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ROSE Compiler Framework/Inliner

The ROSE Inliner inlines functions at function callsites.

Background
An inline function is one for which the compiler copies the code from the function definition directly into the code of the calling function rather than creating a separate set of instructions in memory. Instead of transferring control to and from the function code segment, a modified copy of the function body may be substituted directly for the function call. In this way, the performance overhead of a function call is avoided. The inline specifier is only a suggestion to the compiler that an inline expansion can be performed; the compiler is free to ignore the suggestion.

User Instructions
You must enable EDG 5.0 to inline C++11 code
 * --enable-edg_version=5.0

install the tool
configure and build ROSE as instructed at https://github.com/rose-compiler/rose/wiki

inlineEverything -c [options] input.c

Usage
This is a program transformation tool to inline function calls in your C/C++ or Fortran code.

Usage: inlineEverything -c [options] input.c

The optional options include:
 * -skip-postprocessing: Skip postprocessing which cleanups code
 * -process-headers:    Process calls within header files
 * -verbose:           Printout debugging information
 * -limit N:           Inline up to N functions, then stop
 * -main-only:         Inline only functions reachable from main

Source code
API and implementation: // main API bool doInline(SgFunctionCallExp*, bool)

 * https://github.com/rose-compiler/rose/tree/develop/src/midend/programTransformation/astInlining

The tool's source code
 * https://github.com/rose-compiler/rose/tree/develop/tests/nonsmoke/functional/roseTests/astInliningTests/inlineEverything.C
 * command line processing is handled in this source file

Algorithm
216 // Main inliner code. Accepts a function call as a parameter, and inlines 217 // only that single function call. Returns true if it succeeded, and false 218 // otherwise. The function call must be to a named function, static member 219 // function, or non-virtual non-static member function, and the function 220 // must be known (not through a function pointer or member function 221 // pointer). Also, the body of the function must already be visible. 222 // Recursive procedures are handled properly (when allowRecursion is set), by 223 // inlining one copy of the procedure into itself. Any other restrictions on 224 // what can be inlined are bugs in the inliner code. 225 bool 226 doInline(SgFunctionCallExp* funcall, bool allowRecursion)

Major steps

 * eligibility check: skip things which cannot be inlined
 * if a function call is used as an expression operand: e.g. a = func1 + func2;
 * generate a temp variable to obtain the returned value: e.g. temp = func1;
 * replace the function call expression with the temp variable. e.g. a = temp + temp;
 * a slight optimization: if the function call is the only expression operand: e.g. a= func1. No temp variable is needed (a can be directly used without another temp variable serving as intermediate variable.)
 * obtain the list of actual argument
 * make a copy of the body of the function to be inlined
 * rename labels in an inlined function definition. goto statements to them will be updated.
 * in the function body
 * create local variables, one per formal argument, initialize each with the actual argument
 * build a paramMap: mapping formal arguments (SgInitializedName) to new local variables (SgVariableSymbol)
 * this pointer is handled similarly: create a local variable, initialized with the caller's this pointer
 * replace variable references in the body with actual arguments // ReplaceParameterUseVisitor(paramMap).traverse(funbody_copy, postorder);
 * insert a label to indicate the end of the inlined function body // rose_inline_end__

Limitations of this algorithm is not very clean:
 * It generates new local variables and a label.

Eligibility check
What can be inlined
 * a named function,
 * static member function, or
 * qualified name does not start with "::std:: " // skip std:: functions
 * non-virtual non-static member function, // skip virtual functions, static member functions cannot access this->data (non-static data). That is why we check non-static for this ptr case.
 * the function must be known (not through a function pointer or member function pointer). // empty function reference expression
 * the body of the function must already be visible in the current AST. // skip functions with empty body

postprocessing
inlineEverything.C has a clean up step to make the outlined code better
 * cleanupInlinedCode(sageProject);
 * remove unused labels:     SageInterface::removeUnusedLabels(top);
 * remove jumps to next statement:     SageInterface::removeJumpsToNextStatement(top);
 * simpleCopyAndConstantPropagation // In code with declarations such as "int foo = bar", where foo and bar are not modified, replace "foo" with "bar" and remove the declaration
 * remove null statements:     RemoveNullStatementsVisitor.traverse(top, postorder);
 * move declaration to first use:    MoveDeclarationsToFirstUseVisitor.traverse(top, postorder); e.g.   int x__2 =7;  w= x_2 +3; ==>  w=7+3;
 * doSubexpressionExpansionSmart //  Replaces all uses of a variable by its initialing expression. Requires that initname has an assign initializer Replaces all uses of initname in initname's scope by copy of its  initializer expression. Then removes initname.
 * changeAllMembersToPublic(sageProject);

This step does lots of things and can easily trigger some bugs.
 * Even wrose, the cleanup step operates on the entire AST, including C++ headers.

// Post-inline AST normalizations

// DQ (6/12/2015): These functions first renames all variable (a bit heavy handed for my tastes) // and then (second) removes the blocks that are otherwise added to support the inlining. The removal // of the blocks is the motivation for renaming the variables, but the variable renaming is // done evarywhere instead of just where the functions are inlined. I think the addition of // the blocks is a better solution than the overly agressive renaming of variables in the whole // program. So the best solution is to comment out both of these functions. All test codes // pass (including the token-based unparsing tests). // renameVariables(sageProject); // flattenBlocks(sageProject);

cleanupInlinedCode(sageProject);

// In code with declarations such as "int foo = bar", where foo and bar are // not modified, replace "foo" with "bar" and remove the declaration

void simpleCopyAndConstantPropagation(SgNode* top) { FindReferenceVariablesVisitor.traverse(top, preorder); FindCopiesVisitor.traverse(top, preorder); FindUsedDeclarationsVisitor vis; vis.traverse(top, preorder); RemoveUnusedDeclarationsVisitor(vis.used_decls, set).traverse(top, postorder); }

Testing
Test directory with an example translator and test input files
 * https://github.com/rose-compiler/rose/tree/develop/tests/nonsmoke/functional/roseTests/astInliningTests

By looking into Makefile.am, the example translator's source code will generate an executable named "inlineEverything" in your buildtree.

translator: inlineEverything
This is the tool you can try to inline your sample code.
 * inlineEverything

The same Makefile.am's make check rules contain sample command lines to use the tool.

To test one individual input file (such as template_functions.C), type
 * make inlineEverything_template_functions.C.passed // TODO: udpate to new ways to trigger the tests

Command line options
inlineEverything --help -Tool-Specific Help--- This is a program transformation tool to inline function calls in your C/C++ or Fortran code. Usage: inlineEverything -c [options] input.c

The optional options include: -skip-postprocessing: Skip postprocessing which cleanups code -process-headers:    Process calls within header files -verbose:           Printout debugging information

postprocessing
--input bash-4.2$ cat specimen25_1.C template void swap(T& x, T& y) { T tmp = x;  x = y;   y = tmp; } int foo (int a, int b) { swap(a,b); } int main { } - command line - bash-4.2$ inlineEverything -c specimen26_1.C ---output: with postprocessing (cleanup) -- bash-4.2$ cat rose_specimen25_1.C template < typename T > void swap ( T & x, T & y ) {  T tmp = x;   x = y;   y = tmp; } int foo(int a,int b) { {   int tmp = a;    a = b;    b = tmp; } } int main { }

// output without postprocessing: cleanup template < typename T > void swap ( T & x, T & y ) {  T tmp = x;   x = y;   y = tmp; }

int foo(int a,int b) { {   int &x__2 = a;    int &y__3 = b;    int tmp = x__2; x__2 = y__3; y__3 = tmp; rose_inline_end__4: ; } }

int main { }

Correctness checking
make check only check if the number of inlined functions is the same as expected. inlineEverything_specimens =                   \ specimen01_1.C  ..
 * 1) Note: must use the name convention of specimenXX_N.C, in which N is the number of function calls inlined.
 * 2) The specimens are named so that the number between the "_" and next "." is the number of function calls that
 * 3) we expect this specimen to inline.

inlineEverything_test_targets = $(addprefix inlineEverything_, $(addsuffix .passed, $(inlineEverything_specimens))) TEST_TARGETS += $(inlineEverything_test_targets) $(inlineEverything_test_targets): inlineEverything_%.passed: % inlineEverything inlineEverything.conf @$(RTH_RUN)                                                                                \ TITLE="inlineEverything $< [$@]"                                                               \ SPECIMEN="$(abspath $<)"                                                                       \ NINLINE="$$(echo $(notdir $<) |sed --regexp-extended 's/specimen[0-9]+_([0-9]+).*/\1/')"       \ TRANSLATOR="$$(pwd)/inlineEverything"                                                          \ $(srcdir)/inlineEverything.conf $@

cat inlineEverything.conf
 * 1) Test configuration file (see "scripts/rth_run.pl --help" for details)
 * 2) Tests the inliner

subdir = yes
 * 1) Run the tests in subdirectories for ease of cleanup.

cmd = ${VALGRIND} ${TRANSLATOR} -rose:verbose 0 ${SPECIMEN} -o a.out |tee ${TEMP_FILE_0} cmd = grep "Test inlined ${NINLINE} function" ${TEMP_FILE_0} cmd = cat -n rose_* cmd = ./a.out
 * 1) Run the test and then make sure the output contains a certain string

title = ${TITLE} disabled = ${DISABLED} timeout = ${TIMEOUT}
 * 1) Extra stuff that might be useful to specify in the makefile

examples
We use a set of increasingly more complex examples to explain the inlining algorithm used.

More example input and output files are available at:
 * https://github.com/chunhualiao/inliner-demo

naked call: no parameters in nor return output
extern int x;

void incrementX {     x++; }

int main {    incrementX; return x;  }

//--output, without postprocessing

extern int x;

void incrementX { x++; }

int main {  // the function body is copied here {                 x++; rose_inline_end__2:  // a label for the end of a function is generated. ; }  return x; }

//---output, with postprocessing for clean up // unused label and empty statement are removed

extern int x;

void incrementX { x++; }

int main {  // the function body is copied here {                 x++; } return x; }

function with a return
// a function with a return extern int x;

int incrementX { x++; return x; }

int main { incrementX; return x; }

//-- output without postprocessing

// a function with a return extern int x;

int incrementX { x++; return x; }

int main { {    x++; {                   // a return statement is translated into a block, go to the exit point in the end x;     goto rose_inline_end__2; }   rose_inline_end__2:  // a label for the end of the function: the exit point ; }  return x; }

// with postprocessing, the code look the same

// a function with a return extern int x;

int incrementX { x++; return x; }

int main { {    x++; {     goto rose_inline_end__2; } rose_inline_end__2: ; }  return x; }

function calls as two expressions
// input code --- int foo(int i) { return 5+i; }

int main(int, char**) { int w; w = foo(1)+ foo(2); return w; }

//--after inlining- // You can see that a temparory variable is used to capture the returned value of a function call. // Then the temp variable is used to replace the original function call expression int foo(int i) { return 5 + i; }

int main(int ,char **) { int w;  int rose_temp__4; {   int i__2 = 1; {     rose_temp__4 = 5 + i__2; goto rose_inline_end__3; }   rose_inline_end__3: ; }  int rose_temp__8; {   int i__6 = 2; {     rose_temp__8 = 5 + i__6; goto rose_inline_end__7; }   rose_inline_end__7: ; }  w = rose_temp__4 + rose_temp__8; return w; }

//- postprocessing does not simplify the code any further int foo(int i) { return 5 + i; }

int main(int ,char **) { int rose_temp__4; {   {      rose_temp__4 = 5 + 1; goto rose_inline_end__3; }   rose_inline_end__3: ; }  int rose_temp__8; {   {      rose_temp__8 = 5 + 2; goto rose_inline_end__7; } rose_inline_end__7: ; }  int w = rose_temp__4 + rose_temp__8; return w; }

function call as a single expression
An optimized transformation:
 * not blindly generate a temp variable to capture the value of a function call.
 * instead directly reuse the original declaration of the lhs variable inside the function body

int foo(int i) { return 5+i; }

int main(int, char**) { int w; w = foo(1); return w; }

//-after inlining --

int foo(int i) { return 5 + i; }

int main(int ,char **) { int w;  { int i__2 = 1; {     w = 5 + i__2; goto rose_inline_end__3; } rose_inline_end__3: ; }  return w; }

//postprocessing does not simplify the code further. int foo(int i) { return 5 + i; }

int main(int ,char **) { int w;  { {     w = 5 + 1; goto rose_inline_end__3; } rose_inline_end__3: ; }   return w; }

3 operand operations
the code is normalized.
 * 1) include

int foo { exit (1); return 0; }

int main(int, char**) { int w, x = 7; w = x == 8 ? foo : 0; return w; }

//--- after inlining ---

 * 1) include

int foo { exit(1); return 0; }

int main(int ,char **) { int w;  int x = 7; if (x == 8) { int rose_temp__4; {     exit(1); {       rose_temp__4 = 0; goto rose_inline_end__2; } rose_inline_end__2: ;   }    w = rose_temp__4; } else { w = 0; } return w; }

data member access function
typedef int   Index_t ;
 * 1) include

struct Domain { public: // non-reference type Index_t numNode            { return m_numNode ; }

void AllocateNodeElemIndexes {     Index_t numNode = this->numNode ; }

void AllocateNodeElemIndexes_inlined {     Index_t numNode = m_numNode; // call site 1 inlined }
 * 1) if 0 // the best inline result should look like the following
 * 1) endif

private: Index_t  m_numNode ; } domain;

//after inlining

 * 1) include

typedef int Index_t;

struct Domain {

// non-reference type inline Index_t numNode {   return (this) -> m_numNode; }

inline void AllocateNodeElemIndexes {

//x. split declaration + initializer into two parts // a temporary variable to transfer value of initializer

Index_t rose_temp__3;

//x. a new code block to embed the function body {     struct Domain *this__1 = this__1; {       rose_temp__3 = this__1 -> m_numNode;

//x. goto the label after function call goto rose_inline_end__2; }

//x. label after the function call rose_inline_end__2: ;   }

Index_t numNode = rose_temp__3; }

Index_t m_numNode;

} domain;

C++ template functions
--input bash-4.2$ cat specimen25_1.C template void swap(T& x, T& y) { T tmp = x;  x = y;   y = tmp; } int foo (int a, int b) { swap(a,b); } int main { } - command line - bash-4.2$ inlineEverything -c -skip-postprocessing specimen26_1.C ---output: with postprocessing (cleanup) -- // output without postprocessing: cleanup template < typename T > void swap ( T & x, T & y ) {  T tmp = x;   x = y;   y = tmp; }

int foo(int a,int b) { {   int &x__2 = a;    // local variables for each formal arguments, initialized with actual arguments int &y__3 = b;

int tmp = x__2;  // variable references are replace with the local variables x__2 = y__3; y__3 = tmp; rose_inline_end__4:  // a label to indicate the end of the outlined function body. ; } }

int main { }

multiple-level function calls
//input

int foo(int x) { return x + 3; }

int bar(int y) { return foo(y) + foo(2); }

int main(int, char**) { int w; w = bar(1); return 0; }

//--- output, no postprocessing

int foo (int x) { return x + 3; }

int bar (int y) { int rose_temp__4; {   int x__2 = y;    { rose_temp__4 = x__2 + 3; goto rose_inline_end__3; } rose_inline_end__3: ; }  int rose_temp__8; {   int x__6 = 2; {     rose_temp__8 = x__6 + 3; goto rose_inline_end__7; } rose_inline_end__7: ; }  return rose_temp__4 + rose_temp__8; }

int main (int, char **) { int w;  { int y__10 = 1; int rose_temp__4; {     int x__2 = y__10; {	rose_temp__4 = x__2 + 3; goto rose_inline_end__3__1; }   rose_inline_end__3__1: ;   }    int rose_temp__8; {     int x__6 = 2; {	rose_temp__8 = x__6 + 3; goto rose_inline_end__7__2; }   rose_inline_end__7__2: ;   }    {      w = rose_temp__4 + rose_temp__8; goto rose_inline_end__11; } rose_inline_end__11: ; }  return 0; }

Tutorial
Official documentation about how to call the inlining API is:
 * Chapter 36 "Calling the Inliner of ROSE" tutorial: http://rosecompiler.org/ROSE_Tutorial/ROSE-Tutorial.pdf

Troubleshooting
TEST    inlineEverything ../../../../../../sourcetree/tests/nonsmoke/functional/roseTests/astInliningTests/template_functions.C [inlineEverything_template_functions.C.passed]

inlineEverything_template_functions.C [out]: Note: C++11 input files to ROSE are NOT supported using EDG 4.9 configuration with GNU compilers 4.9 and greater (configure ROSE using EDG 4.12)

title: ROSE Compiler Framework/Inliner


text:
User:Medapoth/vector.css

body { background-color: rgb(0, 0, 0); }	height: 5em; background-position: bottom left; background-repeat: repeat-x; background-image: url(/w/skins/Vector/images/page-fade.png?1d168); background-color: #f6f6f6; background-image: -webkit-linear-gradient(top,#ffffff 50%,#f6f6f6 100%); background-image: -moz-linear-gradient(top,#ffffff 50%,#f6f6f6 100%); background-image: linear-gradient(rgb(0, 0, 0) 80%,rgb(255, 0, 0) 100%); background-color: rgb(0, 0, 0); .mw-body, .parsoid-body { padding: 1em; background-color: rgb(0, 0, 0); color: rgb(34, 255, 34); direction: ltr; } h1, h2, h3, h4, h5, h6 { color: rgb(0, 255, 0); background: none; font-weight: normal; margin: 0; overflow: hidden; padding-top: 0.5em; padding-bottom: 0.17em; border-bottom: 1px solid rgb(162, 255, 0); } .mw-body { margin-left: 10em; border: 1px solid rgb(167, 0, 0); border-right-width: 0; margin-top: -1px; } a { text-decoration: none; color: rgb(75, 69, 0); background: none; } .mw-body, .parsoid-body { color: rgb(34, 255, 34); direction: ltr; } .mw-body, .parsoid-body { color: rgb(34, 255, 34); direction: ltr; } .mw-body { margin-left: 10em; border: 1px solid rgb(0, 0, 0); border-right-width: 0; margin-top: -1px; } .mw-body, .parsoid-body { padding: 1em; background-color: rgb(0, 0, 0); color: rgb(0, 255, 0); direction: ltr; } h1, h2, h3, h4, h5, h6 { color: rgb(0, 255, 0); background: none; font-weight: normal; margin: 0; overflow: hidden; padding-top: 0.5em; padding-bottom: 0.17em; border-bottom: 1px solid rgb(75, 169, 0); } a { text-decoration: none; color: rgb(150, 150, 0); background: none; }
 * 1) mw-page-base {

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User:Medapoth/vector.css


text:
NEC PC Programmers Reference

Hardware interface reference for Japanese computers produced by Nippon Electronics Corp. (NEC)

Contents

 * /PC-6xxx Series Programmers Reference/
 * /PC-8xxx Series Programmers Reference/
 * /PC-98xx Series Programmers Reference/
 * /PC-FX Programmers Reference/

title: NEC PC Programmers Reference


text:
NEC PC Programmers Reference/PC-98xx Series Programmers Reference

DOS

 * 0x21 (see DOS API )

Floppy Disk

 * 0x1B

 * 0x12

 * 0x13

Keyboard

 * 0x18

Printer/Parallel

 * 0x1A

System

 * Clock/Timer - 0x1C

 * Memcpy - 0x1F

 * PIC - 0x19

Video

 * 0x18


text: NEC PC Programmers Reference/PC-8xxx Series Programmers Reference


text: NEC PC Programmers Reference/PC-6xxx Series Programmers Reference


text: NEC PC Programmers Reference/PC-FX Programmers Reference


text:
Talk:Baroque Macedonia and the Macedonian Revolts

Dear Contributors and Wikipedia Administrators,

This will be a book called : Baroque Macedonia and the Macedonian Revolts, it will focus on Macedonia during the Baroque period ( 1650 - 1750 ). It will be a non-fiction document with only a fraction being fictional.

Regards

--Sutton Publishing (discuss • contribs) 07:06, 20 June 2019 (UTC)


text: User:C.E. user HM J. Y.

title: User:C.E. user HM J. Y.


text:
Smalltalk Programming/History

Smalltalk was developed in the Learning Research Group (LRG) at Xerox's Palo Alto Research Center back in the early 1970. The group was led by Alan Kay who worked on a vision he called "Dynabook" - the computer could be used creatively like a dynamic book even by children. Their explorations led them to develop not only the prescient vision of notebook computing (the Dynabook), but also to the Smalltalk object-oriented programming language. The first Smalltalk programming system (called Smalltalk-72) ran on a Xerox Alto and was designed to support Alan Kay's new programming paradigm called object-oriented programming.

title: Smalltalk Programming/History


text:
User:Saltrabook/Clinical diagnostic guidelines/La historia clinico-laboral

HISTORIA CLINICO-LABORAL
El examen de la salud laboral difiere del examen hospitalario habitual. El objetivo es decribir la correlación entre ambiente de trabajo / ambiente y enfermedad, síntomas y salud. El expediente médico laboral así contiene, además de historial de salud, información detallada sobre el pasado y empleo laboral actual y posible cargas en el contexto del entorno de trabajo. Además, la expediente debe incluir información y asesoramiento sobre cualquier prevención, establecimiento de un posible compensación de trabajadores y/o orientación profesional si se aconseja y da información sobre esto. Esta guía de expediente es una descripción general pero ´puede haber circunstancias especiales que necesitan ser enfocadas en por ejemplo en pacientes de medicina social o estudios de grupos.

La estructura del expediente
La estructura es un entendimiento común de qué puntos pueden ser relevante para describir los problemas de un paciente, de modo que un diagnóstico y evaluación causal para la prevención y el asesoramiento. Los departamentos individuales tienen libertad para construir su disposición del expediente en un orden auto-elegido, o fusionar puntos.

Introducción
El diario comienza con una indicación de la edad del paciente, posiblemente: género, edad, tipo de trabajo, quién ha referido al paciente y haciendo referencia causa. Si la llamada se realizó con un intérprete o si el cónyuge del paciente u otro familiar ha asistido convocatoria, se debe indicar en la introducción.

Expectativas de la persona investigada
Las expectativas de la persona investigada para el estudio pueden también se incluye en la introducción, incluyendo sobre esto según investigado es sobre una evaluación de su entorno de trabajo, un caso de lesiones laborales, orientación profesional etc. Ejemplo: " SS femenino de 44 años referido por su propio médico. para el trastorno del hombro del paciente relacionada con el trabajo. El propio paciente también quiere consejos sobre, Si puede continuar trabajando en el campo ".

Alergias
Reacciones alérgicas conocidas o sospechosas con descripción De la naturaleza de la reacción y posiblemente. estudios alérgicos. Trastornos hereditarios o factores predisponentes de enfermedad o síntomas de la enfermedad además de importantes para el actual. Investigación por ej. la disposición hereditaria de la atopia en un paciente. Con trastornos de la piel, fiebre del heno o asma.

Historia ocupacional
Aquí, la escolarización, la educación y el empleo se plantean a tiempo. Orden con indicación de empleo y hora de cierre, nombre y dirección de la empresa y el función que el paciente tenía en la empresa. Si la información de los registros está disponible, esto se puede indicar.

Descripción del trabajo / exposiciones
La descripción del trabajo debe incluir una descripción de la descripción del trabajo Principales impactos en el entorno laboral dirigidos a él. Problema que debe ser dilucidado por la referencia de la persona. Al departamento de salud laboral. En general, se puede decir sobre la descripción de la exposición que la descripción debe tener un carácter para que uno pueda visualmente. Imagina cómo se hizo el trabajo. Descripciones como "Muy pesado", "Muy frecuente", etc. no son suficientes como descripción de la exposición. Además, la descripción de la exposición puede ser apoyada por información sobre la documentación disponible en forma de información de la empresa, hojas de datos, informes del entorno de trabajo, revisión de la literatura, medidas de ambiente de trabajo, etc.

Exposiciones en tiempo libre
Efectos de ocio relevantes que ha tenido la persona interesada. También se puede enumerar aquí (actividades deportivas, granjas de ocio, Trabajo asociativo en gran medida, etc., aficiones con exposición para productos químicos etc.).

Historial médico
Aquí se describe el problema de salud que es la causa. La referencia incluye el inicio de la enfermedad, el desarrollo de la enfermedad y Los síntomas de la enfermedad actual. Indicación de los tratamientos y resultados de los anteriormente relevantes exámenes médicos, como el tiempo y el diagnóstico y conclusión a partir de exámenes especializados( pruebas de audición, sub función pulmonar también se indican mediciones de plomo en sangre, etc.). El curso temporal entre exposición / evento de vida antes del desarrollo de la enfermedad es esencial y debe trate de describir con la mayor precisión posible.Si es un trastorno del sistema musculoesquelético superior, uno debe También indican el dominio de la mano. Si hay varios desórdenes en competencia, establezca en forma puntual. (Por ejemplo.
 * 1) Enfermedad lumbar ...........
 * 2) Trastorno de la audición ……….
 * 3) Eczema de las manos).

Medicina
Indicación del consumo actual de medicación

Tabaco
La información sobre el consumo de tabaco debe ser declarada para que se quiera ser capaz de calcular el paquete de años (inicio y posiblemente. Tiempo de retirada, naturaleza y cantidad y posiblemente el número total de años con el consumo regular de tabaco.

Alcohol
Completo (naturaleza, cantidad, consumo diario, dependencia y posiblemente tratamiento pasado o actual para el alcoholismo). En otros En casos puede ser suficiente para ingresar el número de bebidas por día o semana o si hay un consumo diario de alcohol. Otras condiciones de estilo de vida.

Condiciones sociales
Los asuntos importantes aquí se exponen aquí. estado civil, posiblemente empleo cónyuge / cohabitante, posiblemente. niños que viven en casa,vivienda, economía, consecuencias sociales y laborales de la enfermedad, incluso si el paciente está en su trabajo habitual, Actualmente se encuentra en baja por enfermedad, durante la rehabilitación, en busca de pensión, etc.

Examen clinica
Depende de una estimación hasta qué punto es necesario hacer un examen objetiva sistemática "de pies a cabeza" o simplemente un estudio específico de, por ejemplo, hombro, espalda baja o pulmones cuando hay sospecha de trastorno específico.

Resumen

 * El resumen está escrito como un breve resumen, debe incluye los siguientes puntos:
 * Motivo de referido y profesión del paciente y la edad
 * Lo más importante laboral y pertinente exposiciones
 * Síntomas, quejas actuales.
 * Funcionalidad
 * Hallazgos objetivos relevantes
 * Resultados de estudios previos relevantes.
 * Diagnóstico primario
 * Diagnóstico secundario (s)
 * Los códigos ICD-10 se agregan a los diagnósticos

Conclusión e información para paciente
El resumen y la conclusión deben ser adecuados, pero tan cortos como sea posible.En la conclusión, una evaluación de cualquiera relación causal entre exposición y enfermedad:
 * Determinar si existe una relación causal entre la enfermedad y la exposición
 * Cualquier factor que compita
 * Recomendación sobre el futuro, posiblemente requisitos de salvaguardia
 * Asesoramiento en prevención al paciente.
 * Indicación y plan para cualquiera diagnósticos
 * Estado de cualquiera caso de lesiones de trabajo y si uno está haciendo revisión
 * Indicación de qué información se da al paciente incl. información sobre posibles daños a la salud en relación con factores de estilo de vida

Plan
Si empiezas con más investigación de la enfermedad o la exposición se establece un plan para esto. En relación con la finalización de la expediente uno debe dictar quién debe tener una copia del registro (después de que el paciente consentimiento). Puede ser el cuerpo de referencia, sindicato, municipio, la junta de lesiones laborales, el propio paciente. En general, solo hay que enviar los relevantes y específicos.

El plan adicional incluye

 * 1) Referencia a otras especialidades
 * 2) Visitar el lugar de trabajo
 * 3) Notificación como enfermedad relacionada con el trabajo - Covid!!
 * 4) Información al organismo (syndicato, medico general etc) remitente
 * 5) auto_awesome
 * 6) Nueva visita


text:
Pharmacology/Antipyretics

antipyretics drugs are used to reduce fever

title: Pharmacology/Antipyretics


text:
User talk:Abu-bakri Sulymana123

About philosophy
Hello, I have received your mail, about Introduction to Philosophy/What is Philosophy!?

I am sorry, I can not help you, because I do not know this subject. I have just removed one error in the page.

Regards --NicoScribe (discuss • contribs) 17:35, 20 June 2019 (UTC)

title: User talk:Abu-bakri Sulymana123


text:
User talk:NicoScribe

Welcome, NicoScribe!

If you have any questions, you can ask in the assistance reading room or possibly contact me personally. JackPotte (discuss • contribs) 20:29, 20 June 2019 (UTC)

title: User talk:NicoScribe


text:
NEC PC Programmers Reference/PC-98xx Series Programmers Reference/Sound BIOS

The Sound BIOS is a toolkit for operating the OPN music playback/sound generation system. It has no default interrupt -- the interrupt must be established by the application.

Requirements
The Sound BIOS requires a sound card that supports OPN MUSIC BIOS. It can only be used in normal mode.

Setting the Sound BIOS Interrupt
The Sound BIOS interrupt is established by setting the byte at address 0xCEE00 to the interrupt number desired for use.

N88-BASIC sets Sound BIOS interrupt to 0xD2 by default.

Setup
Sound BIOS expects access to specific regions of memory for its operation, among other requirements.

 * the DWORD beginning at 0000:05E0 must be reserved to it.
 * Status area of 256 bytes
 * Work area of 512 bytes
 * 96 bytes stack space

The status and work areas must be contiguous. To reserve space for Sound BIOS, set the offset into the segment so reserved where the work area begins to the WORD at 0xCEE06 (0 is acceptable). Before using Sound BIOS, set ES to 0xCEE0 and DI to the WORD at 0xCEE06. Set SS to the designated BIOS stack area segment and SI to the offset into the same.

Operation of the Sound BIOS
The Sound BIOS is accessed by calling its designated interrupt with the command number in CPU reg AH. Each Sound BIOS command requires specific parameters. The following list of Sound BIOS commands explains the commands available and how to pass parameters to them.

Callback timing
Sound BIOS uses OPN reg A as a tempo clock/metronome and reg B for modulation timing. It latches onto the PIC and monitors these regs to determine what action to take in accordance with the commands given. The metronome ticks at at least 5 msecs.

Compatibility with Manual Port Operations
It is possible that manual operation of the sound card will interfere with the proper operation of Sound BIOS commands, causing unexpected behavior.


text: User talk:2605:E000:1528:E63D:7CC9:F7FC:52F:C48F


text: User talk:188.241.42.243

title: User talk:188.241.42.243


text: User talk:185.47.106.49

title: User talk:185.47.106.49


text: User talk:180.191.242.57

title: User talk:180.191.242.57


text: User talk:100.16.84.23

title: User talk:100.16.84.23


text: User talk:5.68.98.151

title: User talk:5.68.98.151


text:
User talk:1997kB

 Welcome to my talk page! Hey! I am 1997kB. I patrol many projects, and where I don't know the language I only act in cases of serious vandalism. If you think I have done anything wrong, feel free to message me. For ease of communication and to keep conversations in one place, I prefer you leave me messages at my talk page on metawiki. If you don't like that you can leave me messages here too, but since I do not watch all of my talk pages, your message might not get a timely response. Thanks!

Welcome, 1997kB!

If you have any questions, you can ask in the assistance reading room or possibly contact me personally.--Cohaf (discuss • contribs) 11:55, 22 June 2019 (UTC)

A new proposal
Hi, there is currently a proposal at Wikibooks:Reading room/Proposals for non-admins to be given the ability of    and. Since you’ve been an active user on Wikibooks for the last thirty day, I thought you might join in by giving feedback/opinion or amendments. Thank you so much for your time Synoman Barris (discuss • contribs) 12:45, 14 September 2020 (UTC)

title: User talk:1997kB


text:
Talk:Prealgebra for Two-Year Colleges/Appendix (procedures)/Dividing whole numbers by long division

Mathematics
Numeric and geometric patterns Itumeleng makgoka (discuss • contribs) 20:36, 22 June 2019 (UTC)

Itumeleng makgoka Itumeleng makgoka (discuss • contribs) 11:59, 24 June 2019 (UTC)

Itumeleng makgoka Itumeleng makgoka (discuss • contribs) 11:59, 24 June 2019 (UTC)


text:
Electronics/Semiconductor Basics

Semiconductors typically use silicon as a base material. Silicon has 14 electrons in three shells. The inner two shells are full with 2 and 8 electrons each. The outermost shell has spots for 8 electrons, but only 4 are present.

title: Electronics/Semiconductor Basics


text:
User talk:LaundryPizza03

Welcome
Welcome, LaundryPizza03!

If you have any questions, you can ask in the assistance reading room or possibly contact me personally. --Green Giant (discuss • contribs) 00:29, 23 June 2019 (UTC)

title: User talk:LaundryPizza03


text:
User:Saltrabook/Collections/Medicina del Trabajo

xxx

 * User:Saltrabook


text:
Puzzles/Four colour map

The four color map theorem mentions that you only need four colors to color all the regions of any map without the intersection or touching of the same color as itself.

As seen on the old maps of Britain on the right, we can see that district all Britain are coloured with red, yellow, green and blue. We can scrutinize the map itself and found that the map itself don't have any areas with same colour which touches side by side.

The first proposal of such puzzle's theory was made by Francis Guthrie on October 23, 1852. The proposal occurred while trying to color the map of England, when it was noticed that only four different colors were needed. (See the map on right). He asked his brother Frederick if it was true that any map can be colored using four colors in such a way that adjacent regions (i.e. those sharing a common boundary segment, not just a point) receive different colors. Francis Guthrie showed his brother some results he had been trying to prove about the colouring of maps and asked Frederick to ask De Morgan about them.

In 1860, De Morgan (lecturer of Francis Guthrie) to showcase the problem and its proof to the United States of America. In America, Benjamin Price (1809-1880) a famous mathematician and astronomer, chose to develop logical methods to investigate this conjecture. De Morgan used the fact that in a map with four regions, each touching the other three, one of them is completely enclosed by the others. Since he could not find a way of proving this, he used it as an axiom, the basis of his proof. His argument was considered correct until 1890 when Percy John Heawood discovered a flaw. Work by many people continued and the conjecture was finally proved true in 1976 by Kenneth Appel and Wolfgang Haken.

title: Puzzles/Four colour map


text:
The Lyrics of Henry VIII/Benedictus (Isaac, Incipit)

[ff. 3v-4r]

Benedictus

Textual Commentary
This piece appears as an unattributed incipit in H, with all but the initial capital entered in what appears to be a later hand. A full block initial capital is given for each of the three voices, though little room is left for text among the musical notation. The complete incipit is entered into the manuscript’s table of contents as the first work.

As noted by Atlas (1.126), this piece serves as the Benedictus in the Sanctus of Isaac’s Missa Quant J’ai au Cueur, though it was originally thought to be an independent piece and is listed as such in Odhecaton (ed. Hewitt, #76). It was extracted by those in the circle of Lorenzo de Medici and circulated separately thereafter. There are in excess of thirty witnesses to this piece. Many of the witnesses treat the text in a manner very close to its handling in H—without full text. That which appears in H is representative of the transmission of the full setting and its extraction, in a sub-tradition that is extant in a total of sixteen texts, including H, Fl107 (f. 20v), Fl229 (ff. 9v–10r), Heil (#9), M2268 (ff. 150v–151r), P676 (ff. 77v–78r), PBFm (#30), PBIsa (B1v, F1v, G4v), PBOdh (ff. 82v–83r), PBP504 (3, #46), R940/41 (#190), RG27 (ff. 50v–51r), RS35 (ff. 34v–35r), T27 (f. 35r), WWlf (ff. 88v–89r), and Zw78 (3, #9). The remaining witnesses include B22 (#17), B32 (f. 43v), B40021 (ff. 110v–111r), BQ18 (ff. 63v–64r), FlP27 (ff. 17v–18r), J31 (full Missa, ff. 36v–50r), PBN36 (#49), PBS07 (I #2), PT1 (#14, #109), SAM (full Missa, ff. 45v–54r), SG462 (ff. 7v–8r), U237 (ff. 22r, ff. 20r–20v, ff. 21r–21v), Up76e (#3), V757 (ff. 29v–30r), V11883 (full Missa, ff. 42v–51r), and W2016 (ff. 55v–56r). Of these two groups, full texts of the lyric are extant in B40021, RS35, M2268, and W2016; fragmentary texts, or incipits, are extant in BQ18, Fl107, Heil, PBIsa, PBOdh, PBP504, P676, FlP27, R940/41, RG27, SG462, T27, U237, and Wwlf. The music also circulated with an alternate text, “Seigneur Leon vous soyés bien venus,” in FlR2356 (ff. 68v–69r) and P15123 (ff. 27v–28r), among others.

The full text below is transcribed according to Lerner (ed., Isaac 7.74–6):

 * Benedictus
 * qui venit
 * qui venit
 * venit in nomine
 * Domini.

“Benedictus” is reprinted in Fano (ed., Isaac 5.66–67), Geering (18–20), Hewitt (ed., Odhecaton 379–80), Lerner (ed., Isaac 7.74–76), Plamenac (“Autor d’Ockeghem” 44–45), Stevens MCH8 (1), and Wolf (ed., Isaac 112), among others.

Texts Collated
H1,2,3 (ff. 3v–4r).

 * 1   Benedictus] B H2,3


text:
The Lyrics of Henry VIII/Fortune esperee (Busnois, Incipit)

[ff. 4v-5r]

Fortune esperee

Textual Commentary
This piece appears as an incipit in H in four voices, each with a large block initial capital, though with little room left within the musical notations for text. “Fortune esperee” is listed in the manuscript’s table of contents as the second work. The origins of this piece are in a work by Antione Busnois. “Fortune esperee” has been interpreted by others (including Felice) and is more commonly known as “Fortuna Desperata,” but remains unattributed in H.

“Fortune esperee” also appears in BQ16 (ff. 117v–118r), CT3.b.12 (ff. 79v–80r), Fl121 (ff. 25v–26r), FlP27 (ff. 22v–23r), Fr20 (f. 1r), L35087 (ff. 11v–12r), Le1494 (ff. 62r, 162v), P676 (ff. 24v–25r), PBCan (ff. 126v–127r), PBS07 (I #29), Pe431 (ff. 93v–94r [entered and then deleted], ff. 94v–95r), Ps1144 (25–7, 31–5), PT1 (#103), RC2856 (ff. 147v–149r), RG27 (ff. 56v–57r / ff. 63v–64r), S/P (n11v–n12r), SAM (ff. 115v–116r, f. 174r, f. 182r), SG462 (20–1), SG463 (#144), and Zw78 (2, #54), among others (see Fallows [Catalogue]). Of these, Atlas notes that full texts of the lyric are extant in L35087, P676, FlP27, Pe431 (second instance), SAM, S/P, and SG462; fragmentary texts, incipits, and alternate texts are extant in BQ16, CT3.b.12, Fr20, Fl121, Le1494, PBCan, Pe431 (first instance), Ps1144, PT1, RC2856, RG27, SG463, and Zw78.

The text given below is that of L35087:

 * Fortuna dessperata
 * Inigua maledicta che di tal dona
 * electa la fama la fama ay denegata
 * Ay deniga ta electa la fama ay denigata

Stevens notes that the music of S/P is closest to that in H (MCH8 2); this text is as below:

 * FOrtuna fortuna despera ta
 * Ini qua emalede ta che de tal dona
 * elle ta la fama ay denega ta
 * fortuna desperatta

“Fortune esperee” is printed in Atlas (ed., 2.38), Geering (ed., 17–18), Smijers (ed., des Prés 1.105–107), Smijers (ed., Obrecht 1.170–71), Stevens MCH8 (2), Torrefranca (297–98), Wolf (ed., Isaac 190), Wolf (ed., Obrecht 1[suppl.].136), and elsewhere. It is indexed in Fallows (Catalogue 518), among others.


text:
The Lyrics of Henry VIII/Alles regretz uuidez dema presence (van Ghizeghem / Jean II of Bourbon, Incipit)

[ff. 5v-6r]

Alles regretz uuidez dema presence

Textual Commentary
This piece appears as a full first line in H1, though the second and third voices give simply “Alles regretz.” All three voices have block capitals and little room left among the musical notation for text. “Alles regretz uuidez dema presence” is listed in the manuscript’s table of contents as the third work. While not attributed in H, it was composed by Hayne van Ghizeghem with lyrics by Duke Jean II of Bourbon (Reese 100; P2245). This piece was also adapted by Alexander Agricola.

“Alles regretz uuidez dema presence” appears also in BQ17 (ff. 30v–31r), Br11239 (ff. 2v–4r), C1848 (414), CCap (#21), Fl107 (ff. 43v–44r), Fl117 (ff. 38v–39r), Fl178 (ff. 42v–43r), Fl229 (ff. 242v–243r), FlP27 (ff. 97v–98r), FlR2356 (ff. 91v–92r), FlR2794 (ff. 58v–59r), LR20 (ff. 20v–21r), P1597 (ff. 11v–12r), P1719 (ff. 30v, 144v), P2245 (ff. 17v–18r), PBP504 (3, #26), PBFm (#7), PBG33 (#34), PBOdh (ff. 62v–63r; ff. 53v–54r [Agricola]), RC2856 (ff. 96v–98r), RG27 (ff. 20v–21r / ff. 27v–28r; ff. 71v–72r / ff. 78v–79r [Agricola]), SAM (ff. 163v), SG461 (82–3 [Agricola]), T27 (f. 12v), T/Br (#1), Up76a (f. 1r), V757 (ff. 28v–29r), WLab (ff. 140v–142r), and Zw78 (#11), among others. Of these, full texts of the lyric are extant in Br11239, Fl117, FlR2356, FlR2794, LR20, P1597, P1719, P2245, T27, T/Br, and WLab; fragmentary texts, or incipits, are extant in BQ17, C1848, Fl107, Fl178, Fl229, FlP27, PBP504, PBOdh, RC2856, RG27, SAM, SG461, and Up76a.

The incipit of P1719 is closer to H in its reading than that of others of the tradition, and this text is provided below:

 * Allez Regretz vuidez de ma presence
 * allez ailleurs faire vostre acointance
 * assez auez tourmente mon las cueur
 * Remply de dueul pour estre serviteur
 * dune sans per que jay amee denfance                      5

 * Fait lui auez longuement ceste offense
 * ou est cellui qui point soit ne en france
 * qui endurast ce mortel deshonneur
 * Allez Regretz

 * Ny tournez plus car par ma conscience                   10
 * se plus vous voy prouchain de ma plaisance
 * devant chascun vous feray tel honneur

 * que len dira que la main dun seigneur
 * vous a bien mis ala malle meschance
 * Allez Regretz                                                            15

Br11239, another popular text, reads:

 * Ales regretz vuidies de ma plaisance
 * Alles allieurs querir vostre acointance

 * asses aues tourmente mon las cueur
 * Rempli de deul pour estre seruiteur
 * dune sans per que Jay aymee denfance                    5

 * Fait luy aues longuement ceste offense
 * Ou est celuy qui point soit ne en france
 * Qui endurast ce mortel deshonneur
 * Alles regretz

 * Ny tournes plus car par ma conscience                    10
 * Se plus vous voy prochain de ma presence
 * devant chascun vous feray tel honneur

 * que lon dira que la main dung seigneur
 * vous a bien mys a la male meschance
 * Allez regretz                                                               15

“Allez regretz uuidez dema presence” is reprinted in Atlas (1.81–82), Becherini (344), Droz and Thibault (49), Françon (184), Gombosi (#3), Hewitt (ed., Odhecaton 341–42), Lerner (ed., Agricola xxii–xxiii), Picker (Chanson Albums 416–8), Smijers (ed., des Prés 10.83), Stevens MCH8 (3), Wallis (139). The lyric is indexed in Fallows (Catalogue 81), among others.

Texts Collated
H1,2,3 (ff. 5v–6r).

 * 1   regretz] regret H1, regretz H2,3; uuidez dema presence] omit H2,3


text:
The Lyrics of Henry VIII/En frolyk weson (Barbireau, Incipit)

[ff. 6v-7r]

En frolyk weson

Textual Commentary
This piece appears as an incipit in H, in all three voices each with small initial block capitals, though with little room left among the musical notations for text. “En folyk weson” is listed in H’s table of contents as the fourth work. Here anonymous, the piece is widely attributed to composer Jacob Barbireau. The music of this piece was circulated with a number of texts, among them [1] “Se une fois avant que mourir,” which is implied by incipits in RG27 (f. 9v / f. 16v) and P10660 (f. 47r), with a fuller text found in LCA.xxvi (ff. 4v–5r); [2] “Qu’en dictes vous,” which appears with text twice in C1848 (373, 418); [3] the German “Ein frolich wesen,” which appears in SG462 (ff. 28v–29r), SG463 (#153), and Tu26 (f. 26v); [4] “Mes ieuix ont veu une plaisant figure” which, found in PBLiv (D1r–D2v), is a relatively close and literal translation of the Flemish text listed next; [5] the Flemish text “Een vraulic wesen,” found in T/Br (ff. 15v–16r; ff. 26v–27r) and elsewhere.

The Flemish and German texts provide incipits compatible with that found in H. The fuller German text, as given by Stevens (MCH8 4; after Bournoulli and Moser, eds.), is as below:

 * Ein frölich wesen
 * hab ich erlesen
 * und seh mich um
 * wo ich hinkum
 * in fremde land                                        5
 * wirk mir bekant
 * mer args dann gut
 * durch senens flut
 * gliech heur als ferd
 * auf dieser erd                                       10
 * tu ich mich gliech erkennen.

 * Wo ich dann lend
 * lang als behend
 * mit grosser gir
 * begegnet mir                                        15
 * manch wunder da
 * wie ich umscha
 * gilt es mir gleich
 * in allem reich
 * kum war ich well                                   20
 * kein gelt kein gsell
 * doch tu ich mich nit nennen.

 * Wann es nun kem
 * das mir gezem
 * ging wie es wolt                                    25
 * tet was ich solt
 * recht willig gern
 * in zucht und ern
 * in zucht und ern
 * für mein person
 * auf guten won                                       30
 * in treuer pflicht
 * on args geschicht
 * doch kummert mich gross senen.

The Flemish text, according to Stevens (MCH8 101; after R. Lenaerts [87]) is as follows:

 * Een vraulic wesen myn oogskins saghen,
 * wien ic ghetrauwicheyt moet thoe scriuen,
 * al wilt my haer jonst vvt liefden driuen,
 * nae dese gheen ander om my te behagen.

“En frolyk weson” is reprinted in Stevens MCH8 (4, 101), Atlas (ed. 1.67–68), Meier (ed. Barbireau 2.ii), Bournoulli and Moser, Lenaerts (87), and elsewhere.


text:
The Lyrics of Henry VIII/Pastyme with good companye, Henry VIII

[ff. 14v-15r]

Textual Commentary
This piece is a lyric of courtly and youthful doctrine, urging the merits of particular pastimes chiefly because they combat idleness. “Pastyme with good companye” is the best known and most widely circulated of Henry VIII’s lyrics: “His fine ballad, ‘Pastance with good company,’ rank[s] among the better known” (William H. Dixon, History of Two Queens, II.XII.iii.298). As noted in a letter from Pace to Wolsey (L&P Henry VIII III [i]: 447, #1188), the royal almoner incorporated this lyric and “I loue vnloued suche is myn aduenture” (H 74) into his sermon while preaching in the King’s hall in March of 1521. In the Complaint of Scotland, it is mentioned as the first of the shepherd’s songs (Murray 64; lxxxii #49). The tune is very much like that of his “Though sum saith that yough rulyth me” (H 51). A related lyric, the continental “De mon triste desplaisir” (Ward 123) composed by Richafort ca.1520 (Fallows, “Henry” 29), may have a parodic relation to this (Block 2.301-5). A moralized version, “Pleasouris of Aige,” exists in Cambridge, Pepysian Library, Magdalene College MS 1,408, the Maitland Quarto MS (f. 31r; Craigie, ed. 63) and, with small variance, in Cambridge, Pepysian Library, Magdalene College MS 2,553, the Maitland Folio MS (#63; 289).

 * 1 ff. Pastyme Cf. the general focus on this notion in Hawe’s Pastime of Pleasure; also the words of the Pardoner in Heywood’s Foure PP: “So helpe me god it lyketh nat me / Where company is met and well agreed /Good pastyme doth ryght well in dede / But who can syt in dalyaunce / Men syt in suche a variaunce / As we were set or ye came in / Whiche stryfe thys man dyd fyrst begynne / Allegynge that suche men as vse / For loue of god nat and refuse” (ll. 324 ff.). For negative connotations of the concept of “pastyme,” see Heywood’s Johan Johan: “Many an honest wyfe goth thyther also / For to make some pastyme and sporte / But than my wyfe so ofte doth thyther resorte / That I fere she wyll make me weare a fether” (ll. 92-95). Cf. also the words ascribed to Henry, at his death, by Cavendish (Metrical Visions): “Who had more pastyme? who had more dalyaunce? / Who had more ayd? who had more allyaunce? / Who had more howsis of pleasure and disport? / Who had suche places as I for my comfort?” (ll. 1303-6).

 * 1-2 companye . . . dye Cf. the proverbial “Qwyllys a man haves owth Cumpany wil with him go til he be broght to noght” (Brunner, Salamon sat and sayde, 291.5-6).

 * 1 good companye Cf. the proverbial “Gud cumpany gud men makis” (Girvan, Counsail and Teiching at the Vys Man Gaif his Sone, 66.5-6).

 * 3 gruche ... denye This line has been paraphrased as “let grudge whosoever will, none shall refuse (it to me)” (Stevens M&P 345). Margaret of Austria, Regent of the Netherlands, employed a similar motto, “Groigne qui groigne et vive Burgoigne” (Ives 22 ff.), as did Anne Boleyn (“Ainsi sera, groigne qui groigne”); a lyric attributed to Wyatt, “If yt ware not,” has as the first line of its burden “Grudge on who liste, this ys my lott” (ca.1530); see Greene (“Carol” 438), Jungman (398), and Siemens (“Thomas Wyatt, Anne Boleyn, and Henry VIII’s Lyric”).

 * 4 god be plesyd Cf. the proverbial “Hoe so lustythe god to plese, let hys neyghbore lyve in ese” (inscription; see Archaeologia50 [1887]: 149); “Please god and love hym and doubte ye nothynge” (Bradshaw, Life of St. Werburge of Chester, 95.2589-90).

 * 5 pastance Pastime (OED n I).

 * 6 hunt syng and daunce Elyot’s Governour (1531) contains chapter divisions adopting these categories: hunting (I: Ch. 18), singing (I: Ch. 7), and dancing (I: Chs. 19-25); in his Second Sermon before Edward VI, Latimer elaborates on this line and urges that these are improper as pastimes for a King except when they are used “for recreation, when he is weary of weighty affairs, that he may return to them the more lusty” (79); Hall reports the King’s engagement in similar activities while on his progress to Windsor in 1510: Henry was “exercisyng hym self daily in shotyng, singing, daunsyng, wrastelyng, casting of the barre . . .” (515); a French Papal diplomat stated of Henry in his early reign that he was a “youngling, car[ing] for nothing but girls and hunting, and wast[ing] his father’s patrimony” (L&P Henry VIII, II [i]: 292). Cf., also, the unattributed “Wher be ye” (H 70.22-3).

 * 8-9 sport ... comfort See Hall’s description of Henry VIII’s coronation, in which a cryer comments on the earthly duty of taking care of one’s body as well as one’s soul: “I perceiue that thei take a greate care, for the profite of their purses, with pleasure of huntyng and haukyng, besides other their pastymes, after they come to the best of their promocion, with small kepyng of hospitalitie” (510); “Clerkis sayis it is richt profitabill Amangis ernist to ming ane merie sport, To light the spreit, and gar the time be schort” (Henryson, Poems and Fables, 3.19-21); cf. also Barclay’s Myrrour of Good Maners (“Temperance”): “Of fresshe lusty iuuent yf thou be in the floure / Than get the to sportys as is to the semynge / Thy strenth to exercyce in pastyme of labour / But vse must thou mesure and order in all thynge / With tyme and company as semyth best syttynge / Obserue these circustancys and ganynge is lawdable / Or els it is foly and thynge vytuperable” (ll. 2534-40).

 * 10 let Hinder, prevent, stand in the way (OEDv2, I); a common Tudor defiance; in the interlude Youth (ca.1513-14), the character of Youth states “I will not let for thee” (Lancashire, Two Tudor Interludes 106, l.70; 91n217); see also LDev (f. 28v): “Who shall let me then off ryght / onto myself hym to retane.” [god] . . . let “That god wyl ayde no man can lette” (Berners, Boke of Duke Huon of Burdeux, 480.24-26).

 * 11 youthe See the character of Youth, who is intended to represent Henry VIII (Lancashire, Two Tudor Interludes 54); also see note to l.10, above. daliance sport, play with a companion, especially (and possibly one of the senses intended here) amorous toying, flirtation; also, talk of a light and familiar kind (OED 1, 2); “At festes, reuels, and at daunces, That ben occasions of dalliance” (Chaucer, Canterbury Tales, Physician’s Tale, l.66); “thai schall ete and drinke and hafe dalyaunce with wymmen” (Mandeville, Buke of John Maundeuill, xxvi.124); for futher possible negative connotations of pastime and dalliance, cf. also the words of Cupidity and Concupiscence to Mary, in her fall, in Wager’ The Life and Repentaunce of Marie Magdalene: “Cupiditi / I will see that you shall haue good in abundance, / To maintaine you in all pleasure and daliance. / Concupiscece. / And new kyndes of pastyme I will inuent, / With the which I trust ye shal be content” (ll. 745-51). daliance ... pastance Similar rhyme yoking in “To have in remembryng Her goodly dalyance. And her goodly pastance” (Skelton, Philip Sparowe, l.1095).

 * 12 good or yll See l.23, below.

 * 14 fansys Products of creative imagination or fancy, inclinations or desires with possible amorous overtones (OED sb8; MEDn.3b, 4b, 5). deiest disperse, trow down, cast, degrade (MED “dejecten” v).

 * 15-17 ydillnes ... all Proverbial (see Whiting I6, c1500); “Ydleness ... is maystresse of many evylles” (Caxton, The ryal book or book for a kyng, R4r-v); “Idilnes ... in youthe is moder of all vice” (Flügel, Die Proverbes von Lekenfield und Wresil, Anglia 14 [1891-92]: 482); “Ydilnes ... is the yate of all vices and namely of carnel vices ” (Vaissier, A devout treatyse called the Tree and xii. frutes of the holy goost, 147.14-15); see also notes to lines 22, 26 and 28, below. Contrast the sentiment in Barclay’s Myrrour of Good Maners: “Some pastyme of body is worse than ydelnes / As tables contynuall the cardesand the dyse” (ll. 964-65). Cf. also the justification of jousting given in the petition to jousts presented to Henry VIII for the tournaments of 23 & 27 May and 1 & 3 June 1510, in which the proposed purpose of the jousts is to eschew “Idleness the ground of all vice” (BL MS Harleian 69, 3r ff.).

 * 19 myrth [Of aids to health] “... refreshe the mynde wythe myrthe, exercyse the body with labour” (Whittinton, Vulgaria, 43.11-13).

 * 22 ... ffle Cf. “Idilnes giffis nourysingis to vicis. Tharefor, quha-sa wil be Vertuise suld Idilnes fle, As sais ‘the romance of the rose’” (Metcalfe, Legends of the Saints in the Scottish Dialect, I.1.1-5).

 * 23 good and ill Cf. “Fore be thar cumpany men may knaw To gud or ill quhethir at thai draw” (Girvan, Counsail and Teiching at the Vys Man Gaif his Sone, 66.9-12); see also l.12, above.

 * 24 fre wyll Note the character of Free Will in the anonymous interlude Hickscorner (Lancashire, Two Tudor Interludes).

 * 26 esshew Cf. “The ministre and the norice unto vices, Which that men clepe in English ydelnesse, That porter of the gate is of delices To eschue” (Chaucer, Canterbury Tales, Second Nun’s Prologue, l.1-3); “ ... in eschewyng of ydleness moder of all vices” (Caxton, Recuyell of the Historyes of Troye, I.4.3-4); “For senec seith that ‘the wise man that dredeth harmes, eschueth harmes, ne he falleth into perils that perils eschueth’” (Chaucer, Canterbury Tales, Tale of Melibee, ll.1320-21). See also notes to ll.15-17, above.

 * 28 vertu Cf. “Moodir off vices, callid idilnesse, Which off custum ech vertu set aside In ech acourt wher she is maistresse” (Lydgate, Fall of Princes I.263-4.2249-51).

In H, the first stanza of the lyric appears in three voices, each set to music; the remaining text is presented following the third voice. “Pastyme with good companye” appears in two versions in LRit, a choir book containing a mixture of secular and religious lyrics dated ca. 1510. In the second version the lyric is given the title “The Kynges Ballade” (f. 141v), implying that it was not copied prior to Henry’s accession in 1509. LR58 (ca. 1507-47), a commonplace book of composers from Henry VIII’s court which gathers liturgical, religious, and secular pieces with their musical settings, contains the incipit “pastyme” in the margin next to its music (f. 55r). The music of this piece, without lyrics, appears in EPan (late sixteenth century) under the heading “Passe tyme withe good companie” (f. 10r). Melchiore de Barberiis’ tenth lutebook (Venice, 1549) contains a version headed “Pas de mi bon compagni” (Brown 113-14).

“Pastyme with good companye” is indexed in Robbins Index & Suppl. 2737.5, Ringler MS TM1312, and Crum P70. Reprinted in Black 57-58, Briggs Collection 6, Chambers Lyrics 212-13, Chambers Verse 36-37, Chappell Account 372-73, Chappell Music 1.42-45, Chappell Popular 1.56, Flügel Anglia 230, Flügel Neuengl. 146, Furnivall cxlix, Hebel 8, Hebel and Hudson 8, Jones 47, MacNamara, Rimbault 37, Stafford Antiqua 1.44, Stevens M&P 344, Stevens MCH8 10-11, and Trefusis 1-2.

Texts Collated

 * H1,2,3 (ff. 14v-15r, ll. 1-10 H2,3 ), LRit(1)1,2,3 (ff. 136v-137r, ll. 1-10), LRit(2)1,2,3(ff. 141v-142r)

Emendations of the Copy Text (H1):
 * 4 leue] loue H1, leue H2,3, lyf LRit(1)1,3, lyue LRit(2)1, lyfe LRit(2)2,3
 * 15 for] ffor H1,2,3, LRit(1)1,2,3, For LRit(2)1,2,3

Collation (Substantive Variants):
 * 2   vntyll] tyl H2,3, vnto LRit(1)1, vn to LRit(1)2,3, LRit(2)1,3;     I] I do H3
 * 3   substitute for my pastaunce LRit(1)2;     who lust] so wylle LRit(1)1,3, so woll LRit(2)1, so wyll LRit(2)2, who wyll LRit(2)3
 * 4   substitute honte syng and daunce  LRit(1)2;     leue]  loue H1, leue H2,3, lyf  LRit(1)1,3, lyue LRit(2)1, lyfe LRit(2)2,3;     thus] so LRit(1)1,3, this LRit(2)1, this LRit(2)2,3
 * 5   substitute my hert ys set  LRit(1)2;    pastance^] dystaunce. LRit(2)1, dystaunce. LRit(2)2, dystaunce LRit(2)3
 * 6   substitute yn sport  LRit(1)2
 * 7   substitute to my comfort  LRit(1)2
 * 8   substitute who shall me lett  LRit(1)2; substitute yn sport  LRit(1)1
 * 9   substitute Gruch so woll but noon deny  LRit(1)2;     for] to LRit(1)1,3, LRit(2)1,2,3
 * 10 substitute so god be plesyd so lyf woll I.  LRit(1)2
 * 11 must] woll LRit(2)1, wyll LRit(2)2,3;     sum] nedes LRit(2)1,2,3
 * 14 fansys] fantyses LRit(2)1, fantases LRit(2)2, fantasyes LRit(2)3


text:
User:Aditagarwal69

Hi guys My name is adit agarwal, I got a shoutout from Cameron buchan and I am 17 years d.

title: User:Aditagarwal69


text:
The Lyrics of Henry VIII/Adew mes amours et mon desyre, Cornish

[ff. 15v-17r]

Adew mes amours et mon desyre ie vous de prannce depertamant et sy ie vous a fayt de plesure sy na passaunce commandamant

Pardon amoy tres humblemannt                    5 ie le demand Ia may mon cure a seruys loyalmant elas ie bien perdieu ma payn with

Cornysh

Textual Commentary
This piece appears in four voices in H. “Adew mes amours et mon desyre” is listed in the manuscript’s table of contents as the eighth work, with the second stanza (in a hand different from that of the original list’s compiler) listed in the page’s margin as the ninth work. “Adew mes amours et mon desyre” is attributed to Cornish in H but closely related, textually, to Alexander Agricola’s “Adieu m’amour et mon desir,” which appears in FlC2439 (ff. LXIIIIv–LXVr; LXVv–LXVIr), Heil (f. 10r), PBP504 (3, #LXVII), and LH5242 (ff. 30v–32r). Of these, full texts of the lyric are extant in FlC2439 (second instance) and LH5242; fragmentary texts, or incipits, are extant in FlC2439 (first instance), Heil, and PBP504.

The text found as the first voice of LH5242 is as below:

 * ADieu mamour et mon desir
 * de vous ie prans departement
 * si ie vous ay fait desplaisir
 * passant vostre commandement
 * pardonnez moy Ioyeuse ment                    5
 * Iay mis mon cueur a vous seruir
 * loyalle ment hellas hellas
 * Iay bien per du ma paine
 * hellas Iay bien per du ma paine

“Adew mes amours et mon desyre” is reprinted in Stevens M&P (389), Stevens MCH8 (12), Lerner (ed., Agricola 5.xliii–xliv), and elsewhere.

Texts Collated
H1,2,3,4 (ff. 15v–17r).

 * 8  undefinedelas ~ payn] elas ~ payn elas ie bien perdieu ma payne. H1,3,4, elas ~ payn elas ie bien perdieu ma payne elas ie bien perdieu ma payn H2


text:
The Lyrics of Henry VIII/Adew madam et ma mastress, Henry VIII

[ff. 17v-18r]

Adew madam et ma mastres. Adew mon solas et mon Ioy. Adiue iusque vous reuoye. Adieu vous diz per grannt tristesse

Textual Commentary
This piece appears in four voices in H. The music of this lyric appears adapted, possibly by Cooper, in “Tyme to pass with goodly sport” in Rastell’s interlude The Four Elements (circa 1517). See Gustave Reese’s Music in the Renaissance (878) for a reprinting of the text to Rastell’s lyric; see also Stevens MCH8 (102n9). A similar textual opening appears in one voice of Paris, ''Bibliothèque Nationale, nouv. acq. fr. MS'' 4,379 (f. 58v); in other voices in this work, the text is corrected to “Adieu m’amour et ma maistresse.”

“Adew madam et ma mastress” is reprinted in Stevens M&P 389 and Stevens MCH8 13.

Texts Collated
H1,2,3,4 (ff. 17v–18r).

 * 1   Adew] Adieu H3,4

 * 2   Adew] A dieu H2,3;     mon Ioy] ma Ioye H2,3, ma Ioy H4

 * 3   iusque] omit H2

 * 4   Adieu vous diz] omit H2;   per] omit H4


text:
The Lyrics of Henry VIII/HElas madam cel que ie metant, Henry VIII

[ff. 18v-19r]

The Kynge. H.viij

HElas madam cel que ie metant soffre que soie veutre humble seruant voutre vmble seruant ie seray a tousiours etant que ie viuray altre naimeray que vous

Textual Commentary
“HElas madam cel que ie metant” appears in four voices in H and is listed in the manuscript’s table of contents as the tenth work. Stevens notes that Henry may have added a new third voice to an extant three voice setting (MCH8 120n10), and that the lyric itself may have affiliation with Josquin’s of S/P (f. 46v; see Plamenac, “Reconstruction,” and Fallows Catalogue 178–79), consequently leading to affiliation with Fl178 (ff. 43v–44r), Fl229 (ff. 177v–179r), FlR2356 (ff. 80v–82r), and P9346 (ff. 44v–45r), among others. Indeed, the piece bears a striking resemblance, musically and textually, to P9346, which reads as follows:

 * HEllas ma dame que je desire tant tant
 * souffrez que soye vostre loyal amant
 * tout mon viuant tousiours vous seruiray
 * car vostre suis et tousiours le seray

 * Toutes sont dames per amours ce dit on                   5
 * Maiz nya peu qui en ayent le renon
 * Et pour quoy non car trop voullez choisir
 * prenez en vng et luy fautez plaisir.

 * Hellas beau sire vous estez bel et bon
 * Sage et courtoys et de noble maison                       10
 * Et aussi bon que lon scairoit finer
 * Maiz cil que jayme ne scairoye oublier.

 * Hellas ma dame pences en vostre cas
 * Entre nous deuly ne fault point dauocaty

 * Certes non pas et vous le scauez bien                     15
 * Allez vous en car vous ne fautez rien

 * Mon cueur souspire et se plaint tendrement
 * Quant il ne peult trouuer allegement
 * Ne scay comment on nie veut dechasser.
 * Sil est ainsi je yray aillieurs chasser                          20

 * Hellas ma dame et nen seray je point
 * Certes beau sire je ne le vous dis point
 * Seruez a point il vous sera mery
 * Hellas ma dame de bon cuer vous mercy.

“HElas madam cel que ie metant” is reprinted in Stevens M&P 389, Stevens MCH8 14, Gérold (ed. 52) and elsewhere.

Texts Collated
H1,2,3,4 (ff. 18v–19r).

 * 1   ie] omit H3

 * 3   ie seray] ie ray H1, que seray H2, que ie seray H3, ie seray H4;     a tousiours] atousi ours H1,2, atousiors H3, avons tousious H4

 * 4   etant que] que H3;     ie viuray] viuray H2,3,4;     etant ~ vous] etant ~ vous que etant que naimeray que vous H1, etant que viuray que vous H2, etant vous aultre que vous H3, etant viuray aultre que vous H4


text:
The Lyrics of Henry VIII/Alas what shall I do for love, Henry VIII

[ff. 20v-21r]

Textual Commentary
“Alas what shall I do for love” is a lyric about keeping a lover, once she is discovered, with play on the two separate syllables of “alas” (“a” and “lass”). Stevens notes that the words of further strophic verses may be missing (M&P 390).
 * 3   syth Since.

This lyric appears solely in H, where it is given in four complete voices.

“Alas what shall I do for love” is Indexed in Robbins Index & Suppl. 159.5, Boffey, Ringler MS TM110, Crum A884. The piece is reprinted in Chappell Account 374, Flügel Anglia 231, Flügel Neuengl 133, Trefusis 7–8, Padelford 78, Stevens M&P 390, and Stevens MCH8 16.


text:
The Lyrics of Henry VIII/Hey nowe nowe, Kempe (Incipit)

[f.21v]

Hey nowe nowe.

Textual Commentary
As in Farthing’s “Hey now now” (H 16), below, the words of this piece are given to a round but possibly with different lyrics (absent from the text of H) intended. There is little room left among the musical notation for additional text. In the list of contents for the manuscript, the title “hey now of Kempe” is given, though the latter two words appear in a script varying from the former. Stevens (MCH8 16), without stated explanation, gives the text presented below in italics, which is from Robbins (Secular Lyrics #141):

 * Merry a time I tell in May
 * When bright blossoms breaks on tree,
 * These fowles singes night and day
 * In ilke green is gamen and glee.

“Hey nowe nowe” appears to have been a common song burden (see, for example, Stevens M&P 47–48). See also Daggere’s “Downbery down” (H 16.5, and note).

“Hey nowe nowe” is indexed, as with Farthing’s piece, in Robbins Index & Suppl. 1214.6 and Ringler MS TM594. The piece is reprinted in Stevens M&P 390 and Stevens MCH8 16.


text:
SimCity and Urban Planning/SimCity 4/Concepts

In the sims 4 there is many changes and you can edit any sims you like or you want in the sims 4 you can do many things like other sims like the sims freeplay you have 55 content to unlock in window


text:
Talk:SimCity and Urban Planning/SimCity 4/Concepts

I think the sims 4 is really a good game you can build and create you dream SIM or the sim you want to play with I love the game.........

Lots of people like the game and please I like you to like our page on Facebook.twitter.love you all those who like us and our page love you guys


text:
The Lyrics of Henry VIII/Alone I leffe alone, Cooper

[f.22r]

Alone I leffe alone and sore I sygh for one

a lone I leff alone and sore I syghe for one

a lone I leue alone and sore I sygh for one

Doctor Cooper

Textual Commentary
“Alone I leffe alone” is a song bemoaning solitude, with an ambiguous play in the second line referring either to the speaker’s self-pity (the “one” being the speaker) or to the speaker’s longing for the company of a specific other. This lyric’s adaptation in Thynne’s Chaucer and Kele’s Christmas carolles newely inprynted, noted below, suggests that the latter of these two possibilities is more probable. A popular lyric in its time, “Alone I leffe alone” has both secular and religious associations. It is noted in “I have non English convenient and digne,” attributed to John Lydgate (Minor Poems 281; A Balade in commedation in Thynne’s Chaucer 374–75): “That for you singe, so as I may, for mone / For your departing; alone I live, alone” (ll. 104–105). The two lines are used as a burden for a lyric appearing in PRO Exchequer Miscellanea 163/23/1/1, and it is listed as the name of the air for “Wan ic wente byyonde the see” CGon (41). A later carol on the Virgin and the Son—“Alone, alone, alone, alone / Sore I sygh, and all for one” (Kele’s Christmas carolles newely inprynted 17)—adapts these lines to its burden and takes the matter of the lyric from “Alone, alone, alone, alone, / Here I sytt alone, alas, alone” (LFay ff. 48v–50r).

 * 1   leffe   Live.

“Alone I leffe alone” is in the form of a round set for three voices. There exists little formal distinction (no spacing, line breaks, or illuminated block capitals) separating one voice from the other.

“Alone I leffe alone” is indexed in Robbins Index & Suppl. 266.5, Boffey, and Ringler MS TM138. The piece is reprinted in Flügel Anglia 231, Briggs Collection 3–4, Stevens M&P 390, and Stevens MCH8 17.


text:
User:Rice.steven3.14/sandbox

Arduino Tutorial

title: User:Rice.steven3.14/sandbox


text:
The Lyrics of Henry VIII/O my hart and o my hart, Henry VIII

[ff. 22v-23r]

The Kyng H. viij.

Commentary
This piece is a lyric of departure: the lover regretfully leaves his lady, not fully understanding the reasons for his leaving. The Henry VIII Manuscript presents “O my hart and o my hart” in three voices, each in full and with text-height block capitals at the outset. Extra rules are given on both the verso and recto sheets. The lyric appears to have been copied once, in an early sixteenth-century hand, on the final page (gg4v) of Caxton’s edition of Jacobus de Voragine’s Legenda Aurea (PBLe; trans. and pr. 1493; Huntington Printed Book 69798; Pollard/STC 24875).

“O my hart and o my hart” is indexed in Robbins Index & Suppl. 2531.5, Boffey, Ringler MS TM1218, and Crum O715. The piece is reprinted in Chappell Account 374, Flügel Anglia 232, Trefusis 9, Stevens M&P 390, and Stevens MCH8 17.

Texts Collated
H1,2,3 (ff. 22v–23r), PBLe (gg4v).
 * 2   it] that PBLe
 * 3   sens] sytt PBLe;     I] that I PBLe;     nedys] omit PBLe


text:
The Lyrics of Henry VIII/Adew adew my hartis lust, Cornish

[ff. 23v-24r]

Adew adew my hartis lust Adew my Ioy and my solace. wyth dowbyl sorow complayn I must vntyl I dye alas alas.

Cornysch

Textual Commentary
“Adew adew my hartis lust” is a song of departure of a lover from his beloved. It is seemingly a permanent leave-taking or exile, as evinced in “vntyl I dye” [l. 4]; see Robbins Suppl.

 * 2   Adew . . . solace   Cf. for similar sentiment “Now fayre wele my Joye my comfort and solace” Oxford Bodleian MS 120 (ff. 95r–v).

This piece is through-set in three voices, with blank rules on both faces.

“Adew adew my hartis lust” is indexed in Robbins Index & Suppl. 120.5, Boffey, Ringler MS TM64, and Crum A665. The lyric is reprinted in Seaton 405, Flügel Anglia 232, Stevens M&P 14, 390, and Stevens, MCH8 17.

Texts Collated
H1,2,3 (ff. 23v–24r), OxAsh (f. 100r).

 * 3   must^] may. H2


text:
The Lyrics of Henry VIII/Aboffe all thynge, Farthing

[f. 24v]

Aboffe all thynge now lete vs synge both day and nyght Adew mornyng a bud is spryngynge                                   5 of the red rose and the whyght

now let us synge. Adew mornyng. Adew mornyng now let vs syng                                        10 a bud is spryngynge off the red rose and the whyght.

Aboffe.

ffaredynge

Textual Commentary
“Aboffe all thynge” is a round in commemoration of a royal birth (as is the unattributed “Adew adew le company” [H 53]), likely that of Henry’s first male child and potential monarchical heir born 1 January 1511. As with Skelton’s “A lawde and prayse” (1509), wherein he notes with reference to the newly-crowned Henry VIII that “The Rose both white and Rede / In one rose now dothe grow” (ll. 1–2), here allusion is made to the strength of the Tudor dynasty as a union of the Yorkists and Lancastrians, represented by their badges of the white rose and red rose, respectively. See also “I loue I loue and whom loue ye” (LFay ff. 40v–46r), a lyric seemingly in celebration of Henry VIII’s older brother Prince Arthur’s birth, wherein Arthur is given the name of “rose” (l. 23) and he, along with his parents, are referred to as “rosys thre” (l. 40). In LFay, see also “Lett serch your myndis” (f. 11r; l. 6), which likely contains reference to Arthur using the same image, and the unattributed “This day day dawes” (ff. 108v–112r) where Elizabeth of York is likely meant in an allusion to a queen gathering a “lyly whighte rose” (l. 5). Arthur would not live to see the crown, but his younger brother would. As the son of Henry Tudor (Lancaster) and Elizabeth (York), Henry VIII was the first of the Tudor monarchs to embody the union of the two factions, and in this lyric the imagery of their traditional badges is transferred to Henry and Katherine’s son, the new heir.

 * 4   mornyng   Mourning.

 * 5   a bud is spryngynge  Cf. the similar image of “Lett serch your myndis” (LFay f. 11r): “By droppys of grace that on them down doth rayn / Through whose swete showris now sprong ther is ayen / a rose most riall” (ll. 4–6).

This piece is indexed in Robbins Index & Suppl. 112.5 and Ringler MS TM50. It is reprinted in Chappell Account 382, Flügel Anglia 232, Stevens M&P 391, and Stevens MCH8 18.

Texts Collated
Texts Collated: H1 (f. 24v).

 * 9   Adew mornyng] A dew mornyng a dew H1


text:
The Lyrics of Henry VIII/Downbery down, Daggere

[f. 25r]

Downbery down now am I exild my lady fro and no cause geuyn ther to wherfor to her. I me complayn hey now                                                  5

trustyng that dysdayn sone shal be slayne and never more to remayne. Downbery.

Wylliam Daggere

Textual Commentary
“Downbery down” is a lyric of a lover’s exile from his lady with no known reason (ll. 3–4). The “dysdayn” (l. 6) mentioned shares a similar quality to that of the nearly-allegorized entity of disdain noted in Henry’s own lyrics, that of a force which keeps true lovers apart.

 * 5   hey now   A common refrain; see Farthing’s “Hey now now” (H 16) and Kempe’s “Hey nowe nowe” (H 10) both present in H as incipits; “hey now now now” is the burden to “Swet Iesu is cum to vs / this good tym of crystmas” (OxEP ff. 45v–47v; Greene #93), which is stated to be “A song in the tune of / And y were a mayden” (“And I war a maydyn” [H 67]); see also Skelton’s “Agaynste a Comely Coystrowne”: “Rumbyll downe, tumbyll downe, hey go, now, now” (l. 30). Also an exclamation, as in “hey now I howte” (Castle of Perseverance 61).

 * 6   dysdayn   Cf. Henry’s “Whoso that wyll all feattes optayne” (H 28.2,4,8,11,14) and elsewhere; see the note to line 2 of the aforementioned lyric.

“Downbery down” is in the form of a round, transcribed exactly here.

“Downbery down” is indexed in Robbins Index & Suppl. 688.8, Boffey, Ringler MS TM367, and Crum D451. It is reprinted in Flügel Anglia 260, 232, Stevens MCH8 18, and Stevens M&P 391.

Texts Collated
Texts Collated: H1 (f. 25r), LR58 (f. 4v).

 * 1   down] down down down hay down LR58

 * 5   now] now hey now hey now LR58

 * 6   that dysdayn] this day LR58

 * 7   sone] sum LR58

 * 8   never more] neuer LR58

 * 9   substitute  hey now downbery down. LR58


text:
NEC PC Programmers Reference/PC-98xx Series Programmers Reference/Interrupt 0x18 - Keyboard

The Keyboard BIOS emits an Interrupt 0x9 when key is pressed. Keyboard data may be treated by invoking INT 0x18.

How BIOS Manages Keys
BIOS maintains an array of data ("keyboard status table"), with a bit for each key. When key is down, bit is 1; when up, bit is 0. When key is pressed, index of key in input status array is combined with code for SHIFT status to produce key scan code (which is how programs recognize keys).

PC-98 Keyboard BIOS is IBM-compliant.


text:
The Lyrics of Henry VIII/Hey now now, Farthing

[f. 25v]

Hey now now. Hey now

Thomas. ffaredyng

Textual Commentary
As in Kempe’s “Hey nowe nowe” (H 10), the words of “Hey now now” are given to a round, but additional lyrics were likely intended. Little room has been left among the musical notation for text. This piece is not listed in the table of contents. Stevens (MCH8 19) gives the text presented below in italics, which is from Robbins (Secular Lyrics #143):

 * Gracious and gay
 * On her lith all my thought
 * But she rew on me today
 * To death she hath me brought.

“Hey nowe nowe” may have been a common song burden; see the commentary to Kempe’s “Hey nowe nowe” (H 10), and also Daggere’s “Downbery down” H 15.5, and note.

This piece is indexed, as with Kempe’s piece, in Robbins Index & Suppl. 1214.6 and Ringler MS TM594. It is reprinted in Stevens M&P 391 and Stevens MCH8 19.


text:
User:GuillermoHazebrouck/Collections/OpenVOGEL

Documentation

 * Open VOGEL
 * Open VOGEL/SourceCode
 * Open VOGEL/Kernel
 * Open VOGEL/Tutorials


text:
Talk:FOSS Network Infrastructure and Security/List of Abbreviations

English
RSVP Itumeleng makgoka (discuss • contribs) 17:56, 26 June 2019 (UTC)


text:
The Lyrics of Henry VIII/In may that lusty sesoun, Farthing

[f. 26r]

In may that lusty sesoun To geder the flours downn by the medows grene

The byrdys sang onn euery syde so meryly it ioyed my hart                                      5 they toyned so clene

the nyghtyngale sang on hie ioyfully so merely among the thornys kene

T. ffaredyng

Textual Commentary
“In may that lusty sesoun” is a song in celebration of spring, perhaps associated with the tradition of maying.

 * 1   lusty   Young, vibrant, full of healthy vigour (OED a 5).

 * 2   geder  Gather.

 * 6   toyned   Sang, issued forth in musical tones (OED “tone” v 1, 2).

 * 7   nyghtyngale   Cf. Liberty’s love lyric in Skelton’s Magnificence, which ends “So merely syngeth the nyghtyngale!” (l. 2078); also Lydgate’s Reson and Sensuallyte, in which the character Gladness, who associates with Venus and Cupid, says “as any nyghtyngale / She sange that Ioye was to here, / That the lusty nootys clere / Of Sirenes in the see / Ne wer nat lyke, in no degre, / To the soote, sugryd song / Whiche they songen euer a mong / Of Ioye, myrthe, and lustyhede” (5254–61); Lydgate’s “A Sayenge of the Nyghtyngale,” wherein the call of the bird is interpreted first, to be associated with earthly love—”And in hir ledne, Venus to take vengeaunce / On false lovers whiche that bien vntriewe, / Ay ful of chaunge and of variaunce, / And can in oone to have no plesaunce” (Minor Poems 2. ll. 16–9)—and, later, when she is “Vpon a thorn” (l. 356 ff.), the call also hearkens spiritual rejuvination.

 * 8   thornys see  Lydgate’s use of the association, “A Sayenge of the Nyghtyngale,” of the nightingale and the thorn, note to l. 7, above; the association is proverbial (Whiting N112).

This piece is indexed in Robbins Index & Suppl. 1504.5 and Ringler MS TM776. It is reprinted in Flügel Anglia 232, Briggs 6–7, Stevens M&P 391, and Stevens MCH8 19.


text:
The Lyrics of Henry VIII/Whoso that wyll hym selff applye, Rysby

[ff. 27v-28r]

Whoso that wyll hym selff applye. To passe the tyme of youth Ioly Auaunce hym to the companye. Of lusty bloddys and cheualry

Rysbye

Textual Commentary
“Whoso that wyll hym selff applye” is a lyric of invitation to a tournament, perhaps a tournament song in itself. The “lusty” (l. 4) spirit of the song, and its explicit mention of “youth” (l. 2), echo many of Henry’s own lyrics of the first few years of his reign.

 * 2   youth  See Henry’s songs on youth, “Pastyme with good companye” (H 5), “The tyme of youthe is to be spent” (H 19), “Though sum saith that yough rulyth me” (H 51), and “Lusti yough shuld vs ensue” (H 16).

 * 4   lusty bloddys   Those with lusty (young, energetic) blood, gallants.     cheualry  Chivalry.

This piece is through-set for four voices.

“Whoso that wyll hym selff applye” is indexed in Robbins Index & Suppl. 4143.8 and Ringler MS TM1978. It is reprinted in Flügel Anglia 233, Stevens M&P 392, and Stevens MCH8 21.

Texts Collated
H1,2,3,4 (ff. 27v–28r).

 * 4   Of ~ cheualry] Of ~ cheualry off lusty bloddys and cheualry. H1,2,3


text:
User talk:Turkmen

Welcome, Turkmen!

If you have any questions, you can ask in the assistance reading room or possibly contact me personally. JackPotte (discuss • contribs) 07:37, 27 June 2019 (UTC)

title: User talk:Turkmen


text:
User talk:49.204.220.129

JackPotte (discuss • contribs) 07:37, 27 June 2019 (UTC)

title: User talk:49.204.220.129


text:
Talk:Vehicle Identification Numbers (VIN codes)/Hyundai/VIN Codes

KMHJN81BR8U809134 this is the number on my car but is unfounded on line??


text:
User talk:Bachsau

__NOINDEX__

title: User talk:Bachsau


text: User:Bachsau/Template:Welcome

title: User:Bachsau/Template:Welcome


text:
Baroque Macedonia and the Macedonian Revolts/Chapter 1 : The struggle for freedom

The struggle for freedom
The ocean voyages of European mariners in the 15th and 16th centuries had a profound impact on world history. The secret of their success was technology and also the combining of mediterranean and northern European boat-building traditions, helped to expand this knowledge to other countries of the world. Many years later the adoption of navigational devices such as the astrolabe, the sextant and the magnetic compass helped captains and sailors move accurately over long distances at sea.

During the 1680-1690's the naval advancements of some empires were greatly increasing, England was at the top of the list followed by the Russian Empire, 3rd was Sweden, 4th was the Spanish Empire, followed by France in 5th place, next was the United Provinces, in 6th place was Prussia, 7th place was the Royal Kingdom of Quebec, in 8th place was Portugal and later in 9th place was the Ottoman Empire. In 10th place was the Austrian Empire who happened to grasp a small region near the seas.

Boat building involved skilled men, men with a trade such as woodworking or even fabric/textiles work. The Ottoman Empire had greatly fallen behind, not just in boat building but also in its economy, over the years it began to borrow heavily from other European empires that were not at war. The Ottoman Empire was far to busy in trying to suppress rebellions or revolts within its empire, revolutionaries from Serbia, Macedonia, Greece and Bulgaria all wanted freedom. From here and in a few years the Ottoman Empire went into a period known as Stagnation and this was quite common for an Empire that was always at war with internal revolutionary groups. The demographics of the region of Macedonia had altered numerous times, it was very common for a Macedonian family to be living in the outskirts of cities such as Uskup, Veles, and many other large cities that had a population of more than 50,000. The Ottoman families were seen living in Uskup, in great numbers. It was also common for Macedonian communities to relocate and live in villages, while the Ottoman families were mostly seen living in large cities. The lifestyle of Macedonians living in the countryside gave them an advantage in preparing for an uprising or a revolt.

The Empire of Austria, was an impressive imperial kingdom, also known as the Habsburg Empire it flourished and become a prosperous growing faction or entity. It made advancements in numerous fields such as : medicine, physics, chemistry, construction, infrastructure and so on. Emperor Leopold I had just arrived back from a long trip, he was beginning to feel exhausted due to the travel earlier in the day to Salzburg for an important meeting with his general and his marshal. Emperor Leopold had issued a letter to his marshal regarding the deployment of Austrian troops to the Balkans. His marshal gave the letter to his general who was still working out a strategic operation to the campaign located within Bosnia, Serbia and Macedonia. The most reliable applicant to conduct the campaign in the Balkans was a general by the name of Silvio Piccolomini. General Picolomini was from Siena, Italy he was an Italian nobleman, serving in the Austrian Habsburg Army. The Austrian military police set out to track down Silvio Piccolomini who at the time was at his grapes estate. He loved producing his own wine from the grapes at his wine cellar. The military police entered his premises and began searching for Piccolomini, they entered the home of Piccolomini, but could not find him. So they went outside to the rear of the property, they noticed a door was left open leading to a wine cellar, so they proceeded cautiously, inside was Piccolomini pouring red wine in a large glass flask. Piccolomini was surprised and offered the men some home-made claret. The military police spoke with Piccolomini and gave him a uniform, Piccolomini agreed to take a horse carriage the next day to head for Klagenfurt to meet with his regiments.

The Ottoman Empire, back in the late 17th century attempted to gain the lands of Austria, but the Habsburg Empire signed an alliance with the Prussian and Polish armies and were ready to defeat the mighty Turkish army at the Battle of Vienna in 1683. Piccolomini finally arrived at Klagenfurt where he began training his young and old troops. While back in Ottoman Macedonia, for the Macedonians weaponry was very limited and the Macedonian revolutionaries would use potassium nitrate mixed with sulphur and charcoal as gunpowder. This proved to be ineffective however it did manage to overcome the need for gunpowder. The Macedonian revolutionaries continued their efforts in making weapons, from gunpowder to wooden cannons. The cannons that were produced proved to be unreliable, because some of them would backfire and strike the soldier that was standing behind the cannon. So most of the cannons were very dangerous when put to great use, some would eventually rapture because of the excessive heat and pressure produced during the firing. The Turkish army was far superior in both numbers and equipment and their retaliation was brutal. The Ottoman Sultan was so pre-occupied with suppressing rebellions and uprisings that he required the assistance from other Ottoman vassals. The Ottoman Sultan turned his attentions towards the Crimean Khanate so he ordered re-inforcements and it would take roughly 1 week for six galleons to cross the Black Sea and arrive to the port in Ottoman Bulgaria. One week later the Crimean tatars arrived and were required to head to the neareast headquarters for military training.

The ports along the Black Sea were regarded as the busiest areas, merchant men and women were seen trading and selling items of value. Commodities such as gold and silver were very much in demand, not just in the Ottoman Empire but also all around the world. The long distance trades through sea and land tended to be in the hands of certain communities that had privileges, such communities as : Serbs, Macedonians, Jews, Greeks, Armenians and Ragusans all provided trading goods from wood products to silver products. Behind the military frontier this Ottoman world had settled down by the later sixteenth century into an effective, well - run and civilized sphere. The distinctive landscape of mosques, madrasas, caravanserai's, coffee houses, public baths, hospitals, fountains and markets dotted innumerable small towns maintained in many cases by the vakifs. A few months later Piccolomini prepared his men with water and food and set out

going south towards Macedonia via Nis and the town of Prokuplje. Piccolomini had a total of 4,000 men, one thousand of them being Serbian, under the command of Antonije Znoric.

Meanwhile back in Ottoman Macedonia, foreign propaganda particularly intensified through the schools, which were closely associated with the foreign churches scattered around many of the towns and cities within Macedonia. Despite this powerful foreign propaganda many Macedonians remained aware of their Macedonian ethnic origin and stood for recognition of a separate Macedonian nation by the world and creation of an independent Macedonian state. When Piccolomini set out from the Austrian Empire, his regiments were comprised of Austrian Hussars. Hussars were a light type of cavalry. The first written mention of the word Hussar or Huszar has been found in documents dating back in 1432 in southern Hungary. The Austrian Hussars wore a characteristic tight Dolman jacket with a loose hanging pelisse over jacket, as well as a busby hat. The route of the army under Piccolomini was long and exhausting, firstly the army had finally arrived to the city of Belgrade on the 8th of September, 1688.

After crossing the region of Ottoman Bulgaria, the Crimean tatars and Ottoman turks finally arrived to Rumelia, the region of Macedonia was called Rumelia at that time. The largest Ottoman headquarters was located in Uskup, (Skopje) and this was where the Crimean tatars set up camp. The extra re-inforcements were welcomed by the Ottoman mayor of Uskup. Silvio Piccolomini was a man of great importance to the Habsburg Austrian Empire, he communicated with his Habsburg counterparts through letter writing. Piccolomini and his 4,000 troops marched south following the Morava river, soon he will enter the town of Nis. The Crimean Khan Selim I Giray had roughly between 4,000 to 6,000 men, most of them were young and inexperienced however they were here to help suppress any revolt within Rumelia.

The continuation of Macedonian traditions and culture persisted even through a region that was in turmoil and was struggling to overcome the grasp of the Ottoman domination. Components of the culture of the Macedonian Slavs was put forward. A Macedonian historian by the name of Krste Petkov Misirkov was the first to pose the question of the independent Macedonian culture, these were his words : There used to be and there still is an independent Macedonian culture, and it has been the strongest weapon in helping the Macedonians to preserve their present-day cultural matrix and survive all the reversals in the history of their fatherland : Not Byzantium, nor Bulgaria, nor Serbia, nor Turkey, could make changes in the character of the Macedonians of such a nature as to destroy their individuality and estrange them from their Slavic forefathers. Krste Petkov Misirkov has also in some of his writings, he identifies the Macedonians as a separate nation and the Macedonian as a separate South Slavic language. Krste Misirkov died in July, 1926 he was 51 when he passed away.

As previously mentioned the Macedonian revolutionaries frequently began producing their own weapons, some weapons such as muskets were even purchased from a gunsmith that sold weapons at a reduced price. It was very rare for Macedonian revolutionaries to have at their disposal wooden or metal cannons, or even cannonballs. Back in the 17th Century it was very difficult to find a man or a women that specialized in the engineering and construction of cannons. So Macedonian revolutionaries were sometimes seen trading at open markets, or possibly involved stealing cannons from the Ottoman army. Revolutionaries were not armies and did not have the luxuries that a real army had. Revolutionaries were not experienced fighters, some were very young and some were very old.


text:
The Lyrics of Henry VIII/The tyme of youthe is to be spent, Henry VIII

[ff. 28v-29r]

The Kynge. H.viij

Textual Commentary
This lyric is a proclamation of the proper activities of youth, in which the author urges that courtly pastimes such as jousting (‘featyes of armys’) provide virtuous activity to keep vice at bay. “The tyme of youthe is to be spent” contains many echoes to sentiments expressed in “Pastyme with good companye” (H 5). This piece is sometimes entitled “Goode dysporttys” (Robbins Suppl.).

 * 1 spent  Used to its fullest; “Exhausted of the active or effective power or principle” (OED ppla 4. a.); cf., in Youth, the statement of Youth in response to Pride’s advice “It is time enough to be good / when that ye be old” (ll. 645–46): “I will make merry while I may” (l. 648; Lancashire, Two Tudor Interludes).  Regarding the nature of the activities expressed in this lyric, and their place in the domain of youth, cf. similar sentiments expressed in the anonymous Jousts of May: “Therfore good is to haue parfyght knowlage / For all men that haue youth or metely age / How with the spere theyr enemyes to outrage / At euery nede” (161–4); see also the note to ll. 7–10, below.

 * 1–2 youthe . . . vice   Cf. sentiments of “I rede that he that useth hym not to vertue(s) in his yonge age he shall not conne withstande vyces in his old age” (Horstmann, Yorkshire Writers: Richard Rolle . . . and his Followers 2.83[32–4]) and the moral saying “he that in yowth no vertu will vse / In Age all honor shall hym Refuce”  (OxHill f. 200v [p. 217]; variant in OxRawl86 f. 31r); see also Henry’s “Lusti yough shuld vs ensue” (H 61) and gloss; contrast “Youthe in his flowres may lyue at liberte / In age it is convenient to grow to gravite” (Flügel, “Die Proverbes von Lekenfield und Wresil,” 483).

 * 2   forfent   Forfended, forbidden (OED ppl. a. of “forfend” v. 2, “to avert, to keep away or off, prevent”).

 * 3   nought  Note, perceive, notice; also, possibly, to sing of (MED “noten” v.3 a).     I nought   Possibly a scribal substitution for “inough,” enough.

 * 5   And they be   If they be.

 * 6   couit  Desire (OED v. 1), or to have an inclination or drawing (OED “covet” v. 4.c).     wyn who can  May he win who can.

 * 7–10 As featys of armys  . . . corage is suerly owt fet   Cf. the defence of jousting provided in the anonymous Jousts of May: “Syth it was to no mannes preiudyse / To passe the tyme this merciall excercyse / Was commendable. /  Specyally for folkes honourable / And for other gentylmen therto able. / And for defence of realmes profytable / Is the vsage” (ll. 154–160); as well, in the Jousts of June: “For as moche as yonge folke can not deuyse, / To passe tyme in more noble excersyse / Than in the auncyent knyghtes practyse / Of dayes olde” (ll. 1–4).

 * 8   vtter   To vanquish, conquer, or overcome (OED “utter” v2. 1), as if by being active one many conquer vice; also, used in conjunction with horses at tournaments as they leave the lists or course (OED v1. 4).

 * 9   Comparysons  Comparisons, similarities or differences discovered by comparison (MED n. 3.a, 3.b).     sett   Prescribed, ordained, established, esp. in connection with a law or declaration (OED “set” v1. V.50).

 * 10 corage   Spirit, vitality, vigor, lustiness, and so forth, relating to the heart as a center of feeling, thought, and mind.  It is used in two different though related senses in the lyrics of H; one—relating to confidence, boldness, bravery, and valour (OED n. 3.d, 4)—is the dominent sense here and in the unattributed “Pray we to god that all may gyde” (H 65.3); another—relating to sexual vigour and inclination, the desire to love, and the amorous spirit (OED n. 3.e)—is found in Henry’s “Thow that men do call it dotage” (H 44.2,13), Cornish’s “Adew corage adew” (H 32.1,3), the unattributed “And I war a maydyn” (H 67. 8), and “Hey troly loly lo” (H 75.18).  For a likely instance of the relation of the two, via the practices of courtly love, see “Thow that men do call it dotage” (H 44.13).     owt ffet  Fetched out of it, gained (OED “fet” v. obs.).

 * 12 dysporttys  Disports, relaxations, recreations, merriment  (OED “disport” n., 1, 2, & 3).

“The tyme of youthe is to be spent” appears in H in three voices, complete for ll. 1–2 save the second voice, which is missing the phrase and music for “be for fent” in the second repetition of l. 2 (lower f. 28v). There is, however, a vacant rule on the following page (upper f. 29r) that could accommodate it as well as a blank rule above voice 2. The remainder of the lyric is provided after the third voice.

This lyric is indexed in Robbins Index & Suppl. 3487.5 and Ringler MS TM1602. It is reprinted in Briggs #1, Trefusis 10–1, Flügel Anglia 233, Flügel Neuengl 147, Stevens M&P 392, and Stevens MCH8 22.

Texts Collated
H1 (ff. 28v–29r), H2,3 (ll. 1–3).

 * 1   is] is for H3
 * 2   forfent^] for fent but vice in shuld be for fent. H1, ~ in it shuld H2, ~ in it ~ fent^ H3


text:
The Lyrics of Henry VIII/The thowghtes within my brest, Farthing

[ff. 29v-30r]

The thowghtes within my brest. They greue me passyng sore That I can not be prest to serue you euer more.

Textual Commentary
“The thowghtes within my brest” is a lyric of departure, with emphasis on the lover’s regret at not being able to offer service to his beloved any longer. The text of the first stanza echoes another lyric of departure—that of Cornish’s “A the syghes that cum fro my hart” (H 22) in H—though Cornish’s lyric is of a different emphasis.

 * 2   They greue me passyng sore   Cf. repetition in Cornish’s “A the syghes that cum fro my hart” (H 22), as well as sore’s rhyme, “euer more” (l. 4).

 * 3   prest   Ready in mind, disposition, or will (OED a 2); cf. “Whilles lyue or breth is in my brest” (H 43.26).

“The thowghtes within my brest” is through-set for three voices, although Stevens suggests that there might be verses missing (M&P 392). While this lyric has been mistakenly attributed in the past to Henry VIII, the scribal ascription clearly reads “T. ffardyng” (f. 30r).

This lyric is indexed in Robbins Index & Suppl. 3486.5, Boffey, and Ringler MS TM1599. It is reprinted in Flügel Anglia 233, Stevens M&P 392, and Stevens MCH8 22.

Texts Collated
H1,2,3 (ff. 29v–30r).

 * 4   serue] ser H1


text:
User:Sushil keshav Rathod

Sushil

title: User:Sushil keshav Rathod