text:
George Washington and the Continental Congress
Nature and Uses
Uses of Sound
Meter—the Measure of a Line
Syllable-stress lines
Strong-stress meters
Other meters
Nonmetrical poetry
Flexible and Inflexible Patterns
Set patterns
Indefinite length
Kinds of Poetry
Origins and Development
Buddhika Weerasinghe—Getty Images News/Thinkstock
The sounds and syllables of language are combined by authors in distinctive, and often rhythmic, ways to form the literature called poetry. Language can be used in several ways to tell a story, marvel at the wonders of nature, explain the universe, give advice, or ponder the mysteries of life and death. Among these ways are the novel, short story, essay, and dramatic tragedy and comedy. All these can be defined rather easily, and each has qualities that separate it from the rest.
Christiane St-Pierre, Festival International de la Poesie
Poetry is much harder to define, though it is perhaps more recognizable than other literary forms. In print poetry has a markedly different appearance from other types of literature. This difference may help to define the characteristics that separate it from the other types. This article is written in prose, though portions of many poems are included in it. Prose fills a page, while poetry ordinarily does not. It is usually printed in stanza form, much as songs are. The contrast between poetry and prose can be seen by comparing the first stanza of Old Ironsides by Oliver Wendell Holmes with the text surrounding it. He wrote the poem in 1830 as a protest against the proposed demolition of the Constitution, a ship from the War of 1812.
Ay, tear her tattered ensign down!
Long has it waved on high,
And many an eye has danced to see
That banner in the sky;
Beneath it rung the battle shout,
And burst the cannon's roar;—
The meteor of the ocean air
Shall sweep the clouds no more!
Poetry is usually recognizable by its dependence on syllable, foot, line, and stanza—four of the technical terms that pertain to structure. It is unlikely that any other kind of literature has as many technical terms associated with it as does poetry—such terms as meter, rhyme, assonance, consonance, and alliteration. There are also terms to define specific kinds of poems—lyric, elegy, ode, epic, ballad, dramatic, narrative, and didactic.
Not all poems have the regular rhythm and rhyming of Old Ironsides. Some poems read almost like prose, though their printed appearance makes the difference evident. Another poem about a sea vessel, Walt Whitman's The Dismantled Ship (1888), is a striking contrast to the stanza by Holmes:
In some unused lagoon, some nameless bay,
On sluggish, lonesome waters, anchor'd near the shore,
An old, dismasted, gray and batter'd ship, disabled, done,
After free voyages to all the seas of earth,
haul'd up at last and hawser'd tight,
Lies rusting, mouldering.
The purposes of poetry are highly diverse. Some poems are meant to entertain, others to inform. Some teach a moral, while others serve as the basis of meditation. The Psalms in the Bible are poems that can be set to music for singing. Hymns used in Christian churches are also poems set to music. Other literary forms may serve similar purposes, but poetry does it in the fewest and best-chosen words for the occasion; or, as stated by Samuel Taylor Coleridge, "the best words in their best order," instead of just words in their best order, as he described prose.
From The Real Mother Goose, illustrated by Blanche Fisher Wright, 1916
At its simplest level poetry consists of children's rhymes (see nursery rhyme). At a deeper level poetry tries to address the human condition and to express some universal truth. Henry David Thoreau in his Journal remarked: "Poetry implies the whole truth, philosophy expresses a particle of it." The American Unitarian clergyman William Ellery Channing made a similar statement in verse:
Most joyful let the Poet be;
It is through him that all men see.
The Latin writer Horace called poets "the first instructors of mankind." The English poet Percy Bysshe Shelley was somewhat more eloquent on the matter of poetic truth in his Ode to the West Wind:
Drive my dead thoughts over the universe,
Like withered leaves to quicken a new birth!
And, by the incantation of this verse,
Scatter, as from an unextinguished hearth
Ashes and sparks, my words among mankind!
Be through my lips to unawakened earth
The trumpet of a prophecy!
To associate poetry with truth is not to imply that everything a poet says is an eternal truth. It only suggests that the poet, like every other writer, perceives his world in common with everyone else but sees perhaps better than others the meaning of events, nature, and life itself. The American poet Robert Frost believed that: "In literature it is our business to give people the thing that will make them say, 'Oh yes I know what you mean'. It is never to tell them something they don't know, but something they know and hadn't thought of saying."
When poets speak the truth to the best of their ability, they are trying to enlighten, teach, warn, or advise—sometimes all four at once. Examples abound—from the ancient world to the present—of poems that undertake these goals.
Homer's Iliad presents what was for the Greeks their earliest history (see Homeric legend). A century or more later the poet Hesiod tells the stories of the gods in his Theogony and gives sound advice on how to live in Works and Days. During the 5th century bc the Greek dramatists wrote their masterpieces of tragedy and comedy in verse.
In the Hebrew Bible (or Old Testament) the writers of wisdom used poetic maxims to explore the nature of human relationships. The Book of Proverbs consists mostly of unrhymed couplets (two-line poetic statements) used to make a point:
A fool hath no delight in understanding,
But that his heart may discover itself.
Pride goeth before destruction,
And a haughty spirit before a fall.
In a similar manner the words of the great Hebrew prophets have come down to the present mostly in poetic form.
Early in the Renaissance the Italian poet Dante used his skills to compose the Divine Comedy, a literary landmark that captures the spirit of medieval Christianity. Three hundred years later William Shakespeare used dramatic poetry in his great tragedies such as Hamlet and Macbeth. In the 17th century John Milton composed the long, epic poem Paradise Lost to retell the Biblical creation narrative—itself a poem. In the next century Alexander Pope gave the Enlightenment view of the universe and humanity's place in it in his Essay on Man, which contains the famous lines:
Know then thyself, presume not God to scan;
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Created half to rise, and half to fall;
Great lord of all things, yet a prey to all;
Sole judge of truth, in endless error hurled:
The glory, jest, and riddle of the world!
Some truths have been expressed in a much lighter, almost humorous way. In 1824 Lord Byron composed the following poem—as relevant to the present as to his own time:
When a man hath no freedom to fight for at home,
Let him combat for that of his neighbors;
Let him think of the glories of Greece and of Rome,
And get knocked on his head for his labors.
To do good to mankind is the chivalrous plan,
And is always as nobly requited;
Then battle for freedom wherever you can,
And, if not shot or hanged, you'll get knighted.
A poem is almost captive to the language in which it is written. Novels, essays, and reports can be translated—though sometimes with difficulty. It is more difficult, perhaps impossible, to translate a poem adequately. A poem is not just a compilation of words; it is words put together to create sound patterns and certain rhythms that together produce a specific effect. The sounds and rhythms are peculiar to the language, and each language has its special qualities. Poems are meant to be read aloud—that was their first use. To carry over the same, or even similar, sounds and rhythms into another language is very difficult.
The problem of translation becomes especially acute if a poet uses dialect or unusual sound effects. Dialects are unique to a language. In 1846 James Russell Lowell published a lengthy poem as one of the Biglow Papers, a series of papers that satirized the Mexican-American War. Lowell was a Northern abolitionist who was convinced that the territories won in the war would be used to extend the institution of slavery. The poem is written in a crude, but effective, frontier dialect.
They jest want this Californy
So's to lug new slave-states in
To abuse ye, an' to scorn ye,
An' to plunder ye like sin.
Aint it cute to see a Yankee
Take sech everlastin' pains,
All to get the Devil's thankee
Helpin' on 'em weld their chains?
Dialect such as this is nearly impossible to translate and still keep the effect of the original.
Equally challenging are the striking combinations of sound achieved by Edgar Allan Poe and Vachel Lindsay. Poe's well-known poem The Raven tells a story, but the impact of the poem is its sound and rhythm—an effect that is heightened by the internal rhymes and ending rhymes, especially the words that rhyme with "nevermore" to give a sense of impending doom.
But the Raven still beguiling my sad fancy into smiling,
Straight I wheeled a cushioned seat in front of bird and
bust and door;
Then, upon the velvet sinking, I betook myself to
Fancy unto fancy, thinking what this ominous
bird of yore— —
What this grim, ungainly, ghastly, gaunt, and ominous
bird of yore
Meant in croaking "Nevermore."
The amazing sound effects achieved by Vachel Lindsay in General William Booth Enters into Heaven and The Congo would be even more difficult to carry over into another language because the distinctive sounds would be lost in translation. (See also figure of speech, "Alliteration and Onomatopoeia.")
Apart from dialect and sound devices, some experimental poetry uses words in such distinctive ways that translation is out of the question. The 20th-century U.S. poet E.E. Cummings was highly innovative in his word combinations as well as in his general refusal to use capital letters. It is hardly possible to think of the following lines in a language other than English:
what if a much of a which of a wind
gives the truth to summer's lie;
Poems learned by children in preschool or early in grade school tend to have many rhyming words. Henry Wadsworth Longfellow's Paul Revere's Ride has long been taught in American schools.
Listen, my children, and you shall hear
Of the midnight ride of Paul Revere,
On the eighteenth of April, in Seventy-five;
Hardly a man is now alive
Who remembers that famous day and year.
A rhyme is created by a pair of words that end with the same sound but begin differently. Thus "ring" and "sing" rhyme, but "sore" and "soar" do not make a rhyme because they have identical initial letters.
In words of more than one syllable, the rhyme must be where the emphasis, or accent, is. Thus "ailing" and "failing" create a rhyme because the emphasis in each word is on the same syllable—the "ail" sound. But "ailing" and "thing" are not a true rhyme because the emphasis in one is on "ail," while the emphasis in the other is on the "ing" sound. Rhymes in general should appeal to the ear, not the eye; though in English there is a limited class of words that on a page rhyme to the eye while having a slightly different sound—"moving" and "roving," "wear" and "dear."
Close to the notion of rhyme is assonance—words like shadow and meadow, with similar but not identical sounds. Elinor Wylie used assonantal words in her Grace Before Meat:
Suppose, when you're lonely,
There's nought in your kettles
But bread broken stonily
And serpentish victuals
The assonance occurs with the words lonely and stonily, kettles and victuals (pronounced vittles).
Consonance is another useful sound device. It is a relationship between words whose last accented vowels are similar but not identical—"spelling" and "spilling," "grain" and "green," "dance" and "dunce." In each case the consonants before and after the accented vowel are identical. Wilfred Owen used consonance with great effect in Strange Meeting:
It seemed that out of battle I escaped
Down some profound dull tunnel, long since scooped
Through granites which titanic wars had groined.
Yet also there encumbered sleepers groaned,
Too fast in thought or death to be bestirred.
Then, as I probed them, one sprang up, and stared
With piteous recognition in fixed eyes,
Lifting distressful hands as if to bless.
The consonance occurs in the last words of the lines: escaped, scooped; groined, groaned; bestirred, stared; eyes, bless.
Assonance, consonance, and exact rhyming depend on vowel sounds. The use of alliteration depends on consonants at the beginning of a word. The first sentence of Poe's short story The Fall of the House of Usher begins: "During the whole of a dull, dark, and soundless day." The consonant D is the most prominent letter and sound. It is also possible to use consonant sounds while the initial letters of words differ. Percy Bysshe Shelley did so in Stanzas Written in Dejection, Near Naples:
The City's voice itself is soft like Solitude's.
In this line the S sound predominates because the C in City is pronounced as S.
The literary device called onomatopoeia means using words whose sound suggests their sense. A phrase such as "the buzzing of busy bees" is not only alliterative, but also conveys the sounds made by bees. Poe's The Bells is one of the most successful experiments in onomatopoeia, and Vachel Lindsay used it dramatically in The Congo.
Music has sound, but it also has rhythm. Lines of poetry too have rhythms in addition to the sound effects created by the words. The rhythms of poetry are evident when the lines are read aloud. As stated earlier, the basic components of many poems are syllable, foot, line, and stanza. It is the accenting of the syllables within a line that creates the rhythm, and the rhythm in a line is measured by the meter. Some meters are of a definite length; others are variable.
On a page, lines of poetry may appear quite similar. When read aloud, the accenting of the syllables indicates the varying meters. Just as words are composed of syllables, so too are lines of poems. A group of syllables constitutes a foot. The number of feet determines the measure of a line. Most poetry follows the syllable-foot-line structure, though accenting may vary according to the type of meter used. Nonmetrical poetry is covered at the end of this section.
To understand the terminology of syllables, feet, and meters, it is helpful to see lines of poetry.
Once more unto the breach, dear friends, once more;
Or close the wall up with our English dead.
are two lines from Shakespeare's Henry V. Pronouncing them reveals that there are ten syllables making up five feet in each line. Each line is thus considered a pentameter, or five-foot, line. Other measures have similar names: monometer (one foot), dimeter (two feet), trimeter (three feet), tetrameter (four feet), hexameter (six feet), heptameter (seven feet), octometer (eight feet), and nonometer (nine feet).
The first two syllables in the first line are Once more, and the accent falls on the more. The stressed and unstressed syllables in a poetic foot are rather like the dots and dashes in the Morse code. In scanning poetry—analyzing it for its rhythm—the stressed and unstressed syllables are usually represented by the following signs:
Feet are made up of combinations of stressed and unstressed syllables.
If the Shakespeare lines are reprinted with the accent marks, it is easier to hear how the stressed and unstressed syllables make up a pentameter line.
The five-foot line with unstressed syllables followed by stressed syllables is called iambic pentameter. This meter, when unrhymed as it is here, is called blank verse. Iambic is one of the seven most common syllable-stress meters. The others, with their signs representing stress or lack of it are: trochee ( ′ ˘ ), anapest ( ˘ ˘ ′ ), dactyl ( ′ ˘ ˘ ), spondee ( ′ ′ ), amphibrach ( ˘ ′ ˘ ), and amphimacer ( ′ ˘ ′ ). The iambic, trochee (or trochaic), and spondee are two-syllable feet, while the others have three syllables each. These meters were the norms for English-language poetry from the 16th through the late 19th century. To assist in remembering the different meters, Samuel Taylor Coleridge composed a verse:
Trochee trips from long to short;
From long to long in solemn sort
Slow spondee stalks; strong foot! yet ill able
Ever to come up with dactyl trisyllable.
Iambics march from short to long—
With a leap and a bound the swift Anapests throng;
One syllable long, with one short at each side,
Amphibrachys hastes with a stately stride;— —
First and last being long, middle short, Amphimacer
Strikes his thundering hoofs like a proud highbred racer.
Coleridge has conveniently written every line to match the meter he is describing. Thus the rhythms of the first and fifth lines, for instance, are completely opposite.
The four principal feet found in English verse are the iambic, trochaic, dactylic, and anapestic. Examples of these four types, with accent marks, follow.
Iambic pentameter, from Alexander Pope's Essay on Man:
Trochaic tetrameter, from Longfellow's Psalm of Life:
Dactylic tetrameter, from John Dryden's An Evening's Love:
Anapestic tetrameter, from Lord Byron's The Destruction of Sennacherib:
It is possible, as many poets have done, to write a whole poem in the same meter. It is probably as common for poets to vary the meter within a poem—to alternate iambic pentameter with iambic tetrameter, for instance—or to use different types of meter entirely to avoid the monotonous sing-song effect so evident in Longfellow's Psalm of Life.
During the 19th century the traditional meters of English poetry were challenged by such writers as Gerard Manley Hopkins in England and Walt Whitman in the United States. They often used lines measured by the count of stresses alone. Thus the number of feet per line becomes irrelevant. The strong-stress line is actually much older than the syllable-stress meter. It was used in the Old English epic Beowulf (about ad 1000) and in William Langland's poem Piers Plowman (14th century):
In a summer season when the sun was mild
I got myself up in garb as though I'd grown into a sheep;
In the habit of a hermit, unholy of works,
I went wide in the world, watching for wonders.
When these lines are read aloud, the stress falls naturally on certain syllables, and there are about the same number of stresses in each line. Hopkins used strong-stress meter in much of his poetry. The following lines are from Spring:
Nothing is so beautiful as Spring—
Whitman, in one of his well-known Civil War poems, uses a similar stress pattern:
Come up from the fields father, here's a letter from our
And come to the front door mother, here's a letter
from thy dear son.
Poets of the 20th century—including Ezra Pound, T.S. Eliot, and W.H. Auden—perpetuated the strong-stress meter in their works.
Apart from nonmetrical poetry, which is discussed below, most English-language verse relies on syllable-stress or strong-stress meters. Other languages, because of differences in word accentuation or verb and noun endings, use purely syllabic meters. This is true especially of French, Italian, and Spanish verse. In some French poetry the 12-syllable line is the dominant form. It must be noted that French words themselves have no accented syllables. The following line from a stanza by the 17th-century writer Jean Racine contains 12 syllables:
O toi, qui vois la honte où je suis descendue,
(O you, who see the shame into which I have descended)
A comparable ten-syllable English line from a translation of the 14th-century Italian poet Petrarch reads as follows:
The long love that in my thought doth harbor,
In such poems only the count of syllables is fixed; the stresses are variable.
Much of classical Greek and Latin poetry was written in hexameters—lines of six feet, usually in dactyls. The classical model can be adapted to German poetry more easily than to English because the German language still has many inflected words (changes in noun and verb endings). In the United States, Longfellow made use of classical hexameter in Evangeline:
Generally, however, it has proved quite difficult to adapt classical meter to English verse. Even Longfellow's attempt, upon examination, appears to be a syllable-stress line of five dactyls ending in a final trochee.
A literary style in French poetry called vers libre, or free verse, began in the 1880s. A number of English-speaking authors were influenced by it, and free verse became common among 20th-century poets—including Carl Sandburg, William Carlos Williams, Marianne Moore, and Wallace Stevens. Free verse has no regular metrical scheme. Its rhythms derive from the sounds, words, phrases, and stanzas. Some free verse is so like casual speech that it is difficult to recognize as poetry. Much of Whitman's poetry is also characterized by free verse, though most of his poems were written before the movement arose. The following lines are from his There Was a Child Went Forth:
There was a child went forth every day,
And the first object he look'd upon, that object he became,
And that object became part of him for the day
or a certain part of the day,
Or for many years or stretching cycles of years.
Sandburg was a master of free verse, as in the opening lines from I Am the People, the Mob:
I am the people—the mob—the crowd—the mass.
Do you know that all the great work of the world
is done through me?
I am the workingman, the inventor, the maker of the
world's food and clothes.
Sandburg, instead of using normal stanzas, often put his lines into paragraphs. One may occasionally find that a whole paragraph of Sandburg's poetry consists of one very long punctuated line.
Poetry, because it is so broad a literature, has developed many forms and patterns. Some of these allow for a good deal of flexibility, while others are quite rigid. There are some poems and parts of poems, for example, of quite definite length. In some languages the rules for length must be followed precisely, as in the Japanese haiku. Other types can be of any length. There are specific types of stanzas as well.
Of all the set patterns in English poetry, the sonnet is the best known. It consists of 14 lines of iambic pentameter, rhymed usually in one of two ways. Richard Watson Gilder composed a sonnet on the characteristics of sonnets:
What is a sonnet? 'Tis the pearly shell
That murmurs of the far-off murmuring sea;
A precious jewel, carved most curiously;
It is a little picture, painted well.
What is a sonnet? 'Tis the tear that fell
From a great poet's hidden ecstasy;
A two-edged sword, a star, a song—ah me!
Sometimes a heavy-tolling funeral bell.
This was the flame that shook with Dante's breath;
The solemn organ whereon Milton played
And the clear glass where Shakespeare's shadow falls;
A sea this is—beware who ventureth!
For like a fiord the narrow floor is laid
Mid-ocean deep sheer to the mountain-walls.
This kind of poem is called an Italian, or Petrarchan, sonnet after the 14th-century Renaissance humanist Petrarch. It has an eight-line stanza followed by a six-line conclusion. The other type of sonnet is the English, or Shakespearean, sonnet. It consists of three four-line stanzas, called quatrains, and one two-line stanza, or couplet. The first eight lines of any sonnet are called the octave, the last six the sestet.
Other poetic forms—such as the ballade, villanelle, rondeau, and rubai—also follow very strict patterns. The rubai, or robaʾi in Persian, is interesting in that it is a Persian form that was adapted as the quatrain in English (see Islamic literature, "The Persian Influence"). By far the most famous examples are those translated as The Rubáiyát of Omar Khayyám by Edward FitzGerald. These poems differ from other quatrains in that each has its own subject matter. These are among the better known:
The Worldly Hope men set their Hearts upon
Turns Ashes—or it prospers; and anon,
Like snow upon the Desert's dusty Face,
Lighting a little hour or two—is gone.
The Moving Finger writes, and, having writ,
Moves on; nor all your Piety nor Wit
Shall lure it back to cancel half a Line,
Nor all your Tears wash out a Word of it.
And that inverted Bowl they call the Sky,
Whereunder crawling cooped we live and die,
Lift not your hands to It for help—for It
As impotently moves as you or I.
In Japan the haiku and tanka are kinds of poems of fixed length. Another English type is the limerick, a self-contained five-line stanza. Limericks are poems in which the first, second, and fifth lines have one rhyming pattern, while the third and fourth lines have another. The first collection of limericks in English was published in about 1820. They were popularized by Edward Lear in his Book of Nonsense (1846), and other authors have also tried their hand at the form.
The shortest stanza is the couplet, two lines of rhyming verse. There are several varieties of couplets. In English verse the heroic couplet is two rhymed lines in iambic pentameter. Alexander Pope, the superb technician of the 18th century, wrote largely in heroic couplets:
A little learning is a dangerous thing.
Drink deep, or taste not the Pierian spring.
The couplet need not stand alone as a stanza. It may, with other couplets, make up longer stanzas.
A triplet, as its name implies, is a three-line verse. A quatrain has four lines and may consist of two couplets.
Another definite verse type is the Spenserian stanza, named after Edmund Spenser, author of The Faerie Queene. This form is often used to tell a story. Each separate stanza consists of eight lines of iambic pentameter and a line of iambic hexameter at the end. The hexameter line is called an Alexandrine line. The following example of the Spenserian stanza is from Lord Byron:
Roll on, thou deep and dark blue Ocean—roll!
Ten thousand fleets sweep over thee in vain;
Man marks the earth with ruin—his control
Stops with the shore;—upon the watery plain —
The wrecks are all thy deed, nor doth remain
A shadow of man's ravage, save his own,
When for a moment, like a drop of rain,
He sinks into thy depths with bubbling groan,
Without a grave, unknell'd, uncoffin'd, and unknown!
The longest poems of indefinite length are epics such as the ancient Mesopotamian Gilgamesh epic, Homer's Iliad, and Virgil's Aeneid. The world's longest epic is the Hindu Mahabharata, or Great Epic of the Bharata Dynasty. It consists of nearly 100,000 couplets (see Indian literature). The epic contains within it the better-known Bhagavadgita, or The Lord's Song. The other great Hindu epic, the Ramayana, is shorter—consisting of only 24,000 couplets. In U.S. literature one work that approaches epic length is Stephen Vincent Benét's John Brown's Body, a long narrative poem about the American Civil War.
Blank verse—unrhymed lines of iambic pentameter—is a type of poetry that has lent itself to compositions of greater or shorter length as circumstances demand. Much of Shakespeare's drama was written in blank verse, as was John Milton's Paradise Lost. Although much shorter than epics, English odes are of indefinite length, and they are arranged in stanza form. The stanzas are ten lines long and normally have a rhyming pattern. The second stanza of John Keats's Ode on Indolence is an example:
How is it, shadows, that I knew ye not?
How came ye muffled in so hush a masque?
Was it a silent deep-disguised plot
To steal away, and leave without a task
My idle days? Ripe was the drowsy hour;
The blissful cloud of summer-indolence
Benumb'd my eyes; my pulse grew less and less;
Pain had no sting, and pleasure's wreath no flower.
O, why did ye not melt, and leave my sense
Unhaunted quite of all but—nothingness?
As literature, poetry can be put to many uses—from telling long stories to presenting some small insight by the author. The uses of poetry have led to the development of different literary types. Among them are the narrative, dramatic, and lyric.
Narrative poetry, like long fiction, tells a story. Best known among narrative works are the Greek epics—the Iliad and the Odyssey. The Bible's Book of Job is also a narrative. The anonymous Song of Roland is a narrative from the Middle Ages. Later examples of the type are Sir Walter Scott's The Lady of the Lake, Longfellow's The Courtship of Miles Standish, and Benét's John Brown's Body. Shorter narrative poems include Robert Browning's The Pied Piper of Hamelin and Robert Frost's The Death of the Hired Man.
Dramatic poetry is nearly as old as the narrative form. The Greek dramatists Aeschylus, Sophocles, and Euripides were outstanding tragedians whose works have never been surpassed. Aristophanes was the great writer of comedic drama. In English, Shakespeare is considered the most outstanding of dramatists. Such later poets as John Dryden, Percy Bysshe Shelley, and Robert Browning wrote verse plays. In the 20th century Christopher Fry, T.S. Eliot, and W.H. Auden produced verse dramas. Eliot's Murder in the Cathedral has been staged frequently, and his Cocktail Party also appeared on Broadway. Auden wrote For the Time Being, called a Christmas oratorio. Fry's most notable play was The Lady's Not for Burning.
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Lyric poems are so called because they were originally meant to be set to music accompanied by an instrument called the lyre. Lyric poems, the most common type in English, are shorter than narrative and dramatic works. They express the poet's thoughts or feelings on a single subject. The sonnet is one of the best forms of lyric poetry, a field in which Shakespeare was an expert. Other great lyric writers were Petrarch, John Milton, and Edmund Spenser. Poets of the 18th and 19th centuries who excelled in this type were William Blake, William Wordsworth, John Keats, Percy Bysshe Shelley, Victor Hugo, and Heinrich Heine.
Among other types of lyric poetry, two forms stand out: the ode and the elegy. Odes were originally meant to be sung or chanted like the choral odes in Greek drama. Odes are usually addressed to a person, thing, or quality. Examples include Wordsworth's Ode to Duty, Keats's Ode on a Grecian Urn, and Shelley's Ode to the West Wind.
Elegies are poems written about death or in memory of someone. Thomas Gray's Elegy Written in a Country Churchyard, with death as its theme, is perhaps the best known of the type. In a similar vein is William Cullen Bryant's Thanatopsis. Shelley's Adonais was written in memory of Keats, and Whitman's When Lilacs Last in the Dooryard Bloom'd mourns Abraham Lincoln's death. Some 20th-century elegies included A.E. Housman's To an Athlete Dying Young, Auden's In Memory of W.B. Yeats, and Dylan Thomas' elegy for his father, Do Not Go Gentle into That Good Night.
William Congreve, in his dedication to The Way of the World (1700), called poetry "the eldest sister of all art, and parent of most." Congreve's assessment is correct. Before language was written, it was spoken. The earliest religious songs and incantations were in poetic form. The same was true of stories telling the origin of the gods, of the Earth, and of a tribe. Verses of poetry are easier to remember and retell than is narrative prose. Thus the first great written literature was mostly poetic in form because it derived from a much older spoken tradition.
It was taken for granted that poetry, like all other creative human endeavors, is inspired—a gift of the gods. The books of the Hebrew Bible are considered to have been inspired by the God of Israel. For the Greeks the nine goddesses collectively referred to as the Muses were the sources of inspiration (see mythology, "Greek Mythology"). Erato was the Muse of lyric and love poetry; Melpomene inspired tragedy, Thalia comedy, and Calliope epic or heroic poetry.
The word poetry is derived from the Greek verb poiein, which means "to make" or "to create." It implies doing something creative. The words poet and poetry came into English usage in about the 14th century.
From the written evidence that has survived, it seems clear that poetry was first used for religious and political purposes. Virgil's Aeneid is an outstanding example. It tells the story of the founding of Rome. Two of Virgil's goals were to paint as splendid a picture as possible of Rome's beginnings and to predict the future greatness of the city under the emperor Augustus—the poet's main intended reader.
Well before Virgil's time, however, poetry had become partly detached from its religious and political functions. It gradually became free to develop as an entertainment form. Catullus, a Roman poet who lived a generation before Virgil, was a lyric poet who devoted many of his verses to the woman he loved. Juvenal composed powerful and humorous satires of Roman society.
During the Middle Ages, when Christianity dominated Europe, poetry largely served the interests of religion. With the Renaissance and the emergence of humanism in Italy, poetry again detached itself from a narrow use. Its subject matter became as varied as the world and the ideas of the poet would permit.
Throughout most of the centuries of poetry's existence, it has been directed to the public at large. This was especially true of the Greek dramas and comedies. It was still true for the works of Shakespeare and for other writers of the Elizabethan period and later. Poetry was meant to have a public impact, to affect events and to change people's minds. Since the end of the 18th century, there has been little poetry with a social influence. It has become significant for the solitary reader rather than for society as a whole. It is perhaps coincidental that the decline of poetry as a political influence began with the rise of the novel.
The loss of a wider audience did not mean a loss of quality in poetry or a reluctance of poets to speak out on sensitive issues. Matthew Arnold lamented the general loss of faith during the mid-19th century in his Dover Beach. Rudyard Kipling presented an ironic view of British and American imperialism in The White Man's Burden (1899):
Take up the white man's burden—
Send forth the best ye breed—
Go, bind your sons to exile
To serve your captives' need;
To wait, in heavy harness,
On fluttered folk and wild—
Your new-caught sullen peoples,
Half devil and half child.
The tragedy of World War I, in which such promising writers as Wilfred Owen and Rupert Brooke were killed, brought forth its share of often agonizing poetry. These poems endured to become a protest against all such violence. In Anthem for Doomed Youth Owen queried:
What passing-bells for these who die as cattle?
Only the monstrous anger of the guns.
Brooke seemed to predict his own fate in The Soldier:
If I should die, think only this of me,
That there's some corner of a foreign field
That is forever England.
Hardly 20 years had passed before W.H. Auden could ponder the onset of the next conflagration in September 1, 1939—the date Germany invaded Poland and set off World War II:
The unmentionable odour of death
Offends the September night.
Although poetry may have become a literature for private reading and selective tastes well before the 20th century, it has never lacked a readership. In the English-speaking world much of the credit for gaining and keeping readers was due to the appearance in October 1912 of the first issue of Poetry: A Magazine of Verse. The magazine was founded and edited by Chicago-born Harriet Monroe.
Because the appearance of the magazine coincided with the cultural ferment known as the Chicago Renaissance, it was instrumental in promoting the works of such new poets as Carl Sandburg, Edgar Lee Masters, Vachel Lindsay, and Sherwood Anderson. Ezra Pound served as foreign correspondent. Poetry presented to its readers all of the new styles and forms of modern verse, including Imagism, free verse, and Impressionism.
The Love Song of J. Alfred Prufrock by the then unknown poet T.S. Eliot was printed in the magazine in 1915. Experimental writings by Marianne Moore, Wallace Stevens, D.H. Lawrence, William Carlos Williams, and others filled the magazine's pages. The little journal survived both world wars to become a publication of international reputation. By 2002, Poetry had a circulation reaching all 50 states in the United States, as well as 45 other countries around the world.
The literature about poetry is vast. There are also numerous collections of works by individual authors and collections in every language. This selection is meant to be an introduction to the study of verse in English.
Abrams, M.H. and others, eds. The Norton Anthology of English Literature, 2 vols. (Norton, 1979). Auden, W.H., ed. The Oxford Book of Light Verse (Oxford, 1979). Boulton, Marjorie. Anatomy of Poetry, rev. ed. (Methuen, 1983). Hall, Donald. The Oxford Book of Children's Verse in America (Oxford, 1985). Matthiessen, F.O. The Oxford Book of American Verse (Oxford, 1950). Perlutsky, Jack, ed. The Random House Book of Poetry for Children (Random, 1983). Rukeyser, Muriel. The Life of Poetry (Paris, 1996). Stallworthy, Jon. The Oxford Book of War Poetry (Oxford, 1984). Williams, Miller. Patterns of Poetry (La. State Univ. Press, 1986).


text:
People with real fires told to stop dicking around and turn the f**king heating on
PEOPLE who spend hours making a fire have been reminded they could just put the bloody heating on.
Owners of open fires have been urged to give up battling with kindling, coal and logs while insisting 'It'll be worth it!' as everyone freezes their tits off.
Donna Sheridan, who has been waiting for her husband to light a fire for three hours, said: "I wanted a gas fire but apparently sitting in my coat all night watching someone dick about with a lighter is much better.
"He's piling up bits of wood and coal like he's Bear Grylls or something. Then when he finally gets it going he'll make us all go and look at it."
Psychologist Norman Steele said: "Man's fascination with fire dates back to caveman times when it was a matter of survival, not just having a trendy little wood-burning stove so you can feel middle class.
"So when someone builds a fire today, it's a lot like hunting a woolly mammoth. That's what dads think, anyway."
Sheridan's husband Gary said: "There's no substitute for a real fire for the ambience and creating a focal point in the room. Oh sod it. I just like burning stuff."
How to deal with arsehole relatives this Christmas
IF you're cursed with visiting relatives this Christmas it will inevitably harm your festive fun. Here's how to minimise the grief at this most joyous time of year.
Board game bastards
Board games are not only tedious but relatives always have their own bizarre version of the rules, eg. in Monopoly, every time you go to jail you get $500 for wrongful arrest.
Solution: Trivial Pursuit et al have been destroyed in a mysterious 'board game fire'. Doddery 85-year-old Auntie Lynne will just have to go on a steep learning curve with Call of Duty.
Outdoorsy tossers
Sure as night follows day some relative will want to go for a very long walk in the countryside, which won't be a delightful winter wonderland but instead more like a muddy yomp in the Falklands.
Solution: It was just on the radio that there's been an outbreak of anthrax. Looks like we'd better open more wine and watch Toy Story 3.
Teenagers who don't want to be there
This is actually fair enough, but standing in a corner texting and moodily sighing really isn't getting into the festive spirit.
Solution: Express grave concerns about your stocks of mince pies/bread sauce/milk and take the teens for a nostalgic evening of drinking cider and smoking crap weed in the park of their choice.
Joyless miseries
Every family has some miserable sod or soddette who just wants to whine about other people's child rearing or the central heating not coming on at 4am.
Solution: Lock them in a bedroom for the duration with a black-and-white TV, a bucket of water, some Jacob's Cream Crackers and a small piece of mild Cheddar. The misery will make it their best Christmas ever!
Political arguers
A family Christmas inevitably brings together people with opposing political views. Unfortunately after too many glasses of wine Uncle Steve and Uncle Pete will be going at it like Enoch Powell arguing with Trotsky.
Solution: Have a pre-prepared list of utterly insane political arguments that will disarm the combatants with their mentalness, eg. "Why aren't trees allowed to vote? Tell me that, Steve!"

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: SQL Server stored procedure script I am wondering if I can modify a generated script to copy data from 1 database to another. I used the "Generate scripts" tool and can I then take the latest run each time and create a stored procedure to then take latest tables and insert that into new database?
Source tables have an extension of _dateinfo. So table called ABC_05162016 would be on next run table ABC_06162016. Is there a way to take the original generated script and then update that last part 1 time instead of constantly selecting all the tables every time this is needed to be done?
Thanks for the help. Yes I have looked around for an answer to this but have not come across something like this. All deal with importing/exporting data or using Generated Script part. Thanks for the help.
If there is a better way then those 3 ways. I would appreciate knowing that as well.
Using SQL Server 2008.

redpajama_set_name: RedPajamaStackExchange


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Yilmaz, S. et al. Genotype-phenotype investigation of 35 patients from 11 unrelated families with camptodactyly-arthropathy-coxa vara-pericarditis (CACP) syndrome. Mol Genet Genomic Med 6, 230-248 (2018).
van der Ven, A. T. et al. A homozygous missense variant in VWA2, encoding an interactor of the Fraser-complex, in a patient with vesicoureteral reflux. PLoS One 13, e0191224 (2018).
Schrauwen, I. et al. A variant in LMX1A causes autosomal recessive severe-to-profound hearing impairment. Hum Genet 137, 471-478 (2018).
Warejko, J. K. et al. Whole Exome Sequencing Reveals a Monogenic Cause of Disease in ≈43% of 35 Families With Midaortic Syndrome. Hypertension 71, 691-699 (2018).
Simon, M. T. et al. Activation of a cryptic splice site in the mitochondrial elongation factor GFM1 causes combined OXPHOS deficiency. Mitochondrion 34, 84-90 (2017).
Jin, S. Chih et al. Contribution of rare inherited and de novo variants in 2,871 congenital heart disease probands. Nat Genet 49, 1593-1601 (2017).
Cai, Y. et al. Copy Number Changes Identified Using Whole Exome Sequencing in Nonsyndromic Cleft Lip and Palate in a Honduran Population. Birth Defects Res 109, 1257-1267 (2017).
Milunsky, A. et al. Diagnosis of Chronic Intestinal Pseudo-obstruction and Megacystis by Sequencing the ACTG2 Gene. J Pediatr Gastroenterol Nutr 65, 384-387 (2017).
Ng, B. G. et al. Encephalopathy caused by novel mutations in the CMP-sialic acid transporter, SLC35A1. Am J Med Genet A 173, 2906-2911 (2017).
Vivante, A. et al. Exome sequencing in Jewish and Arab patients with rhabdomyolysis reveals single-gene etiology in 43% of cases. Pediatr Nephrol 32, 2273-2282 (2017).
Marom, R. et al. Heterozygous variants in ACTL6A, encoding a component of the BAF complex, are associated with intellectual disability. Hum Mutat 38, 1365-1371 (2017).
Hamdan, F. F. et al. High Rate of Recurrent De Novo Mutations in Developmental and Epileptic Encephalopathies. Am J Hum Genet 101, 664-685 (2017).
Kariminejad, A. et al. Kaufman oculo-cerebro-facial syndrome in a child with small and absent terminal phalanges and absent nails. J Hum Genet 62, 465-471 (2017).
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Cornford, D., Schroeder, M. & Nabney, I. T., 19 Aug 2009, Engineering applications of neural networks. Beriln (DE): Springer, Vol. 43 CCIS. p. 113-142 30 p. (Communications in computer and information science; vol. 43).
Schroeder, M., Nabney, I. T. & Cornford, D., 25 Sep 2008, Birmingham: Aston University, 29 p.
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a little about the Salty "Pair"
Annika & Jorge Siemsen settled into life on Salt Spring Island in April 2016, moving from Vancouver and previously Brazil. They restored the property's 1938 farmhouse (where they now live), while living in the cozy caravan for 3 months together with their 2.5 yr old daughter and Annika's giant pregnant belly. In August 2016 their second daughter joined the family. Annika and Jorge decided to move to Salt Spring to hone in on their creative endeavours while living closer to nature. Annika grew up on Salt Spring Island from the time she was 11yrs old until she moved to NYC at 17 yrs old - so the island presented a familiar pace and an established home like appeal. Annika's parents are Chosen Foods Founder - Carsten Hagen and established artist - Ute Hagen who after living in Mexico for the past several years have also felt the pull to return to this special place. Annika, coming from a background as a writer and Script Supervisor in the Film Industry, felt it was time to focus on more personal and palpable creations to be closer to self - in her limited free time she will embark on explorations in mixed media, photography and linoprinting under her artist 'maiden' name Annika Hagen. Besides running all things Salty Pear, she also co-founded and runs L A M P - the International Lighting Design Competition out of Vancouver. Jorge Siemsen is a talented Architectural Designer who has completed over 12 high end residential homes in his home country of Brazil and now, as a permanent resident of Canada, has recently opened his studio on their Salt Spring Island property to begin accepting new work propositions.
Salty Pear Farm, Gallery and BnB aims to bring community together with possibilities of events, workshops, retreats and their "Salty Sauna Sundays for Your Soul". They look forward to all the possibilities their land can provide locals and visitors alike. More than anything, they look forward to raising their two daughters on this magical island, getting closer to nature and living a more sustainable existence.
Visit our neighbouring organic farms for bountiful selections of locally grown produce and farm goods - Chorus Frog Farm & Indigo Farm. In future, Salty Pear aims to tackle more farming ventures but in the meanwhile we are thrilled to be caring for the 30+ apple, pear, plum, peach & nut trees on our 5 acres.


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Greenwood teen shows resiliency winning USGA title
Once she started reading the tweets, she couldn't stop. But still, she won.
Greenwood teen shows resiliency winning USGA title Once she started reading the tweets, she couldn't stop. But still, she won. Check out this story on IndyStar.com: http://indy.st/2wvxYkz
Clifton Brown, IndyStar Published 6:22 p.m. ET Aug. 5, 2017 | Updated 9:25 p.m. ET Aug. 5, 2017
Center Grove junior Erica Shepherd, 16, tees off at Dye's Walk Country Club in Greenwood, Ind., Wednesday, August 2, 2017. Shepherd recently won the United States Golf Association's girls' junior championship in Missouri. Shepherd will play golf for Duke after high school.(Photo: Jenna Watson/IndyStar)Buy Photo
GREENWOOD, Ind. — The shameful part is that Erica Shepherd was wrongfully attacked on social media during the biggest tournament of her young career. The impressive part is that Shepherd prevailed. Not just by winning, but by handling a difficult situation with grace.
Almost everything about Shepherd, a native of Greenwood, Ind., seems older than 16. The powerful way she drives a golf ball. The maturity with which she speaks. Her focus seems unwavering — a junior at Center Grove High School, already committed to Duke on a golf scholarship, with dreams of one day playing on the LPGA Tour.
Controversy and criticism could have stopped Shepherd from winning the 2017 USGA girls junior championship July 30 in Augusta, Mo. But Shepherd would not give in. Her friends and family have been celebrating a prestigious national championship that spoke volumes about Shepherd's talent and resiliency. Unfortunately, it was also another example that the world of Twitter can be cruel.
"I probably shouldn't have read (comments on Twitter), but once I started, I just kept going," said Shepherd, reflecting on the criticism she received after her much-discussed semifinal win. "I'm 16. I care what people are saying about me. The whole night it kept getting worse. It was crazy."
Center Grove junior Erica Shepherd, 16, tees off at Dye's Walk Country Club in Greenwood, Ind., Wednesday, August 2, 2017. Shepherd recently won the United States Golf Association's girls' junior championship in Missouri. Shepherd will play golf for Duke after high school. (Photo: Jenna Watson/IndyStar)
Shepherd's semifinal match against Elizabeth Moon of Forrest City, Ark., televised on Fox Sports 1, drew national attention after its bizarre ending. The match ended on the first extra hole when Moon was penalized for sweeping her ball away before her short putt was conceded. It had looked as if Moon would win; she needed only to make a four-foot birdie putt to clinch the match.
Read more from Clifton:
Morten Andersen kicks way from Ben Davis to Pro Football Hall of Fame
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But Moon missed the putt. Then instead of tapping in for par, or asking Shepherd if the next putt was conceded, Moon quickly swept the ball away from the hole. That was a mental mistake. Shepherd had not yet conceded the putt. She wanted to, but Moon swept the ball away too rapidly.
"She had been making everything all day," said Shepherd, sitting at Dye's Walk Country Club in Greenwood, where she has spent much of her life playing golf. "I think the match is over. I closed my eyes and started crying. I'll close my eyes, wait to hear the ball drop, and then I'll look up and walk over and give her a hug and say, 'Good job.'
"I opened my eyes, and she's like dragging the putt back. I was so in shock that she missed the putt, I just stood there. My coach (Brent Nicoson) said, 'Did you give her that putt?'"
Erica Shepherd's caddie and coach Brent Nicoson, who is golf coach at the University of Indianapolis, said that Shepherd "was just an emotional wreck," after the putt controversy. "A lot of people just didn't totally understand the rules of golf. We've had a lot of apologies since. The golf world has rallied around her. But that night, it was tough." This photo was taken when Shepherd competed in the women's 2016 U.S. Open golf tournament. (Photo: Brian Spurlock, Brian Spurlock-USA TODAY Sports)
Shepherd had not. USGA officials on the course correctly gave Moon a one-shot penalty. The match was over. Shepherd had won, but she never wanted to win that way. She asked if they could keep playing, but it was too late for the putt to be conceded. It was Moon's error, not Shepherd's. Even if Nicoson had remained silent, USGA officials saw Moon's infraction and were obligated to enforce the penalty. Moon was devastated. So was Shepherd.
There should be no blame placed on @ericashepherd35 for this. Can't concede the putt after the fact. Just an unfortunate incident. https://t.co/XqXUwD5RF3
— HoosierGolfer.com (@Hoosier_Golfer) July 29, 2017
"I went over to Elizabeth and (told her) I would have given that to you, 100 percent," Shepherd said. "I just didn't have a chance. I was so in shock. It felt like a dream. A nightmare, honestly.
"After the fact, I knew that she was probably a mess. I mean, I never would have gotten over that. I went to the locker room to find her. She was on the bench crying. I'm crying. I give her a hug. She was like, 'I'm sorry.' I was like, 'I'm sorry.'
"That's the part that nobody knows, that me and her were good. It was the rules, it sucks, but me and her were good, so I thought that everything would be fine, because that's all that mattered in my mind."
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On Shepherd's ride back to the hotel, she reached for her phone to find her name blowing up on Twitter. Many people posting comments did not know Shepherd had wanted to play on. They implied she was happy to win that way, or that she had no intention of conceding the final putt. The nasty comments poured in. People tweeted that they hoped Shepherd would lose the championship match. Or that she showed poor sportsmanship. Or worse.
Center Grove junior Erica Shepherd, 16, poses for a portrait at Dye's Walk Country Club in Greenwood, Ind., Wednesday, August 2, 2017. Shepherd recently won the United States Golf Association's girls' junior championship in Missouri. Shepherd will play golf for Duke after high school. (Photo: Jenna Watson/IndyStar)
It was instant Twitter venom, aimed at a 16-year-old. It rattled Shepherd, who had a miserable night.
"She was just an emotional wreck," said Nicoson, golf coach at the University of Indianapolis. "A lot of people just didn't totally understand the rules of golf. We've had a lot of apologies since. The golf world has rallied around her. But that night, it was tough."
Shepherd did not feel any better when she woke up for her championship match against Jenny Chang from Cary, N.C.
"I was honestly worse," Shepherd said. "I had no energy. I was completely and emotionally drained. I checked my phone in the morning and there's some more things being said. I got to the course, probably in the worst frame of mind possible heading into a championship match. It was unreal, how bad my mind was."
A champion and her 🏆#USGirlsJuniorpic.twitter.com/RnYbn79sMY
— USGA (@USGA) July 29, 2017
But Chang made a gracious gesture and approached Shepherd as they prepared to tee off. Chang and Shepherd are friends from competing together in junior golf tournaments.
"She gave me a hug and asked, 'Are you OK?''' said Shepherd. "I said, 'Yeah,' But I broke down. Obviously I was not OK. She pulled back and said, 'Erica, you cannot let this affect you. This is the final match. Don't let that affect how you play today. Let's just go one-on-one, have a great time. Get that out of your head.'
"That's unreal how she did that. She's great. It helped me a ton. Just for her to say that, to know that she wanted me to play my best golf against her, that meant the world to me."
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Shepherd was further buoyed when she stared at the championship trophy standing by the first tee. She realized she had come too far, been through too much, to back off. She played like a champion and defeated Chang, 3 and 2.
Now Shepherd can finally exhale, and there could be more accolades for her this summer. She will compete in the U.S. Women's Amateur Aug. 7-13 in California, and will represent the United States as a member of the junior Solheim Cup team Aug. 14-16 in Iowa.
Center Grove junior Erica Shepherd, 16, watches her ball after teeing off at Dye's Walk Country Club in Greenwood, Ind., Wednesday, August 2, 2017. Shepherd recently won the United States Golf Association's girls' junior championship in Missouri. Shepherd will play golf for Duke after high school. (Photo: Jenna Watson/IndyStar)
Her older brother, Ethan, is also an accomplished junior golfer who will be a freshman on the team at Indiana University. Ethan is part of the reason Shepherd, who does everything else right-handed, is a lefty golfer.
"We'd hit balls on the range (as small children), and my dad would put a bucket of balls between us," said Shepherd. "So we'd have the same bucket. I had to (hit) left-handed."
Another example of how Shepherd adjusts. An admitted perfectionist, Shepherd said she used to practice as much as 12 hours a day. But she learned to focus more on quality of practice, and to listen to her body when she needed rest.
"She's more fresh when she plays in competitions now," said Nicoson. "She's had a rib out of place, a wrist injury, her back has bothered her at times. She needed to back off. I think just being fresh and taking care of her body, she feels better and has gotten better results.
"The support among the Indiana golf community for her has been huge. And in competition, she's wired a little bit different. I learned not to doubt her a long time ago."
Once Shepherd's name is engraved on the USGA trophy, it will be sent to her, and she will keep it for a year. Shepherd has not settled on where to display it.
"I was thinking not just in my room, but somewhere I can look at it every day," said Shepherd. "Maybe the kitchen counter."
Looking at Twitter has not always been fun for Shepherd. Looking at that trophy will be.
Follow IndyStar reporter Clifton Brown on Twitter: @CliftonGBrown.


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Q: Zend Framework 3 : How to route to specific controller by url In my module's module.config.php, I have something like this:
'controllers' => [
    'factories' => [
        Controller\MainappController::class =>
                Controller\Factory\MainappControllerFactory::class,
        //...
        Controller\VoucherController::class =>
                Controller\Factory\VoucherControllerFactory::class,
        //...
    ],
],
'router' => [
    'routes' => [
        'mainapp' => [
            'type'    => Segment::class,
            'options' => [
                'route' => '/mainapp[/:action[/:first_id][/:second_id]]',
                'constraints' => [
                    'action' => '[a-zA-Z][a-zA-Z0-9_-]*',
                    'id'     => '[0-9]+',
                ],
                'defaults' => [
                    'controller' => Controller\MainappController::class,
                    'action'     => 'index',
                ],
            ],
        ],
        'voucher' => [
            'type'    => Segment::class,
            'options' => [
                'route' => '/voucher[/:action[/:first_id][/:second_id]]',
                'constraints' => [
                    'action' => '[a-zA-Z][a-zA-Z0-9_-]*',
                    'id'     => '[0-9]+',
                ],
                'defaults' => [
                    'controller' => Controller\VoucherController::class,
                    'action'     => 'index',
                ],

            ],
        ],
    ],
],

voucher is new Controller in same module
I can go to public/mainapp,
but when I try to public/voucher
I have an Error

A 404 error occurred Page not found.

The requested URL could not be matched by routing.
Please let me know , what's wrong with this configuration.


04/04/2019 - 1. What is the Pan-European Personal Pension Product (PEPP) and what is this new legislation about?
European Commission - Fact Sheet Brussels, 4 April 2019 1. What is the Pan-European Personal Pension Product (PEPP) and what is this new legislation about? The pan-European personal pension product (PEPP) is a voluntary personal pension scheme that will offer consumers a new pan-European option to save for retirement.
21/03/2019 - The European Commission is today hosting a high-level conference on a global approach to sustainable finance.
21/03/2019 - The Commission welcomes the political agreement reached by the European Parliament and Member States on the core elements of the reform of the European supervision in the areas of EU financial markets including when it comes to anti-money laundering.
European Commission - Press release Brussels, 21 March 2019 The Commission welcomes the political agreement reached by the European Parliament and Member States on the core elements of the reform of the European supervision in the areas of EU financial markets including when it comes to anti-money laundering.
European Commission - Speech Brussels, 21 March 2019 Honourable Ministers, Excellencies, Ladies and Gentlemen, It is an honour to welcome you to Brussels and to this conference on a global approach to sustainable finance.


As the Labor Day weekend ends, school begins.
The Wisconsin DOT is urging motorists to raise their level of awareness as they commute to and from work, just as kids will be making their way to and from school.
"We just need to make sure everybody's careful, both the motorists, the pedestrians and the bicyclists. It's up to everybody, not just one or the other. "
Larry Corsi The Bureau of Transportation Safety's Pedestrian and Bike Safety Coordinator with the DOT, says it's important for motorists to keep an eye out for kids, and to follow the guidance of the crossing guards. They're out there for a reason.
"The law enforcement agency hires the crossing guard and they have control of all the intersections that they're working on."
Corsi says it's important to be mindful of your speed, small children on foot, and on bicycles. Also, Corsi says parents need to teach their kids to be responsible pedestrians and bicyclists.
When following a school bus; if it is stopped, you need to stop. State law shows that if its red lights are flashing, motorists must stop.


The exterior of the Edo Tokyo Museum in contrast with the history it contains.
To dive into the past time, the Edo-Tokyo Museum offers a representation of kakuki theater.
The many models of the Edo-Tokyo Museum depict the life of past ages.
Amazing contrast between this contemporary building and its interior that stages yesteryear Tokyo: immerse yourself in the history of the capital. Cubic and rectilinear forms of architecture fade quickly to display the history of the city through the centuries.
Welcome to Tokyo, formerly known as Edo, Japan's capital since 1868. The space and subdued lighting accentuate the disorientation caused by the discovery of costumes, buildings and objects of yesteryear. The "Japanese-style" welcome is an art here: particularly at the weekend, as soon as you arrive, volunteers guides will address you in your language to offer you a "private" visit. You will be introduced to the history of the city accompanied by aTokyoite that leads you quickly through the different spaces, punctuated with anecdotes and offering to take your photo in front of a yukata (light cotton kimono) or a doutaku (bronze bell).
Models, that less spectacular but very realistic, let you imagine the geographical organization of certain areas in past eras.
Continue your journey over the bridge that you can see from the beginning of the tour: the iconic Nihonbashi (本橋), a key place of passage and starting point of five major roads out of Edo, traced in the seventeenth century. In the museum, its reproduction seperates the two exhibitions of Tokyo during the Edo period (1603-1867) and the Meiji era (1868-1912).
And for those who wish to learn even more, the library and its 140 000 books are a good source of documentation. But beware: there's nothing like the museum and discovering the traces of the past, presented by a charming guide with supersonic speech!


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Retro Road Test: Toyota Corolla GT AE86
February 9, 2016 /1 Comment/in Car Reviews /by admin
If you're part of the Playstation generation, or a fan of The Fast and the Furious, the Corolla GT surely needs little introduction. This humble-looking coupe has become an icon, thanks to a revvy twin-cam engine, rear-wheel drive and propensity for going very sideways indeed.
Commonly known by its factory codename, AE86, the Corolla is a now bona fide classic car – with prices to match. But does the reality live up to the legend?
What are its rivals?
The AE86 is often described as the 'Japanese Mk2 Escort'. And while there are certainly similarities with the Ford – family-car DNA, tail-happy handling and a motorsport pedigree – the Toyota was launched in 1983, two years after production of the Mk2 ended. The Corolla's most obvious rivals (then and now – given the price of classic RWD Escorts) are 1980s hot hatches, such as the Peugeot 205 GTI, Renault 5 GT Turbo and Mk2 Volkswagen Golf GTI.
What engine does it use?
The Corolla GT has the same 125hp 1.6-litre engine as the original Toyota MR2. In a car weighing just 970kg (a new Ford Focus is 1,264kg), that means 'warm hatch' performance by today's standards. The 0-62mph dash takes 8.3 seconds and top speed is 122mph. A five-speed gearbox sends drive to the rear wheels, while suspension is MacPherson struts at the front and an old-fashioned live axle at the back.
What's it like to drive?
They say you should never meet your heroes. So, despite having spent many hours racing a virtual AE86 in Gran Turismo, we were prepared to be disappointed by the real thing. Fortunately, this is one eighties throwback that lives up to the hype.
Let's start with the twin-overhead-cam engine, which offers electric throttle response and revs all the way to a heady 7,700rpm. It sounds fantastic, too, the noise hardening to a visceral snarl as the tacho needle passes 4,500rpm. It's not fast by modern standards, but there's ample performance – if you're prepared to work for it.
However, the AE86 legend was built on the drift circuit, not the drag strip. And it's the way this car goes around corners that still gets enthusiasts excited. The unassisted steering feels wonderfully delicate, while a prod of the throttle adds a dash of easily-controlled 'steer from the rear'. We couldn't make the pilgrimage to Japan's Mount Fuji, but a few empty roundabouts near Crawley provided plenty of laugh-out-loud fun.
Well, it's a Toyota, so reliability comes as standard. That said, even the youngest AE86 is approaching 30 years old, so careful maintenance is crucial. A strong enthusiast following – including a very active AE86 Facebook group – should help with sourcing parts.
Toyota quotes fuel economy of 31.7mpg on the urban cycle, 45.6mpg at a constant 56mph and 34.9mpg at 75mph. However, don't expect to get anywhere near those figures if you drive the car hard.
Could I drive it every day?
Forget all the tyre-smoking mythology for a minute, At heart, the AE86 is still a Toyota Corolla. And that makes it a genuine daily-driver. There's ample space for four adults and a 255-litre boot (slightly smaller than a new Volkswagen Polo). The soft, velour-trimmed seats are a world away from the hard-backed buckets you'd find in a modern hot hatch, while the rear bench splits and folds for added practicality. Despite a lack of adjustment for the steering wheel, it's easy to get comfortable. We'd love to drive this car every day.
How much should I pay?
The Corolla may be the best-selling car of all time, but the AE86 is a relatively rare beast. And its cult status means prices have been creeping upwards; expect to pay well into five figures for a good one. We found just two listed in the classifieds, with the better example priced at £15,000. That kind of money buys used Toyota GT86 – the car's modern successor. That said, it's still cheaper than an equivalent Mk2 Escort.
What should I look out for?
As with any car from the 1980s, rust is a potential killer. Check the wheelarches, boot floor and scuttle panel (at the base of the windscreen) for signs of rot. Uneven panel gaps are a tell-tale sign of crash damage, so inspect these carefully, too. Remember, these cars don't have stability control – or any other electronic safety systems – so many will have left the road sideways at some point.
Service history could be patchy if the car has been imported from Japan. At the very least, you'll want to see a folder full of receipts and evidence the car has been garaged. Originality is key for preserving values, and indeed the purity of its RWD handling, so avoid modified examples if possible. And be wary of cars with interior and exterior trim missing – small parts can be difficult to source.
Should I buy one?
That's a tough one. We drove a selection of classic cars from Toyota's heritage fleet, including an original MR2 and a bonkers mid-engined Aygo. Yet the AE86 was the car we wanted to take home. It just looks so cool (especially to in-the-know petrolheads), and that analogue driving experience can't fail to make you grin. We'd have one in our dream garage, no question.
Back in the real world, though, a nearly-new GT86 offers similar thrills with all the convenience and reliability of a modern car. And it's a guaranteed future classic, too. Alternatively, you could pick up an original MR2 for around a third of the price. You pays your money…
Pub fact
The AE86 is nicknamed 'Hachi-Roku' – Japanese for 'eight-six'. The car seen here was known as the Corolla Levin GT in Japan, while a version with pop-up headlights was called the Sprinter Trueno.
Tim Pitt
Toyota Corolla GT AE86
Tags: AE86, Corolla, GT, Retro Road test, review, Toyota
https://i0.wp.com/www.motoringresearch.com/wp-content/uploads/2016/02/01_IMG_4379-1.jpg?fit=1366%2C768&ssl=1 768 1366 admin https://www.motoringresearch.com/wp-content/uploads/2018/12/mr-top-motoring.svg admin2016-02-09 13:19:472018-09-26 15:13:14Retro Road Test: Toyota Corolla GT AE86
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Molecular Biologist Finds Home in the Classroom
By Michaele Charles January 08, 2014
When Ann Riedl graduated from Case Western Reserve University with her Ph.D. in genetics in 1994, she wanted to cure cancer.
"I wanted to do research at that point," Ann admits. She received a post-doctoral fellowship at Boston University, where she started doing molecular biology research. Soon, she was asked to teach medical courses, which led to five years balancing teaching and research fifty-fifty.
But in 2003, Ann and her husband had their first child, and a job change for her husband brought them to Colorado. Although her new motherhood duties kept her plenty busy, Ann missed the professional environment. "I realized I wanted to teach, because I thought it would be a perfect fit for where I was in my life," she says. She learned about a part-time position at FRCC's Westminster Campus teaching a General Biology class, applied, and was hired in 2004.
Community College: A New (and Welcome) Setting
Having only taught medical students, coming to a community college was a totally different environment for Ann. But it didn't take long for her to feel she was where she belonged. Ann joined FRCC full time in 2009. The diversity of her students, she says, has helped her learn to be a better teacher. "It challenges me because we have such a variety of students here. Some of them have kids and jobs and parents to take care of, and yet they are going to school. They believe in this enough that they are overcoming all kinds of barriers to be here. I admire them."
Researching the Flipped Classroom
These days, Ann is researching how students learn. She was recently awarded a $14,000 grant by the FRCC President's Innovation Fund, a three-year program that has committed $450,000 toward projects that advance FRCC's strategic plan, Vision 2015. Her project: implementing the inverted classroom model, in which teachers "flip" the classroom by recording lectures that students can watch on their own and using class time to work through assignments and class concepts together.
Now that she's received the grant, Ann is planning to roll out the model in her General Biology classes in fall 2013. "This is such an amazing opportunity to make a difference in student success," says Ann. "I'm so grateful for the support and encouragement from Andy [Dorsey] and the rest of the administration." Ann will spend the 2012-2013 school year designing the program and recruiting other faculty to join the project.
Helping Students Realize Their Dreams
Although a community college isn't where she pictured herself when she got her Ph.D., Front Range is definitely home today. "I couldn't picture myself anywhere else," Ann says. "I feel honored to teach here. We have amazingly smart students, and I get to help them realize their dreams."
Admittedly, Ann says part of what she loves most is her fellow faculty members, whom she holds in high regard. "So many people are excited about what they do here. I think we're at a crossroads at Front Range right now, with Andy really pushing success and innovation. It's an exciting time to be here, and I think this college can become a frontrunner in this country."
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Michaele Charles is the founder of Voice Communications and writes frequently for higher education institutions, small businesses, corporate clients, and others. In her pre-writing life, she worked in accounting and finance and she has written stories for various children's magazines.


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Denver Gathering on June 7th
We're excited to announce that both Aliza Sherman and Melissa Pierce, Ellementa co-founders, will be at the first Denver Gathering on Wednesday, June 7 at Postmodern!
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Remember the 80s? That decade brought us Flashdance, Scrunchies and big hair, and the War on Drugs with the slogan "Just Say No." Fast-forward to 2017, and state governments are revisiting their marijuana laws and realizing that the ancient…
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February: Let's Talk About Sex & Cannabis
Ladies, it's that time. Time to talk about Sex and how Cannabis and CBD can enhance our sex lives. Whether pursuing solo or partnered pleasure, cannabis has been found to be a useful sexual aide, a relaxation tool, a stimulating addition to lubricants, and orgasm intensifier.
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The Assign River Reaches command enables the user to quickly assign a polyline as a river reach.
From the Input ribbon menu, select the River Reaches menu item and then choose the Assign River Reaches command.
The Assign River Reaches dialog box will be displayed.
The following sections are used for defining data in assigning a river reach.
This section is used to interactively select a polyline from the Map View for assigning as a river reach. Click the [Pick] button and the dialog box will temporarily disappear. A prompt will be displayed on the status line, informing the user what to do next. Within the Map View, click on the downstream half of the polyline to assign as a river reach.
After selecting a polyline, the user will be returned to the dialog box showing that a polyline was selected. In addition, the software will display the assumed flow direction arrow on the polyline where the user clicked. If the river reach is assigned an incorrect flow direction, click the [Reverse Direction] button.
This section is used to define the river name and reach name of the river reach polyline that was selected. Note that each river reach must have a unique ID, which is formed from the combination of the river name and reach name. This is how the HEC‑RAS software can correctly identify each river reach.
The River name dropdown combo box can be used to select from an existing river name or to create a new river name.
To create a new river name, either select Add New River from the River name dropdown combo box listing or click the [New] button. The software will then provide an empty field to define the new river name.
Once the river reach has been defined, click the [Apply] button to assign the river reach data. The river reach ID will display on the Map View adjacent to the assigned river reach.


Congratulations to debmac, who has won this week's Photographer of the Week! They won with a stunningly authentic shot of their vacation home in Champs Le Sims, filled with French country chic!
Also nominated this week: Sannie, Kim, Stefizzi, Ninja Unicorn, RD, Hollywoodsims.
And thanks to, blondie, Jenn, Honoria, Ninja Unicorn and Moxxa for nominating a picture this week!


Standing out from the crowd in a price-competitive marketplace is a difficult task. It requires a concerted effort of out-of-the-box mind-set marketing strategies, ingenious brand positioning, and dedicated production to ensure your product is worth the hype. In this time of shifting consumer dynamics, having a quality product and the ability to relate this to your market is challenging. This session will give you the opportunity to converse with those who have succeeded in this journey, and gain insight into how these brands and leaders in crowded categories accomplished premium pricing and market recognition. Come learn and be inspired!


Settle your monthly balance in full before the deadline, or interest will be calculated retroactively from the date of purchase.
Remember not to be guided by impulse. This means that you should use your credit card as a handy method of payment when you need it, such as to reserve a room when you go on vacation, to rent a car or a trailer, buy show tickets or plane tickets or make online purchases.
Respect your credit limit and don't increase it unless your income increases.
Get cash advances only when you need them, because interest is charged as of the transaction date since there is no grace period such as the one allowed for purchases.
Keep all your receipts so you can compare them with your monthly account statement. This is an excellent way to monitor your budget more closely and make sure no one has used your card.
Never lend out your card and only give out your card number to businesses you trust.