query: What is the population of Islip in New York?

title: Islip, New York

text: At the 2000 census,[6] there were 322,612 people, 98,936 households and 78,555 families residing in the town. The population density was 3,064.5 per square mile (1,183.1/km²). There were 104,278 housing units at an average density of 990.5 per square mile (382.4/km²). The racial makeup of the town was 77.25% White, 9.02% Black or African American, 0.26% Native American, 2.17% Asian, 0.05% Pacific Islander, 8.32% from other races, and 2.93% from two or more races. Hispanic or Latino of any race were 20.16% of the population.

title: Central Islip, New York

text: Central Islip is home to NYIT (the New York Institute of Technology) and Touro Law Center, located next to the local New York Supreme Court building.Major roads within the hamlet of Islip are:

title: National Register of Historic Places listings in Islip (town), New York

text:
This is a List of the National Register of Historic Places listings in the Town of Islip, New York
This list is intended to provide a comprehensive listing of entries in the National Register of Historic Places in Town of Islip, New York. The locations of National Register properties for which the latitude and longitude coordinates are included below, may be seen in a Google map.

title: New York State Route 111

text: New York State Route 111 (NY 111) is a state highway located in Suffolk County, New York, in the United States. It runs north–south for through the towns of Islip and Smithtown, connecting NY 27A in the town seat of Islip to the east end of the NY 25 and NY 25A concurrency in Smithtown's Village of the Branch. Most of the road is a two-lane highway, save for several short four-lane stretches in the vicinity of interchanges along the route. NY 111 was assigned as part of the 1930 renumbering of state highways in New York as an East Islip–Village of the Branch highway, using what is now County Route 17 (CR 17) south of Hauppauge. It was realigned to serve the hamlet of Islip in 1966.

title: North Great River, New York

text:
North Great River is a hamlet and census-designated place (CDP) in the Town of Islip, Suffolk County, New York, United States. The CDP population was 4,001 at the 2010 census.
The hamlet is served by the Islip Terrace Post Office (11752) and the East Islip School District.

title: East Islip, New York

text: Originally referred to as "East of Islip", the name was acquired in 1890 from the estate of William Nicoll, an English aristocrat who purchased the surrounding land in 1683 to erect a family residence. Nicoll's purchase comprised from the Secatogue Indians, reaching as far as Bayport to the east, Babylon to the west and Ronkonkoma to the north. His mansion, Islip Grange, named after his family's ancestral estate at Northampshire, England, stood near the shoreline of what is now Heckscher State Park.

title: East Islip, New York

text: East Islip is a hamlet and CDP in the Town of Islip, Suffolk County, New York, United States. At the time of the 2010 census, the CDP had a population of 14,475.

title: West Islip, New York

text: Great South Bay, Jones Beach Island and Fire Island lie to the south. Babylon and North Babylon form the western border. Bay Shore lies to the east, and in the north West Islip borders on Deer Park and Brentwood. West Islip is east of Manhattan and west of Southampton, New York. West Islip's western boundary is a natural one formed by Sampawams Creek, Hawley's Lake, Deer Lake and Swan Creek.

title: Winnequaheagh

text: On November 29, 1683, William Nicoll (Nicholls) founder of the Town of Islip, NY, a son of New York City Mayor Matthias Nicoll, was awarded the first ”Royal Patent” of the east end of what is now the Town of Islip. Mr. Nicoll purchased land from Sachem (Chief) Winnequaheagh of Connetquot. He named his 50,000 acre (8 x 10 mile tract of land (210 km2)) plantation "Islip Grange," in honor of Nicoll's ancestral home in East Northamptonshire, England, from which Matthias emigrated in 1664: Islip, England. Significantly, this eventually became the largest manor on Long Island.

title: Islip (hamlet), New York

text: Parts of Islip are protected by the Islip Volunteer Fire Department. The main firehouse headquarters is located at 28 Monell Avenue. A firehouse sub-station is located on Commack Road. Additional areas of Islip are covered by the Islip Terrace Volunteer Fire Department located on Beaver Dam Road.

title: Islip Terrace, New York

text: Islip Terrace is a hamlet and census-designated place (CDP) in the Town of Islip in Suffolk County, New York, United States. The population was 5,389 at the 2010 census.

title: Islip Public Schools

text: Islip Union Free School District, also known as Islip Public Schools, is a school district in Long Island, New York. Its headquarters are in the Administration Building in the hamlet of Islip in the Town of Islip.

title: Islip, New York

text: Islip (/ˈaɪslɪp/ EYE-slip) is one of ten towns in Suffolk County, New York (USA). Located on the South Shore of Long Island, the town population was 335,543 at the 2010 census.[3] Within the Town of Islip is a smaller, unincorporated hamlet and census-designated place also named Islip.

title: Brentwood, New York

text: Brentwood is a hamlet in the Town of Islip in Suffolk County, New York, United States. As of the 2010 Census, the population of Brentwood was 60,664.

title: Islip (hamlet), New York

text: Islip ( ) is a hamlet and census-designated place (CDP) that lies within the much larger Town of Islip in Suffolk County, New York. Located on the South Shore of Long Island, the CDP had a population of 18,869 at the time of the 2010 census, a decline of 8% from the 2000 census.

title: West Islip, New York

text: West Islip's population continued to grow slowly, and the 1930 census recorded 734 residents. In the early part of the 20th century, many Ukrainian people settled in West Islip seeking refuge from political repression and economic hardships. Some worked as gardeners on the estates while others became farmers, land owners and owners of small businesses. The Ukrainian heritage is still part of the community.

title: Islip, New York

text: Matthias Nicoll relocated to New York from Islip, Northamptonshire, England, in 1664.[8] His son, William Nicoll, became a royal patentee of the east end of what is now the Town of Islip, and his domain reached from East Islip to Bayport and included Sayville, West Sayville, Oakdale, Great River, Islip Terrace, Central Islip, Hauppauge, Holbrook, Bohemia, Brentwood, Holtsville and a portion of Ronkonkoma. All of this land was bought from Winne-quaheagh, Sachem (chief) of Connetquot in 1683. The yearly fee paid to Governor Thomas Dongan of New York was five bushels of quality winter wheat or 25 shillings. Other early land patentees were Andrew Gibb (Islip Hamlet), John Mowbray (Bay Shore, originally Awixa), Stephan Van Cortlandt (Sagtikos Manor), and Thomas Willets (West Islip).

title: Central Islip, New York

text: In 1889, what became the Central Islip Psychiatric Center opened. By 1955, it housed over 10,000 patients. It closed in 1996.

title: Islip, New York

title: West Islip, New York

text: From 1940 until 1970, West Islip experienced most of its population growth. It had become an attractive suburban home community with its own fire department, post office, public library and Good Samaritan Hospital. A short drive on the Robert Moses Causeway affords access to good fishing at the Captree Boat Basin and swimming at Robert Moses State Park. West Islip boasts its own beach and marina.

title: Islip, Northamptonshire

text: Matthias Nicoll moved to New York from Islip in 1664. The town of Islip in Suffolk County, New York is named after the Northamptonshire village.

title: Central Islip, New York

text: Central Islip is a hamlet and census-designated place (CDP) within the Town of Islip in Suffolk County, New York, United States. The population was 34,450 at the 2010 census.

title: 1968 Islip 300

text: The 1968 Islip 300 was a NASCAR Grand National Series (now Monster Energy NASCAR Cup Series) event that was held on July 7, 1968, at Islip Speedway in Islip, New York.

title: Great River, New York

text: On November 29, 1683, William Nicoll (Nicolls), founder of the Town of Islip and son of New York City Mayor Matthias Nicoll, was awarded the first royal patent to the east end of what is now the Town of Islip. Nicoll purchased land from Sachem (Paramount chief) Winnequaheagh of Connetquot. He named his plantation (an tract of land) "Islip Grange", in honor of his ancestral home of Islip (UK) in East Northamptonshire, England, from which Matthias emigrated in 1664. Nicoll's domain extended from East Islip to Bayport and embraced the present-day communities of Sayville, West Sayville, Oakdale, Great River, Islip Terrace, Central Islip, Hauppauge, Holbrook, Bohemia, Brentwood, Holtsville, and a portion of Ronkonkoma. Nicoll paid an annual quit-rent (tax) to Thomas Dongan, 2nd Earl of Limerick and Governor of the Province of New York, of five bushels of good winter wheat or twenty-five (25) shillings payable annually on March 25.

title: Central Islip Public Schools

text: The Central Islip Union Free School District, also known as the Central Islip Public Schools, is a school district on Long Island, New York. Its headquarters are in Central Islip in the town of Islip.

title: Hauppauge, New York

text: Hauppauge gained significance as a waypoint on the King's Highway, laid out by the colonial legislature of New York in 1702. The present-day right of way departs westward from Route 111 as Conklin's Road or Half Mile Road, passing St. Thomas More Roman Catholic Church before terminating at the border between Smithtown and Islip. Hauppauge was effectively split between the towns of Smithtown and Islip in 1798 with the survey of New Highway, or what is now known as Townline Road (County Route 76).

title: West Islip, New York

text: West Islip is a hamlet and CDP located in the Town of Islip in Suffolk County, New York, United States. Situated on the South Shore of Long Island, the population of the CDP was 28,335 at the time of the 2010 census.

title: Islip Terrace, New York

text: In 1914, a New York City real estate agent developed houses in the woods between East Islip and Central Islip State Hospital. Many who worked in the hospital lived here. The hamlet was originally called Germantown to attract people of German origin, but was renamed Islip Terrace because of German involvement in World War I.

title: Islip, New York

text: Tourism brought much wealth into the area and business spung up to service the hotels that began to dot the landscape. Some of those tourists stayed on and built summer homes, thus the vacationers and the town seemed to enjoy a mutual prosperity. But the old guard was changing. Early in the 20th century, diesel-powered ferries replaced the whale boats while housing developments and small manufacturing firms sprang up on the sites of old farms. Like the rest of the country, Islip and all of Long Island suffered during the Stock Market Crash and the Great Depression. When the veterans returned home from World War II, there was a housing shortage in New York City, but a rebirth on Long Island. Within a decade following the end of the war, Islip began to turn from a bucolic farming community into a bustling suburb, becoming what was once described as a "bedroom" of New York City. The influx of people was tremendous - from 71,000 in 1950 to 280,000 in 1970. Then, as growth continued eastward on Long Island, the pace in Islip slowed.

title: Islip Terrace, New York

text:
Islip Terrace is served by the East Islip School District.
The following schools of the district are located in Islip Terrace:

title: Islip (hamlet), New York

text: William Nicoll, a son of New York City Mayor Matthias Nicoll, became a patentee in the 1680s of the east end of what is now the Town of Islip. He accumulated over and named his estate Islip, after the Nicolls' ancestral home in East Northamptonshire, England. His domain included what are now the hamlets of Islip, East Islip, Bayport, Sayville, West Sayville, Oakdale, Great River, Islip Terrace, Central Islip, Hauppauge, Holbrook, Bohemia, Brentwood, Holtsville, and a portion of Ronkonkoma. This land was purchased from Winnequaheagh, Sachem of Connetquot in 1683. The annual fee paid to Governor Thomas Dongan of New York was five bushels of good winter wheat or 25 shillings.


query: What superpower does Manspider have?

title: Hydro-Man

text: Hydro-Man is able to bodily transform himself into a watery liquid substance; he can access secure areas and small openings with relative ease; when his bodily mass is dispersed in this form it simply reforms, albeit slowly depending on how far apart the mass was. All of Hydro-Man's cells remain fully under his control when he is in his liquid state. Hydro-Man can also merge with and manipulate larger bodies of water when he is in his water form. He can increase his mass and cause tidal waves and tsunamis. He can turn parts of his body to liquid while retaining the rest of his human form, allowing him to slip from a foe's grasp or have projectiles like bullets harmlessly pass through him. Through great mental exertion, Hydro-Man can also turn into steam. Other examples of manipulating his watery form include firing off small streams such as a fire hose, shaping parts of his body into 'solid-water', constructs, and mixing himself with other compounds for different effects. However, this last example to defeat Hydro-Man can be using other compounds against him, since certain substances can either harden him (like cement or concrete), or make him feel sick (such as fire-extinguishers and chlorine). The Wizard enhanced his powers, through the use of sophisticated equipment. These artificial enhancements granted him increased and more precise control over bodies of water and moisture near him, which he demonstrated by absorbing nearly all the moisture in the Trapster's body. However, Spider-Man teamed up with Iceman and used Iceman's powers to solidify him into ice. Hydro-Man claims that he has not aged since he gained his powers.[22] Hydro-Man possesses a certain degree of superhuman strength, and has been shown to be an exceptionally skilled fighter, and adept at using his powers for that purpose. In some incarnations, depending on the writer, Hydro-Man can form his forearms into weapons such as Sandman does, except that Bench's weapons are made of water. Bench has extensive experience in street-fighting techniques due to his experience as a criminal before his transformation. Though cunning, he has been consistently depicted by writers as a low tier henchman with little formal education and is often tricked into using his powers in ways that incapacitate him (as explained above). His normal attire consists of a black shirt and blue or green pants, as well as a costume invented by the Wizard.

title: Copperhead (DC Comics)

text: The female Copperhead does not appear to have any superpowers and instead uses different poison equipment such as darts.

title: Copperhead (DC Comics)

text: In "Terror Titans", Clock King mentions that the second Copperhead does not have any superpowers, meaning he utilizes a snake-themed suit, like the original once did.

title: Superpower

text: The term 'potential superpowers' has been applied by scholars and other qualified commentators to the possibility of several states achieving superpower status in the 21st century. Due to their large markets, growing military strength, economic potential, and influence in international affairs, China, the European Union, India, and Russia are among the political entities most cited as having the potential of achieving superpower status in the 21st century. Many historians, writers, and critics have expressed doubts, however, whether any of these countries would ever emerge as a new superpower. Some political scientists and other commentators have even suggested that such countries might simply be emerging powers, as opposed to potential superpowers.

title: European Union as an emerging superpower

text: Robert J. Guttman wrote in 2001 that the very definition of the term superpower has changed and in the 21st century, it does not only refer to states with military power, but also to groups such as the European Union, with strong market economics, young, highly educated workers savvy in high technology, and a global vision. Friis Arne Petersen, the Danish ambassador to the US, has expressed similar views. He conceded that the EU is a "special kind of superpower," one that has yet to establish a unified military force that exerts itself even close to the same level as many of its individual members.

title: Superpower

text: After the dissolution of the Soviet Union in 1991 which ended the Cold War, the post–Cold War world has in the past been considered by some to be a unipolar world, with the United States as the world's sole remaining superpower. In 1999, Samuel P. Huntington wrote, "The United States, of course, is the sole state with preeminence in every domain of power – economic, military, diplomatic, ideological, technological, and cultural – with the reach and capabilities to promote its interests in virtually every part of the world." However, he rejected the claim that the world was unipolar: "There is now only one superpower. But that does not mean that the world is unipolar," describing it instead as "a strange hybrid, a uni-multipolar system with one superpower and several major powers." He further wrote that "Washington is blind to the fact that it no longer enjoys the dominance it had at the end of the Cold War. It must relearn the game of international politics as a major power, not a superpower, and make compromises."

title: Superpower disengagement

text: Superpower disengagement is a foreign policy option whereby the most powerful nations, the superpowers, reduce their interventions in an area. Such disengagement could be multilateral among superpowers or lesser powers, or bilateral between two superpowers, or unilateral. It could mean an end to either direct or indirect interventions. For instance, disengagement could mean that the superpowers remove their support of proxies in proxy wars in order to de-escalate a superpower conflict back to a local problem based on local disputes. Disengagement can create buffers between superpowers that might prevent conflicts or reduce the intensity of conflicts.

title: SuperPower

text: Superpower has some premade scenarios that offer a challenge in the way you have to solve a problem. The main factor that makes the scenarios difficult is that they restrict what kind of actions you can take (Ex: not being able to use military action)

text: The European Union (EU) has been called an emerging superpower by scholars and academics like T. R. Reid, Andrew Reding, Andrew Moravcsik, Mark Leonard, Jeremy Rifkin, John McCormick, and some politicians like Romano Prodi and Tony Blair, They believe that the EU is a superpower, or will become one, in the 21st century while noting that the concept of "superpower" has changed to one of soft power rather than the hard (military) superpowers of the 20th century. Others have challenged their views.

title: Eviless

text: Eviless does not appear to have any superpowers, but skillfully uses a whip to control her subjects. At times, she has appeared to put herself into a deathlike trance at will by stopping her heart.

title: Superpower

text: No agreed definition of what is a 'superpower' exists, and may differ between sources. However, a fundamental characteristic that is consistent with all definitions of a superpower is a nation or state that has mastered the seven dimensions of state power: geography, population, economy, resources, military, diplomacy and national identity.

title: Potential superpowers

text: The Russian Federation has been suggested as a potential candidate for resuming superpower status in the 21st century. Russia has seen some discussion regarding its potential of re-emerging as a superpower, while others have made the assertion that it is already a superpower. In 2009, Hugo Chavez, late President of Venezuela whose government was noted to have enjoyed warm relations with the Kremlin, stated that "Russia is a superpower", citing waning American influence in global affairs, and suggested the ruble be elevated to a global currency. Israeli Prime Minister Benjamin Netanyahu called Russia an important superpower, praising its effectiveness as an ally of Israel. In his 2005 publication entitled "Russia in the 21st Century: The Prodigal Superpower", Steven Rosefielde, a professor of economics at University of North Carolina at Chapel Hill, predicted that Russia would emerge as a superpower before 2010 and augur another arms race. However, Rosefielde noted that such an end would come with tremendous sacrifice to global security and the Russian people's freedom.

title: Potential superpowers

text: A potential superpower is a state or a political and economic entity that is speculated to be – or to have the potential to soon become – a superpower.

title: Superpower (song)

text: In the lyrics, the protagonist sings about a "vow of lasting 'tough love'". She describes the superpower of love and experiencing her own full potential in a relationship, evident through the lyrics "And when I'm standing in this mirror after all these years/What I'm viewing is a little different/From what your eyes show you/I guess I didn’t see myself before you". Bradley Stern from the website "MuuMuse" analyzed how the lines "The laws of the world never stopped us once 'cause together we got plenty of superpower" were backed by the fact the singer was part of the world's most famous supercouples. "Clash" writer Mike Diver opined that the song was an "anthem to blissful monogamy". Similarly, "Cosmopolitan" reviewer Alex Rees felt the lyrics analyzed the "power" of a firm relationship and its outcomes on a person's self-worth. Clíona Saidléar of "Irish Examiner" deemed "Superpower" to be the singer's most political song, challenging the notions of "current social practices". She elaborated,

text: Alexander Stubb, the Finnish Minister for Foreign Affairs, has said that he thinks the EU is both a superpower and not a superpower. While the EU is a superpower in the sense that it is the largest political union, single market and aid donor in the world, it is not a superpower in the defense or foreign policy spheres. Like Barry Buzan, Alexander Stubb thinks that the most major factor constraining the EU's rise to superpower status is its lack of statehood in the international system, other factors are its lack of internal drive to project power worldwide, and continued preference for the sovereign nation-state among some Europeans. To counterbalance these, he urged the EU leaders to approve and ratify the Lisbon Treaty (which they did in 2009), create an EU foreign ministry (EEAS, established in 2010), develop a common EU defense, hold one collective seat at the UN Security Council and G8, and address what he described as the "sour mood" toward the EU prevalent in some European countries today.

title: Foreign relations of Iran

text: On the international scene, it has been argued by some that Iran has become, or will become in the near future, a superpower due to its ability to influence international events. Others, such as Robert Baer, have argued that Iran is already an energy superpower and is on its way to becoming an empire. Flynt Leverett calls Iran a rising power that might well become a nuclear power in coming years—if the US does not prevent Iran from acquiring nuclear technology, as part of a grand bargain under which Iran would cease its nuclear activities in exchange for a guarantee of its borders by the US.The Minister of Foreign Affairs of Iran is selected by the President of Iran.

title: Inverted totalitarianism

text: The power imaginary does not only reduce democracy within the United States, it also promotes the United States as "Superpower" that develops and expands its current position as the only global superpower:

title: List of Daredevil characters

text: Rosario Dawson, who felt Matt Murdock behaved like the Punisher in season one, felt it would "be really interesting to see how [the writers] differentiate" the two in the second season. Describing the character, Bernthal said, "As a man who put his [life] on the line and really went through the ultimate sacrifice for this country in his involvement in the military. He's a guy who brought the war home with him [in] the worst possible way. There are a lot of iterations of this character and in all of them it's a man who's gone through this unbelievable trauma and what's interesting about our take on him is how this trauma reshapes his own philosophy." Bernthal also talked about the character's 'superpowers', saying, "If I got one thing from the comics, I think, as far as superpowers... his superpower is his rage. His superpower is that he is not going to quit, and he is going to go forward no matter what. And that's as human and grounded a quality as I think as this sort of genre could have".

title: Tariff

text: A program within the US intelligence community, Project Socrates, that was tasked with addressing America's declining economic competitiveness, determined that countries like China and India were using tariffs as an integral element of their respective technology strategies to rapidly build their countries into economic superpowers. However, the US intelligence community tends to have limited inputs into developing US trade policy. It was also determined that the US, in its early years, had also used tariffs as an integral part of what amounted to technology strategies to transform the country into a superpower.[73]

title: Potential superpowers

text: Alexander Stubb, the Finnish foreign minister, has said that he thinks the EU is both a superpower and not a superpower. While the EU is a superpower in the sense that it is the largest political union, single market and aid donor in the world, it is not a superpower in the defense or foreign policy spheres. Like Barry Buzan, Alexander Stubb thinks that the major factor constraining the EU's rise to superpower status is its lack of statehood in the international system; other factors are its lack of internal drive to project power worldwide, and continued preference for the sovereign nation-state among some Europeans. To counterbalance these, he urged the EU leaders to approve and ratify the Lisbon Treaty (which they did in 2009), create an EU foreign ministry (EEAS, established in 2010), develop a common EU defense, hold one collective seat at the United Nations Security Council and G8, and address what he described as the "sour mood" toward the EU prevalent in some European countries today.

title: Superpower: Three Choices for America's Role in the World

text: In "Superpower", Bremmer argues that ordinary Americans too often base their foreign policy choices on allegiance or opposition to the party in power. He, therefore, outlines three options for readers to consider what sort of country America should be and how it should use its superpower status, in order to strengthen the nation's commitment to a more coherent strategy in the world:

title: Hussain Abdul-Hussain

text: - The End of the American Superpower (2010)- None but Us to Blame (2009)- Syrian propaganda is behind stories of Lebanese terror in Syria, and some journalists are playing along (2008)- Does Tehran know what's up? (2008)- Hezbollah should share its power (2008)- My way or the highway (2008)The National (Abu Dhabi)

title: International Control Commission

text: Despite still existing, the Commission quickly found itself with few friends and fewer powers. It was unable to control much of anything or act as anything beyond a minor speed bump for either side. The states that sat on the Commission were secondary powers, at best, never large enough to have a major impact on world affairs during the Cold War, in comparison to the two superpowers. In addition, they were sitting on a fault line between the two major powers that had been fighting not ten years earlier. What had begun as a ceasefire quickly became a battlefield as tensions continued to flair. After the first two years, when the active partitioning ended and the two Vietnamese governments became more and more comfortable in their ability to rule, they also became closer and closer to their respective patrons, the North to the Soviet Union and the South to the United States. That relationship to the larger powers allowed the developing states to take bigger risks and care less and less about the condemnation of the International Control Commission. In addition, when the global superpowers looked to act through the states, the International Control Commission could not respond either, as the international community needed to defer to the superpowers, giving the International Control Commission few ways to influence anything. Without any actual power or backing of the global superpowers, there was little for the International Control Commission to do to enforce their views except complain to what was quickly becoming an empty room. The Commission was expected to police two states and ensure a full peace between the global superpowers, a daunting task for the entire world during the period, let alone a commission. As such, the power of the International Control Commission drained away during this period until it was little more than a figurehead, able to state its opinions but little more in the region.

title: Superpower

text: Besides those mentioned above, a limited number of observers have also discussed, though ultimately dismissed, Brazil having the potential to emerge as a superpower.

title: Super Commando Dhruva

text: Although Dhruva does not possess any inherent superpowers, he makes up for it with his detective skills, scientific knowledge and acrobatics and martial art skills. Dhruva is known to possess a high level intellect. His deductive reasoning and lateral thinking combined with his presence of mind and scientific knowledge regarding laws of physics allow him to make innovative use of harmless objects lying around to defeat his enemies. Spanish columnist Wright noted that Dhruva "has a MacGyver-like ability to use a paper clip or soup spoon to defeat enemies". Dhruva has been shown as the most intelligent and knowledgeable amongst all superheroes of Raj comics universe. He is a master strategist and tactician. In crossovers, the other superheroes make use of their superpowers according to Dhruva's plans to defeat powerful enemies. He is also a master escapologist. In 'Commando Force', Black Cat compares him to Houdini, while Nagraj once trapped in an enemy's trap wonders, "What would have Dhruva done, had he been in my place?" to get inspirational idea.

title: Superpower

text: According to Lyman Miller, "The basic components of superpower stature may be measured along four axes of power: military, economic, political, and cultural (or what political scientist Joseph Nye has termed “soft power”)".

title: Green Arrow in other media

text: It's a very, very awesome prison. I majored in architecture in college, and design is how I actually started in. For "Super Max," designing that prison, it had to be the kind of thing that was a character in and of itself. We're in a world where instead of just trying to contain a guy who's really big, you're trying to contain a guy who canin the case of Iciclewho can freeze things. What kind of a cell would a guy like that need in order to have his powers neutralized? So to escape from Super Max they have got to go through the most elaborate heist we've ever seen, involving superpowers. Because the prison itself kind of has superpowers!

title: Superpower (song)

text: The music video for "Superpower" was directed by Jonas Åkerlund. It was filmed at the Hawthorne Plaza Shopping Center, a former shopping mall which was converted to a film set in Hawthorne, California. The singer was spotted by media on November 12, 2013 on the location set wearing a Louis Vuitton ski mask while filming the video. Beyoncé does not lip-sync or dance during the video. During an interview, she explained that "Superpower" was a song which "you can just put on repeat and put you in this trance, which is why I didn't want to perform it in the video". With that being said, she wanted to focus on slow motion shots of "really powerful imagery". It features former Destiny's Child members Kelly Rowland and Michelle Williams as well as Pharrell Williams, Luke James and Les Twins. The director said that it was a "spontaneous decision" to include them in the video; Frank Ocean was also originally planned to appear. Åkerlund elaborated on the video: It's a very untraditional way of doing music videos, to not have her lip-synch. For Beyoncé, who's a dancer, it's very unusual to have a video without a dance part. I felt part of this idea for "Superpower" was to have stuff be in contrast to each other, so this song is very soft and very slow, but the action you see is aggressive and very big. We discussed it many times to see if we'd have the performance in the video or not. We decided no, and I think it works really, really well. It's kind of like a brave move, if you think about it. Most artists can act and have all these different things, but they'll still fall back on the performance.

title: Energy superpower

text: An energy superpower is a country that supplies large amounts of energy resources (crude oil, natural gas, coal, uranium, etc.) to a significant number of other countries, and therefore has the potential to influence world markets to gain a political or economic advantage. Russia has been described as an energy superpower, as have Saudi Arabia, Canada, Venezuela, and Iran. The United States is said to be a potential energy superpower because of its large shale gas reserves.

title: Potential superpowers

text: Robert J. Guttman wrote in 2001 that the very definition of the term superpower has changed, and in the 21st century it does not only refer to states with military power, but also to groups such as the European Union, with strong market economics, young, highly educated workers savvy in high technology, and a global vision. Friis Arne Petersen, the Danish ambassador to the US, has expressed similar views but has conceded that the EU is a "special kind of superpower", one that has yet to establish a unified military force that exerts itself even close to the same level as many of its individual members.

title: Project Superpowers

text: The Superpowers prepare to leave for the Middle East, but Green Lama first tells the team what they are about to do and what to expect. The world's governments have become corrupt, and the Superpowers will need to operate without them, outside the law if need be. The team will be likely be vilified by governments, in the press, and by the public. "We will become targets from this day forward, the outrage of the unknowing representatives of hidden corruption. Perhaps this is at the root of what it means to be a hero." They vanish, reappearing in the Middle East in time to aid Scarab and Samson in their fight against (and efforts to save the souls of) the F-Troop forces there.


query: Where does Castlereagh River begin?

title: Castlereagh River

text: The Castlereagh rises 20km west of Coonabarabran in the heart of the Warrumbungle mountains[1] at an elevation of about 850 metres.[4] From its commencement upstream in the mountains the river initially flows east through the town of Coonabarabran. It then arcs round south and southwesterly to the village of Ulamambri, then south to Binnaway, and SSW to the small town of Mendooran which lies at the eastern side of the river's hook-shape. From here the Castlereagh flows in a westerly direction at the flattened bottom of the hook and then turns north-westerly towards the town of Gilgandra. From Gilgandra it continues to run northwesterly across the plains through Gulargambone and Coonamble, then continuing across expansive plains, with no urban centres, where elevations are less than 200m, until it joins the Macquarie River at its uppermost reaches beyond the Macquarie Marshes. Its confluence with the Macquarie is about 65km SW of Walgett.[2] Not far from the Castlereagh/Macquarie confluence the Macquarie itself joins the Barwon River at a place about halfway between Walgett and Brewarrina.[5][4]

title: Castlereagh River

text: The Castlereagh River is located in the central–western district of New South Wales, Australia. It is part of the Macquarie-Castlereagh catchment within the Murray–Darling basin and is an unregulated river, meaning no dams or storage have been built on it to control flows.[3] On a map of NSW, the Castlereagh has a distinctive appearance among the north-western rivers for its fish-hook-like shape: from upstream in the north at its confluence with the Macquarie River it extends southwards to a hook-shape, flattened-out at the base, which curves to the right (east and northwards) through to the tip of the hook in the Warrumbungle Mountains at the river's source.

title: Castlereagh River

text: It is not correct that the Castlereagh River is an underground river (subterranean river) or an 'upside down' river.[15] However, water that once was in the river bed on the surface does flow through the extensive sands under the riverbed. This water is therefore part of the underground soil, and is not separate from it as a truly underground river is separate from the soil. The fact of water existing under the riverbed was known by Europeans at least in the early part of the last quarter of the 1800s, if not before, as evidenced in statements given to the Water Conservation Commission Inquiry at Dubbo in 1885.[16]

title: Castlereagh River

text: The Castlereagh River has a highly variable flow, and often has from very low flow to no flow at all.[3] The sandy riverbed of the Castlereagh is frequently dry in many places. John Oxley's expedition of 1818 came across the Castlereagh near Coonamble running so high and fast that it was six days until water levels dropped sufficiently to allow the expeditionary party to cross. Ten years later Charles Sturt arrived in the same general area during a ravaging drought to find the Castlereagh dry, and continuing completely dry for miles on end downstream to its junction with the Macquarie River with only occasional waterholes to be found nearby.

title: Castlereagh River

text: Evidence of Aboriginal culture was to be found all along the Castlereagh. Some caves in the Warrumbungle Ranges contain hand stencils, marked rocks and engravings. Rocks at Willow Vale in the Castlereagh River near the centre of Coonabarabran have grinding grooves on them.[24]:8

title: Cooks River/Castlereagh Ironbark ecological community

text: The Cooks River/Castlereagh Ironbark Forest (CRCIF) in the Sydney Basin Ecological Community contains open forest and low woodland. It was gazetted as a critically Endangered Ecological Community on 10 May 2002. There are just 1011 hectares left.

title: Castlereagh River

text: The Castlereagh sits over the Great Artesian Basin (GAB) and within a re-charge area for the waters of the GAB (where the GAB waters are replenished from above ground). Areas of re-charge are divided into zones, called ‘sources’ and the Castlereagh River is within the Southern Recharge Groundwater Source. This source, together with the Eastern Recharge Groundwater Source, is characterised by better quality groundwater than other zones.

title: Castlereagh River

text: Downstream from Gilgandra, the Castlereagh runs through alluvial plains. These are flat landforms with alluvial soil that has been created from sediments being deposited over a long period of time by one or more rivers flowing down from highland regions.[6] Groundwater is found in the alluvial sediments on the plains in the lower Castlereagh catchment and is generally associated with the ancient channel of the river.[7] The Castlereagh has a very sandy bed throughout its course, with especially wide outer banks on the plains. Charles Sturt, after travelling along the Castlereagh in 1828 from Coonamble to its junction with the Macquarie, noted that there was not one pebble or stone to be picked up in its bed, which was dry for the whole length he travelled.[8]

title: Castlereagh River

text: The Castlereagh River is joined by dozens of minor tributaries in its journey towards the very upper Macquarie. The Major Rivers Database of NSW lists seventy streams, (including effluent streams that receive water from the river) of the Castlereagh.[19]

title: Castlereagh River

text: In a very short period — of possibly not more than a dozen years — the Aboriginal way of life on the Castlereagh was heavily curtailed. Written evidence in 1841 from pastoralist James Walker showed this, in his response to a circular from the Commissioner of Crown Lands enquiring about pastoralists' interactions with Aborigines. Walker lived at Wallerawang, near Lithgow, but held many pastoral licences over vast stations in the Castlereagh River area from Mendooran (where 'Pampoo' was located) to Coonamble. His response included a single, but telling, comment on the effect of European occupation on Aborigines: " ... since stock was first taken out there [i.e. to the Castlereagh] we have abridged all their natural sources of existence."[29]

title: Castlereagh River

text: Despite European occupation, Aborigines of the Castlereagh did manage to keep some of their traditional practices and beliefs alive to the end of the C19th. R.H. Matthews, a government surveyor who worked for twenty years in north-west NSW and became a documenter of Aboriginal life and culture, recorded that "in 1893 there was a great gathering of the local Aboriginal people of the Castlereagh with the people of the Macquarie, the Bogan and the Barwon Rivers for a great initiation ceremony".[23]:11

title: Castlereagh River

text: The scouting party got back to Oxley’s encampment at Mt. Harris on 18 July 1818. On the same day, Oxley named the river in honour of the British Foreign Secretary, Lord Castlereagh, who had been in that role since 1812.[1] The whole group then departed the following day for the river that George Evans had crossed, heading in the same north-easterly direction that Evans had taken.[37] On 27 July 1818 they reached the Castlereagh, but the land they traversed to get there was flooded, whereas it had not been flooded two weeks earlier on Evans's scouting trip. The Castlereagh itself was running high, and they were not able to cross it for another six days.

title: Castlereagh River

text: River systems are fundamentally important to Aboriginal people. As Professor Marcia Langton has described, the Aboriginal people's holistic view of the world creates connection to waterscapes as spiritual, social and jural spaces just as much as physical domains - just like the same principles that connect people to landscape. Established laws that come from the sacred ancestral past "allocate rights and interests among particular people, to water sources". These are "rights and responsibilities, according to religious principles." [21] The Castlereagh River passes through hundreds of miles of country and several different nations of the Aboriginal people. Therefore, the rights regarding the Castlereagh may have been quite complex.

title: Castlereagh River

text: In early July, the party returned from the Macquarie Marshes to Mt Harris, 48km (30 miles) N-NW of present-day Warren. Seemingly unable to further follow the course of the Macquarie, Oxley had to change his plans. He decided to send Evans ahead, with a small party, to scout a north-easterly route across the plains, and report back. Beginning on 8 July 1818, Evans would end up traversing a large loop, north-easterly then south-easterly, then westerly and back to his starting point. In the north-easterly direction, he first crossed the Castlereagh River around Combara, between Gulargambone and Coonamble.[37] The party then continued on a shallower east-north-easterly direction until reaching the foothills of the Warrumbungle Mountains. From here, Evans turned south-westerly to head back to Oxley's encampment at Mt. Harris, travelling across ‘an open plain, over which was rather better travelling than we had latterly experienced’.[38] This route brought his party back to the Castlereagh River at a point south of his first crossing, in an area between the future villages of Armatree and Curban (10 miles apart).[37] As he approached the Castlereagh River he described the country as ‘low and wet’, with the journey being ‘dreadfully bad and marshy’.[37] The country he was crossing over is today considered rich pasture and farming land, covering the areas known as Tonderbrine, the western side of Tooraweenah, the Yarrandale area and Hillside.

title: Castlereagh River

text: The first non-Aboriginal person to encounter the Castlereagh River was George Evans travelling in 1818 with the exploration party of Surveyor-General John Oxley. George Evans was Oxley's assistant for the tour of exploration. The group had departed from Bathurst in May 1818, sent by Governor Macquarie to explore the Macquarie River. This expedition would follow the Macquarie River to a point where it was unable to keep tracking it any further, and so would turn east away from the Macquarie, finally ending up on the coast at Port Macquarie.[36]

title: Electoral district of Castlereagh

text: Castlereagh was an electoral district of the Legislative Assembly in the Australian state of New South Wales originally created in 1904, partly replacing Coonamble and named after the Castlereagh River. In 1920, with the introduction of proportional representation, it was absorbed into Wammerawa, along with Mudgee and Liverpool Plains. It was recreated in 1927 and abolished in 1991.

title: Castlereagh River

text: Two claims are often anecdotally made about flows in the Castlereagh:

title: Castlereagh River

text: Further upstream, the Castlereagh, Macquarie and Bogan rivers run "more or less parallel as they cross the plains, where creeks and streams break away from the main rivers, making connections between the Macquarie and the Bogan, the Macquarie and the Barwon, and the Castlereagh and the Barwon. As the waterways approach the Barwon River the interconnected streams, as well as lagoons and channels, support extensive flood-dependent woodlands and grasslands".[7] In this extreme northern section of the catchment the floodplain between the Barwon and Castlereagh Rivers is intersected by Womat and Wanourie Creeks, which carry flows from the Barwon to the Castlereagh River during major floods.[9]

title: Castlereagh River

text: Estimates of the length of the course of the Castlereagh River from its commencement to its mouth vary from 541 kilometres (336mi),[2] 549km,[3] and 566km.[1] Over its course it drops over 600m.

title: Castlereagh River

text: The river’s original name (from Aboriginal culture, probably given millennia ago) has been generally lost to European culture, which imposed the name "Castlereagh" (through explorer Oxley) only one hundred years ago in 1818.

title: Castlereagh River

text: In 1848 a well regarded Surveyor, George Boyle White, 'traced' or mapped a large section of the Castlereagh from Binnaway to about Gulargambone. White had previously been employed by the government as a surveyor for twelve years, and had accompanied Surveyor-General Mitchell on an interior surveying expedition. White had a particular interest in surveying rivers and in 1847 Mitchell gave him a general remit to go over the mountains and "start the feature survey of that part of the colony", in order to "traverse the water courses and ranges that they may be charted."[43] The first river he started on was the Castlereagh.

title: Castlereagh River

text: Europeans observed that, at Gilgandra near the long waterhole that existed on the Castlereagh, "the 'Coonabarabran' tribe (European-given name) of the Gamilaraay people camped on the eastern side of the river, and the Mole tribe of the Wiradjuri on the western side".[23]:7

title: Castlereagh River

text: A devastating flood in January 1874 killed thousands of head of livestock, and damaged many buildings in Binnaway, Mendooran, Gilgandra and Coonamble. There had been incessant rain in the area of the Upper Castlereagh for three weeks (most of January) leading up to the day the river broke its banks. Over the same few days severe floods also occurred on other river systems: flooding on the Talbragar River at Dubbo was the worst experienced to that time,[48] the town of Singleton was completely flooded, Maitland was flooded, as was Cassilis.[49] On Saturday, 24 January, the Castlereagh River commenced rising rapidly, with rain falling heavily all day. During Sunday, 25 January the river continued rising and at Gilgandra on Monday 26th at 5 p.m. it had attained its full height.[50] It was reported from Binnaway that the Castlereagh rose 28 feet in seven hours from 5am till twelve, and a great many sheep were lost in the area.[49] At Mendooran, the townspeople took refuge in the loft of the stables at the Royal Hotel. The flood destroyed many of Binnaway's buildings.[51]

title: Castlereagh River

text: The Castlereagh River and the ground water of the Great Artesian Basin are highly connected. The water is not flowing as a separate and distinguishable underground river flow, but is moving initially through the permeable alluvial sandbeds and then through paleochannels to deeper groundwater aquifers.

title: Castlereagh Highway

text: The Castlereagh Highway was named in 1954 after the Castlereagh River which it parallels for most of its journey north from with the river named in honour of Lord Castlereagh.

title: Castlereagh River

text: Increasing pressure on the resources the Aborigines needed for their way of life made them more dependent on Europeans and exposed them to European vices. At the beginning of 1853 when a station worker was murdered by his wife near Curban at the Castlereagh, the hutkeepers and shepherds present had been drinking heavily, supplied by a sly grog seller but also present at a fireplace with the deceased were "two black gins lying at his feet and some blackfellows lying beside him".[33]

title: Castlereagh River

text: More early evidence of the Aborigines mixing and/or working with European shepherds and labourers at the Castlereagh came in 1840 from a ticket-of-leave man named William Jones who was then an umbrella maker in Sussex St, Sydney. Jones had agreed to be interpreter in the trial of a Wiradjuri man from the Lachlan River who was not charged under his own name but under the European nickname of "Neville's Billy". William Jones deposed that the language of the prisoner "was the same as that spoken on the banks of the Castlereagh River about three hundred miles from Sydney where he, Jones, had been for about eight years, and where he had learned the language."[30]

title: Castlereagh River

text: The Castlereagh’s alluvial sandbeds make up what is called the "hyperheic zone". This is the region of saturated sediment below, or adjacent to, a river where surface water and groundwater are actively mixing and exchanged. The movement of the groundwater in the Castlereagh through its alluvial sands is said to be a hyporheic process. In the Castlereagh, the further transit of surface water to the aquifers of the Great Artesian Basin is then enabled through the ancient paleochannels underlying the Castlereagh, and this water movement is a large-scale hyporheic process. (Hutchinson and Webster 1998).

title: Castlereagh River

text: Aborigines continued working for the pastoralists along the Castlereagh through into the 1850's and 1860's, and this was shown with occasional references in the press. See for example "Jackey, a native lad of about seventeen" who was reported in 1852 to have "for years been in the service of Mr Fitzsimmons of 'Gora', Castlereagh River." 'Gora' station was at the foot of the Warrumbuungles, near Bugaldie.[32]

title: Castlereagh River

text: Europeans were occupying the Castlereagh at least by early 1833. That year, Robert Lowe of Mudgee sent cattle to an area between Gilgandra and Curban on a run he named as "Yalcogrin", also fed by Ulomogo Creek, a tributary of the Castlereagh.[40] In 1840, convict William Jones gave testimony in court that he had been on the Castlereagh River for eight years and learnt the language of the local people (Wiradjuri); if this was not an exaggeration then he had gone there in 1831 or 1832.


query: How many sonnets did Shakespeare write?

title: Shakespeare's sonnets

text: Shakespeare's sonnets are poems that William Shakespeare wrote on a variety of themes. When discussing or referring to Shakespeare’s sonnets, it is almost always a reference to the 154 sonnets that were first published all together in a quarto in 1609; however there are six additional sonnets that Shakespeare wrote and included in the plays Romeo and Juliet, Henry V and Love's Labour's Lost.

title: Sonnet 128

text: Agreeing with Trillini, Paul Edmondson in his book, "Shakespeare's Sonnets" writes about the speaker's lover in Sonnet 128. Edmondson agrees that the sonnet belongs in the Dark Lady series, and also agrees that the sonnet uses many musical allusions and metaphors for the speaker's feelings towards his lover. The speaker in Sonnet 128 is clearly attracted to the woman playing the instrument in the sonnet, but the speaker is not solely attracted to the woman's physical appearance. Edmonson writes, "The sensual touch of his lover's fingers seems to make the poetic voice laugh at the end of this sonnet as Shakespeare refers to the tickling of the instrument's keys, the 'saucy jacks' which like sexual organs can move and respond to the power of a lover's nimble and caressing hands". Thus, making the statement that the speaker in Sonnet 128 is not only attracted to the woman, but the woman's musical talent is part of her attraction.

title: Shakespeare's sonnets

text: The Rival Poet's identity remains a mystery. If Shakespeare’s patron and friend was Pembroke, Shakespeare was not the only poet that praised his beauty; Francis Davison did in a sonnet that is the preface to Davison's quarto A Poetical Rhapsody (1608), which was published just before Shakespeare’s Sonnets.[49] John Davies of Hereford, Samuel Daniel, George Chapman, Christopher Marlowe and Ben Jonson are also candidates that find support among clues in the sonnets.[50][51]

title: Sonnet 71

text: Shakespeare's sonnet cycle has overarching themes of great love and the passage of time. In this sonnet, the speaker is now concentrating on his own death and how the youth is to mourn him after he is deceased. The speaker tells the youth not to mourn for him when he is dead, and that the youth should only think about him for as long as it takes to tell the world of his death. The speaker then tells his beloved youth that if even reading this sonnet will cause him to suffer, he should forget the hand that wrote the poem. Joseph Pequigney writes that the sonnet is a "persuasive appeal to be recalled, loved and lamented…a covert counterthesis". Stephen Booth calls this sonnet "a cosmic caricature of a revenging lover." While many critics agree with Peguiney and Booth, and have said that this sonnet is a veiled attempt on the part of the speaker to actually invoke the youth to mourn him, some critics believe differently. Helen Vendler writes that "There are also, I believe, sonnets of hapless love--intended as such by the author, expressed as such by the speaker."

title: Sonnet 109

text: Like most other Shakespearean Sonnets, 109 consists of three quatrains and a couplet at the end. The volta can be found at the first line of the couplet. Although Sonnet 109 does not make any specific mention of gender, Paul Edmondson, in his book "Shakespeare’s Sonnets", states that it may be safe to assume that Shakespeare is writing here to a young man. "The first 126 [sonnets] include none that are clearly addressed to, or concern, a woman, along with all the ones that are clearly addressed to, or primarily concern, a male". And so, if this poem is addressed to a male, who is he? According to Martin Green, the young man to whom Shakespeare dedicates many of his sonnets may be Henry Wriothesley, the third earl of Southampton. If that is the case, then Sonnet 109 does contain some imagery that might refer to Wriothesley.

title: Sonnet 116

text:
Sonnet 116 is one of Shakespeare's most famous love sonnets, but some scholars have argued the theme has been misunderstood. Hilton Landry believes the appreciation of 116 as a celebration of true love is mistaken, in part because its context in the sequence of adjacent sonnets is not properly considered. Landry acknowledges the sonnet "has the grandeur of generality or a 'universal significance'," but cautions that "however timeless and universal its implications may be, we must never forget that Sonnet 116 has a restricted or particular range of meaning simply because it does not stand alone." Carol Thomas Neely writes that, "Sonnet 116 is part of a sequence which is separate from all the other sonnets of Shakespeare because of their sense of detachment. They aren't about the action of love and the object of that love is removed in this sequence which consists of Sonnets 94, 116, and 129". This group of three sonnets does not fit the mold of the rest of Shakespeare's sonnets, therefore, and they defy the typical concept and give a different perspective of what love is and how it is portrayed or experienced. "Though 116 resolves no issues, the poet in this part of the sequence acknowledges and accepts the fallibility of his love more fully than he could acknowledge that of the young man's earlier".
Other critics of Sonnet 116 have argued that one cannot rely on the context of the sonnet to understand its tone. They argue that since "there is no indisputably authoritative sequence to them, we cannot make use of context as positive evidence for one kind of tone or another." Shakespeare does not attempt to come to any significant conclusion within this particular sonnet because no resolution is needed.

title: Sonnet 59

text: In David Klein's analysis entitled "Foreign Influence on Shakespeare's Sonnets", sonnet writing became a popular pastime during Shakespeare’s time period:

title: Sonnet 129

text: The placement of the sonnet leads many to believe that Shakespeare had a direct relation with the "dark lady" (as referenced as the inspiration for sonnets 127-152). Many scholars believe that Shakespeare had an affair and that a mistress was his inspiration for writing as many poems as he did. Even though such a relation was frowned on at the time, it has not been ruled out as a possibility. However, because there are no historical records that such a woman existed, there is not a sufficient evidence to determine whether the woman spoken of in the sonnets was real or fictitious. The sexual pessimism depicted in the sonnets, although extreme, is not unusual to the Christian tradition, especially in ancient times. Beliefs and standards of virginity and sexual abstention can be dated back to Pythagoras, and the views continued to be a tradition through Plato and the Stoics. Sexual pessimism existed before Christianity became a widespread religion.

title: Sonnet 136

text: With regards to gender, William Nelles quotes Edward Malone, stating that "...[the "Dark Lady Sonnets"] could relate to either a male or a female" as the narrator's love interest. However, Nelles also quotes G. Blackmore Evans in an opposing view on this, stating that "all of Sonnets 1-126 are addressed to the same young man, and all Sonnets 127-52 to the same woman". These views that Nelles compiles in his essay show an ambiguity in the gender of the "Dark Lady Sonnets'" love interest. Nelles, however, comes to a different conclusion, believing instead that there is no one side or the other. Rather, Nelles argues that "both sides are correct, but in different ways". He finds that only about one-fifth of the sonnets specify the lover's gender, and that the ambiguity of the gender is possibly an important commentary on the view of the speaker on his lover, be it man or woman, and how this lover is described and referred to through these sonnets. Whereas most scholars believe that Sonnet 136 is about a woman - hence it being part of the "Dark Lady Sonnets" - Nelles offers an interesting insight of the typical dichotomy of the lovers' genders and the lack of "real evidence" backing up the claims for one side or another. Wagner, the author of "Voices of Shakespeare's England", seems to back up Nelles's claim, stating that the time in which Shakespeare was writing was one in which writers no longer had to follow strict guidelines of what was considered "proper" writing, and could write on subjects which "interested themselves and their audiences". This could suggest that, with further research on the topic of gender in Sonnet 136 and the other Dark Lady Sonnets, the lover's gender could be determined, or it could be decided by scholars that the gender truly is ambiguous; perhaps, even, the reason behind the ambiguous gender could be decoded.

title: Sonnet 144

text: Shakespeare addresses many of his sonnets to a young male, whom many have assumed to be identical with Mr. W.H., the person to whom the sonnets as a whole are dedicated. Scholars debate the nature of Shakespeare's relationship with his male companion and question whether it was a close friendship or a romantic love. The sonnets indicate that a woman who Shakespeare describes as the dark lady comes between the poet and Mr. W.H. Sonnet 144 addresses this conflict.

title: Sonnet 102

text: In the sonnet, the poet writes of why he has stopped showering his muse with flowery praise and adoration. In his analysis of Shakespeare's Sonnets, David West suggests that the sequence of sonnets 100-103 and the silence described are a response to the infidelity of the Fair Youth in the Rival Poet sequence of sonnets (78-86), which has caused a rift between the poet and his Muse. He writes of how immediately following the Rival Poet sonnets, the Poet begins to speak of his lover being false and having forsaken him. West claims that this ultimately culminates in sonnets 100-103, where the Poet expresses his regret over what has transpired.

title: Sonnets for an Old Century

text: The Romantic style of this play makes it almost seem like these characters are reading their own personal eulogies. It is not the typical through line of a play a reader would expect. It does not necessarily have a specific beginning, middle and end. It is written and published as an anthology. There is in fact something beautiful about this writing that displays how the style can, in a way, "make it old" and "make it new," because of the romantic element of having their stories be told in a form of sonnets. A sonnet is considered a poem. Traditionally, sonnets are meant to be a stanza of fourteen lines, that are written in iambic pentameter. Also, originally "the traditional subject of the sonnet has primarily been "Love"." William Shakespeare, is the first and most well known writer for classical sonnets. Since Shakespeare's era it is known that politicians and artists do not necessarily always see the world through the same lens. This has provided some conflict in the past. Although, through Shakespeare's incorporation of romanticism in his texts it supplied a path in which entrepreneurs and artists could share and adapt similar points of view.

title: Sonnet 102

text: Sonnet 102 is one of the 154 sonnets written by English playwright and poet William Shakespeare. It is one of the Fair Youth sonnets, in which Shakespeare writes of an unnamed youth with whom the poet is enamored. Sonnet 102 is among a series of seemingly connected sonnets, from Sonnet 100 to Sonnet 103, in which the poet speaks of a silence between his Muse and himself. The exact date of writing is unknown, and there is contention among scholars about when they were written. Paul Hammond among other scholars believes that sonnets 61-103 were written primarily during the early 1590s, and then being edited or added to later, during the early 1600s (decade). Regardless of date of writing, it was published later along with the rest of the sonnets of the 1609 Quarto.

title: Sonnet 128

text: Shakespeare's sonnets were published in 1609 and were the last of his non-dramatic works to be composed. It is not certain when each of the sonnets were written but there is evidence to suggest that Shakespeare wrote his sonnets on a private scale. William Wordsworth even suggests that the sonnets were how Shakespeare "unlocked his heart". There are only two sonnets that Shakespeare writes that are specifically about music, and those are Sonnet 8 and Sonnet 128. No one is certain if Shakespeare wrote the sonnets in order or if they should form a complete sequence. However it is clear that they offer an insight that "Shakespeare's capacity to represent the imaginative states of other people".

title: Same-sex intimacy

text: The most notable example of frequent and common instances of courtly love occurs in the writings of William Shakespeare. Shakespeare wrote many sonnets to young men that he admired, praising their beauty, intelligence and virility. He addressed sonnets 1-126 to "Fair Youth"—an individual who is commonly interpreted to be male—and later, in Sonnet 20, refers to the boy as the "master-mistress of [his] passion." Additional examples of Shakespeare writing of same-sex intimacy and courtly love are within his procreation sonnets. In these poems, Shakespeare encourages a young man to marry and have children to preserve his beauty, using loving and occasionally romantic language to communicate his message. Additionally, it is believed by many scholars that Shakespeare's famous Sonnet 18 ("Shall I compare thee to a summer's day?") is also about a man, as he dedicated his book of sonnets to an unidentified "Mr. W.H."

title: Sonnet 144

text:
The identities of these two characters are still in question but modern scholars tend to focus more on the sexual eroticism and implication of homosexuality in the Sonnets: "The reality of the poet's purported bisexual identity now figuring more prominently than any speculation about real figures with whom Shakespeare might have actually been involved, amorously or otherwise." On the other hand, there are critics who view Shakespeare's relationship with the young boy as a friendship rather than romantic love. This is the view that K.D. Sethna holds: "The problem, of course, is the two main characters round whom Shakespeare's Sonnets exult and agonize with a passionate quixotism of friendship and a frantic fever of love- or, as G. Wilson Knight sums up in the current jargon, "homosexual idealism and heterosexual lust.'" John Berryman, on the other hand, understands the first line of Sonnet 144 to be Shakespeare's way of confessing his romantic relationship with the boy and the dark lady: "This is the sonnet of which the poet John Berryman remarked, in his comments on Lowell in The Freedom of the Poet, 'When Shakespeare wrote ["Two lovers I have"] reader, he was not kidding." Helen Vendler agrees with Berryman's analysis: "Sonnet 144 has an air of confession."
If evaluated through queer hermeneutics, Sonnet 144 can appear to have homoerotic overtones. For example, Oscar Wilde's "The Portrait of Mr. W.H." is a critical analysis of Shakespeare's Sonnets that emphasizes their potential homoeroticism. Wilde believed in the theory that the young man addressed in the sonnets was an actor in Shakespeare's troupe named Willie Hughes. The sonnets are thus a love letter from Shakespeare to Willie Hughes. Wilde writes, "[Shakespeare] finds that what his tongue had spoken his soul had listened to, and that the raiment that he had put on for the disguise is a plague-stricken and poisonous thing that eats into his flesh, and that he cannot throw away. Then comes Desire, with its many maladies, and Lust that makes one love all that one loathes, and Shame, with its ashen face and secret smile." Wilde writes of Shakespeare's mental and emotional battle of whom to love and how to love that person. Wilde writes specifically of Sonnet 144, "[Shakespeare] has his moments of loathing for her [the Dark Lady], for, not content with enslaving the soul of Shakespeare, she seems to have sought to snare the senses of Willie Hughes." In Sonnet 144, the second quatrain is full of dislike toward the Dark Lady, "To win me soon to hell, my female evil / … / and would corrupt my saint to be a devil."
However, Wilde recognizes that the Willie Hughes theory is that, just a theory. One will never know what Shakespeare was thinking when he was completing the sonnets. "Shakespeare's heart is still to us a 'a closet never pierc'd with crystal eyes,' as he calls it in one of the sonnets. We shall never know the true secret of the passion of his life."
C.B. Cox writes, "In Elizabethan times the crime of buggery was punishable by death. Today this legal term for homosexual intercourse offends our ears, but its use draws attention to the abhorrence with which many Christians of the time (and since) regarded physical intimacies between men. In these circumstances it's difficult to believe that Shakespeare would not only participate in an active homosexual relation with a handsome young man, but broadcast this affair to the world in sexually explicit sonnets pass round among his friends." The competing view of a bisexual Shakespeare conflicts with Wilde's view. Cox bases his argument on the verb "to have." He argues that why must the verb usage of "to have" mean sexually possess? Elizabethan people had trouble believing "had" meant to have sexually when it came to the young man, but Cox writes, "It's difficult to refute Pequiney's contention that in these three examples (Sonnet 52, Sonnet 75, and Sonnet 87) there is a sexual innuendo in "had," particularly when in Sonnet 129, which concerns heterosexual love for the Dark Lady, everyone agrees that there is such an implication. Elizabethan society feared homosexual desire, but embraced heterosexual conquests. Cox writes, "The poems may be based on personal experience but still that doesn't actually prove that Shakespeare 'had' the youth. There's an element of playfulness in the sexual innuendoes, a delight in wit as if Shakespeare is enjoying his own virtuosity and may not have expected to be taken literally... In his poems to the youth he may be using sexual innuendo as a kind of joke, a playful but at times almost serious hint that his affection may even extend to physical desire."

title: Sonnet 109

text: In "Of Comfort and Despair: Shakespeare's Sonnet Sequence", Robert Witt asserts that in Sonnet 109 Shakespeare comes to the realization of his lover's "Inner Beauty" and how it is a reflection of himself. The poet [Shakespeare]…will remain young as long as the friend [lover] is young because the two are one". This, Witt believes, is what prompted Shakespeare to write Sonnet 109 as a sort of apology for renouncing the friendship between him and his lover after his lover "granted favor to other poets".

title: Sonnet 23

text: Although the sonnet tells the subject to read his poems and understand his love rather than rely on a performance, this directly contradicts Shakespeare's writing style within his plays, where he "presents the writing of love poetry in general, and sonnets in-particular, as ridiculous". Patrick Cheney also notes that Shakespeare's plays tends to emphasize "the superior effectiveness of performing an emotion rather than speaking about it." Within Sonnet 23, this is further complicated by the comparisons Shakespeare makes, first comparing himself to an actor and then his collection of poems to a play.

title: Sonnet 53

text:
A dominant motif within the first two stanzas of Sonnet 53 is the contrast between shadow and substance. According to G.L. Kittridge, in Sonnets of Shakespeare, "Shadow, often in Shakespeare is contrasted with substance to express the particular sort of unreality while 'substance' expresses the reality." The shadow is that which cannot be expressed in a concrete manner while substance is that which is tangible.
Kittridge goes into more detail about the use of shadow and couplet within the initial couplet. "Shadow is the silhouette formed by a body that intercepts the sun's rays; a picture, reflection, or symbol. "Tend" means attend, follow as a servant, and is strictly appropriate to 'shadow' only in the first sense, though shadows is used here in the second… All men have one shadow each in the first sense; you being only one can yet cast many shadows, in the second sense, for everything good or beautiful is either a representation of you or a symbol of your merits," (Sonnets, p. 142). This definition helps elaborate on Shakespeare's extended metaphor and wordplay, explaining that shadow is that which is not palpable as well as the reflection of the young man in all that is real.
Jonathan Bate, in his work, The Genius of Shakespeare, analyzes the classical allusions within the poem. He writes, "In Sonnet 53, the youth becomes Adonis, retaining a controlling classical myth beneath the surface,' (Genius, p. 48). In addition, Bate writes about how the poem could be interpreted in a way reminiscent of Shakespeare's A Midsummer Night's Dream, "In A Midsummer Night's Dream, Theseus says that lunatics, lovers, and poets are of imagination all compact- their mental states lead to kinds of transformed vision whereby they see the world differently from how one sees it when in a 'rational' state of mind," (Bate, p. 51). This quote draws upon the theme of Shakespeare's attempt to materialize intangible emotions such as love or an aesthetic appreciation for beauty.
Shakespearean scholar Joel Fineman offers a criticism of Shakespeare's sonnets in a broader context that is evident in Sonnet 53. Fineman writes, "from Aristotle on the conventional understanding of rhetoric of praise as all the rhetoricians uniformly say, energetically, 'heightens its effect," (Fineman). In this sense, the praise of the young man is meant to highlight his features and bring them to a literal understanding.

title: Sonnet 60

text: According to Jonathan Bate, Shakespeare relied heavily on these sections of Ovid's Metamorphoses while composing Sonnet 60, and these passages from Ovid roughly correspond to the three quatrains of the sonnet. Shakespeare would have looked back to ancient sources like many Renaissance writers of his time. In the book "Shakespeare and Ovid", Johnathan Bate states that persons of the Renaissance period "believed passionately that the present could learn from the past" and that this belief "was the starting-point of education and a formative influence on the writing of the period". There was a strong belief in Shakespeare's day that, though times change—changes which are the result of the passing of time—the essentials of human nature, "the foundations of the affections of the human mind," did not change. To look into the past, therefore, meant also for Shakespeare to look more deeply into the meaning of the present.

title: Sonnet 54

text: In Sonnet 54's third line "The rose looks fair, but fairer we it deem,” we see a reference to Edmund Spenser's "Amoretti", Sonnet 26, the first line of which is "Sweet is the rose, but growes upon a brere." This reference is just one of many which help to "proclaim Shakespeare's deepest literary values and his recurrent aesthetic convictions." While Shakespeare honors his contemporaries, one of the things that make Shakespeare great is how he differed from them. The "Amoretti" is a series of sonnets focused on a more traditional topic, the courting which led to Spencer's marriage. In the "Amoretti", Spenser proposes "that a resolution to the sonneteer's conventional preoccupations with love may be found within the bounds of Christian marriage."

title: Sonnet 110

text: There have been many arguments by scholars whether or not the sonnet was written about Shakespeare's disdain with the stage and his career in the theater, or if the sonnet is a confession of love to an unknown young man. Shakespeare's use of the word motley has the mind of critics and scholars boggled as to what the sonnet could truly mean. A motley is a multi-colored gown, or costume, usually worn by a jester. Many scholars believe that the sonnet is written about Shakespeare's disdain with the theater and the actors, or even his own profession as an actor. Katherine Duncan-Jones believes that the sonnet is about Shakespeare's feelings about his own career as an actor. Scholar Henry Reed agrees with Duncan-Jones and believes that the sonnet is written about Shakespeare's own disdain with his acting career. The third line of the quatrain also suggests that the sonnet could be about the theater. Gored could be used in the sense of sewing triangular sized cloths into the motley that would be worn by the actor. However, there are other scholars that would disagree with the two. Among these scholars is Kenneth Muir who says, "the theatrical image does not imply that he was referring to his job as an actor." According to Virginia Radley and David Redding, the interpretation of the sonnet being about Shakespeare's profession as an actor is wrong. Radley and Redding suggests that "sonnet 110 has nothing to do with the stage, or the acting, or the play writing." Radley and Redding interpreted the first quatrain as the poets confession of promiscuity. Lines 1-2 suggests that the poet has been around and has made a fool of himself for the world to see. Here, the word motley is used as in "I played the fool." Line 3 suggests that the poet put himself on display and gave away his precious love. With the use of the word gored, Radley and Redding translated the phrase "gored mine own thoughts" to "wounded my best thoughts". The last line of this quatrain uses the word offences is used in the correct term as in offending the poet's lover by this new affairs he has encountered. By the end of this quatrain, the reading of the sonnet slowly becomes clear that this a confession of love versus Shakespeare's disdain with the theater.

title: Sonnet 57

text: Rhian Williams asserts, "In literary value Shakespeare's sonnets are notably unequal. Many reach levels of lyric melody and meditative energy that are hardly to be matched elsewhere in poetry". His 57th sonnet is such a one and epitomises Shakespeare's signature sonnet structure as it conveys the influences of the 14th-century poet, Petrarch, and showcases again Shakespeare's talent. In fact, Danijela Kambasković-Sawers generalises, "The sonnet sequence genre constructs a double sense of immediacy: drawing on the lyricism of its constituent sonnets, it also often generates a perception of a personal narrative when the sequence is read from beginning to end". She goes on to make a comparison between the two poets and the structures of their subsequent sonnets when he states, "Sonnet sequences like Petrarch's or Shakespeare's make possible a narrative-by-episode". Kambasković-Sawers elaborates on the subject of Shakespeare’s controversial yet ambiguous speaker and asserts that while ambiguous speakers were characteristic of both Petrarch's work and a signature of the Elizabethan time period, Shakespeare's differed. "The difference between Shakespeare's and other great Elizabethan sonnet sequences lies in the degree and complexity of his main character's ambiguity, as well as in the skill with which this complexity is managed. Shakespeare's contradictory speaker stands as one of the most important elements of the artistic impact and lasting vitality of the sequence".

title: Sonnet 20

text: The modern reader may read sonnet 20 and question whether or not Shakespeare's sexuality is reflected in this sonnet. When looking at the sexual connotations in this sonnet it is important to reflect on what homoerotism meant during the time that Shakespeare was writing. Casey Charles discusses the idea that there was no official identity for a gay person at this time. There were words that identified what we would consider to be homosexual behaviour, but the idea of a "gay culture" or "gay identity" did not exist. Charles goes on to say that early modern laws against sodomy had very few transgressors, which means that either people did not engage in homosexual behavior or these acts were more socially acceptable than the modern reader would think. Shakespeare's awareness of the possible homoeroticism in Sonnet 20 does not necessarily illuminate whether or not he himself was actually practicing homosexual behavior.

title: Sonnet 35

text: In regards to the sonnets having a bearing on Shakespeare’s sexuality, Booth maintains the sonnets are written as a form of fiction. He believes the hermaphroditic sexual innuendos are being overanalyzed and misinterpreted to point towards Shakespeare's own sexuality. In reality, it was commonplace for sexual wordplay to switch between genders. He writes, "Moreover, Shakespeare makes overt rhetorical capital from the fact that the conventions he works in and the purpose for which he uses them do not mesh and from the fact that his beloveds are not what the sonnet conventions presume them to be." Booth maintains that sonnets involving wooing a man are in fact an attempt of Shakespeare to exploit the conventions of sonnet writing. Overall, Booth asserts that the sexual undercurrents of the sonnets are of the sonnets and do not say anything about the sexuality of Shakespeare.

title: Sonnet 128

text: Sonnet 128 is one of the few musical sonnets of Shakespeare's sonnets. Sonnet 128 draws many similarities to Shakespeare's Sonnet 8, and its musical language and theme. Both sonnets refer "my musike", throughout drawing a clear connection to each other. In addition, both sonnets use, a "figurative use of 'music,'" which appears nowhere else in Shakespeare's sonnets. The use of similar language throughout Sonnet 8 and Sonnet 128 continues the musical theme in Shakespeare's sonnets, showing an obvious correlation between the two poems.

title: Sonnet 128

text: Sonnet 128 is one of Shakespeare's most highly criticized sonnets, some even believing that because Sonnet 128 is so far from Shakespeare's usual sonnets that it may be unauthentic. According to Richard Purdum in his article, Shakespeare's Sonnet 128, Sonnet 128 is "Un-Shakespearean in sound and rhythm". Sonnet 128 strays from Shakespeare's usual diction, and thus creates its own category in Shakespearean sonnets. H. T. S. Frost said, "Six trifling pieces of little interest – literary or otherwise," referring to the other Dark Lady pieces and their often criticized language like Sonnet 128 and their ill placement with Shakespeare's other sonnets. J. M. Robertson also agrees with Frost's argument that Sonnet 128 and the other Dark Lady sonnets do not fit with Shakespeare's other sonnets. Purdum continues his argument stating that maybe because Shakespeare was writing about the Dark Lady, that his poor quality sonnet was caused by his growing infatuation with the Dark Lady. Purdum, and other critics such as, Barbara A. Mackenzie believe that Shakespeare's immense infatuation with the Dark Lady lead to Shakespeare failing to correct his mistakes within Sonnet 128.

title: Sonnet 109

text: Sonnet 109 was originally published in 1609 with the rest of Shakespeare's sonnets as a collection dedicated to "Mr. W.H." and now referred to as the 1609 Quarto or Quarto 1. Sonnet 109 belongs to the group of sonnets (1-126) that are commonly categorized as "sonnets to a fair youth." This group of sonnets, according to Arthur F. Marotti, "consists of poems written to a younger man who is clearly treated as a patron". The identity of this young patron, who is likely the "Mr. W.H." to whom Shakespeare dedicated the sonnets, is considered by many historians and Shakespearean analysts to be Henry Wriothesley, third Earl of Southampton. Martin Green supports this hypothesis with the evidence that Shakespeare never wrote dedications in of his works to any person besides Wriothesley. Shakespeare's relationship with this young man as interpreted from this group of sonnets is not entirely clear; his words of love and affection could be a bid for more favor, or as Judith Kegan Gardiner maintains, a true love that surprised and startled Shakespeare. Even if Shakespeare's sonnets are accepted as an expression of genuine love, there is still no consensus in academia whether this love was sexual in nature. Many critics argue that Shakespeare was homosexual, while others maintain that he was heterosexual, including the noteworthy Shakespeare analyst A. L. Rowse, who has claimed "Shakespeare is the bawdiest of the Elizabethan dramatists, with the natural bawdy of the highly sexed normal heterosexual".

title: Sonnet

text: It was, however, Sir Philip Sidney's sequence "Astrophel and Stella" (1591) that started the English vogue for sonnet sequences. The next two decades saw sonnet sequences by William Shakespeare, Edmund Spenser, Michael Drayton, Samuel Daniel, Fulke Greville, William Drummond of Hawthornden, and many others. These sonnets were all essentially inspired by the Petrarchan tradition, and generally treat of the poet's love for some woman, with the exception of Shakespeare's sequence of 154 sonnets. The form is often named after Shakespeare, not because he was the first to write in this form but because he became its most famous practitioner. The form consists of fourteen lines structured as three quatrains and a couplet. The third quatrain generally introduces an unexpected sharp thematic or imagistic "turn", the volta. In Shakespeare's sonnets, however, the volta usually comes in the couplet, and usually summarizes the theme of the poem or introduces a fresh new look at the theme. With only a rare exception (for example, Shakespeare's Sonnet 145 in iambic tetrameter), the meter is iambic pentameter.

title: Shakespeare's sonnets

text: In Shakespeare’s early comedies, the sonnets and sonnet-making of his characters are often objects of satire. In Two Gentlemen of Verona, sonnet-writing is portrayed cynically as a seduction technique.[76] In Love’s Labour's Lost, sonnets are portrayed as evidence that love can render men weak and foolish.[77] In Much Ado About Nothing, Beatrice and Benedick each write a sonnet, which serves as proof that they have fallen in love.[78] In All’s Well that Ends Well, a partial sonnet is read, and Bertram comments, “He shall be whipp’d through the army with this rhyme in’s forehead.”[79] In Henry V, the Dauphin suggests he will compose a sonnet to his horse.[80]

title: Sonnet 145

text: Stephen Booth brings up an interesting point that other critics had not really mentioned. He says that a lot of people hope that it is not part of Shakespeare's work due to the odd way in which it was written, "One cannot be certain that the sonnet is Shakespeare's, but the effect it describes- that of being surprised by a sentence that signals one direction and then takes another- is an effect that Shakespeare is very fond of actually achieving in his reader" (500). He seems to believe that this sonnet is Shakespeare's based on the effects that this sonnet evokes.[4] In Schoenfeldt's article he quotes the poet Peter Levi who supports Booth's view some do not want this to be Shakespeare's sonnet by saying, "The unusual and light metre of this sonnet, combined with its trivial theme, might sway a reasonable critic to believe that the poem is early and the pun intended...I find it almost too tasteless to credit, but not quite" (Levi 1988:40).[5] Levi says that as a poet he cannot see how this is something that Shakespeare would want credited to his work considering how different and mediocre this sonnet is to all of his other ones. Even though some critics do not like attributing this work to Shakespeare, it is hard to ignore even with its different format, the similarities it has to other sonnets Shakespeare has written.