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User:Driller1983/sandbox

1. Grant of License Manning has authorized the download by you of an unrestricted number of copies of the electronic book (ebook) in any of the available formats. Manning grants you a nonexclusive, nontransferable license to use the ebook according to the terms and conditions herein. This License Agreement permits you to install the ebook on any and all your devices for your personal use only. Restrictions You shall not: (1) share, resell, rent, assign, timeshare, distribute, or transfer all or part of the ebook or any rights granted hereunder to any other person; (2) duplicate the ebook, except for a single backup or archival copy; (3) remove any proprietary notices, labels, or marks from the ebook; (4) transfer or sublicense title to the ebook to any other party. In zoology, the Principle of Coordination is one of the guiding principles of the International Code of Zoological Nomenclature. It states that the act of publishing a new zoological name thereby automatically and simultaneously establishes all the corresponding names in the relevant other ranks, with the same type. Currently, ZooBank accommodates the registration of four different kinds of data objects: Nomenclatural Acts: Published usages of scientific names for animals, which represent nomenclatural acts as governed by the ICZN Code of Nomenclature. Most of these acts are ‘original descriptions’ of new scientific names for animals, but other acts may include emendations, lectotypifications, and other acts as governed by the ICZN Code. Publications: Publications that contain Nomenclatural Acts, as defined above. Authors: Anyone who is an author of one or more Publications (as defined above), or who is a contributor to ZooBank content. Type Specimens: Type specimens for scientific names of animals. The registration of Type Specimens is considered provisional and is not yet fully implemented in ZooBank.

Diffuse intrinsic pontine glioma Yang–Mills theory Spontaneous symmetry breaking modus ponens physical object (a possible referent of a concept or word) Physicality example, "happiness" (when used as an abstraction) can refer to as many things as there are people and events or states of being which make them happy. Likewise, "architecture" refers not only to the design of safe, functional buildings, but also to elements of creation and innovation which aim at elegant solutions to construction problems, to the use of space, and to the attempt to evoke an emotional response in the builders, owners, viewers and users of the building. An abstraction can thus encapsulate each of these levels of detail with no loss of generality. But perhaps a detective or philosopher/scientist/engineer might seek to learn about something, at progressively deeper levels of detail, to solve a crime or a puzzle. But an idea can be symbolized. "A symbol is any device whereby we are enabled to make an abstraction." -- p.xi and chapter 20 of Suzanne K. Langer (1953), Feeling and Form: a theory of art developed from Philosophy in a New Key: N

title: User:Driller1983/sandbox


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History of wireless telegraphy and broadcasting in Australia/Editing/Biographies

Sidney Jeffryes (born in Queensland in 1884), was an early Australian wireless telegraphy operator. Trained by Australasian Wireless Co., Ltd., he was initially employed on coastal shipping and established at least one record for distance transmission. But he is best known for his service as the wireless officer at Cape Denison during the second year (February 1913 − December 1913) of the Australasian Antarctic Expedition under the command of explorer Douglas Mawson. His service ended in September 1913, two months prior to the relief of the shore party, when Jeffryes developed symptoms of paranoia and had to be relieved of his duties.

Early life and family
Jeffryes was born in Queensland in 1884, second son of Henry Jeffryes and Helena (sometimes Ellen) Jeffryes née White. His father was a postmaster and telegraphist with the Queensland Post and Telegraph and following federation with the Postmaster-General's Department. Sidney's given name is indexed as Sydney in the records of the Queensland Registrar of BMD, but this may simply be a transcription error. His father Henry was a child of Henry Jeffryes and Sarah Jeffryes née Bland. After a long career with the Post Office, his father passed in 1910. His mother Helena was born in Essex, England ca 1853 and her father was William White. She died in 1932. There were at least seven children of the marriage: The family grew up in Allora. His father Henry spent almost 20 years in the district from 1889. He was initially assistant in charge of the local post office, but in September 1899 was appointed officer in charge. The death due to pneumonia of Sidney's younger brother Frank in July 1902 was a major tragedy for the family. A marble mural tablet to Frank's life was unveiled at the Allora State School in December 1902. Sidney's father was transferred to the Emerald Post Office in April 1909, after nearly 20 years at Allora. The community held a public farewell for Henry at the Allora Town Hall and he was presented with a purse of sovereigns. By the time of the transfer to Emerald, Henry's family were mostly grown and his own health was failing. Only his wife relocated with him, and when he passed in 1910, there was little connection with Emerald and she relocated to the larger provincial centre of Toowoomba where she passed in 1932.
 * Louisa Ellen. Married Thomas Maxwell Gibb in 1898.
 * Ivy Llalah (likely Lalla), born 1875. Married Walter Henry Donely in 1894.
 * Ida Dorothea Maud, born 1879. Married Robert George Denny in 1904.
 * Hulbert Trevannion, born 1881, died 1946. Teacher Gundiah (1910s). Married Isabel Jeffryes née King (died 1946) in 1906.
 * Norma Fanny, born 1882.
 * Sidney (alt Sydney) Harry, born 1884.
 * Francis ("Frank') Edwin, born 1886. Died young 1902 at Allora.
 * Constance ("Connie") Eva, born 1888. Died 1949. Achieved unwanted prominence in an inheritance dispute.

Telegraphy was a major part of the activities of any rural post office and there can be no doubt that Sidney learned morse code and telegraphy with his father. The Postmaster-General's department discouraged any staff experiments in wireless after federation. But from 1897, news of Marconi's succession of wireless telegraphy achievements spanning greater and greater distances, filled the newspapers of the day. At this time many private experimenters were operating without licences and in a remote location such as Allora, the temptations to experiment would have been strong.

Telegraphist
The Commonwealth of Australia Gazette records Jeffryes as being employed on a temporary basis from 26 March 1909 as a Telegraphist at Sydney for a period of three months. This appointment was renewed again June 1909, September 1909 , and finally December 1909. But mere telegraphy did not offer the excitement or pecuniary rewards of a wireless operator of the day and his career progressed.

Wireless training
In the late 1800s, fitting of wireless equipment on the great steamships carrying mail between Great Britain and Australia was becoming commonplace and following Australia's belated establishment of a network of coastal stations from 1910, many of the larger coastal vessels around Australia were also fitted out. The Australasian Wireless Co., Ltd. won the contracts with the Australian Government to establish a network of coastal wireless stations around Australia using Telefunken transmitters and receivers. This gave the firm a strong marketing edge in the supply of equipment to local shipping to utilise the coastal station network. Frequently the sale package also included provision of skilled personnel to operate and maintain the equipment. While the Marconi Telefunken College of Telegraphy as a formal training facility had not yet been established, the company did undertake internal training of potential operators. Jeffryes is reported as having qualified as a wireless operator with Australasian Wireless Co., Ltd.

Coastal shipping
In October 1911, Jeffryes had a small taste of fame which was reported in the Sydney Sun: "Record by the Kyarra. Mr. S. H. Jeffryes, wireless operator on the A.U.S.N. Co.'s Kyarra, which was fitted up by the Australasian Wireless Co., Ltd., has put up a record for overland wireless messages between ships. His report says:— "Coming into Adelaide on the 18th Instant, distant from Adelaide 140 miles, I picked up the Cooma. This exceeds the records of that of the Cooma and Riverlna four months ago from Townsville to the Bight by a small margin of about 40 miles. The conditions were absolutely normal on the night, a fact which could hardly be said of the occasion four months ago, which was a night on which every operator got good distances, myself and the Levuka getting 2100 miles. It is claimed by the Cooma and Riverina that the distance was 2300 miles. This is not so, as direct it is not more than 1500 miles, but even this is equivalent to almost twice as much by sea. I thus claim to have established an Australasian record for transmission and reception over land, beating the previous one by 40 miles."

It was common in this era for ship wireless officers to move frequently between ships. At the time of Jeffryes' appointment to the AAE he was reported as having been most recently on the SS Westralia.

Antarctic preparations
The AAE expedition was the first Antarctic expedition in history, and the only one during the Heroic Age of Antarctic Exploration, to maintain radio contact with its country of origin. Only a high power facility of comparable capacity to those recently established at Sydney (VIS) and Perth (VIP) would have been capable of direct communication between Hobart and Cape Denison and this would have been prohibitively expensive and resource hungry for the expedition. It was decided to establish an intermediate station at Macquarie Island, and by halving the maximum distance for each signal to traverse, it was expected that the 2kW Telefunken transmitters of the Australasian Wireless Co., Ltd. would enable reliable communication.

Jeffryes had a keen interest in both Antarctica and wireless telegraphy and when the first call for applications to join the AAE was made, he sought an appointment as wireless operator. But at that time his length of experience as a telegraphist and wireless telegraphist was not great and he was not successful. Douglas Mawson appointed Walter Henry Hannam who was associated with the prominent patriot George Augustine Taylor and had himself been involved with the establishment of the Wireless Institute of Australia.

A series of tragedies and mishaps had led to the Cape Denison shore base on Antarctica being kept open for a second winter, March–December 1913. But there had been some tension between Mawson and Hannam and in January 1913, Hannam elected to return home after his year at Macquarie Island and Cape Denison. The intermediate station that he set up at Wireless Hill on Macquarie Island was fully functional and providing sterling service exchanging messages with the Hobart coastal station VIH. But there had been ongoing issues with both transmission and reception at Cape Denison, and only occasional messages were got out. This failure prevented the expedition fulfilling the terms of its contract with Australian and London Press in providing timely updates on the activities and status of the expedition. The replacement wireless officer would bring with him improved wireless telegraphy receivers (sensitivity of the crucial detectors was taking great strides at the time) which it was expected would make the Cape Denison station fully effective.

An appeal was made for a wireless operator to serve during the second winter of the AAE, and now Jeffryes was given the appointment.

In Antarctica
Jeffryes arrived at the Cape Denison shore base in February 1913 as the base was enduring a near-nightmare situation. The expedition's leader and commander, Douglas Mawson, stumbled into the base, the sole survivor of a sled dog probe eastward along the previously unknown interior coastline of the Australian Antarctic Territory. As the new wireless operator, Jeffryes was able to start the relay of communications that would inform Australia of the expedition leader's survival. However, within days of Mawson's arrival, the Antarctic winter began.

Mawson's expedition hut was located close to what was then the location of the South Magnetic Pole, and continued radio interference and static associated with polar conditions threatened the base's minimal ability to contact Macquarie Island. The expedition leader at first admired Jeffryes's assiduity with earphones and Morse-code key, but grew increasingly guarded in his praise. In Mawson's words, Jeffryes "applied himself to work with enthusiasm and perhaps an over-conscientious spirit." Climate conditions outside the hut made winter outdoor exercise impossible, leading to cabin fever. All the expeditioners would have been familiar with tales of Antarctic winter madness and particularly the problems of the Belgian Antarctic Expedition. Conditions at Cape Denison were clearly worse than those on the Belgica due to the Katabatic wind which because of the unique geography is at its upper extreme in the vicinity.

In July 1913, as Antarctica neared midwinter, wireless operator Jeffryes began to present symptoms of paranoia to his fellow shore-party winter explorers, none of whom knew how to receive or transmit messages in Morse code. Expedition leader Mawson began to encourage another expedition member, airman Frank Bickerton, to learn Morse code as quickly as possible. Jeffryes's condition waxed and waned; for some weeks his comrades believed he was recovering, but in September of the same year the radioman experienced a psychotic break and began transmitting a message, through Macquarie Island, to Australia. Declaring himself to be the only sane man on the expedition, Jeffryes accused all of his comrades of having joined a criminal conspiracy to murder him. Mawson thereupon relieved Jeffryes of his duties.

Return home
In December 1913, the expedition's vessel Aurora relieved the troubled Antarctic shore party.

Jeffryes was excluded from the welcoming celebrations in Adelaide due to his medical status. Yet he was paid off two days after arrival at Adelaide. Mawson stated subsequently that he believed that Jeffryes had returned to full health: "Later on Jeffreys improved, and on the arrival of the ship he became quite normal, and in that condition he was landed at Adelaide we believing that he would never again have any further trouble of the kind. On the return voyage Dr. Maclean occupied the same cabin with him, and kept him closely under observation. Dr. Maclean reported to me that Jeffreys was quite well and no thought ever entered our mind that he would not travel straight home without risk. In fact his condition was so good that I decided not to make any mention of the matter to his people.

In March 1914 it was realised that Jeffryes had not returned to the family home in Toowoomba and was missing. Six days later he was found near Stawell, exhausted and starved, having lived on roots and grubs, and drinking water from stagnant pools. He was arrested, clearly in a psychotic break and presented at the Stawell Court. His poignant plea from the dock was "Let me go back and die, where I have hidden my trunk, in the silence of the ranges." The Court committed Jeffryes to the Ararat Asylum.

His mental condition was diagnosed as paranoid schizophrenia while he was confined to the Aradale Mental Hospital in Ararat, Victoria. Letters from the health center, written to Mawson in 1915, testify to his challenges. Little is known of his later life.

Legacy and late life
Jeffryes' meticulous records of wireless reception quality during the second year of the Australasian Antarctic Expedition were correlated by himself, and by other expeditioners, with other observations of variables such as magnetic readings, auroral intensity, and St Elmo's Fire. These identified, perhaps for the first time, the impacts of Antarctic conditions upon low frequency radio wave propagation.

The expedition's head and designated spokesman, Douglas Mawson, had little to say in his published histories about Jeffryes' active service in Antarctica. For almost 100 years, the unfortunate wireless operator's name was suppressed from most Antarctic records. But in August 2010, the Australian Antarctic Division honored Jeffryes for his pioneering winter service by naming a previously unnamed glacier after him. The Jeffryes Glacier is located at 67°4' South, 143°59' East, in the Australian Antarctic Territory. It should not be confused with the Jeffries Glacier.

In December 2013, the first opera to be based on Mawson's 1911–14 expedition to Antarctica, The Call of Aurora (by Tasmanian composer Joe Bugden) was performed at The Peacock Theatre in Hobart. A chamber opera, The Call of Aurora investigates the relationship between Douglas Mawson and his wireless operator, Sidney Jeffryes.

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


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User talk:Hedonie77

Please stop adding links to an external site. The mass insertion of links in this way is generally interpreted as spam and is not in line with Wikibooks practices. One single link in an external links section is acceptable, repeated inline links is not. Thanks - QuiteUnusual (discuss • contribs) 12:49, 28 June 2019 (UTC)
 * Okay further investigation strongly suggests you work for radiumcore, and are editing in violation of the terms of use. You have also made a claim of ownership of content which is a violation of policy. There are other accounts being operated in the same way that indicate either you are using multiple accounts - another violation - or there are multiple employees operating in the same way. Either way, I have therefore blocked you from editing. QuiteUnusual (discuss • contribs) 13:01, 28 June 2019 (UTC)

Noindex RadiumCore Wikibooks
Hi, I would like to ask, if it is possible to unbock my account.

I talk with pizero|afk on the IRC, and he explained me about the policy. i agree to don't add spammy link anymore, or claim for content in such a way (rephrase the first line on the tutorial page), and also i would like on https://en.wikibooks.org/wiki/Wikibooks:Reading_room/Technical_Assistance to ask to noindex our wikibooks, thanks for unblocking my account.

RadiumCore have been considering asking for deletion of the wikibook, but after questioning on the google community forum, google employees suggested we noindex the wikibooks like that the users can still find our information on wikibooks, without penalising our website for duplicated content.

https://en.wikibooks.org/wiki/Radium_Core/

and

https://en.wikibooks.org/wiki/Radium_SmartChain

Thanks !

Note Update: i asked other members of RadiumCore to help with at cause since i can get my account um_block.

title: User talk:Hedonie77


text: Baroque Macedonia and the Macedonian Revolts/Bibliography


text:
The Lyrics of Henry VIII/My loue sche morneth for me, Cornish

[ff. 30v-31r]

My loue sche morneth for me for me. my loue sche morneth for me. Alas pour hart sen we depart                                                            5 morne ye no more for me for me.

In louys daunce syth that oure chaunce of abscene nedes must be. My loue I say                                                            10 your loue do way. and morne no more for me.

It is boote to me hart roote but. anguysch and pete. 15 Wherefore swete hart your mynde revert and morne no more for me.

O her kyndnesse. O her gentylnes. 20 what sayd sche then to me. The gode aboue her schuld not moue but styll to morne for me.

Alas thought I                                                           25 what remedy. venus to blame ar ye. Now of sum grace let se purchase to helpe my loue and me. 30

Her for to say I tooke this way I dyspraysed her beawte. Yet for all that. stynt wold sche not. 35 so trew of loue was sche.

At last sche wept. I to her lept. and sett her on my knee. The terys ran down. 40 halff in a swone it rewyd my hart to se.

When I sawe this I dyd her kysse therwyth reuyued sche                                              45 And her smalle wast ful fast vnlast and sayd sche morned for me.

Then as I ought. I me bethought. 50 and prayd her to be ble To take comfort. of my report. and morne no more for me.

I schall not fayll. 55 but suere retaylle from all other that be. in well and wo my hart to go with her that morneth for me. 60

Thus here an ende. goode lord deffend all louers that trew be And in especyall from iebardyse all. 65 my love that mornyth for me.

Cornysh

Textual Commentary
“My loue sche morneth for me” is a song in defense of all true lovers (ll. 62–66) upon whom separation is forced (l. 9)—the lyric also relays a tale of two lovers in such a situation. The lover, who urges that his beloved forget him, acquiesces to the strength of her devotion and acknowledges his own unwavering dedication. Moralized versions of “My loue sche morneth for me” appear in Twenty Songs (#14) and The Gude and Godlie Ballatis (ed. A. F. Mitchell 140). Also related to this lyric are “Wep no more For me swet hart” (BL Harleian MS 1317 f. 94v; mentioned in the gloss to l. 6, below) and, as noted by Stevens (M&P 394), PRO Exchequer Miscellanea 163/22/2/57.

 * 5   sen  Since.     depart   Separate.

 * 6   more for me   Cf. “Wep no more For me swet hart” (BL Harleian MS 1317 f. 94v) which ends, also, “that yo shod morne For me” (l. 5).

 * 7   louys daunce  The act of the game of love, perhaps with more sexual overtones.

 * 11 do way   Leave off, let alone, cease  (OED “do” v 53).

 * 13 boote Good, profitable (OED n.1 I).

 * 14 me  My.

 * 17 revert  Recover consciousness, return to itself; also, turn away, so as to leave or desert one (OED v I.1.a, I.5).

 * 23 her schuld not moue   Should not move her.

 * 26 what remedy   Cf. Henry’s “Withowt dyscord” (H 49.23) and the unattributed “What remedy what remedy” (H 69).

 * 28–9 grace . . . purchase  Cf. this with other related acts associated with grace, i.e. the comment to Henry’s “If love now reynyd as it hath bene” (H 38.12).

 * 29 . . . purchase  I.e. let us see some aid from you (Stevens M&P 394).

 * 31 say Assay, try, prove, test the fitness of  (OED v.2 1).

 * 35 stynt Cease, stop (OED “stint” v I).

 * 42 rewyd  Affected with regret, made (one) wish one had acted otherwise, or affected with pity or compassion (OED v.1 2,4).

 * 47 vnlast   Unlaced; freed or relieved, by undoing a lace or laces (OED “unlace” v 2).

 * 51 ble  Happy.

 * 53 my report   Knowledge or report of me.

 * 56 retaylle   Refrain.

 * 58 well  Weal, wealth.

 * 61–2 here an ende . . . deffend   Cf. Henry’s “Though sum saith that yough rulyth me” (H 51.18).

 * 65 iebardyse   Jeopardies.

The first stanza of “My loue sche morneth for me” is through-set in three voices (the third voice is not clearly offset), with the remaining text underlaid.

This piece is indexed in Robbins Index & Suppl. 2261.4, Boffey, and Ringler MS TM1057. It is reprinted in Flügel Anglia 233–35, Flügel Neuengl 133–34, Padelford 80–83, Stevens M&P 393–94, and Stevens MCH8 23.

Texts Collated
H1 (ff. 30v–31r, ll. 1–6 H2,3), CTri (f. 45v, ll. 1–3).

 * 2   for me for me.]  for me. H1, ffor me^ CTri

 * 3   my] for me my CTri;    morneth]  morys CTri;    for me.] for me for me. H3


text:
The Lyrics of Henry VIII/A the syghes that cum fro my hart, Cornish

[ff. 32v-33r]

A the syghs that cum fro my hart. They greue me passyng sore. Sen ye must nedes from me depart. fare well my Ioy for euer more

Oft to me her godely swet face                                        5 was wont to cast an eye. And now absence to be in place alas for wo I dye I dye.

I was wont her to behold. and take in armys twayne                                               10 And now with syghs manyfold. far well my Ioe and welcom payne

And thynk I se her yet. as wol to go I cowld Ther myght no Ioys compare with it                                15 vnto my hart. as now she shuld

W. Cornysshe

Textual Commentary
“A the syghes that cum fro my hart” is a lyric of departure recollecting the joys of love once had. In a letter to his Nora of July 1904, Joyce discusses the sentiment of the song and its tune, attributing it, erroneously, to Henry VIII (Joyce 23–24). The text of the first stanza echoes that of Farthing’s “The thowghtes within my brest” (H 20).

 * 2   They greue me passyng sore   Cf. repetition in l. 2 of Farthing’s “The thowghtes within my brest” (H 20), as well as sore’s rhyme, “euer more” (l. 4).
 * 3   Sen  Since.
 * 7   in place   In the place (of “her godely swet face” [l. 5]).
 * 12 Ioe  Joy.

The first stanza is through-set in three voices, with the remaining text underlaid.

“A the syghes that cum fro my hart” is indexed in Robbins Index & Suppl. 14.5, Boffey, Ringler MS TM86, and Crum A817. This piece is reprinted in Briggs Collection xvii, 10, Chappell Music 1.35–36, Flügel Anglia 258, 235, Flügel Neuengl 134, Padelford 79, Stafford Antiqua 1.27, Stevens MCH8 5, and Stevens M&P 395.

Texts Collated
H1 (ff. 32v–33r, ll. 1–4 H2,3), LR58 (f. 3r).
 * 3   Sen] Sens H2,3,  Syth LR58;     ye] I LR58;     nedes from me] fro my loue LR58
 * 5   her godely swet]  wyth hur goodly LR58
 * 6   was] She was LR58
 * 7   be] me LR58
 * 10 take] takyn LR58
 * 13 And] A me LR58;     thynk I] thynke that I LR58
 * 14 wol] wolde LR58;     I cowld] that I myght LR58
 * 16 as now she shuld]  to make hyt lyght LR58


text:
The Lyrics of Henry VIII/With sorowfull syghs and greuos payne, Farthing

[ff. 33v-34r]

With sorowfull syghs and greuous payne. Thus euer to endure. Alas pour hart tyl that we mete agayne. Ioy shall I neuer ye may be sure.

T. ffardynge

Textual Commentary
“With sorowfull syghs and greuous payne” is a lyric of departure. The emphasis is on return as well as the pain that will accompany the lover in absence. Cf. “Wyth sorowful syghes and woundes smart” (LDev f. 26v; attributed to Thomas Howard).

The lyric is through-set for three voices.

This lyric is indexed in Robbins Index & Suppl. 4201.3, Boffey, Ringler MS TM2009. It is reprinted in Flügel Anglia 235, Stevens M&P 395, and Stevens MCH8 25.


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User:Saltrabook/Supplemental courses in the Occupational Medical Residency - open here/Notification to the authorities of occupational diseases and accidents and daily record of patients

Under-reporting of occupational diseases is a problem globally. As an example the under-reporting rate of musculo-skeletal diseases in 10 regions of France was estimated at 59% for CTS, 73% for elbow MSD, 69% for shoulder MSD, and 63% for lumbar spine MSD. Several methods can be used to solve this problem. It would be an excellent training for students to do a systematic review in the scientific articles to establish systematic registration of work related diseases(report in English or Spanish) add the report here and in the Archive.

 * The task is to investigate and describe how the notification system functions in Panama. Search and report the latest statistics.
 * Archive for the reports in supplemental courses


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User:Saltrabook/Supplemental courses in the Occupational Medical Residency - open here/Mental health risk assessment and prevention in the workplaces

According to the European Commission, in most of the European countries, absence from work and early withdrawal from work due to mental problems have increased in recent years. Health costs and losing productivity is more than 450 billion € per year. The society is aware that mental health is a growing problem that needs attention and systematic prevention. Unfortunately, public health care systems are far too focused on treatment of mental illness and prevention, for example in terms of stress management courses, psycho-therapy and minor tranquilizers is far too narrow. What is needed is an integrated multiphase primary prevention of mental illness and reduced welfare with focus on the workplaces.

 * The task is to investigate and describe how an integrated multiphase primary prevention of mental illness with focus on the workplaces can be done. Search and report the scientific literature (total time consume 4-6 hours per person)
 * (report in English or Spanish) add the report here and/or in the Dropbox Archives below.
 * Archive for the reports in supplemental courses


text:
The Lyrics of Henry VIII/Iff I had wytt for to endyght (Unattributed)

[ff. 34v-35r]

Iff I had wytt for to endyght. of my lady both fayre and fre of her godnes than wold I wryght shall no man know her name for me shall no man know her name for me. 5

I loue her well with hart and mynd. she ys right trew I do it se. My hart to haue she doth me bynd. shall no mane know her name for me.

She doth no wauer as the wynde                                          10 nor for no new me chaung doth she. But all way trew I do her fynd. shall no man know her name for me.

Yf I to her than war vnkynd. pytte it war that shuld se. 15 for she to me ys all way kynd. shall no man know her name for me.

lernyng it war for women all. vnto ther louers trew for to be. Promyse I mak that know non shall. 20 whill I leue. her name for me.

My hart she hath and euer shall to deth departed we be. Happe what wyll happ fall what shall, shall no man know her name for me. 25

Textual Commentary
This lyric presents a celebration of a lover’s lady. With echoes in Cornish/Wyatt’s “A robyn gentyl robyn” (H 42) and other lyrics of this tradition, the lover expresses his love and devotion, and praises her beauty and constancy to him. See also “If I had space now for to write” (PRO State Paper Office 1/246 f. 28r), which shares the same rhyme yoking (“write” [l. 1] and “endite” [l. 3]).

 * 1–3 endyght . . . godnes   Cf. Christopher Goodwyn’s Dolorous Louer: “Of all her goodnes what sholde I more endyght” (l. 218).

 * 1   endyght   Put into words, compose, give a literary or rhetorical form to, express or describe in a literary composition (OED “indite” v 3).

 * 10 She doth not wauer as the wynde   Cf. lines 14–15 in Wyatt’s later handling of “A robyn gentyl robyn,” “that wommens lou ys but ablast / and tornyth as the wynd” (LDev[2] f. 24r; also LEge f. 37v).

 * 11 for no new me chaung doth she   Cf. Cornish/Wyatt’s “A robyn gentyl robyn” (H 42.11).

 * 12 trew I do her fynd   Cf. Cornish/Wyatt’s “A robyn gentyl robyn” (H 42.9).

 * 18 lernyng it war for women all   “it would be, if known, a lesson to all women” (Stevens M&P 396).

 * 23 departed   Separated.

 * 24 Happe what wyll happ  In reference to the changes of fortune the future may bring; cf. “Spite of thy hap, hap hath wel happed” (ll. 7, 14, 21) in Wyatt’s “In faith I not well what to say” (LEge f.19r).

The first stanza is through-set in three voices and the remaining text is underlaid. “Iff I had wytt for to endyght” is unattributed in H. In L18752 (f. 58v) (an adjacent text not collated here), the initials “J I” appear underneath.

This lyric is indexed in Robbins Index & Suppl. 1414.8, Boffey, Ringler MS TM721, and Crum I822. It is reprinted in Chambers Lyrics 57, Chambers Verse 41–42, Flügel Anglia 235, 260, Flügel Neuengl 134, 138, Padelford 78, Reed 350–51, Stevens M&P 396, and Stevens MCH8 26.

Texts Collated
H1,2,3 (ff. 34v–35r, ll. 1–5 H2,3), LR58 (f. 5v), LDev (f. 58v).

 * 5   omit LDev

 * 11 doth] woll LDev

 * 12 all way trew] trew and faythfull LDev

 * 14 vnkynd.] vnkende^ LR58

 * 14–21 omit LDev     substitute  sore y am that y ne may / to tell yon her fydelyte / that all men myght good of her saye / shall no man kno her nam for me   LDev

 * 15 se.] the^ LR58

 * 17 know her name for me.]  know hur name for me^ LR58

 * 18 women] young men LR58

 * 20 mak] made LR58;     non] noman LR58

 * 21 whill] whyllye LR58;     I] that I LR58

 * 23 to deth] tyll by dethe LR58, that by dethe LDev

 * 24 substitute  bade and goodes y gyue her all LDev     wyll] shall LR58;     fall what shall,]  wylbe fall LR58

 * 25 know her name for me.]  know hur name for me^ LR58, know her nam for me^ LDev


text:
User:Sjevtic/Collections/icelandic

Íslenska

 * Icelandic/Lesson 1
 * Icelandic/Lesson 2
 * Icelandic/Lesson 3
 * Icelandic/Grammar/Capitalisation
 * Icelandic/Grammar/Nouns
 * Icelandic/Grammar/Verbs
 * Icelandic/Grammar/Irregular Verbs
 * Icelandic/Numbers
 * Icelandic/What time is it?
 * Icelandic/Alphabet and Pronunciation

title: User:Sjevtic/Collections/icelandic


text:
User:AminulIslamAkash

I am a writer. I write educational books.

title: User:AminulIslamAkash


text:
Medical Machines/Pneumatic Tourniquets

Applications
In surgery on a limb, an automatic tourniquet can be used to temporarily restrict blood flow. This can be useful in treatment of trauma and in procedures where unrestricted bleeding would make work difficult or impossible.

title: Medical Machines/Pneumatic Tourniquets


text:
VirtualBox/Setting up a Virtual Machine/macOS High Sierra

Installation script
The following installation script:
 * ...is free and open-source
 * ...requires only VirtualBox with its Extension Pack and dependencies that can be easily installed in a single command with most open-source package managers
 * ...downloads macOS Catalina, Mojave and High Sierra directly from Apple's servers
 * ...installs macOS without modifying the original Apple binaries and without third-party bootloaders
 * ...creates a VM that is compatible with OpenCore and can be exported (with manual modifications) to KVM/QEMU for near-native performance
 * ...runs on Linux, Windows (WSL, Cygwin), and macOS

https://github.com/myspaghetti/macos-guest-virtualbox - Push-button installer of macOS on VirtualBox


text:
OpenSCAD User Manual/Type Test Functions

is_undef
is_undef accepts one parameter. If the parameter is undef, this function returns true. If the parameter is not undef, it returns false. When checking a variable (like `is_undef(a)`), it does the variable lookup silently, meaning that is_undef(a) does not cause `WARNING: Ignoring unknown variable 'a'. `

The alternative is code like this: or causes WARNING: Ignoring unknown variable 'a'.

is_undef also works for special variables, allowing for things like this:

legacy support
For older openscad version, is_undef can be emulated with which of-course causes warning(s), but requires no changes to code relying on is_undef.

is_function
The  check works only for expressions, so it can be applied to function literals or variables containing functions. It does not work with built-in functions or normal function definitions.


text:
User talk:198.255.142.84

Hi

We welcome and appreciate your contributions, but your recent edits to [[US History/World War II and Rise of Atomic Age]] had to be undone. Please see What is Wikibooks? to learn more about what contributions are beneficial to Wikibooks. —Eihel (discuss • contribs) 16:37, 30 June 2019 (UTC)

—Eihel (discuss • contribs) 16:29, 30 June 2019 (UTC)

—Eihel (discuss • contribs) 16:49, 30 June 2019 (UTC)

title: User talk:198.255.142.84


text:
User talk:Sutch

Welcome
Welcome, Sutch!

If you have any questions, you can ask in the assistance reading room or possibly contact me personally. Rubbish computer (discuss • contribs) 19:23, 30 June 2019 (UTC)

title: User talk:Sutch


text:
User talk:JessicaSlee1983

Welcome
Welcome, JessicaSlee1983!

If you have any questions, you can ask in the assistance reading room or possibly contact me personally. Rubbish computer (discuss • contribs) 19:24, 30 June 2019 (UTC)

title: User talk:JessicaSlee1983


text:
Transportation Systems Casebook/Tolling/E-ZPass

E‑ZPass is an electronic toll collection system used on most tolled roads, bridges, and tunnels in the Midwestern and Eastern United States, as far south as Florida and as far west as Illinois. The E-ZPass Interagency Group (IAG) consists of 39 member agencies in operation within 17 states, which use the same technology and allow travelers to use the same transponder on toll roads throughout the network.

Disclaimer
So many service centers share the same trademark "E-ZPass". This book is to supplement but not replace their policies and guidelines that may vary and be changed at any time.

Choosing a service center
Choosing a service center to open an account requires considering which one is the most cost-efficient regarding the amounts of tolls and fees to pay, especially monthly account fees that may discourage infrequent road users. Living in one state does not require opening an account with the local service center. As many toll agencies limit discounts to accounts opened with their own service centers but not others, open accounts with more than one service center only if expecting frequent trips to avoid excessive burdens.

Opening an account
Opening an account after choosing which service center has some ways with pros and cons:
 * 1) Online application is usually the most convenient way, but getting toll tags by mail requires several days. #Visiting a service center or other approved retailers may get toll tags on the spot on business days, but to travel there may require considerable distances. When receiving toll tags on the spot, watch out for any delayed readiness.
 * 2) Faxing in an application requires manual process and several more days to receive toll tags.
 * 3) Mailing in an application requires several days to reach the receiver and several more days to receive toll tags.

Listing vehicles
List all vehicles to use the account, so if any toll tag fails to work, the vehicular registration number in the account may allow video tolling without billing the vehicular owner at higher cost. Account holder need not own the listed vehicles. Add any rental vehicle only when actually using it. Remove any vehicles when no longer using the account, like when returning a rental vehicle, to avoid incorrect billing.

Getting toll tags
Different service centers have different prices for toll tags: Exterior tags mounted on the front bumpers should be avoided if at all possible. They are very vulnerable to vehicular collisions.
 * 1) Some centers lease tags with monthly fees, so stopping the leasing fees require returning the tags in good condition.
 * 2) Some centers sell tags with one-time fees that may or may not be refundable when returning the tags. Even if non-refundable, carelessly throwing out tags when no longer using them may badly damage the environment.
 * 3) Some centers require a deposit per tag that must be returned in good condition to get a refund.
 * 4) Some centers lend tags for free if eventually returned in good condition.

Payments
Different service centers require various minimum payments. Various ways to pay include these:
 * 1) Credit cards may be the easiest way to pay. Always keep the number and exoiring date up to date, including reporting any lost cards to their issuers. Some credit cards may offer big rewards, but do not prepay too much, or the reward may become lower than the interest earn from a bank deposit account. Avoid approaching the credit limit too closely, or the credit score may be lowered.
 * 2) Automatic payment from checking account requires care to avoid costly overdrafts.
 * 3) Mailing a check to pay requires several days.
 * 4) Paying cash may be limited to visiting a service center in person as mailing cash is not even secure.

Discounts
Different service centers have different plans that are not always available to accounts from other centers. Check carefully before opening multiple accounts that may require changing the tags on the road to maximize the discounts.

Approaching the tolling area
Tolling areas may have toll barriers with booths in toll plazas or cashless gantries. Mount the toll tags properly. Put tags not to be used in read-prevention bags. Always check the signs, signals and markings. Obey the speed limits as speeding may violate the terms and conditions of the accounts or even result in being stopped by the police on the spot.

Lost or stolen toll tags
Report lost or stolen toll tags at once to avoid paying for others' tolls and fees. These tags may be irreversibly deactivated to trigger violations if still used at tolling areas. Returning any found tags may or may not get a refund depending on who issued them.

Fees and discounts by state

 * Notes


text:
User:OHucdogB3y

Welcome
This is the user page for OHucdogB3y, feel free to call me Huck.

Just poking around at the moment. Please leave any feedback or comments on the "Discussion" tab.

Checking that it is Monday.

About Folding
This page has Vim folding marks. If you use Vim, you can utilize them with the following. set foldmarker=↓↓↓,↑↑↑
 * 1) On the Vim command line (accessed with ':').

Haven't looked at whether this is acceptable for public edits, but for my own page, I thought it would be permissible.

title: User:OHucdogB3y


text:
GLPK/Julia

The GLPK.jl package allows use of the GLPK in julia in different ways. In an increasing level of abstraction these are: (a) directly (by wrapping the C API); (b) as interface to MathOptInterface or (c) as the "solver engine" of the algebraic modelling language JuMP.jl.

For example to solve the problem `Maxx,y x + 2y` s.t. `x+y = 3` and `x,y >=0` you could write:

(a) Using the GLPK C API wrapper:

(c) using the JuMP API:

title: GLPK/Julia


text:
User talk:OHucdogB3y

Welcome
Comments welcomed. Put the newest on the top of the stack. Of course, feel free to start your own section if so warranted.

07/01/2019 10:46 — Thanks to QuiteUnusual (discuss • contribs for getting the user page past the global abuse filter.

title: User talk:OHucdogB3y


text: User:AntonyFragakis

title: User:AntonyFragakis


text:
Actually Applicable Application Problems and Brainteasers/Wheelchair Ramp Standards 2

Overview
As mentioned in the original Wheelchair Ramp Standards problem listing, measuring the rise and run of real world ramps can be difficult. This is an example of a way around that issue, by using a protractor and the trigonometric tangent function. I'm not saying it's the best way, and it's definitely not the only way, but it's something I've come up with.

This diagram illustrates the geometric relationships involved.

Materials

 * Bubble level
 * Protractor with arm that swings around (used on paper for lining something up with the angle's edge)
 * Something to attach them with (for example: rubber bands, glue, string, epoxy, etc.)

Recommended procedure

 * 1) Make sure the protractor's arm is straight up. It must be very straight or the tool will not measure accurately.
 * 2) * You may want to use a plumbline (a string with some kind of weight on the end) to check this.
 * 3) Put the bubble level across the arm's end, laying down.
 * 4) Adjust it until it is perfectly level (which should be perfectly perpendicular to the protractor's arm).
 * 5) Attach it in place.
 * 6) * Make sure it will stay attached without shifting or you will have to re-do building the tool to calibrate it every time you use it.

Part 2: Measuring ramps

 * 1) Put the protractor's back down against the ramp.
 * 2) Swing the protractor's arm until the bubble level shows that it is level.
 * 3) Read the protractor's angle by looking at where the swingable arm meets the curve.
 * 4) Take the complement of the protractor's angle (that is, subtract the protractor's angle from 90°). This is the ramp's angle.
 * 5) Take the tangent of the ramp's angle (that is, find the ratio of opposite to hypotenuse which corresponds to the ramp's angle).
 * 6) * One way to calculate tangent is to divide sine by cosine.
 * 7) As you can see form the diagram above, the opposite side of the triangle is the rise and the adjacent side of the triangle is the run, so the tangent ratio is the slope of the ramp. You can compare it with the standard, $$\frac{1}{12} = 0.08\overline{3}$$, to determine whether the ramp meets the accessibility standard.

Problems
Is a ramp with an angle of 1° accessible?

Is a ramp with an angle of 45° accessible?

Is a ramp with an angle of 10° accessible?

Is a ramp with an angle of 5° accessible?

Work Backwards
You can cut out steps 4 through 6 by figuring up once and for all what range of angle readings from step 3 will give an accessible result.

Make Your Own Problem
Use this tool and method to determine whether ramps and other sloped surfaces in your community meet the accessibility standard.


text:
The Lyrics of Henry VIII/Alac alac what shall I do, Henry VIII

[f. 35v]

The Kyng H. viij.

Commentary
“Alac alac what shall I do” is likely three lines of a longer love song, perhaps that of “Hey nony nony nony nony no” (H 26). “Alac alac what shall I do” presents the lament of a devout lover unsure of his lady, as does “Hey nony,” where this concern sees a much fuller development and, ultimately, a positive conclusion.

H presents “Alac alac what shall I do” in three voices, complete and presented on the verso only. Ringler MS suggests that the text is probably incomplete (51), and the peculiar layout in H suggests that this song and that which follows it, “Hey nony nony nony nony no” (H 26), are quite closely related (see Stevens MCH8, #30, note). “Hey nony nony nony nony no” is unattributed, and its original numbering in the MS (“xxvij”) corresponds with the heading “28. Alac alac what shall I do” in the table of contents (f. 2v). Also, the text on f. 36r lacks any sort of block initial capital which is used to offset voices and lyrics from one another, and the matter of each song is complementary. The incipit “Alasse a lasse what shall I doo” is listed as part of the contents of DBla (f. 59r), which contains many songs of a similar nature, including a great many pieces by Wyatt. This piece, however, does not survive in the manuscript outside of this mention.

“Alas alas what shall I do” is indexed in Robbins Index & Suppl. 135.5, Boffey, Ringler MS TM88, Crum A843. It is reprinted in Flügel Anglia 236, Stevens M&P 396, Stevens MCH8 26, and Trefusis 72.

Texts Collated
H1,2,3 (f. 35v).
 * 3   lokked] lokked H2,3, lakked H1


text:
The Lyrics of Henry VIII/Hey nony nony nony nony no (Unattributed, Incipit)

[f. 36r]

Hey nony nony nony nony no hey nony nony nony nony no. Hey nony nony nony no. hey nony nony nony nony no Hey nony nony noy no. hey nony nony no.

This other day. I hard a may. 5 ryght peteusly complayne. She sayd all way. withowt denay. her hart was full of payne.

She said alas. 10 with owt trespas. her dere hart was untrew. In euery place. I wot he hace Forsake me for a new. 15

Seth he untrew. hath chosen a new. and thynkes with her to rest. And will not rew. and I so trew:                                   20 wherfore my hart will brest.

And now I may. In no maner away. optayne that I do sew. So euer and ay. 25 with owt denay. myne owne swet hart adew.

Adew derlyng. Adew swettyng. Adew all my welfare. 30 Adrew all thyng. to go perteynyng: cryst kepe yow forme care.

Adew full swete. Adew ryght mete. 35 to be a ladys pere. with terys wete. And yes replete. she said adew my dere.

Adew fare well. 40 Adew labell. Adew bothe frend and foo. I can nott tell. wher I shall dwell. my hart it grevyth me so. 45

She had nott said. but at abrayde. here dere hart was full nere. And saide goode mayde. be not dysmayd. 50 my love my derlyng dere.

In armys he hent. that lady gent. In uoydyng care and mone. They day thay spent. 55 to ther in tent. In wyldernes alone.

Textual Commentary
In “Hey nony nony nony nony no” the speaker overhears a complaint of a maiden worried about the constancy of her male lover. The lyric concludes with his return and her comforting. The burden “Hey nony nony. . .” was a very common refrain and expression of mirth; see Coverdale’s mention of it (in note to Cornish’s “Trolly lolly loly lo” [H 33]), and allusions in Shakespeare’s Much Ado (2.3.62–69), Ophelia’s incorporation of it into her song fragments (Hamlet 4.5.166), King Lear (4.4.101), and the Two Noble Kinsmen (3.4.19.24); see also Merry Report’s words in Heywood’s Play of the Weather—“Gyue boys wether quoth a nonny nonny” (l. 1043)—and the Boy’s response, “If god of his wether wyll gyue nonny / I pray you wyll he sell ony” (l. 1045–46), and others.

 * 5   may  Maid.

 * 11  trespas Transgression, offence, wrong, or fault—on her part (OED “trespass” n 1).

 * 14 hace  Has.

 * 19 rew  Affect with regret (for some act), make (one) wish one had acted otherwise, or  affect with pity or compassion (OED v.1 2,4).

 * 21 brest  Burst.

 * 24 sew  Cf. similar action associated with love in Henry’s lyrics; see the note to “Thow that men do call it dotage” (H 44.17).

 * 32 god  Good.

 * 35 ryght mete   Right suitable companion, mate.

 * 38 yes replete   Eyes full [of tears].

 * 41 labell   “La belle,” a term of endearment, though here oddly not in the masculine.

 * 47 at abrayde   Suddenly, unaware, as if awakened (OED “bray / at a bray”).

 * 52 hent  Seized, grasped, took, or held (OED v 1).

 * 53 gent  Genteel; also graceful, elegant, pretty (OED a 2).

 * 54 uoydyng   Avoiding.

 * 55 wyldernes   The countryside.

The unattibuted burden is through-set in three voices, with the remaining text underlaid. For its relationship with Henry VIII’s “Alac alac what shall I do” (H 25), see the notes to that lyric. Music is provided for the burden only; the lyrics may have been sung to a well-known tune (Stevens M&P 127–28, 399), as with “Grene growith the holy” (H 27), “Blow thi hornne hunter” (H 29), “Whilles lyue or breth is in my brest” (H 43), and “Yow and I and amyas” (H 35).

“Hey nony nony nony no” is indexed in Robbins Index & Suppl. 3635.5 and Ringler MS TM1666. It is reprinted in Flügel Anglia 236–37, Flügel Neuengl 135, Chambers Lyrics 59–61, Padelford xxxix, Stevens M&P 397–98, and Stevens MCH8 27.


text:
The Lyrics of Henry VIII/Grene growith the holy, Henry VIII

[ff. 37v-38r]

The.Kyng .H.viij.

Textual Commentary
Traditionally associated together with the winter season and specifically Christmas, holly and ivy are (as here) also associated with the male and female, respectively. Together, holly and ivy are often seen in strife over issues such as mastery. Additionally, holly contains associations with foresters (fosters) and hunters, as well as with Christ, and ivy with the Virgin. In this love lyric, Henry draws on some aspects of the traditional holly and ivy carol, but focuses on the amity of the two, their inseparability in adverse circumstances (ll. 9–12), and holly’s invariability (ll. 5–8). In “Grene growith the holy” the lover, on impending departure, assures his lady of his constancy in love. This lyric is mentioned in Philip Lindsay’s Here Comes the King (chap. 8); see W. H. J. “Henry VIII: Verses.”

 * 9   A  Ever.

 * 16 betake   Entrust, commit, give in charge (OED v. 1.b); also used in the sense of departure (OED v. 2) which follows in l. 17.

 * 19–20 hath my hart . . . and euer shall   Cf. Cornish’s “Whilles lyue or breth is in my brest” (H 43): “He hath my hart and euer shall” (l. 37); Wyatt’s “ffortune what ayleth the”: “She hath my hart and euer shall” (l. 25; from DBla); and Henry Bold’s “I love my Love, she not me”: “she hath my heart, / And shall have evermore” (ll. 3–4).

“Grene growith the holy” appears in H in three voices, with voices 2 and 3 given for ll. 1–4 alone. Music is provided for the burden only; the lyrics may have been sung to a well-known tune (Stevens M&P 127–28, 399), as with “Hey nony nony nony nony no” (H 26), “Blow thi hornne hunter” (H 29), “Whilles lyue or breth is in my brest” (H 43), and “Yow and I and amyas” (H 35).

This lyric is indexed in Robbins Index and Suppl. 409.5, Boffey, Ringler MS TM210, and Crum G580. It is reprinted in Chappell Account 374–75, Chambers Lyrics 54, Chambers Verse 34–35, Davies 290–91, Dearmer130, Flügel Anglia 237–38, Flügel Neuengl 135, Greene 304, Padelford 77, Stevens M&P 398–99, Stevens MCH8 28, and Trefusis 13.


text:
The Lyrics of Henry VIII/Whoso that wyll all feattes optayne, Henry VIII

[ff. 38v-39r]

The Kynge .H. viij.

Textual Commentary
“Whoso that wyll all feattes optayne” is a proclamation on the value of loving as an act. In addition to enforcing one’s noble demeanor and making one bold, it is something which allows one to obtain “all feats” (presumably akin to the feats of arms expressed in “The tyme of youthe is to be spent” [H 19]). Additionally, in the lyric the force of love is contrasted throughout to that of disdain.

 * 1   Who so . . . optayne  Whosoever will show himself fully valorous (Stevens M&P 400).     feattes   “Featys of armys” (see Henry’s “The tyme of youthe is to be spent” [H 19.7]).

 * 2   dysdayne   Cf. its place further in this poem (ll. 4, 8, 11, 14) and in Henry’s “If love now reynyd as it hath bene” (H 38.5), his “Thow that men do call it dotage” (H 44.14), his “Whoso that wyll for grace sew” (H 57.8), and his “Lusti yough shuld vs ensue” (H 61.6,10,14); also Daggere’s “Downbery down” (H 15.6) and the anonymous (though in the spirit of Henry’s lyrics) “Let not vs that yongmen be” (H 59.3); cf. also the similar personification in “As power and wytt wyll me Assyst” (in LDev, later attributed to Wyatt): “yf dysdayn do shew hys face” (l. 19). In the context of such “feattes” as are put forward by the lyric, cf. also the sentiment which concludes the Jousts of June, that with “false tonges . . . Some of enuy dysdeynously wolde say” (ll. 261–4) ill of the good reasons for which the jousts were undertaken; see also the note to Henry’s  “Withowt dyscord” (H 49.24).

 * 3   enforcyth all nobyle kynd   Strengthens all those of a noble nature, as well as all those natures (i.e. people) that are noble.     kynd  Birth, origin, descent (OED n I.1.a), but esp. “The character or quality derived from birth or native constitution” (OED n. I 3a.); “My kinde is to desire the honoure of the field” (Surrey’s “On a Lady refusing to dance” l. 51; in Tottell’s Miscellany [Songes and Sonnettes] Cc4r).

 * 4   gentyl. . .   Of birth, blood, family (OED a 2.a); also courteous, polite (OED a 3.c).

 * 6   proved   Proven, tried, tested (OED ppla 1); also demonstrated, shown to be true (OED ppla 2).

 * 7   on  One.

 * 8   abattyth   Abates, hinders, &c.

 * 13 compell   Constrain (OED v 1.a).

Though music in H is given for three voices for “Whoso that wyll all feattes optayne,” only the third voice is given text (the incipit), and the remainder of the lyrics appear underlaid.

This piece is indexed in Robbins Index and Suppl. 4143.3, Boffey, and Ringler MS TM1976. It is reprinted in Flügel Anglia 236, Flügel Neuengl 137, Stevens M&P 399, Stevens MCH8 60, and Trefusis 15.


text:
The Lyrics of Henry VIII/Blow thi hornne hunter, Cornish

[ff. 39v-40r]

Blow thi hornne hunter and blow thi horne on hye ther ys a do In yonder wode in faith she woll not dy

now blow thi hornne hunter and blow thi hornne Ioly hunter.

Sore this dere strykyn ys. and yes she bledes no whytt. 5 she lay so fayre. I cowde nott mys. lord I was glad of it.

As I stod vnder a bank: there dere shoffe on the mede. I stroke her so that downe she sanke. but yet she was not dede.

There she gothe se ye nott. how she gothe ouer the playne. And yf ye lust to have ashott. I warrant her barrayne. 10

He to go and I to go: But he ran fast afore. I bad hym shott and strik the do: for I myght shott no mere.

To the couert bothe thay went. for I fownd wher she lay. An arrow in her hanch she hent. for faynte she myght nott bray.

I was wery of the game. I went to tavern to drynk. 15 now the construccyon of the same: what do yow meane or thynk.

Here I leue and mak an end. now of this hunters lore. I thynk his bow. ys well vnbent: hys bolt may fle no more.

W. Cornysh

Textual Commentary
This lyric deals with love’s pursuit, and it exploits and draws attention to the double-entendre of the forester songs as a whole (see ll. 29–30)—a tendency that sees subtler but more popular exemplification in Wyatt’s “Whoso list to hunt,” its Petrarchan source, and its contemporary metaphoric analogues. An unusual element is the role of the speaker/guide which, though seemingly traditional, borders on pandering. Akin to Cornish’s “Yow and I and amyas” (H 35), this lyric tells a story, perhaps in summation of one of the many entertainments of the day which drew on the forester theme. For a possible venue (Cornish’s play of 15 June 1522), see the commentary to Cooper’s “I haue bene a foster” (H 47), as well as the unattributed “I am a joly foster” (H 50).

 * 3   do  Doe, a deer, a female deer.

 * 8   no whytt   Not at all.

 * 12 shoffe   Shoved, pushed her way forward.     mede   Meadow.

 * 18 barrayne   Barren, not bearing, not pregnant at the usual season (OED “barren” a 2.a); i.e. good eating (Stevens M&P 401).

 * 21 I myght shott no mere   Cf. similar sentiments in Cooper’s “I haue bene a foster” (H 47), in H.

 * 23 couert   Cover, that which serves for concealment, protection, or shelter (OED n 2.a).

 * 26 faynte   Faintness.

 * 29 construccyon   The construing, explaining, or interpreting of a text or statement (OED “construction” 7, 8); cf., also, the similar strategy in urging an interpretation other than a literal one employed by Skelton in his Bowge of Courte, “constrewe ye what is the resydewe” (l. 539).

 * 30  meane Imagine, have in mind.

The first stanza of “Blow thi hornne hunter” is through-set for three voices, with the remaining text underlaid. Music is provided for the burden only; the lyrics may have been sung to a well-known tune (Stevens M&P 127–28, 399), as with “Grene growith the holy” (H 27), “Hey nony nony nony nony no” (H 26), “Whilles lyue or breth is in my brest” (H 43), and “Yow and I and amyas” (H 35).

“Blow thi hornne hunter” is indexed in Robbins Index & Suppl. 3199.8, Ringler MS TM1455, and Crum B463. It is reprinted in Chappell Music 1.39–40, Flügel Anglia 262, 238–39, Flügel Neuengl 152, Stafford Antiqua 1.31, Stevens M&P 400–401, and Stevens MCH8 29.

Texts Collated
H1,2,3 (ff. 39v–40r, ll.1–6 H2,3), LR58 (f. 7v, ll.1–6).

 * 3   substitute  in yonder wode there lyeth a doo LR58

 * 5   now] wow H3,  and LR58;     hunter]  omit H2,3


text:
The Lyrics of Henry VIII/De tous bien plane (van Ghizeghem, Incipit)

[ff. 40v-41r]

De tous bien plane

Textual Commentary
“De tous bien plane” appears as an incipit in H in the first and third voice; the second has no text whatsoever. There is no room left for block initial capitals, and none appear. As well, little room has been left among the musical notation for text listed in the manuscript’s table of contents as the thirty-first work. “De tous bien plane” is unattributed in H, although the piece is attributed elsewhere to Hayne van Ghizeghem.

“De tous bien plane” appears also in B78.B.17 (ff. 184r–v), BQ16 (ff. 133v–134r), BQ18 (f. 48r), CCap (ff. 20v–22r), CT3.b.12 (ff. 84v–85r), C291 (ff. 4v–5r), Di517 (ff. 11v–12r), Fl121 (ff. 24v–25r), Fl178 (ff. 34v–35r), FlR2356 (ff. 26v–27r), FlR2794 (ff. 18v–19r), Mo871 (#85), NH91 (ff. 42v–43r), P676 (ff. 42v–43r), P2973 (ff. 25v–26r), P15123 (ff. 105v–106r), Pav362 (ff. 34v–35r), PBOdh (ff. 22v–23r), PBS07 (I #19), Pe431 (ff. 70v–71r), Ps1144 (65–8), RC2856 (ff. 66v–67r), RG27 (ff. 64v–65r), S/P (f. 39r), Up76a (ff. 15v–16r), W287 (ff. 52v–53r), WLab (ff. 62v–63r), and elsewhere (see Fallows, Catalogue 129–30; Atlas, ed. 136–37; and Jeppesen). Full texts appear in B78.B.17 (text only),C291, Di517, P2973, W287, and WLab. Incipits and partial texts appear in BQ16, Ccap, Fl121, Fl178, FlR2356, FlR2794, NH91, P676, P15123, Pav362, PBOdh,  PBS07, Pe431, Ps1144, RC2856, RG27, S/P, and Up76a. An alternative text appears in CT3.b.12.

Below is the text provided by Jeppesen (7–8):
 * De tous biens plaine est ma maistresse,
 * Chascun lui doit tribut d'onneur;
 * Car assouvye est en valuer
 * Autant que jamais fut deeesse.

 * En la veant j'ay tel leesse                                      5
 * Que c'est paradis et mon cueur.
 * De tous biens . ..

 * Je n'ay cure d'autre richesse
 * Si non d'estre son serviteur,
 * Et pource qu'il n'est chois milleur                        10
 * En mon mot porteray sans cesse:
 * De tous biens . ..

This piece is reprinted in Stevens MCH8 36, Hewitt (ed. Odhecaton #20), Atlas (ed. 136–37), Lopelman (ed. #575), Jeppesen (7–8), and Lerner (ed., Agricola v.lxiv), among others. It is indexed in Fallows (Catalogue 129–30), among others.

Texts Collated
H1,2,3 (ff. 40v–41r).

 * 2   omit H2


text:
User:Booxmann

Castling is indicated by the special notations O-O for kingside castling, O-O-O and 0-0-0-0[en.wikibooks.org/w/index.php?title=Talk:Chess_Opening_Theory&diff=3550845&oldid=35508438] for queenside castling.

title: User:Booxmann


text:
Conlang/Advanced/Sounds/Common sounds/Sources

 * THEORY: Morphomes (was Re: Chicken and egg; sound and form), David J. Peterson, CONLANG-L, 2006.


text:
User talk:Castle0000

Your Questions
I am commenting here rather than responding by email as your questions are best dealt with publicly, on-wiki. You ask about writing "articles." You may have been using the term loosely, but if you want to write encyclopedic articles, then Wikipedia is the place for that. Wikibooks is for instructional textbooks, not single page articles. The best starting point for any new editor is to read Using Wikibooks which explains this project and the technical requirements around editing. You also asked about "protection for" your articles. If you mean "how do we ensure they are not vandalised", then this is a combination of interested editors checking changes and anti-vandalism patrols from this project but also global rollbackers, global sysops, etc. If, however, you mean "how do I stop other people changing my work", then the answer is that you can't. In fact, trying to stop other people making changes is considered a serious policy breach and can lead to the offender being blocked from any future editing. This is a collaborative project, and it is a core pillar of the philosophy that nobody owns the content. Also, when you save any edit you agree to release your work under the site license which allows anyone to change your work freely. QuiteUnusual (discuss • contribs) 07:05, 3 July 2019 (UTC)

title: User talk:Castle0000


text:
User:VFeebach

User page of Victoria Fiebach

title: User:VFeebach


text:
The Lyrics of Henry VIII/Iay pryse amours (Unattributed, Incipit)

[ff. 41v-42r]

Iay pryse amours

Textual Commentary
“Iay pryse amours” appears as an incipit in H in all three voices. The first two voices have a small illuminated capital that are single space in height (with the second seeing some erasure), while the third voice has been given a large initial block, spanning the space used by both the musical rule and the space below (as in most block capitals in the manuscript). Little room has been left among the musical notation for text. “Iay pryse amours” is listed in the manuscript’s table of contents as the thirty-second work.

“Iay pryse amours” appears also in B78.B.17 (f. 160r; text only), BQ16 (ff. 138v–139r), Di517 (f. 2r), FlP27 (f. 41v), Li529 (f. 1r, f. 5r), LLa380 (f. 242v), P2973 (ff. 23v–24r), P15123 (ff. 21v–22r), PBCan (ff. 89v–90r), PBJard (f. 71v; text only), PBS07 (I #12, II #8), Pe431 (ff. 75v–76r), Ps1144 (61–5), RG27 (ff. 59v–60r), S/P (h8v-h9r; o1v-o2r), SAM (f. 118v), W287 (ff. 37v–38r), WLab (h31v–32r), and elsewhere (see Fallows, Catalogue). Full texts appear in B78.B.17, LLa380, P2973, PBJard, S/P, W287, and Wlab. Incipits and partial texts appear in BQ16, Di517, FlP27, Li529, P15123, PBCan, PBS07, Pe431, Ps1144, and SAM.

The text of LLa380 is transcribed below:

 * Iay pris amours a ma deuyse,
 * Pour conquer Ioyeusete
 * Heureux seray en cest este
 * Se puis venir amon empirnse,

 * Sil est aucun qui men desprise                                     5
 * Il me doit estre pardonne,
 * Iay pris,

 * Il me semble que cest languise,
 * Qui na Riens Il est deboute
 * Et nest de personne honnore                                      10
 * Nesse point le droit quant gy vise,
 * Iay pris,

This piece is reprinted in Stevens (MCH8 31), Atlas (ed.), and elsewhere. It is indexed in Fallows (Catalogue 195–8), and others.


text: Template:Ificiana/Navlist

title: Template:Ificiana/Navlist


text:
The Lyrics of Henry VIII/Adew corage adew, Cornish

[f. 42v]

Adew corage adew hope and trust I fynde you not trew adew corage adew adew.

W. Cornyshe

Textual Commentary
“Adew corage adew” is a complaint, though seemingly not of departure in the way typically presented by the lyrics of H. Here, the speaker bids departure to his “corage” (ll. 1, 3), finding key elements of love (l. 2) to be false.

 * 1   corage   Sexual vigour and inclination, the desire to love, the amorous spirit; see Henry’s “The tyme of youthe is to be spent” (H 19.10, note).

 * 2   hope and trust   A common pairing; one such instance, of interest, is found in Hawes’ Pastime of Pleasure, where Venus urges the distraught Amour “lyue in hope and trust / For at the last you shall attayne your lust” (ll. 3928–29).

“Adew corage adew” is through-set for three voices. The following leaf (f. 43r) is left blank, suggesting, perhaps, that additional verses were intended to be underlaid. This lyric is listed in the manuscript’s table of contents as the thirty-third work.

This piece is indexed in Robbins Index & Suppl. 120.6, Boffey, Ringler MS TM65. It is reprinted in Flügel Anglia 239, Stevens M&P 401, and Stevens MCH8 32.

Texts Collated
H1,2,3 (f. 42v).

 * 3   adew adew.] adew adew adew.  H3


text:
User:VinceKay98

Fantasy Life

title: User:VinceKay98


text:
The Lyrics of Henry VIII/Trolly lolly loly lo, Cornish

[ff. 43v-44r]

Trolly lolly loly lo syng troly loly lo my loue is to the grene wode gone now after wyll I go. syng trolly loly lo lo ly lo. 5

William Cornyshe

Textual Commentary
This piece is a short lyric of amorous play and pursuit, employing the popular mirthful refrain “Hey trolly lolly.” Possibly, this song is associated with the May Games (Stevens M&P 401).

 * 1   Trolly lolly  Similar lines are mentioned in Miles Coverdale’s “Address unto the Christian reader” prefixed to his Goastly Psalmes and Spiritual Songes (1538); he urges that people would be “better occupied” with devotional songs “than with Hey, nonny, nonny—Hey, trolly, lolly, and such like fantasies” (Chappell Popular Music 1.54).     Cf. “Hey troly loly loly” (H 50) and “Hey troly loly lo” (H 75); among the marginalia on BL Harleian MS 1,317 is a fragment of a song, “loley to syng and sey as here” (f. 94v).  Cf. also Langland’s Piers Plowman: “songen atte ale, / And holpen him to herien wiþ ‘Hey! trolly‑lolly!’” (7.108–109); the anonymous Hickscorner in which the character Free Will urges his group to sing Hey trolly lolly!” (l. 691); Skelton’s satire of a musician at court, “Agaynste A comely coystrowne”: “Lo, Jak wold be a jentylman! Wyth, Hey, troly,  loly, lo, whip here, Jak” (ll. 14–15); Folly’s discourse in Skelton’s Magnyfycence: “He dawnsys so longe, hey, troly loly, / That euery man lawghyth at his foly” (1250–51); and others. The Complaint of Scotland lists a song entitled “Troloo lolee, lemmen dou” (lxxxiii, #64; p. 64).

“Trolly lolly loly lo” is through-set for three voices. It is listed in the manuscript’s table of contents as the thirty-fourth work.

This piece is indexed in Robbins Index & Suppl. 3800.5, Ringler MS TM1774. It is reprinted in Flügel Anglia 239, Stevens M&P 401, and Stevens MCH8 32.

Texts Collated
H1,2,3 (ff. 43v–44r).

 * 1   lolly loly] lolly H2

 * 4   after]  ter  H1

 * 5   syng] hey H3;    loly lo] loly lo loly H2, lolly lo trolly H3;    lo.] loly lo. H2


text:
The Lyrics of Henry VIII/I love trewly withowt feynyng, Farthing

[ff. 44v-45r]

I loue trewly withowt feynyng. my loue she is so trew to me. To loue her sure. whill I am leuyng. my hart with her euer shall be.

T. ffardynge

Textual Commentary
“I love trewly withowt feynyng” is a song of constancy in love.

 * 3   leuyng   Living.

The lyric is through-set for three voices.

“I love trewly withowt feynyng” is indexed in Robbins Index & Suppl. 1328.8, Boffey, Ringler MS TM665. It is reprinted in Flügel Anglia 239, Stevens M&P 402, and Stevens MCH8 424.

Texts Collated
H1,2,3 (ff. 44v–45r).

 * 2   so trew] trew H2

 * 3   loue] haue H2

 * 4   euer shall]  shall euer  H3


text:
The Lyrics of Henry VIII/Yow and I and amyas, Cornish

[ff. 45v-46r]

Yow and I and amyas Amyas and yow and I to the grene wode must we go Alas yow and I my lyff and amyas

The knyght knokett at the castell gate. 5 The lady meruelyd who was therat.

To call the porter he wold not blyn. The lady said he shuld not com In.

The portres was a lady bryght. Strangenes that lydy hyght. 10

She asked hym what was his name. He said desyre yor man madame.

She said desyre what do ye here. He said Madame as yor prisoner

He was cownselled to breffe a byll. 15 And shew my lady hys oune wyll.

Kyndes said she wold yt bere. and Pyte said she wold be ther.

Thus how thay dyd we can nott say. we left them ther and went ower way. 20

Cornysh

Textual Commentary
This lyric appears, by its allegorized characters and their interaction, to be directly associated with the Schatew Vert court pageant-disguising held 5 March 1522. The Schatew Vert is suggestive of a situation in the Roman de la Rose where the fortress containing the rose is under seige by the god of love and his followers (l. 3267 ff.; see Streitberger [Court Revels] 113). For a lyric possibly associated with the thematically-related tournament of 2 March 1522, see the commentary to the unattributed “What remedy what remedy” (H 69). It may also be connected with the tradition of the May Games, as with Cornish’s “Trolly lolly loly lo” (H 33).

 * 1   Amyas  A name, perhaps, with topical significance; there were several persons in royal employ by this name, including foresters (see Chambers Lyrics 337).

 * 7   blyn   Cease, leave off, desist, stop (OED “blin” v 1).

 * 10 hyght  Was called, was named (OED “hight” v.1 II.5).

 * 15 breffe a byll   Indite a petition.

 * 17 Kyndnes   Kind feeling; a feeling of tenderness or fondness; affection, love (perhaps with sexual overtones); also, good will, favour, friendship (OED “kindness” 5).

The first stanza of “Yow and I and amyas,” the burden, is through-set for three voices, with the remaining text underlaid. Music is provided for the burden only. The lyric may have been sung to a well-known tune (Stevens M&P 127–28, 399), as with “Grene growith the holy” (H 27), “Hey nony nony nony nony no” (H 26), “Blow thi hornne hunter” (H 29), and “Whilles lyue or breth is in my brest” (H 43).

“Yow and I and amyas” is indexed in Robbins Index & Suppl. 3405.5 and Ringler MS TM1545. It is reprinted in Chambers Lyrics 56, Chambers Verse 37, Chappell Account 381–82, Flügel Anglia 239–40, Flügel Neuengl 135, Greene 312, Stevens M&P 402, and Stevens MCH833.

Texts Collated
H1,2,3 (ff. 45v–46r, ll. 1–4 H2,3).

 * 3   we] I H2


text:
Wikibooks:Reading room/Administrative Assistance/Archives/2019/May

Bug in MediaWiki processing?
Hi, appears MediaWiki processing has a bug which puts "&amp;" in a URL where the character should be percent-encoded as "%26". Instances of the error are visible in the page source of any page in the book. With Firefox I open a page and right click on "View Page Source". That opens a window where ampersand characters appear as &amp;. Anyone who can edit the MediaWiki software should be able to correct this easily. Regards, ... PeterEasthope (discuss • contribs) 16:15, 11 May 2019 (UTC)
 * Hmm. @Bawolff? --Pi zero (discuss • contribs) 17:59, 11 May 2019 (UTC)
 * & is perfectly correct in HTML, and has different semantics then %26. (&amp; tells the html its an & in the url, as in a separator of query parameters, where %26 is used to escape & to tell the webserver that a query parameter has an & in it that's not a query parameter separator. Most browsers would treat a plain & as if it was &amp; in a url, and I'm not sure about the status of that in HTML5, but at least in earlier versions of HTML, a plain & in a url in the html source was technically invalid html). Bawolff (discuss • contribs) 13:55, 14 May 2019 (UTC)

Vandalism
Not sure if this is the right place but this IP Special:Contributions/24.120.35.39 has continued to vandalise Ancient History/Greece/Minoan Civilization after a final warning. Rubbish computer (discuss • contribs) 13:13, 14 May 2019 (UTC)
 * It's worse than that; the url appears to be a source of both legitimate edits and vandalism; there clearly is going to be collateral damage from a block. How I noticed this:  The most recent edit to that page, when I looked, was an apparent rollback by you, but in fact it rolled back two edits by the same IP, and while the second of those was vandalism, the first was a constructive edit that you had sighted. --Pi zero (discuss • contribs) 15:30, 14 May 2019 (UTC)
 * Though I see all but one of that IP's edits today have been vandalism. --Pi zero (discuss • contribs) 15:37, 14 May 2019 (UTC)
 * I've given them a one-day block; that will stop the vandal from continuing in real time, and may draw the attention of someone at that IP who can take measures on that end, without inconveniencing legitimate editors from there for very long. --Pi zero (discuss • contribs) 15:39, 14 May 2019 (UTC)
 * Cheers for the response and action taken . Rubbish computer (discuss • contribs) 15:45, 14 May 2019 (UTC)

Has the Reading Room Discussion Index bot stopped working?
The last entry in the index is from 12 Feburary, even though there were active discussions in various rooms since then. --Duplode (discuss • contribs) 15:42, 19 May 2019 (UTC)

Puzzle Wikibook
Hi, I am now in midst of cleanup the Puzzle Wikibook and I propose that this page Puzzles/Rubik's cubes should be deleted up as it is a stub and couldn't be developed to fit into the genre of puzzle itself. It is last updated since ages ago ~

Thanks by Encik Tekateki (discuss • contribs) 09:22, 25 May 2019 (UTC)

 * Wouldn't this be best posted at WB:RFD? Chazz (talk) 22:07, 25 May 2019 (UTC)

 * Likely it would, yes. Though if it's speedy-able, a community RFD isn't strictly needed. I note there are two books devoted to things Rubik. --Pi zero (discuss • contribs) 22:20, 25 May 2019 (UTC)

OpenJSCAD User Guide
To resolve https://github.com/jscad/OpenJSCAD.org/issues/446 I'd like to know how proceed. I added an entry to Requests_for_permissions but do not know whether this is the proper way of doing things on Wikibooks. --WolfgangFahl (discuss • contribs) 13:51, 27 May 2019 (UTC)


text: User talk:2405:204:E00D:E6FB:C4EE:BE16:3027:3322


text: User talk:217.181.37.249

title: User talk:217.181.37.249


text:
Manchu/Library/Karafuto Nayoro Documents

Manchu

 * Manchu/Library/Karafuto Nayoro Documents/No.1 (Manchu Script)(Latin Script)
 * Manchu/Library/Karafuto Nayoro Documents/No.2 (Manchu Script)(Latin Script)


text:
Manchu/Library/Karafuto Nayoro Documents/No.2/Latin Script

meiren -i janggin yamun -i bithe Karafuto Nayoro Documents/No.2/Latin Script meiren -i janggin yamun -i bithe, too hala, halai da orkobso, gašan -i da tusokurdenggi sede alibuha. ulhibume selgiyere jalin, ilan biyai juwan juwe de, jiyanggiyūn yamun ci unggihe bithede, sakini sere jalin, boigon fiyenten -i alibuhangge, abkai wehiyehe -i dehici aniya ilan biyai ice de alime gaiha, aliha bithei da hiya kadalara dorgi amban tondo baturu gung sei jasiha bithede, abkai wehiyehe -i dehici aniya juwe biyai ice sunja de hese wasimbuhangge, yaya gemun hecen de jihe heje fiyaka -i lidaka, mama eršere de nimeme akū oho bime, onggolo inu ere gese bihe, erebe tuwaci ceni beye gemu eshun, ce goro bici alban jafame sargan gaime gemun hecen de jifi mama eršere de nimeme akū oho ohongge umesi jilaka, ese da baci gemun hecen de isinjirengge jugūn umesi goro bime gemun hecen de tuweri dubesilere, niyengniyeri dosire nerginde mama eršerengge labdu, cende labdu tusa akū,hono erin -i šahūrun seruken be bodome erdeken -i jibufi uthai hūdun icihiyafi amasi unggici teni sain, erebe ildun de girin ulai jiyanggiyūn de jasifi, ereci julesi heje fiyaha -i urse gemun hecen de jifi alban jafame sargan gaiki serengge bici, kemuni nenehe songkoi cembe hon sitabufi tuweri erinde jurambufi gemun hecen de unggici ojorakū, urunakū nadan jakūn uyun biyai serguwen ucuri be amcame jibufi, harangga baci uthai kooli sonkoi inde sargan isibume icihiyafi da bade amasi unggikini, uttu ohode, ceni beye umesi tusa sehebe gingguleme dahafi, erei jalin jasiha seme isinjihabi, erebe ningguta, ilan hala meiren -i janggin sei yamun de bithe jabubufi, ulame heje fiyaka, kuye fiyaka -i ursede selgiyefi, ereci julesi jafan alban jafame gemun hecen de sargan gaime generengge bici, urunakū nadan jakūn biyai dorgide serguwen ucuri be amcame icihiyafi unggikini seme bithe jabubuki sembi seme alibuhabi, erei jalin unggihe seme isinjihabi, uttu ofi hese be dahame, suweni kuye fiyaka -i urse gemun hecen de alban jafame sargan gaiki seme generengge bici erdeken -i jifi nadan jakūn uyun biyai dorgide serguwen -i ucuri gemun hecen de isiname genekini, erei jalin ulhibume selgiyehe. abkai wehiyehe -i dehici aniya ilan biyai orin.


text:
The Lyrics of Henry VIII/Ough warder mount (Unattributed, Incipit)

[ff. 46v-47r]

Ough warder mount

Textual Commentary
“Ough warder mount” appears as an incipit in H, complete for voices one, three, and four but as “Ough warder” for the second. There is no room left for large initial block capitals, except for that which appears for the fourth voice (the first and third voices have small initial capitals, and the second has a standard height capital). The piece is listed in the manuscript’s table of contents as the thirty-seventh work.

The same piece appears in LR58 (f. 54r), similarly without text, and in many continental examples. Below, according to Stevens (MCH8 34), is a full text for the work, from Das Liederbuch des Arnt von Aich (Bournoulli and Moser, eds., 36).

 * O werder mund
 * won dir ist wund
 * mein hertzen grund
 * solt ich und kunt
 * wunschen die stund                                        5
 * die mir glück gunt
 * und dich entzund
 * auch des verbund
 * das ich gnad fund
 * bei dir so wurd mein hertz gesund                10

 * Wann ich beger
 * auf erd nit mer
 * dann deiner ler
 * darduch dein er
 * vor allem gfer                                                15
 * versichert wer
 * nun bitt ich ker
 * dich zu mir her
 * wen mir mein schwer
 * kein sach mir höher freud geber.                  20

 * Darum schrei ich
 * gar hertziglich
 * zu dir und sprich
 * verlass nit mich
 * ich hoff in dich                                               25
 * und nimmer brich
 * das selb ansich
 * des klaffers stich
 * an mir nit rich
 * all welt sunst lieber von mir wich.

Stevens (MCH8 105n42, after Lenaerts 61) also lists the following shorter text:
 * O waerde mont, ghy macht ghezont
 * tot alderstont
 * Als ic by u macht wezen
 * zo sou ic al ghenezen

“Ough warder mount” is reprinted in Stevens (MCH8 34, 105n42), Bournoulli and Moser (eds. 36), and Lenaerts (61), among others.

Texts Collated
H1,2,3,4 (ff. 46v–47r).

 * 1    mount] omit H2


text:
The Lyrics of Henry VIII/La season (Compère / Agricola, Incipit)

[ff. 47v-48r]

La season

Textual Commentary
“La season” appears as an incipit in H in all three voices, the first and third with large block capitals for the initial letter, and the second with a small block capital. There is little room left among the musical notation for text. “La season” is listed in the manuscript’s table of contents as the thirty-eighth work.

“La season” appears also in C1848 (396), Fl178 (ff. 26v–27r), FlR2794 (ff. 66v–67r), P1597 (ff. 21v–22r), P1722 (f. 73r), P2245 (ff. 12v–13r), RC2856 (ff. 73v–74r), SG462 (f. 93r), WLab (ff. 142v–143r), and elsewhere (see Fallows, Catalogue). Full texts appear in C1848, FlR2794, P1597, P1722, and P2245. Incipits and partial texts appear in RC2856, SG462, and WLab.

While unattributed in H, other witnesses ascribe treatments of the piece to Loyset Compère and, alternatively, Alexander Agricola. Its best full witness for text and music, as noted by Lerner (ed. Agricola 5.lxxxvii), is P2245, as below:

 * La saison en est ou james
 * Que je congnoisse ma follye,

 * Car celle qui mon cuer follye
 * Me sert de trop durs entremez.

 * Soyes a Paris, Bruges ou Mes,                                      5
 * Raison veult que tost je l'oublye.

 * La saison en est ou james
 * Que je congnoisse ma follye,

 * Combien que, sans sy et sans mes,
 * Elle soit du tout assouvye;                                            10

 * Mais puis que son couriage plye,
 * Je la renounce desormais.

 * La saison en est ou james
 * Que je congnoisse ma follye,

 * Car celle que mon cueur follye                                     15
 * Me sert de trop durs entremez.

“La season” is reprinted in Stevens MCH8 (34–5), Lerner (ed., Agricola 5.lxxxvii-lxxxviii), and others.


text:
The Lyrics of Henry VIII/If love now reynyd as it hath bene, Henry VIII

[ff. 48v-49r]

The Kynge .H.viij

Textual Commentary
Akin to other proclamations of love’s doctrine, this lyric idealizes a past where love governed the actions of noble men and contrasts it with the present, where forces of envy hinder the pursuits of true lovers. The lyric ends in a riddle with possible courtly application: which of a lover’s loves grants them grace? Those who are envious and frustrate the desires of the lover, clearly, have no chance at grace (the reward of the lover), but those who do love, and who focus on the right object of their love, find love’s reward.

 * 2   And war rewardit as it hath sene   And were rewarded it had been since (OED “sene” adv 2); alternatively, and were rewarded as it is evident (OED “sene” a) it should be.

 * 3   enserch   Search it out.

 * 5   enuy. . .  dysdayne While “dysdayne” is a historical editorial emendation—given to correct the seeming scribal error of repeating the word “enuy” twice in the line, but keeping with the intended rhyme of the lyric—the two are frequently used together in the sense as they appear here; cf., for example, the anonymous Jousts of June, where “Some of enuy dysdeynously wolde” speak ill of the jousts (l. 264).     dysdayne  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.

 * 9   faut   Fault, deficiency, lack; a defect, imperfection, blameable quality or feature in moral character, expressing a milder censure than “vice” (OED n 3.a).

 * 12 which of ther loues doth gett them grace   One answer to this riddle, if we acknowledge the very real world of the court in the courtly love tradition, is “the king.”     grace   Cf. similar actions associated with grace (suing, purchasing, &c.) in the context of love in Henry’s “Thow that men do call it dotage” (H 44.17), his “Whoso that wyll for grace sew” (H 57.1), his “Withowt dyscord” (H 49.19–20), his “Lusti yough shuld vs ensue” (H 61; in which “dysdaynars . . . sew to get them grace” [ll. 14–15]), and the unattributed “Hey nony nony nony nony no” (H 26.24).

 * 14 I thynk it so   I.e. “I am conscious of speaking to experts” (Stevens M&P 403).

The text of “If love now reynyd as it hath bene” is not underlaid, as in the typical fashion, and appears at the end of the music, in three voices. A longer version of the music alone is repeated on ff. 52v–53r.

This piece is indexed in Robbins Index & Suppl. 1420.5, Boffey, Ringler MS TM729, and Crum I879. It is reprinted in Chappell Account 377, Flügel Anglia 240–1, Stevens M&P 403, Stevens MCH8 35, and Trefusis 17.

Texts Collated
H1 (ff. 48v–49r).

 * 5  dysdayne:]  enuy: H1 [emendation from Chappell Account 377; adopted Stevens M&P 403 and elsewhere]


text:
The Lyrics of Henry VIII/Gentyl prince de renom, Henry VIII (Incipit)

[ff. 49v-50r]

The Kynge .H.viij.

Gentyl prince de renom

Textual Commentary
“Gentyl prince de renom” appears as an incipit in H in all four voices, with one and a half height block initial capitals. There is little room left among the musical notation for text (at times, the musical notation runs into the text which is present). “Gentyl prince de renom” is listed in the manuscript’s table of contents as the fortieth work. The song was printed in PBOdh (f. 95r), with the incipit “Gentil prince”; to this song, Henry VIII added the third voice. Suggested by Hewitt (ed., Odhecaton 166, 404), a likely related text is found in P12744 (f. 97r), though the melody of the song differs. The related text reads as follows:

 * Gentil duc de lorainne prince de grant renon
 * tu as la renommee jusques de la les mons
 * et toy et tes gens darmes et tous tes compaignons
 * Du premier coup quil frappe abatit le danions
 * tirez tirez bonbardes serpentines et canons                          5
 * Nous suymes gentilzhomes prenez nous a raison
 * vous mentes par la gorge vous nestez que larons
 * et violeurs de femmes et bruleurs de maisons
 * vous en aurez la corde par dessoubz le mantons
 * et sy orrez matines au chant des oysoilllons                        10
 * Et sy orrez la messe que les corbins diront

Hewitt notes the remark of G. Paris, that the person referred to in the piece above is René de Vaudemont and that the last two lines are popular expressions meaning “you will be hanged” (ed., Odhecaton 181).

“Gentyl prince de renom” is reprinted in Stevens MCH8 (36), Hewitt (ed., Odhecaton #90), and elsewhere.


text:
The Lyrics of Henry VIII/Sy fortune mace bien purchase (Unattributed)

[ff. 50v-51r]

Sy fortune mace bien purchase enuers amors que tant mon detenu non bien mamour on soit tous mes a puis si me semble il que rennan obtenu puis que de vous a prouchez Ie ne puis                                      5

Textual Commentary
“Sy fortune mace bien purchase” appears in three voices in H. The piece is listed in the manuscript’s table of contents as the forty-first work. Stevens notes that it is probably Anglo-French (Stevens M&P 404) as well as the lack of connection between this song and those of similar titles (in the Buxheimer Organ-book or Oxford, Bodleian MS Canonici Misc. 213 [f. 109r]; MCH8 105#46).

This piece is reprinted in Stevens M&P (404) and Stevens MCH8 (37).

Texts Collated
H1,2,3 (ff. 50v–51r).

 * 2   que tant mon detenu]  mon detenu H2

 * 3   non bien mamour] omit H2, Mon bien mamor H3

 * 4   me semble] ne semble H2;     rennan] nay reyne H2, ren H3

 * 5   obtenu puis que de vous]  obtenu puis que de vous / puis que de vous H1


text:
The Lyrics of Henry VIII/Wherto shuld I expresse, Henry VIII

[ff. 51v-52r]

The Kynge .H.viij.

Textual Commentary
“Wherto shuld I expresse” is a song of departure, with two speakers. The first stanza laments the lover’s leaving. In what follows, his lady answers by soothing him and assuring him of her devotion and the pain she will share with him until they reunite.

 * 3   fayn Glad, rejoiced, well-pleased (OED a A.1).
 * 13 delectale  Delectable.
 * 14 wan and blo   Pale (pale [OED a 4.e]) and blue (blackish blue, livid, leaden-coloured [OED a]); perhaps associated with the pale complexion of the steretypical lover, suffering in the throes of love’s pain; cf., also, the words of Magnificence in Skelton’s drama of the same name, who comments with the realisation of his fall that “For worldy shame I wax both wan and blo” (l. 2055).
 * 15 not varyable   See Henry’s “Grene growith the holy” (H 27.5–8) for a similar application of natural attributes to the qualities of the lover.

“Whereto shuld I expresse” is in three voices, with the text of the first two couplets underlaid and the remaining text appearing at the end of the music.

Indexed in Robbins Index & Suppl. 4070.5, Boffey, Ringler MS TM1931, Crum W1781. Reprinted in Chambers Lyrics 55, Chambers Verse 35, Chappell Music 45–6, Flügel Anglia 241, Flügel Neuengl 135, Stevens M&P 404, Stevens MCH8 50–1, and Trefusis 20.


text:
The Lyrics of Henry VIII/A robyn gentyl robyn, Cornish (Wyatt)

[ff. 53v-54r]

A robyn gentyl robyn tel me how thy lemman doth and thow shal know of myne

my lady is vnkynde I wis alac why is she so                                      5 she louyth another better than me and yet she will say no

I can not thynk such doubylnes for I fynd women trew In faith my lady lovith me well                   10 she will change for no new

Cornysh

Textual Commentary
“A robyn gentyl robyn” is a stylized debate on the constancy of female love, with the praise of women’s constancy in love being that of the robin (ll. 8–11). For a similar situation, see Thomas Feylde’s Cotrauerse Bytwene a Louer and a Iaye. Alterations to this debate, and the sentiments presented within, are found in Wyatt’s later handlings of the lyric (as noted below in the section dealing with Substantive Variants).

 * 2   lemman  Paramour, lover, loved one of the opposite sex (MED 1).

 * 4   vnkynde   Not treating him with kindness; alternatively, not keeping with the law of “kind,” or nature.  For a telling view of the applications of this word, roughly contemporary to the lyrics of H, see its use in l. 20 of Wyatt’s “They flee from me” (LDev ff. 69v–70v; LEge f. 26v; Tottel’s Miscellany E4r) as handled by Tottel, who alters the more ambigous  and potentially ironic “kindly” to read “vnkyndly.”     wis know, think.

 * 11 she will change for no new   Cf. “Iff I had wytt for to endyght” (H 24.11).

The first stanza, the burden, is through-set for three voices; the second voice for the first stanza runs directly from the first voice, with no large initial or division of any kind. As well, the second stanza runs in the same manner from the third voice of the first; the second and third stanzas appear in only one voice. “A robyn gentyl robyn” is likely based on a popular song, perhaps a tune well known in the fourteenth through sixteenth centuries (Stevens M&P 111, 405). Wyatt’s poem is conjectured to be a later handling of this lyric song (see Stevens M&P 111 and 405, Ringler MS TM84 and TM 85, Robbins Index & Suppl. 13.8, as well as other Wyatt scholarship). This conjecture is discussed, with a facsimile, in Mumford’s “Musical Settings to the Poems of Sir Thomas Wyatt.” Should the date of H be post–1522, however, it is not improbable that Wyatt, then at court and participating in court festivities, could have written the text set by Cornish. The lyric also appears as one of the songs in Shakespeare’s Twelfth Night, 4.2.72–79 (f. ll. 2057–64), interspersed as dialogue between Feste and Malvolio. Feste’s recanting of the lyric is as follows, separated from Malvoio’s interjections:

Hey Robin, iolly Robin, tell me how thy Lady / does. My Lady is vnkind, perdie. Alas why is she so? She loues another.

See also Gooch and Thatcher’s Shakespeare Music Catalogue numbers 16,697, 16,965, 17,217, and 17,679–86.

“A robyn gentyl robyn” is indexed in Robbins Index & Suppl. 13.8, Boffey, and Ringler MS TM84. It is reprinted in Foxwell 1.106, Padelford 10, Tillyard 90, Flügel Anglia 272, 241–42, Flügel Neuengl 23, Reese 770, Stevens M&P 111, 405, and Stevens MCH8 38–39; see also the citation to Gooch and Thatcher, above.

Texts Collated
H1,2,3 (ff. 53v–54r, ll. 1–3 H2,3), LDev(1) (f. 22v, ll. 1–7), LDev(2) (f. 24r), LEge (f. 37v).

 * 1   A] Hey LDev(1), LDev(2);    gentyl]  Ioly LDev(2), / Ioly LEge

 * 2   tel me how] substitute gentyl H2;    lemman]  lady LDev(1), LDev(2)

 * 4   I wis] perdye LDev(1), perdy LDev(2), perde LEge

 * 5   alac] a llas LDev(1),  alas LDev(2)

 * 6   me] I LDev(1), LDev(2)

 * 8   can not thynk] fynd no LDev(2), fynde no LEge    The heading Response appears above this stanza in LEge

 * 9   for I] I LEge

 * 10 In faith] omit  LDev(2), LEge;    well] dowtles LDev(2), LEge

 * 11 she] and LDev(2), LEge

 * 11 ff. Both LDev(2) and LEge contain additional verses, with ll. 12–15 having correspondence, they are as follows:

 * Those art happy yf ytt doth last
 * bot I say as I fynd
 * that wommens lou ys but ablast
 * and tornyth as the wynd

 * Yf that be trew yett as thou sayst
 * that wommen turn their hart
 * then spek better of them thou mayst
 * Iy hop to hau thy partt           LDev(2)

 * le plaintif
 * Thou art happy while that doeth last
 * but I say as I fynde
 * that womens love is but a blast
 * and tornith like the wynde

 * Response
 * Suche folke shall take no harme by love
 * that can abide their torn
 * but I alas can no way prove
 * in love but lake and morn

 * le plaintif
 * But if thou will avoyde thy harme
 * lerne this lessen of me
 * at other fieres thy self to warme
 * and let them warme with the      LEge


text:
The Lyrics of Henry VIII/Whilles lyue or breth is in my brest, Cornish

[ff. 54v-55r]

Whilles lyue or breth is in my brest my souerayne lord I shall loue best my souerayne lorde I shal loue best my souerayne lord I shall loue best.

My souerayne lorde for my poure sake:                                      5 vj. coursys at the ryng dyd make. Of which iiij. tymes he dyd it take: wherfor my hart I hym beqwest. And of all other for to loue best: my souerayne lord. 10

My souerayne lorde of pusant pure: as the chefteyne of a waryowere. With spere and swerdat the barryoure: as hardy with the hardyest. He prouith hym selfe that I sey best:                                         15 my souerayne lorde.

My souerayne lorde in euery thyng: aboue all other as a kyng. In that he doth no commparyng: but of a trewth he worthyest is. 20 to haue the prayse of all the best: my souerayne lorde.

My souerayne lorde when that I mete: his cherfull contenance doth replete. My hart with Ioe that I behete:                                                   25 next god byt he and euer prest. With hart and body to loue best: my souerayne lorde.

So many vertuse geuyn of grace: ther is none one lyue that hace. 30 Beholde his fauor and his face: his personage most godlyest. A vengeauce on them that loueth nott best: my souerayne lorde.

The souerayne lorde that is of all:                                             35 my souerayne lorde saue principall. He hath my hart and euer shall: of god I ask for hym request. Off all gode fortues to send hym best: my souerayne lorde. 40

W. cornyshe

Textual Commentary
“Whilles lyue or breth is in my brest” is a song of praise intended to be sung by a lady about her lover. Marginalia (as noted above) and internal evidence (“souerayne lord” [l. 2 ff.], “kyng” [l. 18]) indicate that the subject is Henry VIII. The speaker, praising Henry’s chivalric skills, countenance, and other graces, as well as pledging allegiance and undying love in a lyric intended for such a public forum, can only be Katherine of Aragon. “Whiles lyue or breth is in my brest” is possibly a lyric intended for performance at a tournament (Stevens M&P 406) or, more likely, for a ceremonial “running of the ring” performed by Henry as part of a larger group of entertainments. While chiefly treated more as a practice exercise than a tournament, on occasion running the ring was provided as an entertainment. Such was the case on 17 March 1510, where it was performed for the visiting Spanish diplomatic corps (Hall 514; PRO E36/217 13–14, 25–26). The king made twelve courses, took the ring five times and also “atteyned” it another three times (this lyric has him doing half that, making six courses and taking it four times [ll. 6–7]).

 * 6   coursys at the ryng   An act, generally in practice for a joust, wherein a jouster would run as if against an opponent in an attempt to place the tip of his lance such that he would “take” with it a ring hanging from a post; see, also, above.

 * 11 pusant pure   Power that is pure.

 * 14 hardy Bold, courageous, daring.     sey See.

 * 19 doth no comparyng   Has no comparison.

 * 25 Ioe Joy.     behete   Am promised, vowed (OED “behight” v B.I.1).

 * 26 prest  Ready in mind, disposition, or will (OED a 2); cf. “The thowghtes within my brest” (H 20.3).

 * 30 one lyue   Alive.

 * 35 The souerayne lorde that is of all   A reference to God.

 * 36 principall   The first or highest in rank or importance, that is at the head of all the rest, of the greatest account or value, the foremost (OED a I.1.a).

 * 37 hath my hart and euer shall   Cf. Henry’s “Grene growith the holy” (H 27.19–20); also see note.

 * 39 fortues   Fortunes.

The first stanza of “Whilles lyue or breth is in my brest,” the burden, is through-set for three voices, with the remaining text underlaid. The ascription on the lyric reads “W. cornyshe.” (f. 55r). Music is provided for the burden only. The lyrics may have been sung to a well-known tune (Stevens M&P 127–28, 399), as with “Grene growith the holy” (H 27), “Hey nony nony nony nony no” (H 26), “Blow thi hornne hunter” (H 29), and “Yow and I and amyas” (H 35). Extra-scribal markings to this piece (on f. 55r) identify the subject of the poem as Henry and the composer of the verses as Cornish. Extra-scribal markings include: (a) in the top right corner is written “henr” in ink and in a sixteeth-century hand; (b) the same, “henr,” in the same ink and hand, next to the sixth line of text; and (c) on the same line as the attribution of the piece, in a different hand and fainter ink than the other markings on this page, “William Cornysh” is written in a sixteenth-century hand and rubbed out partially.

This piece is indexed in Robbins Index & Suppl. 2271.2, Boffey, Ringler MS TM1070, and Crum W1850. It is reprinted in Chappell Account 378–9, Flügel Anglia 242, Padelford 90, Stevens M&P 405–6, and Stevens MCH8 40.