases

Layer Profiler 1 — 5 May, 2009

Layer Profiler 4 — 10 Jun, 2009

Layer Profiler 6 — 30 Sep, 2009

Pygame.org account Comments

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Three times when I turned abruptly from her to Camille and called, "Hark!" the fagged-out horses halted, and as we struck our listening pose the bugle's faint sigh ever farther in our rear was but feebly proportioned to the amount of our gazing into each other's eyes. "I'm glad you didn't," Bruce smiled. "What a sensation those good people will have presently! And most of them have been on intimate terms with our Countess. My darling, I shall never be easy in my mind till you are out of that house." Those manifestations of sympathy which are often so much more precious than material assistance were also repugnant to Stoic principles. On this subject, Epictêtus expresses himself with singular harshness. ‘Do not,’ he says, ‘let yourself be put out by the sufferings of your friends. If they are unhappy, it is their own fault. God made them for happiness, not for misery. They are grieved at parting from you, are they? Why, then, did they set their affections on things outside themselves? If they suffer for their folly it serves them right.’93 You are awfully good, Daddy, to bother yourself with me, when you're “Some strong, pungent liquid had been poured on the green necklace,” the letter from the millionaire stated. “No alarm was given. My wife did not want to broadcast either the fact that she had the real gems or the trouble in the hotel. But people had heard the ‘fire!’ cry and doubtless some suspected the possible truth, knowing why she was getting ready. “But the switches that control the motor for the drum are right out on the wall in plain sight,” he told himself, moving over toward them, since the rolling door was left wide open when the amphibian was taken out. “Yes, here they all are—this one up for lifting the door, and down to drop it. And that switch was in the neutral—‘off’—position when we were first here—and it’s in neutral now.” The strong sense, lively fancy, and smart style of his satires, distinguished also Pope's prose, as in his "Treatise of the Bathos; or, the Art of Sinking in Poetry;" his "Memoirs of P. P., Clerk of this Parish"—in ridicule of Burnet's "Own Times"—his Letters, etc. In some of the last he describes the country and country seats, and the life there of his friends; which shows that, in an age more percipient of the charm of such things, he would have probably approached nearer to the heart of Nature, and given us something more genial and delightful than anything that he has left us. The taste for Italian music was now every day increasing; singers of that nation appeared with great applause at most concerts. In 1703 Italian music was introduced into the theatres as intermezzi, or interludes, consisting of singing and dancing; then whole operas appeared, the music Italian, the words English; and, in 1707, Urbani, a male soprano, and two Italian women, sang their parts all in Italian, the other performers using English. Finally, in 1710, a complete Italian opera was performed at the Queen's Theatre, Haymarket, and from that time the Italian opera was regularly established in London. This led to the arrival of the greatest composer whom the world had yet seen. George Frederick Handel was born at Halle, in Germany, in 1685. He had displayed wonderful genius for music as a mere child, and having, at the age of seven years, astonished the Duke of Saxe Weissenfels—at whose court his brother-in-law was a valet—who found him playing the organ in the chapel, he was, by the Duke's recommendation, regularly educated for the profession of music. At the age of ten, Handel composed the church service for voices and instruments; and after acquiring a great reputation in Hamburg—where, in 1705, he brought out his "Almira"—he proceeded to Florence, where he produced the opera of "Rodrigo," and thence to Venice, Rome, and Naples. After remaining in Italy four years, he was induced to come to England in 1710, at the pressing entreaties of many of the English nobility, to superintend the opera. But, though he was enthusiastically received, the party spirit which raged at that period soon made it impossible to conduct the opera with any degree of self-respect and independence. He therefore abandoned the attempt, having sunk nearly all his fortune in it, and commenced the composition of his noble oratorios. Racine's "Esther," abridged and altered by Humphreys, was set by him, in 1720, for the chapel of the Duke of Chandos at Cannons. It was, however, only by slow degrees that the wonderful genius of Handel was appreciated, yet it won its way against all prejudices and difficulties. In 1731 his "Esther" was performed by the children of the chapel-royal at the house of Bernard Gates, their master, and the following year, at the king's command, at the royal theatre in the Haymarket. It was fortunate for Handel that the monarch was German too, or he might have quitted the country in disgust before his fame had triumphed over faction and ignorance. So far did these operate, that in 1742, when he produced his glorious "Messiah," it was so coldly received that it was treated as a failure. Handel, in deep discouragement, however, gave it another trial in Dublin, where the warm imaginations of the Irish caught all its sublimity, and gave it an enthusiastic reception. 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