title: Potassium chlorite

abstract: Potassium chlorite is a potassium salt of chlorous acid (HClO2) having a chemical formula KClO2. It exists as white powder and its annhydrous form easily undergoes decomposition in presence of heat or radiation (especially gamma rays).

text:
# Potassium chlorite

**Potassium chlorite** is a potassium salt of chlorous acid (HClO2) having a chemical formula KClO2. It exists as white powder and its annhydrous form easily undergoes decomposition in presence of heat or radiation (especially gamma rays).

## Properties

Potassium chlorite is a colorless hygroscopic crystal that deliquesces in the air. It decomposes upon heating into potassium chloride and oxygen, emitting light.

$\ce {KClO2 -\> {KCl}+ O2}$

Potassium chlorite forms orthorhombic cmcm crystals and has been reported to decompose within hours at room temperature. It is an oxidizing agent.

## Synthesis

Some of the methods of preparation of potassium chlorite are:

$\ce {2KClO3 -\> 2KClO2 + O2}$ $\ce {HClO2 + KOH -\> KClO2 + H2O}$

## InfoBox

Potassium chlorite
|  | |
| --- | --- |
| Names | |
| IUPAC name potassium;chlorite | |
| Identifiers | |
| CAS Number |  |
| 3D model (JSmol) |  |
| ChemSpider |  |
| MeSH | 67063160 |
| PubChem CID |  |
| UNII |  |
| CompTox Dashboard (EPA) |  |
| InChI * InChI=1S/ClHO2.K/c2-1-3;/h(H,2,3);/q;+1/p-1Key: VISKNDGJUCDNMS-UHFFFAOYSA-M | |
| SMILES * \[O-\]Cl=O.\[K+\] | |
| Properties | |
| Chemical formula | KClO2, ClKO2 |
| Molar mass | 106.55 g/mol |
| Hazards | |
| **GHS** labelling: | |
| Pictograms |  |
| Hazard statements | H314 |
| Precautionary statements | P260, P264, P280, P301+P330+P331, P304+P340, P305+P351+P338, P310, P405, P501 |
| Except where otherwise noted, data are given for materials in their standard state (at 25 °C \[77 °F\], 100 kPa).  Infobox references | |


title: Poetry of Abraham Lincoln

abstract: The poetry of Abraham Lincoln has been an interesting source into Lincoln's psyche. In addition to two complete, narrative poems, Lincoln wrote several small verses throughout his life and possibly a poem in the form of a suicide note.

text:
# Poetry of Abraham Lincoln

**The poetry of Abraham Lincoln** has been an interesting source into Lincoln's psyche. In addition to two complete, narrative poems, Lincoln wrote several small verses throughout his life and possibly a poem in the form of a suicide note.

## "My Childhood-Home I See Again"

In 1846, Lincoln completed the composition of one of his most serious poems, which dealt with his emotions upon visiting his childhood home. It is divided into two cantos. The first section was mailed to Lincoln's friend and fellow politician, Andrew Johnston, on April 18, 1846. The second was mailed on September 6, 1846. On May 5, 1847, Johnston published both cantos in the Quincy Whig and titled it as "The Return." The first canto was dubbed "Part I – Reflection," and the second, "Part II – The Maniac."

## "The Bear Hunt"

When Johnston asked permission to publish "My Childhood-Home I See Again," Lincoln offered to have the third canto published along with it. The third section was included in his February 25, 1847 letter. Johnston did not feel that the final canto fit with the rest of the poem so he did not publish it. The third section is known as a separate piece titled "The Bear Hunt." A transcript of entire poem can be found here.

## "The Suicide's Soliloquy"

One of the more interesting poems attributed to Lincoln is "The Suicide's Soliloquy." It was found in the August 25, 1838 issue of the *Sangamo Journal*  of Springfield, Illinois by Richard Lawrence Miller in 1997. After studying the text and concluding that the poem was composed by Lincoln, he announced his discovery in a 2004 newsletter of the Abraham Lincoln Association. Lincoln scholars are still split on the authenticity of the poem. The poem is in the form of a suicide note, written by a man about to kill himself on the banks of the Sangamo River. Lincoln's well known depression gives some scholars cause to believe that he would write such a poem, even if he personally had no intentions to commit suicide. Miller states that the poem fits the meter, syntax, diction, and tone of Lincoln's other works.

Lincoln had expressed suicidal thoughts to his friend Joshua Speed on two separate occasions at the ages of twenty-six and thirty-one. Speed had told Lincoln's biographer, William Herndon, that Lincoln had published a poem in 1838. Going off information from Herndon's research, it was concluded that the poem was published in the summer of 1841, coinciding with the time of Lincoln's "fatal first of January" breakdown.

## Short Verses

Around the time when Lincoln was fifteen or seventeen, he wrote a few short poems in his arithmetic book but they are not very substantial:

Abraham Lincoln is my nam\[e\]
And with my pen I wrote the same
I wrote in both hast and speed
and left it here for fools to read

After his compositions of 1846, Lincoln continued to write poetry. Such poems include the short piece dedicated to Linnie Haggard, daughter of the owner of a hotel where Lincoln stayed in Winchester, Illinois, dated September 30, 1858:

To Linnie—
A sweet plaintive song did I hear,
And I fancied that she was the singer—
May emotions as pure, as that song set a-stir
Be the worst that the future shall bring her.


title: Mary Jane Clarke

abstract: Mary Jane Clarke was a British suffragette. She died on Christmas Day 1910, two days after being released from prison, where she had been force-fed. She was described in her obituary by Emmeline Pethick-Lawrence as the suffragettes’ first martyr. She was the younger sister of suffragette Emmeline Pankhurst.

text:
# Mary Jane Clarke

**Mary Jane Clarke** (*née* **Goulden**; 1862–1910) was a British suffragette. She died on Christmas Day 1910, two days after being released from prison, where she had been force-fed. She was described in her obituary by Emmeline Pethick-Lawrence as the suffragettes’ first martyr. She was the younger sister of suffragette Emmeline Pankhurst.

## Biography

Clarke was born in Salford and was one of ten children, including older sister Emmeline, of Robert Goulden and Sophia (née Craine). Robert was a self-made man, managing director of a cotton-printing works, having worked his way up from being an errand boy at the time of his marriage; Sophia, a teacher, was an important influence on her daughters' political views. The Gouldens were a humble Manchester family with its own background of political activity; Robert's mother, a fustian cutter, worked with the Anti-Corn Law League, and his father was press-ganged into the Royal Navy and present at the Peterloo massacre, when cavalry charged and broke up a crowd demanding parliamentary reform.

She was educated at the École Normale (Sainte-Marie de Neuilly), avenue de Neuilly, in Paris, along with her sister. She was co-founder with Emmeline of the Emerson & Co. shop in Hampstead Row. At the shop, her artistic skills added decoration of the shops’s stock of art-enameled fancy goods and was described in the 1891 census as a "decorative artist". After the Pankhursts moved to Manchester in 1893, she helped to reliance Emerson's there in 1898. In December 1895, she married John Clarke. By 1904, she had left him and was living with her niece, Sylvia.

Clarke was employed as Emmeline Pankhurst's deputy as registrar in Manchester while she was also supporting the work of the Women’s Social and Political Union. By February 1906, she was working only for the WSPU and in 1907 was appointed a WSPU organiser. In 1909, she led a group, including Irene Dallas, to Downing Street where she was arrested and sentenced to one month in prison.

Clarke was given a Hunger Strike Medal "for Valour".

After being released, Clarke began speaking for the WSPU in Yorkshire in 1909 and by the summer she was the organizer supported by Minnie Baldock who was financially supported by Minnie Turner to help Clarke on the south coast in Brighton. Clarke was calm and self-controlled when heckled, running the election campaign for the January 1910 United Kingdom general election.

Clarke was admired by fellow suffragettes for "superhuman strength of spirit" as well as "sweet sympathy and gentleness", after getting hurt in an angry crowd throwing rotten apples at them at Bournemouth.

Clarke took part and was injured in the protests where many women were assaulted by the police, known as Black Friday, on 18 November 1910. She was arrested a few days later for window smashing after returning to protest, on 23 November 1910, and imprisoned for a month in HM Prison Holloway, where she was force-fed after going on a hunger strike. Clarke was released from prison on 23 December 1910, and spoke at a suffragette event, travelled to Brighton for another meeting, and returned to London.

She died two days later on 25 December 1910 at her brother's home in Winchmore Hill, London from a brain hemorrhage. She was described in her obituary by Emmeline Pethick-Lawrence as "the first woman martyr who has gone to death for this cause".

In January 1911, suffragette leader Annie Kenney planted a memorial tree for her in garden of the Blathwayts Eagle House in Somerset, known as the *Suffragette's Rest;* it was a cedrus deodara pendula.

Mary Jane Clarke appears in the 2018 German docudrama *We are half the World* (*Die Hälfte der Welt gehört uns*) about the women's suffrage movement in Germany, France and the United Kingdom, played by Alexandra Schalaudek.

## Legacy and memorial

A campaign began in 2018 to have a statue of Mary Jane Clarke in the Pavilion Gardens, Brighton. A design by sculptor Denise Dutton was approved in 2020 by the Mayor of Brighton & Hove. It has all party support and charitable purposes for education and human rights awareness, as 'an image of female courage and political leadership, encouraging women and girls to participate in civic life and fostering a better understanding of women’s history.'

The design maquette includes references to Black Friday in *Votes for Women* newspaper, examples of force-feeding implements, the Hunger Strike Medal and words from Emmeline Pankhurst: *"She is the first to die. How many must follow… and also will have 'a lamp at her feet which she has placed there for others to pick up'."* *The Mary Clarke Statue Appeal* is fundraising to complete the project, and its chair, Jean Calder, said:

> “Nationally, women who have achieved a great deal are not commemorated. Mary was this extraordinary woman who made this huge sacrifice and yet she’s been completely forgotten. I can’t believe this would have happened to a man.”

## InfoBox

| Mary Jane Clarke | |
| --- | --- |
|  | |
| Born | Mary Jane Goulden
1862 (1862)
Salford, Manchester, England |
| Died | 1910 (aged 4748)
London, England |
| Nationality | British |
| Occupation | Suffragette |
| Known for | first suffragette to die for the cause |
| Spouse | John Clarke (m. 18951904) |
| Mother | Sophia Goulden |
| Relatives | Emmeline Pankhurst (sister) |


title: Yusuf Ziya Kavakçı

abstract: Yusuf Ziya Kavakçı is a Turkish American Islamic cleric and the father of Turkish politician Merve Kavakçı. He was very influential in establishing Islamic institutions of learning in North Texas.

text:
# Yusuf Ziya Kavakçı

**Yusuf Ziya Kavakçı** (born 22 June 1938) is a Turkish American Islamic cleric and the father of Turkish politician Merve Kavakçı. He was very influential in establishing Islamic institutions of learning in North Texas.

## Life

### Early life

Imam Yusuf was born in 1938 in Sakarya, Hendek to a family that emigrated from Georgia. He grew up not speaking much of Turkish, and speaking Georgian, although he learned to speak Turkish when he was 8 to 9. At a young age, he was trained in the Islamic sciences, having memorized the Quran at an early age, studied the fields of *tajweed*, Quran, Arabic, *Tafsir*, *hadith*, *fiqh* and other Islamic sciences and graduated from the Hasırcılar Quran Course. After successful exams, he worked as an Imam, Muezzin and Mufti in Istanbul. Kavakçı graduated from the Faculty of Law of the University of Istanbul and the Istanbul Yüksek İslam Enstitüsü and received his doctorate in 1967. The professorship followed in 1980. He was Dean of the Theological Faculty of Atatürk University in Erzurum. He was also taught by Muhammad Hamidullah.

### In the United States

Kavakci left Turkey because his daughter was not allowed to study there while wearing a headscarf. He moved to the United States. He worked as a visiting professor at universities such as Philadelphia and Cambridge. In 1988, he moved to Texas, becoming the Resident Scholar and Imam of the Islamic Association of North Texas, and the founder and instructor of the private school IANT Quranic Academy in Richardson, Texas and founding dean of the Suffa Islamic Seminary in Dallas.

He was one of the 138 signatories of the open letter A Common Word Between Us and You, to "leaders of Christian churches everywhere" (October 13, 2007). He was listed among the 100 most Influential Muslims in 2009.

### Return to Turkey

Kavakçı eventually moved back to Turkey, and is currently a retired faculty member and lectures in theology departments of the Theology Faculties of Istanbul and Marmara University. In addition to numerous Turkish books, he has also published English books on Islamic law.

## InfoBox

| Yusuf Ziya Kavakçı | |
| --- | --- |
| Personal | |
| Born | (1938-06-22) 22 June 1938
Hendek, Sakarya, Turkey |
| Religion | Islam |
| Nationality | Turkish |
| Region | Turkey |
| Denomination | Sunni |
| Jurisprudence | Hanafi |
| Main interest(s) | Fiqh (Islamic jurisprudence) |
| Education | PhD
University of Istanbul |
| Occupation | professor |
| Muslim leader | |
| Influenced by | |


title: Osoto makikomi

abstract: Osoto Makikomi (大外巻込) is one of the techniques adopted later by the Kodokan into their Shinmeisho No Waza (newly accepted techniques) list. It is categorized as a side sacrifice technique, Yoko-sutemi. Osoto Makikomi (大外巻込) is one of the techniques adopted later by the Kodokan into their Shinmeisho No Waza list. It is categorized as a side sacrifice technique, Yoko-sutemi.

text:
# Osoto makikomi

**Osoto Makikomi** (大外巻込) is one of the techniques adopted later by the Kodokan into their Shinmeisho No Waza (newly accepted techniques) list. It is categorized as a side sacrifice technique, Yoko-sutemi.

## Technique Description

www.judoinfo.com

Exemplar videos:

Tournament from www.judoinfo.com

## Similar Techniques, Variants, and Aliases

Soto Makikomi, Hane Makikomi

## Included Systems

## Technique History

## InfoBox

| Osoto makikomi | |
| --- | --- |
| Classification | Nage-waza |
| Sub classification | Sutemi-waza |
| Kodokan | Yes |
| Technique name | |
| Rōmaji | Osoto makikomi |
| Japanese | 大外巻込 |
| English | Big outer wraparound |


title: Netrakali

abstract: Netrakali is a village development committee in Sindhuli District in the Janakpur Zone of south-eastern Nepal. At the time of the 1991 Nepal census it had a population of 2,779 people living in 452 individual households.

text:
# Netrakali

**Netrakali**  is a village development committee in Sindhuli District in the Janakpur Zone of south-eastern Nepal. At the time of the 1991 Nepal census it had a population of 2,779 people living in 452 individual households.

1. "Nepal Census 2001". *Nepal's Village Development Committees*. Digital Himalaya. Retrieved 2 November 2008.

## InfoBox

| Netrakali bandipur तामाङसालिङ नेत्रकालि | |
| --- | --- |
| Village development committee | |
| Netrakali bandipurLocation in Nepal | |
| Coordinates: 27°22′0″N 85°45′30″E / 27.36667°N 85.75833°E / 27.36667; 85.75833 | |
| Country | Nepal |
| Zone | Janakpur Zone |
| District | Sindhuli District |
| Population (1991) | |
| Total | 2,779 |
| Time zone | UTC+5:45 (Nepal Time) |


title: Poerbatjaraka

abstract: Poerbatjaraka was a Javanese/Indonesian self-taught philologist and professor, specialising in Javanese literature. The eldest son of a Surakarta royal courtier in the Dutch East Indies, he showed interest in Javanese literature at an early age, reading from books in the court's collection. Despite attending only primary school, his knowledge of Dutch and Javanese literature allowed him to take a position at the colony's Archaeology Service, and then at Leiden University in the Netherlands. He was allowed to obtain a doctor's degree at Leiden. He then returned to the colony to work at a Batavia museum, cataloguing Javanese texts and writing scholarly works. After Indonesia's independence, he became a professor at the universities of Indonesia, Gajah Mada, and Udayana.

text:
# Poerbatjaraka

**Poerbatjaraka** (alternative spelling: **Purbacaraka**, 1 January 1884 – 25 July 1964) was a Javanese/Indonesian self-taught philologist and professor, specialising in Javanese literature. The eldest son of a Surakarta royal courtier in the Dutch East Indies, he showed interest in Javanese literature at an early age, reading from books in the court's collection. Despite attending only primary school, his knowledge of Dutch and Javanese literature allowed him to take a position at the colony's Archaeology Service, and then at Leiden University in the Netherlands. He was allowed to obtain a doctor's degree at Leiden. He then returned to the colony to work at a Batavia (today Jakarta) museum, cataloguing Javanese texts and writing scholarly works. After Indonesia's independence, he became a professor at the universities of Indonesia, Gajah Mada, and Udayana.

## Names and titles

It was common for a Javanese gentleman of Poerbatjaraka's time to change names and be given new titles throughout his life. His birth name was *Raden Mas* Lesya (also spelled Lesja and Lesyo, meaning "funny"). When he served at the court he became known as Lesya Atmopradonggo. After his first move to Jakarta, he became known as Poerbatjaraka and was later granted the additional title *Ngabehi.*

The spelling of his adult name, "Poerbatjaraka", was Dutch and the one he always used. In later Indonesian texts his name may be spelled "Purbacaraka" (using the latest spelling system), or "Purbatjaraka" (using the Republican Spelling System). The first part of the name, *Purba* or *Poerba*, was from Sanskrit *purwa* ("first"), and his father's name prefix. The second part, *tjaraka* or *caraka* was from hanacaraka, the name of the Javanese script, meaning ambassador or envoy.

## Early life and family

Poerbatjaraka was born as Raden Mas Lesya on 1 January 1884 in Surakarta, the capital of Surakarta Sunanate, a monarchy which was then part of the Dutch East Indies. He was the eldest son of Raden Mas Tumenggung Purbadipura, a noble courtier to the Sunan (monarch) Pakubuwana X. Purbadipura was close to the monarch, and took on multiple roles, including those comparable to a European master of the robes, a barber, a divination doctor, and a composer.

Lesya attended the Hollands-Indische School (HIS), a primary level, colonial school for Indies natives. He was not given further education, which was common for children in his position. He was interested in Dutch (the language of administration and scholarship at the time) and often talked to Dutch soldiers in his area to learn and practice the language. During his childhood, his love for classical Javanese literature began as he read works found in his father's library. He also read a book on old Javanese literature by the professor Hendrik Kern. It was a gift from a Dutch official to Pakubuwana, who did not read Dutch, and gave it to Purbadipura. Once, when literary-minded courtiers had a discussion about Old Javanese poems, his insight from the book allowed him to solve a problem in explaining difficult passages, contradicting the more senior courtiers. This caused him serious trouble as it was not his place to do this. He began to feel uncomfortable at court and wrote to the Dutch resident (the top colonial official in Surakarta). This correspondence resulted in an appointment in Batavia, the capital of the Dutch East Indies, with the colony's Archeological Service.

## Career

In 1910, Poerbatjaraka moved to Batavia to take the Archaeology Service position. His knowledge of Javanese literature proved very useful to the institution, and he was often consulted by its staff. During these years he also learned Sanskrit. He was given a new name, Poerbatjaraka (Purbacaraka in modern Indonesian spelling) and was given the additional title *Ngabehi*. After several years in Batavia, he was recruited by Leiden University in the Netherlands. He became assistant to a scholar of Javanese culture Dr. G. A. J. Hazeu, and taught Javanese language classes. Despite not having the prerequisite academic requirements, he was given special dispensation and allowed to pursue a doctorate, which he did without attending lectures. He completed his doctor's degree *cum laude* in 1926, with his thesis titled "Agastya in den Archipel" ("Agastya in Nusantara").

He then returned to Batavia and worked at the Museum of the Royal Batavian Society of Arts and Sciences (today the National Museum of Indonesia), and catalogued the museum's large collection of Javanese texts, accumulated over nearly a century. While doing this, he wrote monographs on several groups of manuscripts, containing their Dutch summaries and indexes of names. In Batavia, he also met the future historian of Java, H. J. de Graaf, to whom he gave weekly lessons in Javanese culture and language between 1927 and 1930. De Graaf later considered Poerbatjaraka his "revered teacher" and praised him for "unveil\[ing\] some of the secrets of your people".

After Indonesia's independence, he became a professor, teaching at Gajah Mada University in Jogjakarta, the University of Indonesia in Jakarta, and Udayana University in Denpasar, Bali. He was one of the founders of Udayana's Literature Department. He continued to write about Javanese history and literature for journals both in Indonesia and the Netherlands. In 1952, he published a collection of his studies in a book entitled *Kapustakaan Djawi*. He was made an honorary member of the Royal Netherlands Institute of Southeast Asian and Caribbean Studies in 1963. In 1964, the Indonesian Journal of Cultural Studies published a volume of twenty-six articles in his honour to mark his 80th birthday. On 25 July of the same year, he died in Jakarta.

## Scholarly style and works

With limited formal education, Poerbatjaraka was largely an autodidact. Early in his career, he was criticized as "amateurish", and lacking a "scholarly accurateness". According to the Javanese literature scholar Th. Pigaud, he made up for this with his extensive knowledge of Javanese literature, of all things Javanese in general, and by his zeal for Javanese studies. As he matured, he gained respect among both Europeans and his fellow Indonesians. His works combined the scientific methodwhich was uncommon among Indonesian native authors at his timewith his intimate knowledge of his subjects as an insider. He was often critical of the text and manuscript that he worked on, noticing spelling errors, and preferring to compare multiple sources before publishing a manuscript. Pigeaud said that his works and his behaviour often showed a sense of humour characteristic of a *punokawan* (jesters in Javanese *wayang*s). During his retirement in Jakarta, he did not stop working. De Graaf said that during this period he was "quietly but indefatigably studying and publishing".

According to his biography by Indonesia's Education and Cultural Ministry, he published seventy-nine works throughout his life, while Pigeaud put the number at seventy-three. His works focus on the epigraphy of old Javanese literature. They were written mostly in Dutch and, after Indonesia's independence in 1945, he also wrote in Indonesian and Javanese.

Among his notable works, he published studies on Agastya, the Old Javanese works *Smaradahana*, *Arjunawiwaha*, *Ramayana* and, with C. Hooykaas, the *Bharatayudha*. His study on the *Ramayana* established that, based on language, metrics, titles of officials and description of a temple, the Old Javanese version of the epic poem originated at the end of the ninth or the beginning of the tenth century. This finding was later confirmed by other studies, including one by Hooykaas. Later in his career, he published *Kapustakan Djawi* ("Javanese Literature"), which surveyed eighty-four old and modern Javanese literary works. He also published what he intended to be the first volume of *Riwajat Indonesia* ("The History of Indonesia"), covering the country's history up to the eighth century. No further volume was published until his death.

## Personal life

Poerbatjaraka was born into the royal family of Surakarta. His father, Kanjeng Raden Mas Tumenggung Purbadipura, was close to Sunan Pakubuwana IX and raised his son and heir, Pakubuwana X. The name Poerbatjaraka, meaning "First Ambassador," was given by Pakubuwana X, who allowed him to be sent to Leiden, Netherlands as a representative. On his return, Poerbatjaraka was commanded by Pakubuwana X to marry Bendara Raden Ayu Roosinah Poeger, a daughter of Gusti Pangeran Haryo Poeger of the Yogyakarta royal family, in order to calm the tension between the two courts. A Javanese noble of great standing, he was proud of his Surakarta aristocratic heritage, as he was well remembered for always wearing Surakarta royal court clothing until his death. Throughout his life, Poerbatjaraka never hesitated to share his knowledge and wisdom, as he was always willing to help his many relatives. Members of the Poerbatjaraka family descended from Sunan Pakubuwana X of Keraton Surakarta, Sultan Hamengkubuwana VI of Keraton Yogyakarta and Prince Mangkunegara I of Keraton Mangkunegaran.

### Citations

### Bibliography

* Pigeaud, Th. (1966). "In Memoriam Professor Poerbatjaraka". *Bijdragen tot de Taal-, Land- en Volkenkunde*. **122** (4). Leiden: 405–412. doi:10.1163/22134379-90002918. ISSN 0006-2294. JSTOR 27860637.
* Ricklefs, M. C. (1985). "In Memoriam Dr. H. J. de Graaf: 2 December 1899 — 24 August 1984". *Bijdragen tot de Taal-, Land- en Volkenkunde*. **141** (2/3). Brill: 191–201. doi:10.1163/22134379-90003379. JSTOR 27863672.
* van der Meij, Dick (2006). "Prof. Dr. R.M. Ng. Purbatjaraka Tokoh Jawa Dalam Dunia Ilmu Pengetahuan Kesusastraan Jawa" (in Indonesian). Perpustakaan Nasional Indonesia (The National Library of Indonesia). Archived from the original on 22 August 2017. Retrieved 8 May 2020.
* "Poerbatjaraka". *tirto.id*. Retrieved 21 May 2017.
* Anderson, Benedict R. O'G (2006). *Language and Power: Exploring Political Cultures in Indonesia*. Equinox Publishing. ISBN 978-979-3780-40-5.
* Hall, Daniel George Edward (1961). *Historians of South East Asia*. Oxford University Press.

## InfoBox

| Prof. Dr. Raden Mas NgabehiPoerbatjaraka | |
| --- | --- |
| A portrait of Poerbatjaraka on the cover of a 2006 book commemorating him. | |
| Born | Lesya
(1884-01-01)1 January 1884
Surakarta, Surakarta Sunanate, Dutch East Indies |
| Died | 25 July 1964(1964-07-25) (aged 80)
Jakarta, Indonesia |
| Occupation(s) | Philologist, professor |
| Known for | works on the Javanese literature |
| Spouse | B.RAy. Roosinah Poeger |
| Children | RAj. Ratna Saraswati Poerbatjaraka, RAy. Ratna Himawati Poerbatjaraka, Prof. RM. Purnadi Poerbatjaraka SH. |
| Awards | Honorary Member, Royal Netherlands Institute of Southeast Asian and Caribbean Studies; Posthumous honour of Bintang Mahaputera Utama |
|  | |
| Academic background | |
| Alma mater | Leiden University |
| Academic work | |
| Institutions |  |
|  | |


title: PomBase

abstract: PomBase is a model organism database that provides online access to the fission yeast Schizosaccharomyces pombe genome sequence and annotated features, together with a wide range of manually curated functional gene-specific data. The PomBase website was redeveloped in 2016 to provide users with a more fully integrated, better-performing service.

text:
# PomBase

**PomBase** is a model organism database that provides online access to the fission yeast Schizosaccharomyces pombe genome sequence and annotated features, together with a wide range of manually curated functional gene-specific data. The PomBase website was redeveloped in 2016 to provide users with a more fully integrated, better-performing service (described in ).

## Data Curation and Quality Control

PomBase staff manually curate a wide variety of data types using both primary literature and bioinformatics sources, and numerous mechanisms are employed to ensure both syntactical and biological content validity.

Types of data curated include:

* Genome sequence and features (e.g. physical location of genes in the genome)
* Protein and ncRNA functions, the cellular processes they participate in and where they localize
* Phenotypes associated with different alleles and genotypes
* Specific protein modification sites and when they occur
* Human and budding yeast orthologs of *S. pombe* genes (manually curated dataset)
* Metadata of datasets loaded into the genome browser
* Disease associations for when the human ortholog is known to cause disease
* Data regarding when specific genes are expressed
* Complementation data for where there is functional complementation between a fission yeast gene and a gene from another organism
* Subunit composition of complexes

## Data Organization

Gene annotation can be viewed either at a gene-specific level (on the gene pages) or at a term-specific level (on the ontology term pages). This makes it possible to either:

* View all annotations created for a gene, for example pat1
* View all genes annotated a term, for example cytokinesis
* View all annotations created from a specific reference, for example 26776736 *Chica et al. 2016*

Genome-wide datasets (including protein datasets, all annotations, manually curated ortholog lists etc) can be accessed from the datasets page. Datasets suitable for display in a genome browser and that have been loaded can be accessed via the PomBase JBrowse instance.

PomBase uses several biological ontologies to capture gene-specific information, including:

* Gene Ontology (GO) - used to describe the enzymatic functions, biological roles and cellular locations of gene products
* Fission Yeast Phenotype Ontology (FYPO), Used to associate phenotypes with alleles of genes, in comparison to the phenotype of the reference strain
* Sequence Ontology \- used to describe DNA or protein features
* Protein modifications - using PSI-MOD

## Gene Characterization Status

The GO slim page provides an overview of the "biological role" of all "known" fission yeast genes - these are proteins that have either been experimentally characterized in fission yeast, or in another species and transferred by orthology.

Remarkably, nearly 20% of eukaryotic proteomes, from yeast to human, are uncharacterized in terms of the pathways and processes that these proteins participate in, making it one of the great unsolved problems in biology. The role that these proteins play in biology, have not yet been discovered in any species. To aid research into these unknown proteins, PomBase maintains an inventory of uncharacterized fission yeast proteins. The priority unstudied genes list represents the subset of uncharacterized fission yeast genes that are conserved to man, making it an especially high priority research target.

## Community co-Curation

To supplement the work of the small team of professional PomBase curators, fission yeast researchers contribute annotations directly to PomBase via an innovative community curation scheme, for which an online curation tool, Canto, has been developed. Community curation is reviewed by PomBase staff, and this results in highly accurate, effectively co-curated, annotations.

PomBase maintains an annotation stats page.

## Knowledgebase Updates

## Documentation

Pombase provides both documentation and an FAQ.

Usage of PomBase as a research tool is explored in the "Eukaryotic Genomic Databases" (Methods and Protocols) book chapter. Developments and updates are described in the NAR Database Issue papers. For a detailed overview of using S. pombe as a model organism see the genetics primer

## InfoBox

PomBase
|  | |
| --- | --- |
| Content | |
| Description | The scientific resource for Schizosaccharomyces pombe |
| Data types
captured | Molecular Function, Biological Process, Cellular Component, Phenotype, Genotype, Allele, Protein Modification, Gene Expression, Protein expression, Nucleotide Sequence, RNA sequence, Protein sequence, Genomics, Human Orthologs, Saccharomyces cerevisiae Orthlogs, Complementation, Disease Associations, Protein features, Physical Interactions, Genetic Interactions |
| Organisms | Schizosaccharomyces pombe |
| Contact | |
| Research center | University of Cambridge and University College London |
| Authors | Antonia Lock, Midori A Harris, Manuel Lera-Ramírez, Pascal Carme, Kim Rutherford, Juan Mata, Jürg Bähler, Steve Oliver, Valerie Wood |
| Primary citation | Rutherford, et al (2024) |
| Release date | 2011 |
| Access | |
| Website | pombase.org |
| Download URL | Downloads |
| Miscellaneous | |
| License | Creative Commons Attribution 4.0 International license, GNU General Public License, MIT License |
| Curation policy | Professionally and community curated |
| Bookmarkable
entities | Yes |


title: Portsmouth Subdivision

abstract: The Portsmouth Subdivision is a railroad line owned by CSX Transportation in Virginia and North Carolina. The line connects CSX's network with the port city of Portsmouth, Virginia. The Portsmouth Subdivision was historically operated by the Seaboard Air Line Railroad, a CSX predecessor.

text:
# Portsmouth Subdivision

| Portsmouth Subdivision |
| --- |
|  |
|  |

The **Portsmouth Subdivision** is a railroad line owned by CSX Transportation in Virginia and North Carolina. The line connects CSX's network with the port city of Portsmouth, Virginia. The Portsmouth Subdivision was historically operated by the Seaboard Air Line Railroad, a CSX predecessor.

## Route Description

The eastern terminus of the Portsmouth Subdivision is in its namesake city, Portsmouth, Virginia. From Portsmouth, it runs southwest to Garysburg, North Carolina on the Roanoke River, a distance of 75.8 miles. It passes through Franklin and Boykins and crosses into North Carolina just southwest of Branchville. In North Carolina, it continues southwest to Garysburg, North Carolina. The Portsmouth Subdivision currently terminates between Garysburg and the Roanoke River at a connection with line CSX's A Line (North End Subdivision).

When the Seaboard Air Line operated the line, the Portsmouth Subdivision did not connect with the A Line but instead continued parallel to it across the Roanoke River into Weldon, North Carolina. In Weldon, it passed underneath the A Line (the Atlantic Coast Line Railroad's main line at the time) at the historic two-level Weldon Union Station.

From Weldon, it continued east to Roanoke Rapids. Track from Weldon to Roanoke Rapids is still in service and it is now CSX's **Roanoke Rapids Spur**. The line historically continued from Roanoke Rapids west to Norlina, where it connected with the Seaboard Air Line's main line.

## History

### Formation

The first segment of the line was built in 1835 by the Portsmouth and Roanoke Railroad, which would be renamed the Seaboard and Roanoke Railroad. The Seaboard and Roanoke Railroad ran from Portsmouth to Weldon, North Carolina.

The line from Roanoke Rapids to Norlina opened in 1840 and was built by the Raleigh and Gaston Railroad. In 1852, the Raleigh and Gaston Railroad was extended from Roanoke Rapids east to Weldon. Its connection from Roanoke Rapids north to Gaston was permanently severed during the American Civil War. The extension to Weldon connected with the Seaboard and Roanoke Railway, essentially making a continuous line. The extension to Weldon also provided a connection with the Petersburg Railroad and the Wilmington and Weldon Railroad, both of which later became the main line of the Atlantic Coast Line Railroad.

In 1900, the Seaboard and Roanoke Railroad, Raleigh and Gaston Railroad, and other railroads were merged into a single company named the Seaboard Air Line Railway (later known as the Seaboard Air Line Railroad).

### Seaboard Air Line years

The Seaboard Air Line designated the line from Norlina to Portsmouth as the Portsmouth Subdivision (while the Raleigh and Gaston's track from Norlina to Raleigh, North Carolina became Seaboard's main line). The Seaboard operated passenger and freight service over the line. Though the 1950s, Seaboard ran a daily passenger train (which also carried mail) and a daily through freight train. A separate local freight train ran three days a week at the time.

### Later years

In 1967, the SAL merged with its rival, the Atlantic Coast Line Railroad (ACL), whose main line crossed the Portsmouth Subdivision in Weldon. The merged company was named the Seaboard Coast Line Railroad (SCL). The line remained largely intact after the merger. However, SCL severed the bridge over the Roanoke River to consolidate the river crossings on the A Line's parallel bridge (the ex-ACL main line) effectively truncating the Portsmouth Subdivision to its current terminus in Garysburg. Ruins of the Portsmouth Subdivision's bridge over the river are still standing next to US 301 in Weldon. The remaining track from Weldon to Norlina was then redesignated as the **Roanoke Rapids Subdivision**.

In 1980, the Seaboard Coast Line's parent company merged with the Chessie System, creating the CSX Corporation. The CSX Corporation initially operated the Chessie and Seaboard Systems separately until 1986, when they were merged into CSX Transportation, who continues to operate today.

## Historic Seaboard Air Line stations

| State | Milepost | City/Location | Station | Connections and notes |
| --- | --- | --- | --- | --- |
| VA | SA 0.0 | Portsmouth | Portsmouth |  |
| | SA 7.5 | Chesapeake | Bowers |  |
| | SA 15.1 |  | Magnolia | junction with Virginian Railway (N&W) |
| | SA 17.5 | Suffolk | Suffolk | junction with:
 |
| | SA 20.2 |  | Kilby | junction with Norfolk and Petersburg Railroad (N&W) |
| | SA 26.2 |  | Purvis |  |
| | SA 31.4 |  | Carrsville |  |
| | SA 37.1 | Franklin | Franklin | also known as Blackwater
junction with Atlantic and Danville Railway (N&W) |
| | SA 42.0 |  | Delaware |  |
| | SA 43.7 |  | Hand | also known as Handsom |
| | SA 49.1 | Newsoms | Newsoms |  |
| | SA 54.1 | Boykins | Boykins | junction with Seaboard Air Line Railroad Lewiston Subdivision |
| | SA 57.0 | Branchville | Branchville |  |
| | SA 59.9 |  | Hugo |  |
| NC | SA 63.2 |  | Margarettsville |  |
| | SA 69.2 | Seaboard | Seaboard | originally Concord |
| | SA 72.6 |  | Gumberry |  |
| | SA 76.2 | Garysburg | Garysburg |  |
| | SA 78.8 | Weldon | Weldon | junction with Atlantic Coast Line Railroad Main Line |
| | SA 82.7 | Roanoke Rapids | Roanoke Junction | junction with spur to Roanoke Rapids |
| | | SAA 83.7 | Roanoke Rapids | located on spur |
| | SA 84.9 |  | Bolling |  |
| | SA 91.2 |  | Thelma |  |
| | SA 92.7 |  | Summit |  |
| | SA 98.3 | Littleton | Littleton |  |
| | SA 104.0 |  | Vaughan |  |
| | SA 109.0 | Macon | Macon |  |
| | SA 113.3 |  | Warren Plains |  |
| | SA 115.3 | Norlina | Norlina | originally Ridgeway Junction
junction with Seaboard Air Line Railroad Main Line |
|

Template:Attached KML/Portsmouth SubdivisionKML is not from Wikidata

## InfoBox

| Portsmouth Subdivision | |
| --- | --- |
|  | |
| Overview | |
| Status | Still operating east of Garysburg, North Carolina under CSX |
| Owner | Seaboard Air Line Railroad |
| Termini |  |
| Technical | |
| Line length | 115.3 mi (185.6 km) |
| Track gauge | 1,435 mm (4 ft 8+12 in) standard gauge |
| Electrification | No |
| Signalling | None |


title: Metagonimus yokogawai

abstract: Metagonimus yokogawai, or the Yokogawa fluke, is a species of a trematode, or fluke worm, in the family Heterophyidae. It is a human parasite causing metagonimiasis. It is among a few species of Metagonimus that cause metagonimiasis diseases.

text:
# Metagonimus yokogawai

***Metagonimus yokogawai***, or the **Yokogawa fluke**, is a species of a trematode, or fluke worm, in the family Heterophyidae.

It is a human parasite causing metagonimiasis. It is among a few species of *Metagonimus* that cause metagonimiasis diseases (others being *M. takahashii* and *M. miyatai*).

## Distribution

This species occurs in Korea, China, Taiwan, Japan, Russia, Indonesia, Israel, and Spain. This species is found in areas with sweetfish, and that includes western and eastern riversides. It is basically found in places with water.

## Description

*Metagonimus yokogawai* has adult flukes that parasitize the small intestine and causes inflammation. This species was discovered by Fujiro Katsurada with egg samples from Japan and Taiwan With this discovery, he was able to make a new genus of trematodes that this new parasite would fall under The size of these eggs are about 29 μm. Evidence also suggest that this parasite was present during the Yi dynasty.

## Life cycle

The first intermediate hosts of *Metagonimus yokogawai* include freshwater snails *Semisulcospira libertina*, *Semisulcospira coreana*, and *Semisulcospira reiniana*.

The second intermediate host include freshwater fish: *Plecoglossus altivelis*, *Tribolodon hakonensis*, *Tribolodon ezoe*, and *Lateolabrax japonicus*.

Natural definitive hosts are: dogs, cats, rats, and humans. Experminetal type hosts are: Syrian golden hamster.

Here, the life cycle of *Metagonimus yokogawai* will be examined, however *Metagonimus takahashii* and *Metagonimus miyatai* follow similar life cycle pattern. All three species are hermaphroditic and capable of self-fertilization. Embryonated eggs are passed into an aquatic environment (fresh or brackish water) each containing a fully developed larva, called a *miracidium*. Development can’t proceed past this stage unless the eggs are ingested by the first intermediary host, freshwater snails. After the snail host ingests the eggs, miracidia emerge and penetrate the snail’s intestines. In the snail tissue, mircadia develop into sporocysts, then rediae, and finally emerge from the snail as cercariae. The cercariae then penetrate the skin or go under the scale of a fresh or brackish water fish and encyst as metacercariae in the tissue. The type of fish that serves as secondary host varies based on location. The host then becomes infected by consuming undercooked, raw, or pickled fish containing the infectious metacercariae. The metacercariae then excyst in the small intestine of the host (human, mammal or bird), and develop into adults. In the small intestine, the adults attach to the walls and develop new eggs.

## InfoBox

| *Metagonimus yokogawai* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Platyhelminthes |
| Class: | Trematoda |
| Order: | Plagiorchiida |
| Family: | Heterophyidae |
| Genus: | *Metagonimus* |
| Species: | ***M. yokogawai*** |
| Binomial name | |
| ***Metagonimus yokogawai***
(Katsurada, 1912) | |
|
| Synonyms | |
| *Heterophyes yokogawai* Katsurada, 1912
*Loxotrema yokogawai* (Katsurada, 1912)
*Yokogawa yokogawai* (Katsurada, 1912) | |


title: Poetry in The Lord of the Rings

abstract: The poetry in The Lord of the Rings consists of the poems and songs written by J. R. R. Tolkien, interspersed with the prose of his high fantasy novel of Middle-earth, The Lord of the Rings. The book contains over 60 pieces of verse of many kinds; some poems related to the book were published separately. Seven of Tolkien's songs, all but one from The Lord of the Rings, were made into a song-cycle, The Road Goes Ever On, set to music by Donald Swann. All the poems in The Lord of the Rings were set to music and published on CDs by The Tolkien Ensemble. The verse is of many kinds, including for wandering, marching to war, drinking, and having a bath; narrating ancient myths, riddles, prophecies, and magical incantations; of praise and lament (elegy). Some of these forms were found in Old English poetry. Tolkien stated that all his poems and songs were dramatic in function, not seeking to express the poet's emotions, but throwing light on the characters, such as Bilbo Baggins, Sam Gamgee, and Aragorn, who sing or recite them. Commentators have noted that Tolkien's verse has long been overlooked, and never emulated by other fantasy writers; but that since the 1990s it has received scholarly attention. The verse includes light-hearted songs and apparent nonsense, as with those of Tom Bombadil; the poetry of the Shire, which has been said to convey a sense of "mythic timelessness"; and the laments of the Riders of Rohan, which echo the oral tradition of Old English poetry. Scholarly analysis of Tolkien's verse shows that it is both varied and of high technical skill, making use of different metres and rarely-used poetic devices to achieve its effects.

text:
# Poetry in The Lord of the Rings

The **poetry in *The Lord of the Rings*** consists of the poems and songs written by J. R. R. Tolkien, interspersed with the prose of his high fantasy novel of Middle-earth, *The Lord of the Rings*. The book contains over 60 pieces of verse of many kinds; some poems related to the book were published separately. Seven of Tolkien's songs, all but one from *The Lord of the Rings*, were made into a song-cycle, *The Road Goes Ever On*, set to music by Donald Swann. All the poems in *The Lord of the Rings* were set to music and published on CDs by The Tolkien Ensemble.

The verse is of many kinds, including for wandering, marching to war, drinking, and having a bath; narrating ancient myths, riddles, prophecies, and magical incantations; of praise and lament (elegy). Some of these forms were found in Old English poetry. Tolkien stated that all his poems and songs were dramatic in function, not seeking to express the poet's emotions, but throwing light on the characters, such as Bilbo Baggins, Sam Gamgee, and Aragorn, who sing or recite them.

Commentators have noted that Tolkien's verse has long been overlooked, and never emulated by other fantasy writers; but that since the 1990s it has received scholarly attention. The verse includes light-hearted songs and apparent nonsense, as with those of Tom Bombadil; the poetry of the Shire, which has been said to convey a sense of "mythic timelessness"; and the laments of the Riders of Rohan, which echo the oral tradition of Old English poetry. Scholarly analysis of Tolkien's verse shows that it is both varied and of high technical skill, making use of different metres and rarely-used poetic devices to achieve its effects.

## Embedded poetry

### Supplementing narrative

The narrative of *The Lord of the Rings* is supplemented throughout by verse, in the form of over 60 poems and songs: perhaps as many as 75 if variations and Tom Bombadil's sung speeches are included. The scholar of English literature Thomas Kullmann notes that this was unconventional for 20th century novels, and that Tolkien's verse is "characterized by its variety". The verses include songs of many genres: for wandering, marching to war, drinking, and having a bath; narrating ancient myths, riddles, prophecies, and magical incantations; of praise and lament (elegy). Kullman states that some, such as riddles, charms, elegies, and narrating heroic actions are found in Old English poetry. Verlyn Flieger states that two of the poems near the start of the novel encapsulate the story: the Rhyme of the Rings, used in the epigraph and in "The Shadow of the Past", and equally important, the walking song "The Road Goes Ever On", which occurs repeatedly with variations, and indeed was present in an earlier form in *The Hobbit*.

Michael Drout, a Tolkien scholar and encyclopedist, wrote that most of his students admitted to skipping the poems when reading *The Lord of the Rings*, something that Tolkien was aware of. The Tolkien scholar Andrew Higgins wrote that Drout had made a "compelling case" for studying it. The poetry was, Drout wrote, essential for the fiction to work aesthetically and thematically; it added information not given in the prose; and it brought out characters and their backgrounds. Another Tolkien scholar, Allan Turner, suggested that Tolkien may have learnt the method of embedding multiple types of verse into a text from William Morris's *The Life and Death of Jason*, possibly, Turner suggests, the model for Tolkien's projected Tale of Earendel. Shippey comments that while Tolkien has been imitated by many fantasy authors, none have tried to emulate his use of poems scattered throughout his novels. He gives two possible reasons for this: it might just be too much trouble; but he suggests that the main reason is that Tolkien was professionally trained as a philologist to investigate the complexities of literary tradition, complete with gaps, mistakes, and contradictory narratives. Since the discipline has disappeared, Shippey argues that it is probable no author will ever attempt it again, as indeed Tolkien implied in a letter.

### Expressing character

Kullmann and Siepmann note that all the poems follow in one traditional genre or another. These include Old English charms, elegies, and riddles; Middle English nature songs; or English folklore songs for the nursery, the church, the tavern, the barrack room, festivals, or for activities such as walking. They comment that many of these poems are far from conventional lyrical poetry such as that of Wordsworth or Keats, as evoking "the poet's personal feelings" was not their intention. Tolkien indeed wrote in a letter that

> the verses in *The L.R.* are all dramatic: they do not express the poor old professor's soul-searchings, but are fitted in style and contents to the characters in the story that sing or recite them, and to the situations in it."

Brian Rosebury, a scholar of humanities, writes that the distinctive thing about Tolkien's verse is its "individuation of poetic styles to suit the expressive needs of a given character or narrative moment", giving as examples of its diversity the "bleak incantation" of the Barrow-Wight; Gollum's "comic-funereal rhythm" in *The cold hard lands / They bites our hands*; the Marching Song of the Ents; the celebratory psalm of the Eagles; the hymns of the Elves; the chants of the Dwarves; the "song-speech" of Tom Bombadil; and the Hobbits' diverse songs, "variously comic and ruminative and joyful".

### Integral to story

Diane Marchesani, in *Mythlore*, considers the songs in *The Lord of the Rings* as "the folklore of Middle-earth", calling them "an integral part of the narrative". She distinguishes four kinds of folklore: lore, including rhymes of lore, spells, and prophecies; ballads, from the Elvish "Tale of Tinuviel" to "The Ent and the Entwife" with its traditional question-answer format; ballad-style, simpler verse such as the hobbits' walking-songs; and nonsense, from "The Man in the Moon Stayed Up Too Late" to Pippin's "Bath Song". In each case, she states, the verse is "indispensable" to the narrative, revealing both the characters involved and the traditions of their race.

Sandra Ballif Straubhaar, a scholar of Germanic studies, writes that the narrative of *The Lord of The Rings* is composed of both prose and poetry, "intended and constructed to flow complementarily as an integrated whole." The verse, therefore, is "an indispensable part of the narrative itself". It may, she states, provide backstory, as with Aragorn's "Lay of Lúthien" or Bilbo's song of Eärendil, or it may enrich or advance the plot, as with Sam Gamgee's unprompted prayer to the Lady of the Stars, Elbereth, at a dark moment in the Tower of Cirith Ungol, or Gilraen's farewell *linnod* to her son Aragorn. The *linnod*, her last words to Aragorn, was:

*Ónen i-Estel Edain, ú-chebin estel anim*

translated as "I gave Hope \[Estel being one of Aragorn's names\] to the Dúnedain \[her people\], I have kept no hope for myself." Straubhaar writes that although the reader does not know why Gilraen should suddenly switch to speaking in verse, one can feel the tension as she adopts "high speech, .. formalized patterns, .. what Icelanders even today call *bundidh mál*, "bound language."

## Specific functions

### "Shire-poetry"

A strand of Tolkien's Middle-earth verse is what the Tolkien scholar Tom Shippey calls "Shire-poetry": "plain, simple, straightforward in theme and expression", verse suitable for hobbits, but which turns out to vary continuously to suit changing situations and growing characters. The poetry of the Shire serves, in Shippey's view, to relate the here-and-now action of the story to "mythic timelessness", as in Bilbo's *Old Walking Song*, "The Road goes ever on and on / Down from the door where it began. Now far ahead the Road has gone, And I must follow, if I can, Pursuing it with eager feet...", at the start of *The Lord of the Rings*. The poem reappears, this time sung by Frodo, varied with "weary feet" to suit his mood, shortly before he sees a Ringwraith; and a third time, at the end of the book, by a much aged, sleepy, forgetful, dying Bilbo in Rivendell, when the poem has shifted register to "But I at last with weary feet / Will turn towards the lighted inn, My evening-rest and sleep to meet". Shippey observes that the reader can see that while Bilbo is indeed sleepy, the subject is now death. Frodo, too, leaves Middle-earth, but with a different walking-song, singing of "A day will come at last when I / Shall take the hidden paths that run / West of the Moon, East of the Sun", which Shippey glosses as the "Lost Straight Road" that goes out of the round world, straight to Elvenhome.

Shippey writes that Shakespeare, too, could write Shire-poetry. Bilbo's "When winter first begins to bite" is certainly, Shippey states, a rewrite of Shakespeare's Shire-poem to winter in *Love's Labours Lost*, a token of Tolkien's guarded respect (as he disliked much of Shakespeare's handling of myth, legend, and magic) and even "a sort of fellow-feeling" for another writer from Warwickshire:

| Shakespeare
*Love's Labours Lost*, Act 5, scene 2 | Bilbo Baggins's poem
in "The Ring goes South" |
| --- | --- |
| When icicles hang by the wall,
And Dick the shepherd blows his nail,
And Tom bears logs into the hall,
And milk comes frozen home in pail,
When blood is nipped, and ways be foul,
Then nightly sings the staring owl... | When winter first begins to bite
and stones crack in the frosty night,
when pools are black and trees are bare,
'tis evil in the Wild to fare.

 |

### "Nonsense"

Lynn Forest-Hill, a medievalist, explores what Tolkien called "nonsense" and "a long string of nonsense-words (or so they seemed)", namely Tom Bombadil's constant metrical chattering, in the style of "Hey dol! merry dol! ring a ding dillo! / Ring a dong! hop along! fa la the willow! / Tom Bom, jolly Tom, Tom Bombadillo!". She states at once that "The parenthetical qualification immediately questions any hasty assumption that the song is indeed mere 'nonsense'." Instead, she writes, the seemingly strange and incongruous challenges the reader to engage with the text. Rebecca Ankeny, a scholar of English, states that Tom Bombadil's nonsense indicates that he is benign, but also irrelevant as he could not be trusted to keep the Ring safe: he'd simply forget it. One aspect, Forest-Hill notes, is Tom Bombadil's ability to control his world with song (recalling the hero Väinämöinen in the Finnish epic, the *Kalevala*), however apparently nonsensical. Another is the fact that he only speaks in metre:

> Whoa! Whoa! steady there! ...
> where be you a-going to,
> puffing like a bellows? ...
> I'm Tom Bombadil.
> Tell me what's your trouble!
> Tom's in a hurry now.
> Don't you crush my lilies!
>
> *A sample of Tom Bombadil's speech*

The Tolkien scholar David Dettmann writes that Tom Bombadil's guests also find that song and speech run together in his house; they realize they are all "singing merrily, as if it was easier and more natural than talking". As with those who heard Väinämöinen, listening all day and wondering at their pleasure, the hobbits even forget their midday meal as they listen to Tom Bombadil's stories and songs of nature and local history. All these signals are, Forest-Hill asserts, cues to the reader to look for Tolkien's theories of "creativity, identity, and meaning".

Apparent silliness is not confined to Tom Bombadil. Ankeny writes that the change in the hobbits' abilities with verse, starting with silly rhymes and moving to Bilbo's "translations of ancient epics", signals their moral and political growth. Other poems inset in the prose give pleasure to readers by reminding them of childish pleasures, such as fairy tales or children's stories.

### Oral tradition

Shippey states that in *The Lord of the Rings*, poetry is used to give a direct impression of the oral tradition of the Riders of Rohan. He writes that "Where now the horse and the rider?" echoes the Old English poem *The Wanderer*; that "Arise now, arise, Riders of Theoden" is based on the Finnesburg Fragment, on which Tolkien wrote a commentary; and that there are three other elegiac poems. All of these are strictly composed in the metre of Old English verse. In Shippey's opinion, these poems have the same purpose "as the spears that the Riders plant in memory of the fallen, as the mounds that they raise over them, as the flowers that grow on the mounds": they are about memory "of the barbarian past", and the fragility of oral tradition makes what is remembered specially valuable. As fiction, he writes, Tolkien's "imaginative re-creation of the past adds to it an unusual emotional depth."

Mark Hall, a Tolkien scholar, writes that Tolkien was strongly influenced by old English imagery and tradition, most clearly in his verse. The 2276 lines of the unfinished "Lay of the Children of Hurin" present in Christopher Tolkien's words a "sustained embodiment of his abiding love of the resonance and richness of sound that might be achieved in the ancient English metre". The poem is in alliterative verse (unlike Tolkien's second version which is in rhyming couplets). Hall calls this "bringing forward to modern readers the ideas of the ancient poets, \[and their\] style and atmosphere", using rhythm, metre, and alliteration to convey the "style and mood" of Old English. Among the examples he gives is Aragorn's lament for Boromir, which he compares to Scyld Scefing's ship-burial in *Beowulf*:

Mark Hall's comparison of the Lament for Boromir with the ship-burial in *Beowulf*
| *Beowulf* 2:36b–42
Scyld Scefing's funeral | Hall's Translation | "Lament for Boromir"
(floated in a boat down the Anduin
to the Falls of Rauros) |
| --- | --- | --- |
| *þær wæs madma fela
of feorwegum     frætwa gelæded;
ne hyrde ic cymlicor    ceol gegyrwan
hildewæpnum     ond heaðowædum,
billum ond byrnum;     him on bearme læg
madma mænigo,    þa him mid scoldon
on flodes æht    feor gewitan.* | There was much treasure
from faraway     ornaments brought
not heard I of more nobly     a ship prepared
war-weapons     and war-armour
sword and mail;     on his lap lay
treasures many     then with him should
on floods' possession     far departed. | 'Beneath Amon Hen I heard his cry.
There many foes he fought.
His cloven shield, his broken sword,
they to the water brought.
His head so proud, his face so fair,
his limbs they laid to rest;
And Rauros, golden Rauros-falls,
bore him upon its breast.' |

Hall finds further resemblances: between Tolkien's "The Homecoming of Beorhtnoth Beorhthelm's Son" and "The Battle of Maldon"; and between the lament of "The Mounds of Mundburg" to "The Battle of Brunanburh". In Shippey's view, the three epitaph poems in *The Lord of the Rings*, including "The Mounds of Mundburg" and, based on the famous *Ubi sunt?* passage in "The Wanderer", Tolkien's "Lament of the Rohirrim", represent Tolkien's finest alliterative Modern English verse:

Tolkien's adaptation of a passage from *The Wanderer* to create an elegiac song of Rohan
| *The Wanderer* 92–96 | Translation | *Lament of the Rohirrim* |
| --- | --- | --- |
| *Hwær cwom mearg? Hwær cwom mago?
Hwær cwom maþþumgyfa?
Hwær cwom symbla gesetu?
Hwær sindon seledreamas?
Eala beorht bune!
Eala byrnwiga!
Eala þeodnes þrym!
Hu seo þrag gewat,
genap under nihthelm,
swa heo no wære.*
 | Where is the horse? where the rider?
Where the giver of treasure?
Where are the seats at the feast?
Where are the revels in the hall?
Alas for the bright cup!
Alas for the mailed warrior!
Alas for the splendour of the prince!
How that time has passed away,
dark under the cover of night,
as if it had never been.
 | Where now the horse and the rider?
Where is the horn that was blowing?
Where is the helm and the hauberk,
and the bright hair flowing?
Where is the hand on the harp-string,
and the red fire glowing?
Where is the spring and the harvest
and the tall corn growing?
They have passed like rain on the mountain,
like a wind in the meadow; ... |

"Thus spoke a forgotten poet long ago in Rohan, recalling how tall and fair was Eorl the Young, who rode down out of the North," Aragorn explains, after singing the *Lament*. Flieger writes that the poem also echoes the mood of *Beowulf* lines 2247–2266, "The Lay of the Last Survivor", which meditates on loss and like Tolkien's poem mentions the lost helmet, mail-shirt, and harp.

### Glimpses of another world

When the hobbits have reached the safe and ancient house of Elrond Half-Elven in Rivendell, Tolkien uses a poem and a language, in Shippey's words, "in an extremely peculiar, idiosyncratic and daring way, which takes no account at all of predictable reader-reaction":

*A Elbereth Gilthoniel*
| Tengwar | Transcribed |
| --- | --- |
|  | *A Elbereth Gilthoniel*

*silivren penna míriel*

*o menel aglar elenath!*

*Na-chaered palan-díriel*

*o galadhremmin ennorath,*

*Fanuilos, le linnathon*

*nef aear, sí nef aearon!* |

The verse is not translated in the chapter, though it is described: "the sweet syllables of the elvish song fell like clear jewels of blended word and melody. 'It is a song to Elbereth', said Bilbo", and at the very end of the chapter there is a hint as to its meaning: "Good night! I'll take a walk, I think, and look at the stars of Elbereth in the garden. Sleep well!" A translation of the Sindarin appeared much later, in the song-cycle *The Road Goes Ever On*; it begins "O Elbereth who lit the stars". Readers, then, were not expected to know the song's literal meaning, but they were meant to make something of it: as Shippey says, it is clearly something from an unfamiliar language, and it announces that "there is more to Middle-earth than can immediately be communicated". In addition, Tolkien believed, contrary to most of his contemporaries, that the sounds of language gave a specific pleasure that the listener could perceive as beauty; he personally found the sounds of Gothic and Finnish, and to some extent also of Welsh, immediately beautiful. In short, as Shippey writes, Tolkien "believed that *untranslated* elvish would do a job that English could not". Shippey suggests that readers do take something important from a song in another language, namely the feeling or style that it conveys, even if "it escapes a cerebral focus".

### Signalling power and the Romantic mode

Ankeny writes that several of Tolkien's characters exercise power through song, from the primordial creative music of the Ainur, to the song-battle between Finrod and the Dark Lord Sauron, Lúthien's song in front of Sauron's gates, or the singing of the Rohirrim as they killed orcs in the Battle of the Pelennor Fields. Ankeny states that the many poems in the text of *Lord of the Rings*, through their contexts and content "create a complex system of signs that add to the basic narrative in various ways". The insetting of poems in a larger work is reminiscent, too, of *Beowulf*, and, she writes, indicates Tolkien's depth of "involvement with the literary tradition".

The presence of the rhyme of the Rings on the frontispiece of each volume indicates, Ankeny writes, that the threat persists past the first volume, where the rhyme is repeated three times, causing horror in Rivendell when Gandalf says it aloud, and in the Black Speech rather than English. Further, as the threat from Sauron grows, the number of inset poems and songs diminishes. The literary genre is signalled as what Northrop Frye classifies as Romance by the way the Elvish songs speak of fading away. This mirrors what the Elves know is their own imminent passing, while the number of songs of Men increases. The Anglo-Saxon style verse and language of the Rohirrim adds a feeling of real historical depth, and that, Ankeny suggests, flows over into a feeling of verisimilitude for the invented Elvish languages also. Kullmann states that the wizard Gandalf demonstrates his competence as a wizard through his philological skill with the verse of the Rings, and that readers too are given a philological insight into the history of a poem "and the story told by this history".

## Technical skill

### A mixed reception

In the early 1990s, the scholar of English Melanie Rawls wrote that while some critics found Tolkien's poetry, in *The Lord of the Rings* and more generally, "well-crafted and beautiful", others thought it "excruciatingly bad." The Scottish poet Alan Bold, cited by Rawls, similarly did "not think much of Tolkien's poetry as poetry." Granting that since his Middle-earth books were not written "in the style of a modern novel", modern verse would have been totally inappropriate, Rawls attacked his verse with phrases such as "weighed down with cliches and self-consciously decorative words", concluding "He was a better writer of prose than of verse." On the other hand, Geoffrey Russom, a scholar of Old and Middle English verse, considered Tolkien's varied verse as constructing "good music", with a rich diversity of structure that avoids the standard iambic pentameter of much modern English poetry. The scholar of English Randel Helms described Tolkien's "Errantry" as "a stunningly skillful piece of versification ... with smooth and lovely rhythms"; and Ankeny writes that Tolkien's poetry "reflects and supports Tolkien's notion of Secondary Creation".

### Metrical variety

Kullmann and Siepmann analyse the metres used in all the poems and songs, noting the wide variety of metres used, and that Tolkien nearly always avoided the most common form of his time, iambic pentameter (he uses it for the Elvish poem "*Ai! laurië lantar lassi súrinen*"). Several poems are unrhymed; these are often but not always alliterative, imitating Old English verse, while others are irregular, like "Sing now, ye people of the Tower of Anor". Of the rhymed verse, Tolkien often uses iambic tetrameter, as in "Gil-galad was an Elven-king", and sometimes iambic octameter, like "Eärendil was a mariner that tarried in Arvernien". Less commonly he uses other metres, including the irregular strophic rhyme of "Troll sat alone on his seat of stone", the iambic dimeter of "We come"/"To Isengard", or the ballad stanza of "An Elven-maid there was of old". On a few occasions, Tolkien uses dactylic metres, such as the dactylic trimeter of "Seek for the Sword that was broken", or the dactylic tetrameter of "Legolas Greenleaf long under tree".

In a detailed reply to Rawls, the poet Paul Edwin Zimmer wrote that "much of the power of Tolkien's 'prose' comes from the fact that it's written by a poet of high technical skill, who carried his metrical training into his fiction." Zimmer gave as an example the fact that the whole of Tom Bombadil's dialogue, not only the parts set out as verse, are in a metre "built on amphibrachs and amphimacers, two of the most obscure and seldom-seen tools in the poet's workshop." Thus (stresses marked with "\`", feet marked with "|"):

*\`Old \`Tom | \`Bom-ba-\`dil | \`was a \`mer- | -ry \`fel-low*

consists of a spondee, two amphimacers, and an amphibrach: and, Zimmer wrote, Tolkien varies this pattern with what he called "metrical tricks" such as ambiguous stresses. Another "chosen at random from hundreds of possible examples" is Tolkien's descriptive and metrical imitation, in prose, of the different rhythms of running horses and wolves:

*\`Horse-men were | \`gal-lop-ing | on the \`grass | of Ro-\`han | \`wolves \`poured | \`from \`Is-en-\`gard.*

Zimmer marked this as "dactyl, dactyl, anapaest, anapaest for the galloping riders; the sudden spondee of the wolves".

In Zimmer's view, Tolkien could control both simple and complex metres well, and displayed plenty of originality in the metres of poems such as "Tom Bombadil" and "Eärendil".

### The effect of song

The medievalists Stuart D. Lee and Elizabeth Solopova analyzed Tolkien's poetry, identifying the skill of its construction. They noted that some of his verse is written in iambic tetrameters, four feet each of an unstressed and a stressed syllable: a common format in Modern English. They stated that Tolkien often fits his verse to the metre very carefully, where the English tradition as seen in Shakespeare's sonnets is for a looser fit. Tolkien emphasizes the rhythm in the song "Under the Mountain dark and tall" by the repeated use of the same syntactic construction; this would, they wrote, be seen as monotonous in a poem, but in a song it gives the effect of reciting and singing, in this case as Thorin Oakenshield's Dwarves prepare for battle in their mountain hall:

*The \`sword | is \`sharp, | the \`spear | is \`long,* *The \`ar- | -row \`swift, | the \`Gate | is \`strong;* from "Under the Mountain dark and tall"

### Alliterative verse

At other times, to suit the context of events like the death of King Théoden, Tolkien wrote what he called "the strictest form of Anglo-Saxon alliterative verse". That strict form means that each line consists of two half-lines, each with two stresses, separated by a caesura, a rhythmic break. Alliteration is not constant, but is common on the first three stressed syllables within a line, sometimes continuing across several lines: the last stressed syllable does not alliterate. Names are constantly varied: in this example, the fallen King of the Rohirrim is named as Théoden, and described as Thengling and "high lord of the host". Lee and Solopova noted that in that style, unlike in Modern English poetry, sentences can end mid-line:

*We \`heard of the \`horns    in the \`hills \`ringing,* *the \`swords \`shining    in the \`South-\`kingdom.* *\`Steeds went \`striding    to the \`Stoning\`land* *as \`wind in the \`morning.    \`War was \`kindled.* *There \`Théoden \`fell,    \`Thengling \`mighty,* *to his \`golden \`halls    and \`green \`pastures* *in the \`Northern \`fields    \`never \`returning,* *\`high lord of the \`host.* from "The Mounds of Mundburg"

### An Elvish effect

The longest poem in *The Lord of the Rings* is the *Song of Eärendil* which Bilbo sings at Rivendell. Eärendil was half-elven, embodying both mortal Man and immortal Elf. Shippey writes that the work exemplifies "an elvish streak .. signalled .. by barely-precedented intricacies" of poetry. He notes however that the "elvish tradition" corresponded to a real English tradition, that of the Middle English poem *Pearl*. That poem makes use of an attempt at immortality and a "fantastically complex metrical scheme" with many poetic mechanisms, including alliteration as well as rhyme; for example, it begins "**P**erle, **p**lesaunte to **p**rynces **p**aye / To **cl**anly **cl**os in golde so **cl**ere". Shippey observes that the tradition of such complex verse had died out before the time of Shakespeare and Milton, to their and their readers' loss, and that "Tolkien obviously hoped in one way to recreate it," just as he sought to create a substitute for the lost English mythology.

Shippey identifies five mechanisms Tolkien used in the poem to convey an "elvish" feeling of "rich and continuous uncertainty, a pattern forever being glimpsed but never quite grasped", its goals "romanticism, multitudinousness, imperfect comprehension .. achieved stylistically much more than semantically." The mechanisms are rhyme, internal half-rhyme, alliteration, alliterative assonance, and "a frequent if irregular variation of syntax." They can be seen in the first stanza of the long poem, only some of the instances being highlighted:

| Line | *Song of Eärendil*
Stanza 1: building his ship | Poetic mechanisms
identified by Tom Shippey |
| --- | --- | --- |
| 1 | Eärendil was a *marin*er | *Internal half-rhyme* with 2 |
| 2 | that *tarried in* Arvernien; | Rhymes with 4 (intentionally imperfect) |
| 3 | he **b**uilt a **b**oat of *timber felled* | **Alliteration**, and possible assonance
*Internal half-rhyme* with 4 |
| 4 | in *Nimbrethil* to journey in; |  |
| 5 | her ***sails*** he wove of ***sil***ver fair, | ***Alliterative assonance***
Grammatical repetitions and variations |
| 6 | of silver were her lanterns made, | Grammatical repetitions and variations
Rhymes with 8 |
| 7 | her prow was fashioned like a swan, |  |
| 8 | and **l**ight upon her banners **l**aid. | **Alliteration** |

## Settings

Seven of Tolkien's songs (all but one, "Errantry", from *The Lord of the Rings*) were made into a song-cycle, *The Road Goes Ever On*, set to music by Donald Swann in 1967.

*Bilbo's Last Song*, a kind of pendant to *Lord of the Rings*, sung by Bilbo as he leaves Middle-earth for ever, was set to music by Swann and added to the second (1978) and third (2002) editions of *The Road Goes Ever On*.

A Danish group of musicians, The Tolkien Ensemble, founded in 1995, set all the poetry in *The Lord of the Rings* to music, publishing it on four CDs between 1997 and 2005. The project was approved by the Tolkien family and the publishers, HarperCollins. Drawings by Queen Margrethe II of Denmark were used to illustrate the CDs. The settings were well received by critics.

Much of the music in Peter Jackson's *The Lord of the Rings* film series is non-diegetic (not heard by the characters), so few of Tolkien's songs are performed. Aragorn sings a few lines of the "Lay of Lúthien", a cappella, in Elvish. Éowyn is heard singing a little of a "Lament for Théodred" in Old English, but the words are not Tolkien's. "The Man in the Moon Stayed Up Too Late" is not sung in *The Prancing Pony*, but in the extended edition of Jackson's 2012 film *The Hobbit: An Unexpected Journey*, the Dwarf Bofur sings it at Elrond's feast in Rivendell.

## The poems

*The Lord of the Rings* contains 61 poems:

* Book 1: 22 poems, including "The Road Goes Ever On and On" and "The Stone Troll"
* Book 2: 10 poems, including "Eärendil was a mariner" and "When winter first begins to bite"
* Book 3: 14 poems, including "Where now the horse and the rider?" and "A Rhyme of Lore"
* Book 4: 2 poems, including "Oliphaunt"
* Book 5: 6 poems, including "Arise, arise, Riders of Theoden!"
* Book 6: 7 poems, including "Upon the Hearth the Fire is Red"

## Legacy

While *The Lord of the Rings* has given rise to a large number of adaptations and derivative works, the poems embedded in the text have long been overlooked, and almost never emulated by other fantasy writers. An exception is Poul and Karen Anderson's 1991 short story "Faith", in *After the King*, a 1991 hommage to Tolkien published on the centenary of his birth. The story ends with two stanzas of "*The Wrath of the Fathers*, Aeland's epic", written in Old English-style alliterative verse. The first stanza begins:

> Hark! We have heard // of Oric the hunter,
> Guthlach the great-thewed, // and other goodmen
> Following far, // fellowship vengeful,
> Over the heath, // into the underground,
> Running their road // through a rugged portal.

### Primary

### Secondary

1. Shippey 2001, pp. 188–191.
2. Shippey 2001, pp. 96–97.
3. Flieger 2013, pp. 522–532.
4. Kullmann, Thomas (2013). "Poetic Insertions in Tolkien's The Lord of the Rings". *Connotations: A Journal for Critical Debate*. **23** (2): 283–309. reviewing Eilmann & Turner 2013
5. Kullmann & Siepmann 2021, p. 235.
6. Higgins, Andrew (2014). "Tolkien's Poetry (2013), edited by Julian Eilmann and Allan Turner". *Journal of Tolkien Research*. **1** (1). Article 4.
7. Shippey 2001, pp. 324–325.
8. Kullmann & Siepmann 2021, pp. 228–238.
9. Rosebury 2003, p. 118.
10. Marchesani 1980, pp. 3–5.
11. Straubhaar, Sandra Ballif (2005). "Gilraen's Linnod : Function, Genre, Prototypes". *Journal of Tolkien Studies*. **2** (1): 235–244. doi:10.1353/tks.2005.0032. ISSN 1547-3163. S2CID 170378314.
12. Shippey 2001, pp. 195–196.
13. Forest-Hill, Lynn (2015). ""Hey dol, merry dol": Tom Bombadil's Nonsense, or Tolkien's Creative Uncertainty? A Response to Thomas Kullmann". *Connotations*. **25** (1): 91–107.
14. Ankeny, Rebecca (2005). "Poem as Sign in 'The Lord of the Rings'". *Journal of the Fantastic in the Arts*. **16** (2 (62)): 86–95. JSTOR 43308763.
15. Dettmann, David L. (2014). "Väinämöinen in Middle-earth: The Pervasive Presence of the Kalevala in the Bombadil Chapters of 'The Lord of the Rings'". In John William Houghton; Janet Brennan Croft; Nancy Martsch (eds.). *Tolkien in the New Century: Essays in Honor of Tom Shippey*. McFarland. pp. 207–209. ISBN 978-1476614861.
16. *Kalevala*, 44: 296
17. Hall, Mark F. (2006). "The Theory and Practice of Alliterative Verse in the Work of J.R.R. Tolkien". *Mythlore*. **25** (1). Article 4.
18. Shippey 2005, p. 202.
19. Lee & Solopova 2005, pp. 47–48, 195–196.
20. Flieger 2013, p. 529.
21. Shippey 2001, pp. 127–133.
22. Rawls, Melanie A. (1993). "The Verse of J.R.R. Tolkien". *Mythlore*. **19** (1). Article 1.
23. Bold, Alan (1983). "Hobbit Verse Versus Tolkien's Poem". In Giddings, Robert (ed.). *J. R. R. Tolkien: This Far Land*. Vision Press. pp. 137–153. ISBN 978-0389203742.
24. Russom, Geoffrey (2000). "Tolkien's Versecraft in 'The Hobbit' and 'The Lord of the Rings'". In Clark, George; Timmons, Daniel (eds.). *J. R. R. Tolkien and His Literary Resonances*. Greenwood Press. pp. 54–69. ISBN 9780313308451.
25. Helms, Randel (1974). *Tolkien's World*. Thames and Hudson. p. 130. ISBN 978-0500011140.
26. Zimmer, Paul Edwin (1993). "Another Opinion of 'The Verse of J.R.R. Tolkien'". *Mythlore*. **19** (2). Article 2.
27. Lee & Solopova 2005, pp. 46–53.
28. "Pearl". *Pearl*. Retrieved 15 January 2020.
29. Shippey 2005, pp. 217–221
30. Drout, Michael D. C. (2006). *J.R.R. Tolkien Encyclopedia*. Routledge. p. 539. ISBN 1-135-88034-4.
31. "Song-Cycles". *The Donald Swann Website*. Retrieved 11 May 2020.
32. Scull, Christina; Hammond, Wayne G. (2017). *The J. R. R. Tolkien Companion and Guide*. Vol. 3 (2nd ed.). HarperCollins. p. 1101. ISBN 978-0008214548.
33. Weichmann, Christian. "The Lord of the Rings: Complete Songs and Poems (4-CD-Box)". The Tolkien Ensemble. Archived from the original on 27 October 2016. Retrieved 13 January 2020.
34. Snider, John C. (March 2003). "CD Review: At Dawn in Rivendell: Selected Songs & Poems from The Lord of the Rings by The Tolkien Ensemble & Christopher Lee". SciFiDimensions. Archived from the original on 19 October 2006. Retrieved 14 May 2020.
35. Shehan, Emma (2017). *Middle-Earth Soundscapes: An exploration of the sonic adaptation of Peter Jackson's 'The Lord of the Rings' through the lens of Dialogue, Music, Sound, and Silence* (PDF). Carleton University, Ottawa (MA thesis in Music and Culture). pp. 57–80.
36. Mathijs, Ernest (2006). *The Lord of the Rings: Popular Culture in Global Context*. Wallflower Press. pp. 306–307. ISBN 978-1904764823.
37. Canfield, Jared (13 March 2017). "The Lord Of The Rings: 15 Worst Changes From The Books To The Movies". *ScreenRant*. Archived from the original on 27 October 2018. Retrieved 5 July 2021. Without suggesting the trilogy be turned into a full-blown movie-musical, it would have benefited from Frodo's ditty in the Prancing Pony or Aragorn's poem about Gondor.
38. "The Hobbit: An Unexpected Journey Extended Edition Scene Guide". *The One Ring.net*. 25 October 2013. Retrieved 4 September 2020.
39. Mitchell, Christopher. "J. R. R. Tolkien: Father of Modern Fantasy Literature". *"Let There Be Light" series*. University of California Television. Archived from the original (Google Video) on 28 July 2006. Retrieved 20 July 2006..
40. Anderson, Poul; Anderson, Karen (1991). "Faith". *After the King*. Tor Books. pp. 80–105. ISBN 978-0-7653-0207-6.

### Sources

## InfoBox

Metrical feet and accents
| Disyllables | |
| --- | --- |
|  | pyrrhic, dibrach |
|  | iamb |
|  | trochee, choree |
|  | spondee |
| Trisyllables | |
|  | tribrach |
|  | dactyl |
|  | amphibrach |
|  | anapaest, antidactylus |
|  | bacchius |
|  | cretic, amphimacer |
|  | antibacchius |
|  | molossus |
| *See main article for tetrasyllables.* | |
|  | |


title: Mary Jane and Winston Young

abstract: Mary Jane and Winston Young were a Toronto-based folk music singing duo. They were active as early as 1960 in the early days of the North American urban Folk Revival. They were part of the movement that tied folk music to a socially progressive view of the world. The Youngs performed various kinds of folk based music, including Irish tunes and political tunes and American tunes and songs from Ewen McColl.

text:
# Mary Jane and Winston Young

**Mary Jane and Winston Young** were a Toronto-based folk music singing duo. They were active as early as 1960 in the early days of the North American urban Folk Revival. They were part of the movement that tied folk music to a socially progressive view of the world.

The Youngs performed various kinds of folk based music, including Irish tunes and political tunes and American tunes and songs from Ewen McColl.

## History

In November 1960 the Youngs' music was featured on the BBC program *Roundabout*.

The pair were regular performers at Toronto's folk club and cultural centre, the Bohemian Embassy Coffee House which was run by actor/cultural animator Don Cullen. The Youngs didn't record anything but a few live recordings. They appeared alongside many Canadian acts, Gordon Lightfoot, Ian and Sylvia, Joni Mitchell and Stan Rogers. They were to a significant part of the Toronto folk scene in the late fifties and early sixties.

The Youngs performed at the first Mariposa Folk Festival. In 2001 they performed as part of a Bohemian Embassy reunion night fundraiser for the Humanist Association of Toronto.

## InfoBox

| Mary Jane and Winston Young | |
| --- | --- |
| Origin | Toronto, Ontario, Canada |
| Genres | Folk |
| Years active | 1960s |
|  | |
| Past members | * Mary Jane Young * Winston Young |


title: Yusuf Yasovulboshi Madrasah

abstract: Yusuf Yasovulboshi Madrasah is an architectural monument in Khiva, Khorezm region. The madrasa was built in 1906, and today it is located at 30, Zargarlar Street, Itchan Kala neighborhood. The historical object "Itchan Kala" state museum-reserve belongs to the state property based on the right of operational management. It is included in the list of protected objects according to the decision of the Cabinet of Ministers of the Republic of Uzbekistan "On approval of the national list of real estate objects of tangible cultural heritage".

text:
# Yusuf Yasovulboshi Madrasah

**Yusuf Yasovulboshi Madrasah** (or Muhammad Yusuf Yasovulboshi Madrasa) is an architectural monument in Khiva, Khorezm region. The madrasa was built in 1906, and today it is located at 30, Zargarlar Street, Itchan Kala neighborhood.

The historical object "Itchan Kala" state museum-reserve belongs to the state property based on the right of operational management. It is included in the list of protected objects according to the decision of the Cabinet of Ministers of the Republic of Uzbekistan "On approval of the national list of real estate objects of tangible cultural heritage".

## History

The Yusuf Yasovulbashi madrasah was built in 1906 in the territory of the Itchan Kala museum-reserve in the city of Khiva, opposite the Musa Tora madrasa and west of the Pahlavon Mahmud archaeological monument. The construction was supervised by master Qalandar Kochum. The madrasa was named after Yusuf Yasovulbashi, the commander of Khan's army, and his funds were spent on its construction. During the conquest of the Khiva Khanate by the Russian Empire at the beginning of the 20th century, Yusuf Yasulbashi was responsible for controlling the prisons and maintaining the security of the Khiva Khanate. He was tasked with tracking secret documents and leading a military unit composed of soldiers recruited from nomadic tribes.

Currently, the neighborhood committee is located in the building.

Yusuf Yasovulbashi madrasa also had a schoolhouse, which was mentioned in the foundation certificate, and this made it different from other madrasas. The endowment land was allotted to the madrasa four years before its construction. In the condition of the foundation, it is mentioned that the managers should follow the Quran and Sharia rules. At the same time, they had to teach Muslim children to read the Quran. It was necessary for teachers to teach children strictly following the teaching procedure, except for holidays and weekends.

The history of its construction was written on the marble stone above the entrance of the madrasa.

Today, its kitchen operates as a restaurant "Yasovulboshi".

## Structure

Madrasah was built in the center of the Itchan Kala. It also includes the mausoleum of Usta Yusuf Khos Hajib (XI century, Kashkar). The walls were made of bricks. The madrasah is rectangular in shape (35x25 m), has flower patterns protruding from the corners, has a gabled dome (gable height is 8 m), a courtyard (21x11.2 m) surrounded by arched rooms, and a mosque (5x5 m). 2 flat bows were made on the arch; There is a 3-domed miyansarai (antechamber) with a row of arches on 2 sides of the facade, 2 rooms not connected to it (the entrance door is from the outside) on the south side of the miyansarai, and a mosque with a circular dome on the north side. The front of the mosque is surrounded by auxiliary farm rooms, forming a small square (9x14 m).

## InfoBox

| Yusuf Yasovulboshi Madrasah | |
| --- | --- |
| Muhammad Yusuf Yasovulboshi Madrasah | |
|  | |
| General information | |
| Address | 30 Zargarlar Street, Itchan Kala, Khiva, Khorazm Region, Uzbekistan |
| Coordinates | 41°22′44″N 60°21′37″E / 41.378957145817715°N 60.360406011324876°E / 41.378957145817715; 60.360406011324876 |
| Year(s) built | 1906 |
| Owner | State Property |
| Height | 36,45 m |
| Technical details | |
| Material | brick |
| Floor area | 21X11,2 m |
| Design and construction | |
| Architect(s) | Qalandar Kochum |
| References | |
| Yusuf Yasovulboshi Madrasah in map | |


title: NetWeaver Developer

abstract:
NetWeaver Developer is a knowledgebase development system. This article
  - gives a brief history of the system,
  - summarizes key features of the software,
  - is a bit of a primer, describing basic attributes of a NetWeaver knowledgebase, and
  - provides secondary references that independently document some of the NetWeaver applications developed since the late 1980s. First, though, a word about knowledgebases. While there are various ways of describing a knowledgebase, perhaps one of the more central concepts is that a knowledgebase provides a formal specification for interpreting information. Formal in this context means that the specification is ontologically committed to the semantics and syntax prescribed by a knowledgebase processor.

text:
# NetWeaver Developer

**NetWeaver Developer** is a knowledgebase development system. This article

1. gives a brief history of the system,
2. summarizes key features of the software,
3. is a bit of a primer, describing basic attributes of a NetWeaver knowledgebase, and
4. provides secondary references that independently document some of the NetWeaver applications developed since the late 1980s (see the #References section in this article, as well as applications documented for the EMDS system).

First, though, a word about knowledgebases. While there are various ways of describing a knowledgebase, perhaps one of the more central concepts is that a knowledgebase provides a formal specification for interpreting information. Formal in this context means that the specification is ontologically committed to the semantics and syntax prescribed by a knowledgebase processor (aka, an engine).

## A brief history

NetWeaver was created in late 1991 as a response to ease knowledge engineering tasks by giving a graphical user interface to the ICKEE (IConic Knowledge Engineering Environment) inference engine developed at Penn State University by Bruce J. Miller and Michael C. Saunders. The first iterations were simply a visual representation of dependency networks stored in a LISP-like syntax. NetWeaver quickly evolved into an interactive interface where the visual environment was also capable of editing the dependency networks and saving them in the ICKEE file format. Eventually NetWeaver became "live" in the sense that it could evaluate the dependency networks in real time.

## NetWeaver basics

A NetWeaver knowledgebase graphically represents a problem to be evaluated as networks of topics, each of which evaluates a proposition. The formal specification of each topic is graphically constructed, and composed of other topics (e.g., premises) related by logic operators such as and, or, not, etc. NetWeaver topics and operators return a continuous-valued ‘‘truth value’’, that expresses the strength of evidence that the operator and its arguments provide to a topic or to another logic operator. The specification of an individual NetWeaver topic supports potentially complex reasoning because both topics and logic operators may be specified as arguments to an operator. Considered in its entirety, the complete knowledgebase specification for a problem can be thought of a mental map of the logical dependencies among propositions. In other words, the knowledgebase amounts to a formal logical argument in the classical sense.

## When logic meets graphics

Cognitive theory suggests that human beings have two fundamental modes of reasoning: logical (albeit however informally some folks may do that when left to their own devices) and spatial. Interesting things happen when logic is implemented graphically.

First, the knowledge of individual subject-matter experts engaged in \[\[knowledge engineering\]\] often is not fully integrated when dealing with complex problems, at least initially. Rather, this knowledge may exist in a somewhat more loosely organized state, a sort of knowledge soup with chunks of knowledge floating about in it. A common observation of knowledge engineers experienced in graphically designing knowledgebases is that the process of constructing a graphic representation of problem-solving knowledge in a formal logical framework seems to be synergistic, with new insights into the expert's knowledge emerging as the process unfolds. (At the moment, this assertion is largely anecdotal. Contributors to this article need to find a suitable way to document this point, because it is actually a rather important finding not simply limited to NetWeaver, but knowledge engineering more broadly).

Second, synergies similar to those observed in organizing the reasoning of individual subject-matter experts also can occur in knowledge engineering projects that require the interaction of multiple disciplines. For example, many different kinds of specialists may be involved in evaluating the overall health of a watershed. Use of a formal logic system, with well defined syntax and semantics, allows specialists’ representation of their problem solving approach to be expressed in a common language, which in turn facilitates understanding of how all the various perspectives of the different specialists fit together.

## About NetWeaver knowledgebases

A NetWeaver knowledgebase has been defined by the developers as a network of networks (Miller and Saunders 2002). Each network corresponds to a topic of interest in the problem being evaluated by the knowledgebase.

NetWeaver knowledgebases are object-based. There are two basic types of objects: networks, and data links, each of which is represented in the logic structure by a programming object which has both state and behavior.

The NetWeaver engine is a Windows dynamic link library (DLL) developed by Rules of Thumb, Inc. (North East, PA). NetWeaver Developer is an interface to the engine that is used for designing knowledgebases.

### Logic networks

A knowledgebase represents knowledge about how to solve a problem in terms of the topics of interest in the problem domain, and relations among these topics. Each logic network in a NetWeaver knowledge base represents a proposition about the condition of some ecosystem state or process.

* State - The key state variable of a logic network is its truth value which expresses the degree to which evidence from antecedent networks and data links support or refute the proposition. Logically, network A is said to be antecedent to network B if B depends upon A because network A must be evaluated before network B can be evaluated.
* Behavior - The basic function of a network is to evaluate the truth of its proposition. NetWeaver networks have three basic behaviors related to this function:
    + They query their antecedents to determine the latters' state.
    + They evaluate their own state, given the state of their antecedents.
    + They inform higher level networks that depend on them about their state.

A data link is an elementary dependency network with slightly modified behavior.

* State - Like a network, a data link may evaluate to a truth value, given a data input. A data link may also hold a data value that is subsequently transformed by mathematical operations defined for a calculated data link.
* Behavior:
    + In NetWeaver Developer, data links prompt the user for data input.
    + On receipt of data, data links evaluate their state, given the data input (simple data links), or pass the data value to a special data link that performs some transformation of input data (calculated data link).
    + They inform higher level networks that depend on them about their state.

### Truth values

The truth value is the basic state variable of networks and data links. It expresses an observation's degree of membership in a set. Evaluations of degree of set membership are quantified in the semantics of fuzzy logic. Equivalently, think of the truth value metric as expressing the degree to which evidence supports the proposition of the network or data link; in EMDS, the symbology for maps displaying network truth values is based on the concept of strength of evidence. For additional discussion on this topic, see Interpretation of Truth Values.

Data links are frequently used to read a datum and evaluate its degree of membership in a concept that is quantified in a fuzzy argument (an argument that quantifies fuzzy set membership). Thus, in a data link the argument is a mathematical statement of a proposition. Some simple examples include:

* If the datum fully satisfies the argument, then the truth value of the data link is 1 (full support).
* If the datum is fully contrary to the argument, then the truth value of the data link is -1 (no support).
* If the datum partially satisfies the argument, then the truth value of the data link is in the open interval (-1, 1). Note in particular that negative truth values greater than -1 do not connote negative truth. Rather, such values connote low membership, or low support.
* If the data is not known, then the truth value of the data link is 0 (undetermined).

Interpretation of truth values within networks must be treated more generally, because the truth value of a network may depend on several to many logic operators. Simple examples related to the two key logic operators, AND and OR, are:

* If ‘’’all’’’ logical antecedents to an AND operator fully support the AND relation, then the truth value of the operator is 1 (full support).
* If ‘’’any’’’ logical antecedent to an AND operator is fully contrary to the AND

relation, then the truth value of the operator is -1 (no support).

* If ‘’’any’’’ logical antecedent to an OR operator fully supports the OR relation, then the truth value is 1 (full support).
* If there is no evidence for or against an AND or OR relation, then the truth value of either operator is 0 (undetermined).

As with data links, networks may also evaluate to partially true. Two conditions give rise to this condition in NetWeaver:

* One or more data items are missing and cannot be supplied, and therefore contribute a value of 0 to an AND.
* One or more data items that influence the truth value of a dependency network have been evaluated against a fuzzy argument and found not to have full membership in the fuzzy set defined by the fuzzy argument (the data provides only partial support for the proposition).

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