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comp.lang.ruby

DRB ruby ACL problems

brandon coleman

7/31/2006 5:05:00 AM

I have spent several hours trying to workout why drb ruby will not allow
a remote pc to connect to my server to pull objects..
Here's where I stand with the problem:
Debian server is on 192.168.0.2 running ruby 1.8.2
Windows client is on 192.168.0.37 running ruby 1.8.4
I know the versions are different, but I'm worried that updating Debian
might break some packages.. I'm still looking into that part.. if I
could at least get it to connect I would be happy


run drbtest.rb on debian server, do the following tests,
run drbclient from debian server: connects
run drbclient from a windows machine: does not connect
run telnet to the drb port on debian server: does not connect
run telnet to the drb port, but have netcat running: connects

for some reason I can't get access to that port from another machine
with ruby running. I have tried to create an ACL list, but it doesn't
seem to help. If anyone can point me in the direction of documentation,
or a code snippet that might fix the problem, it would be greatly
appreciated.

Server code snippet:
--------------------------------
require 'drb'
require 'drb/acl'

class TestServer
def doit
"Hello, Distributed World"
end
end

acl = ACL.new(%w[deny all
allow 192.168.0.*
allow localhost
allow 127.0.0.1
] )


DRb.install_acl(acl)

aServerObject = TestServer.new
DRb.start_service('druby://cindy:88585', aServerObject)
DRb.thread.join # Don't exit just yet!


Client code snippet:
--------------------------------
require 'drb'
DRb.start_service()
obj = DRbObject.new(nil, 'druby://cindy:9999')
# Now use obj
p obj.doit

--
Posted via http://www.ruby-....
33 Answers

Jamey Cribbs

7/31/2006 12:22:00 PM

0

Brandon Coleman wrote:
> I have spent several hours trying to workout why drb ruby will not allow
> a remote pc to connect to my server to pull objects..
> Here's where I stand with the problem:
> Debian server is on 192.168.0.2 running ruby 1.8.2
> Windows client is on 192.168.0.37 running ruby 1.8.4
> I know the versions are different, but I'm worried that updating Debian
> might break some packages.. I'm still looking into that part.. if I
> could at least get it to connect I would be happy
>
>
> run drbtest.rb on debian server, do the following tests,
> run drbclient from debian server: connects
> run drbclient from a windows machine: does not connect
> run telnet to the drb port on debian server: does not connect
> run telnet to the drb port, but have netcat running: connects
>
> for some reason I can't get access to that port from another machine
> with ruby running. I have tried to create an ACL list, but it doesn't
> seem to help. If anyone can point me in the direction of documentation,
> or a code snippet that might fix the problem, it would be greatly
> appreciated.
>
What error message are you getting when you try to connect to the
server? I remember I had a similar problem a while back. It turned out
to have something to do with not having the correct config in my
/etc/hosts file, I think. In other words, it wasn't a drb problem, but
something with how the network addresses were getting resolved.

Sorry I can't remember more. I think I remember someone having a
similar issue a few months ago on this list, so you might want to search
the archives.

Jamey Cribbs

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Brian M. Scott

1/30/2009 5:23:00 AM

0

On Thu, 29 Jan 2009 18:19:28 -0900, Bill Swears
<wswears@gci.net> wrote in
<news:ZN6dned0o4dc7B_UnZ2dnUVZ_uidnZ2d@posted.mtasolutions>
in rec.arts.sf.composition:

> Jonathan L Cunningham wrote:

[...]

>> No, it is for another reason. The story of Sophie
>> Langtree, and her dismal fate, is told in hushed tones
>> around the log fires in the picturesque little public
>> houses where the people of Meritrea gather behind locked
>> and bolted doors after dusk

> Sentence a little too long and involved for me.

Not for me. The commas need to go, but otherwise I rather
like it.

[...]

Brian

Suzanne Blom

1/31/2009 1:18:00 AM

0


"Brian M. Scott" <b.scott@csuohio.edu> wrote in message
news:1rznkqivu5tjw.6pt5ydr7mq8c.dlg@40tude.net...
> On Thu, 29 Jan 2009 18:19:28 -0900, Bill Swears
> <wswears@gci.net> wrote in
> <news:ZN6dned0o4dc7B_UnZ2dnUVZ_uidnZ2d@posted.mtasolutions>
> in rec.arts.sf.composition:
>
>> Jonathan L Cunningham wrote:
>
>>> No, it is for another reason. The story of Sophie
>>> Langtree, and her dismal fate, is told in hushed tones
>>> around the log fires in the picturesque little public
>>> houses where the people of Meritrea gather behind locked
>>> and bolted doors after dusk
>
>> Sentence a little too long and involved for me.
>
> Not for me. The commas need to go, but otherwise I rather
> like it.
>
I even like the commas--makes it sound like something said in a hushed tone
maybe looking around to see if anyone's paying attention.
Very nice tone. Would be interested to see where it's going.


John W Kennedy

1/31/2009 2:32:00 AM

0

On 1/30/09 8:17 PM, Suzanne Blom wrote:
> "Brian M. Scott"<b.scott@csuohio.edu> wrote in message
> news:1rznkqivu5tjw.6pt5ydr7mq8c.dlg@40tude.net...
>> On Thu, 29 Jan 2009 18:19:28 -0900, Bill Swears
>> <wswears@gci.net> wrote in
>> <news:ZN6dned0o4dc7B_UnZ2dnUVZ_uidnZ2d@posted.mtasolutions>
>> in rec.arts.sf.composition:
>>
>>> Jonathan L Cunningham wrote:
>>>> No, it is for another reason. The story of Sophie
>>>> Langtree, and her dismal fate, is told in hushed tones
>>>> around the log fires in the picturesque little public
>>>> houses where the people of Meritrea gather behind locked
>>>> and bolted doors after dusk
>>> Sentence a little too long and involved for me.
>> Not for me. The commas need to go, but otherwise I rather
>> like it.
>>
> I even like the commas--makes it sound like something said in a hushed tone
> maybe looking around to see if anyone's paying attention.
> Very nice tone. Would be interested to see where it's going.

I'd make it "and of her dismal fate", myself.

Brian M. Scott

1/31/2009 4:34:00 AM

0

On Fri, 30 Jan 2009 19:17:53 -0600, Suzanne Blom
<sueblom@execpc.com> wrote in
<news:Zp6dnejeGsAiOx7UnZ2dnUVZ_sninZ2d@posted.localnet> in
rec.arts.sf.composition:

> "Brian M. Scott" <b.scott@csuohio.edu> wrote in message
> news:1rznkqivu5tjw.6pt5ydr7mq8c.dlg@40tude.net...

>> On Thu, 29 Jan 2009 18:19:28 -0900, Bill Swears
>> <wswears@gci.net> wrote in
>> <news:ZN6dned0o4dc7B_UnZ2dnUVZ_uidnZ2d@posted.mtasolutions>
>> in rec.arts.sf.composition:

>>> Jonathan L Cunningham wrote:

>>>> No, it is for another reason. The story of Sophie
>>>> Langtree, and her dismal fate, is told in hushed tones
>>>> around the log fires in the picturesque little public
>>>> houses where the people of Meritrea gather behind locked
>>>> and bolted doors after dusk

>>> Sentence a little too long and involved for me.

>> Not for me. The commas need to go, but otherwise I rather
>> like it.

> I even like the commas--makes it sound like something said
> in a hushed tone maybe looking around to see if anyone's
> paying attention. [...]

The make 'and her dismal fate' a parenthetical addition
instead of giving it equal billing with her, as the sense
seems to require.

Brian

spam

1/31/2009 8:37:00 PM

0

On Fri, 30 Jan 2009 23:33:57 -0500, "Brian M. Scott"
<b.scott@csuohio.edu> wrote:

>On Fri, 30 Jan 2009 19:17:53 -0600, Suzanne Blom
><sueblom@execpc.com> wrote in
><news:Zp6dnejeGsAiOx7UnZ2dnUVZ_sninZ2d@posted.localnet> in
>rec.arts.sf.composition:
>
>> "Brian M. Scott" <b.scott@csuohio.edu> wrote in message
>> news:1rznkqivu5tjw.6pt5ydr7mq8c.dlg@40tude.net...
>
>>> On Thu, 29 Jan 2009 18:19:28 -0900, Bill Swears
>>> <wswears@gci.net> wrote in
>>> <news:ZN6dned0o4dc7B_UnZ2dnUVZ_uidnZ2d@posted.mtasolutions>
>>> in rec.arts.sf.composition:
>
>>>> Jonathan L Cunningham wrote:
>
>>>>> No, it is for another reason. The story of Sophie
>>>>> Langtree, and her dismal fate, is told in hushed tones
>>>>> around the log fires in the picturesque little public
>>>>> houses where the people of Meritrea gather behind locked
>>>>> and bolted doors after dusk
>
>>>> Sentence a little too long and involved for me.
>
>>> Not for me. The commas need to go, but otherwise I rather
>>> like it.
>
>> I even like the commas--makes it sound like something said
>> in a hushed tone maybe looking around to see if anyone's
>> paying attention. [...]
>
>The make 'and her dismal fate' a parenthetical addition
>instead of giving it equal billing with her, as the sense
>seems to require.

The sense was, indeed, parenthetical. There were a number of objections,
so I was thinking the commas had to go.

But I like them, and I think Suzanne's vote outweighs all the votes
against. (If every plant and animal in the world votes against the
commas, they will be doomed for all eternity. Yet if even one person
feels there is any merit in them, they will be reprieved.)

FWIW, imagine a story teller, sitting by the fire:

"This is the story of Sophie Langtree..." He looks around the audience
before continuing in hushed tones, "and her dismal fate." :-) :-)

Ok, that's different again. And isn't right. But YKWIM.

I might change the commas to em dashes. Continuous prose, without the
pauses, is a little too prosaic for the tone I was aiming for.

Jonathan

spam

1/31/2009 8:37:00 PM

0

On Fri, 30 Jan 2009 21:31:53 -0500, John W Kennedy
<jwkenne@attglobal.net> wrote:

>On 1/30/09 8:17 PM, Suzanne Blom wrote:
>> "Brian M. Scott"<b.scott@csuohio.edu> wrote in message
>> news:1rznkqivu5tjw.6pt5ydr7mq8c.dlg@40tude.net...
>>> On Thu, 29 Jan 2009 18:19:28 -0900, Bill Swears
>>> <wswears@gci.net> wrote in
>>> <news:ZN6dned0o4dc7B_UnZ2dnUVZ_uidnZ2d@posted.mtasolutions>
>>> in rec.arts.sf.composition:
>>>
>>>> Jonathan L Cunningham wrote:
>>>>> No, it is for another reason. The story of Sophie
>>>>> Langtree, and her dismal fate, is told in hushed tones
>>>>> around the log fires in the picturesque little public
>>>>> houses where the people of Meritrea gather behind locked
>>>>> and bolted doors after dusk
>>>> Sentence a little too long and involved for me.
>>> Not for me. The commas need to go, but otherwise I rather
>>> like it.
>>>
>> I even like the commas--makes it sound like something said in a hushed tone
>> maybe looking around to see if anyone's paying attention.
>> Very nice tone. Would be interested to see where it's going.
>
>I'd make it "and of her dismal fate", myself.

Hmm. Yes, I think that would fit the tone I'm aiming for better. Thanks.

Jonathan
(Short pause while I make the edit before I forget... <g>)

heather.jones

1/31/2009 9:06:00 PM

0

Jonathan L Cunningham <spam@sofluc.co.uk.invalid> wrote:

> >>>> Jonathan L Cunningham wrote:
> >
> >>>>> No, it is for another reason. The story of Sophie
> >>>>> Langtree, and her dismal fate, is told in hushed tones
> >>>>> around the log fires in the picturesque little public
> >>>>> houses where the people of Meritrea gather behind locked
> >>>>> and bolted doors after dusk


<snip to juxtapose for contrast>

> FWIW, imagine a story teller, sitting by the fire:
>
> "This is the story of Sophie Langtree..." He looks around the audience
> before continuing in hushed tones, "and her dismal fate." :-) :-)

Now _that_ is a voice that would keep me reading. I could well imagine
this particular voice being confined to a prologue-type set-up -- I
think it would pall if the frame continued for the entire story. But it
clicks for me i a way that your first version (above) doesn't.

It should be noted, though, that I have a particular distaste for
"intrusive authorial voice" as the frame for a story. The sort where
the authorial voice speaks directly to the reader _about_ the story but
outside the world of the story. So version 2 above doesn't fall in my
"dislike" category because although the storyteller is talking to an
audience about the story, he's doing it _inside_ the story, speaking to
an audience inside the story -- and not speaking to the reader directly.
Does that make any sense at all? I think this is because I prefer the
immersive experience in fiction where I'm not being reminded that I'm
external to the story, but can project my consciousness inside it.

Heather

--
heatherrosejones.com
lj:hrj

Brian M. Scott

1/31/2009 9:16:00 PM

0

On Sat, 31 Jan 2009 20:36:59 GMT, Jonathan L Cunningham
<spam@sofluc.co.uk.invalid> wrote in
<news:4984a714.24125941@news.btconnect.com> in
rec.arts.sf.composition:

> On Fri, 30 Jan 2009 23:33:57 -0500, "Brian M. Scott"
> <b.scott@csuohio.edu> wrote:

>>On Fri, 30 Jan 2009 19:17:53 -0600, Suzanne Blom
>><sueblom@execpc.com> wrote in
>><news:Zp6dnejeGsAiOx7UnZ2dnUVZ_sninZ2d@posted.localnet> in
>>rec.arts.sf.composition:

>>> "Brian M. Scott" <b.scott@csuohio.edu> wrote in message
>>> news:1rznkqivu5tjw.6pt5ydr7mq8c.dlg@40tude.net...

>>>> On Thu, 29 Jan 2009 18:19:28 -0900, Bill Swears
>>>> <wswears@gci.net> wrote in
>>>> <news:ZN6dned0o4dc7B_UnZ2dnUVZ_uidnZ2d@posted.mtasolutions>
>>>> in rec.arts.sf.composition:

>>>>> Jonathan L Cunningham wrote:

>>>>>> No, it is for another reason. The story of Sophie
>>>>>> Langtree, and her dismal fate, is told in hushed tones
>>>>>> around the log fires in the picturesque little public
>>>>>> houses where the people of Meritrea gather behind locked
>>>>>> and bolted doors after dusk

>>>>> Sentence a little too long and involved for me.

>>>> Not for me. The commas need to go, but otherwise I rather
>>>> like it.

>>> I even like the commas--makes it sound like something said
>>> in a hushed tone maybe looking around to see if anyone's
>>> paying attention. [...]

>>The make 'and her dismal fate' a parenthetical addition
>>instead of giving it equal billing with her, as the sense
>>seems to require.

> The sense was, indeed, parenthetical.

I really don't think that it ought to be.

[...]

> FWIW, imagine a story teller, sitting by the fire:

> "This is the story of Sophie Langtree..." He looks around
> the audience before continuing in hushed tones, "and her
> dismal fate." :-) :-)

But that's not the effect conveyed by the original. (And it
*is* an effect that in person would probably drive me away
from the storyteller in short order.)

[...]

Brian

spam

2/1/2009 2:15:00 PM

0

On Sat, 31 Jan 2009 13:05:35 -0800, heather.jones@earthlink.net (Heather
Rose Jones) wrote:

>Jonathan L Cunningham <spam@sofluc.co.uk.invalid> wrote:
>
>> >>>> Jonathan L Cunningham wrote:
>> >
>> >>>>> No, it is for another reason. The story of Sophie
>> >>>>> Langtree, and her dismal fate, is told in hushed tones
>> >>>>> around the log fires in the picturesque little public
>> >>>>> houses where the people of Meritrea gather behind locked
>> >>>>> and bolted doors after dusk
>
>
><snip to juxtapose for contrast>
>
>> FWIW, imagine a story teller, sitting by the fire:
>>
>> "This is the story of Sophie Langtree..." He looks around the audience
>> before continuing in hushed tones, "and her dismal fate." :-) :-)
>
>Now _that_ is a voice that would keep me reading. I could well imagine
>this particular voice being confined to a prologue-type set-up -- I
>think it would pall if the frame continued for the entire story. But it
>clicks for me i a way that your first version (above) doesn't.
>
>It should be noted, though, that I have a particular distaste for
>"intrusive authorial voice" as the frame for a story. The sort where

I don't like that voice much, myself. I'm a little surprised how *few*
people objected.

There's always the possibility that some people were so turned off by it
that they didn't continue, or post any comments. On balance I think it's
fair to conclude that it worked for what it was.

Eddison does something similar at the start of The Worm Ouroboros - a
frame story which he drops and never mentions again after the first
couple of pages. Although, having established a narrator, I would
intend to let him fade mostly into the background, but keep him around
and use him for exposition.

I did write it as an experiment. Patricia Wrede, when she was posting
here, said several times that it is very difficult to judge one's own
writing.

And I'm coming to the opinion that our collective knee-jerk reaction to
"infodumps are bad" is misleading, if not plain wrong. It's more a
question of doing them in a way which makes them interesting. An implied
narrator is one way to do this (although not necessarily such an
in-your-face narrator).

I know "show don't tell" but I think the infodump - done properly - is
the backstory/setting equivalent of the narrative summary approach to
skipping over a bit of plot. And, again, Patricia Wrede pointed out
several times that narrative summary is sometimes useful: "They went
from A to B in three months" can avoid three chapters of unnecessary
prose. :-)

Anyway, thanks for the feedback. This has been one of the more useful
crit pieces I've posted (from my pov) because the reactions were more
diverse, so there is more to think about and digest.

Jonathan