Quadrant Model of Reality Book 36 Religion and Art

Religion Chapter

QMREcclesiastical law[edit] In accordance with the model of the secular legal associations, the canons of the ecclesiastic councils concerned ecclesiastic issues and regulated the conduct of the clergy, as well as of the secular as concerned matters of belief. The "In Trullo" or "Fifth-Sixth Council", known for its canons, was convened in the years of Justinian II (691-692) and occupied itself exclusively with matters of discipline. The aim of the synod was to cover the gaps left in canon law by the previous Fifth (553)and Sixth Ecumenical Councils. This collection of canons was divided into four parts: a) The canons ratifying the doctrinal decisions of the first six ecumenical councils along with the teachings of the Fathers of the Church. b) The canons specifying the obligations of the ministrational clergy. c) The canons referring to the monks. d) The canons referring to the secular. The influence of these canons carried on in the future and they were extensively annotated by Balsamon, Zonaras and Aristenos, the three great ecclesiastic jurists of the 12th century

Buddhism Chapter

QMRFour Dharma Seals are the four characteristics which reflect true Buddhist teaching .[1][2] It is said that if a teaching contains the Four Dharma Seals then it can be considered Buddha Dharma.[3] although the Dharma Seals were all introduced after Gautama Buddha died.[4] The Four Seals[edit] The Four Seals are as follows:[1] All compounded things are impermanent All conditioned phenomena and experiences are unsatisfactory All phenomena are non-self Nirvana is true peace

The two entrances referred to in the title are the entrance of principle (理入) and the entrance of practice (行入). "Entrance of principle" refers to enlightenment through understanding and meditation; "Entrance of practice" deals with enlightenment through different daily practices. In the section on the latter, the four practices are listed as being at the core of Bodhidharma's teaching. These are; The "practice of retribution of enmity", The "practice of acceptance of circumstances", The "practice of the absence of craving", The "practice of accordance with the Dharma".

QMRThe Treatise on the Two Entrances and Four Practices (Chinese: 二入四行 Erh-ju ssu-hsing; Japanese: Ninyū shigyō ron) is a Buddhist text attributed to Bodhidharma, the traditional founder of Chan (Japanese: Zen) Buddhism.

QMRFour Samadhis[edit] Zhiyi developed a curriculum of practice which was distilled into the 'Four Samadhis' (Chinese: 四種三昧;[7] pinyin: si zhong sanmei).[8] These Four Samadhi were expounded in Zhiyi's 'Mohe Zhiguan' (Chinese: 摩訶止観, Jpn.: Makashikan).[9] The Mohe Zhiguan is the magnum opus of Zhiyi's maturity and is held to be a "grand summary" of the Buddhist Tradition according to his experience and understanding at that time.[3] The text of the Mohe Zhiguan was refined from lectures Zhiyi gave in 594 in the capital city of Jinling and was the sum of his experience at Mount Tiantai c.585 and inquiry thus far.[10] Parsing the title, 'zhi' refers to "ch’an meditation and the concentrated and quiescent state attained thereby" (p. 4) and 'guan' refers to "contemplation and the wisdom attained thereby" (p. 4).[11] Swanson reports that Zhiyi held that there are two modes of zhi-guan: that of sitting in meditation 坐, and that of “responding to objects in accordance with conditions” 歷緣對境, which is further refined as abiding in the natural state of a calm and insightful mind under any and all activities and conditions.[11] Swanson states that Zhiyi in the Mohe Zhiguan: ...is critical of an unbalanced emphasis on “meditation alone,” portraying it as a possible “extreme” view and practice, and offering instead the binome zhi-guan 止觀 (calming/cessation and insight/contemplation, śamatha-vipaśyanā) as a more comprehensive term for Buddhist practice.[12] The "Samadhi of One Practice" (Skt. Ekavyūha Samādhi; Ch. 一行三昧) which is also known as the "samadhi of oneness" or the "calmness in which one realizes that all dharmas are the same" (Wing-tsit Chan), is one of the Four Samadhi that both refine, mark the passage to, and qualify the state of perfect enlightenment expounded in the Mohe Zhiguan.[9] The term "Samadhi of Oneness" was subsequently used by Daoxin.[13] The Four Samadhis: 'Samadhi of Constant Sitting' (Chinese: 常坐三昧) or 'One Round Samadhi' (Chinese: 一行三昧); 'Pratyutpanna-samadhi' (Chinese: 般舟三昧) or 'Prolonged Samadhi' or 'Samadhi of Constant Walking' (Chinese: 常行三昧); 'Samadhi of Half Walking and Half Sitting' (Chinese: 半行半坐三昧) 'Samadhi at Free Will' (Chinese: 隨自意三昧) or 'Samadhi of Non-walking and Non-sitting' (Chinese: 非行非坐三昧)

QMRClare's Franciscan theology of joyous poverty in imitation of Christ is evident in the rule she wrote for her community and in her four letters to Agnes of Prague.

Christianity Chapter

Islam Chapter

QMRIslam[edit] Main article: Polygyny in Islam Under Islamic marital jurisprudence, Muslim men are allowed to practice polygyny, that is, they can have more than one wife at the same time, up to a total of four. Polyandry, the practice of a woman having more than one husband, is not permitted. Based on verse 30:21 of Quran the ideal relationship is the comfort that a couple find in each other's embrace: And one of His signs is that He created mates for you from yourselves that you may find rest in them and He put between you love and compassion... — Qur'an, Sura 30 (Ar-Rum), Ayah 21[114] The polygamy that is allowed in the Koran is for special situations. This is based on verse 4:3 of Quran which says: ...And if you fear that you can not act equitably towards orphans, then marry such women as seem good to you, two or three or four; but if ye fear that ye shall not be able to deal justly (with them), then (marry) only one... — Qur'an, Sura 4 (An-Nisa), Ayah 3[115] If a man fears he won't be able to deal equitably with his wives, then Islam recommends monogamy. Ye are never able to be fair and just as between women, even if it is your ardent desire. — Qur'an, Sura 4 (An-Nisa), Ayah 129[116]

The Shulchan Aruch, builds on all of the previous works by adding further nuances: "...but in any event, our sages have advised well not to marry more than four wives, in order that he can meet their conjugal needs at least once a month. And in a place where it is customary to marry only one wife, he is not permitted to take another wife on top of his present wife."[57] As can be seen, while the tradition of the Rabbinic period began with providing legal definition for the practice of polygamy (although this does not indicate the frequency with which polygamy in fact occurred) that corresponded to precedents in the tanakh, by the time of the Codices the Rabbis had greatly reduced or eliminated sanction of the practice.

QMRDreams of Fażlullāh[edit] Fhe practiced sufi religious practices and continued to have a number of dreams. In one Jesus told him that four sufis — Ibrahim Bin Adham, Bayazid Bistami, Al-Tustari and Bahlul — were the most sincere religious seekers in the history of Islam.

QMRThe Bektashi Order is a Sufi order and shares much in common with other Islamic mystical movements, such as the need for an experienced spiritual guide — called a baba in Bektashi parlance — as well as the doctrine of "the four gates that must be traversed": the "Sharia" (religious law), "Tariqah" (the spiritual path), "Marifa" (true knowledge), "Haqiqah" (truth).

QMRFour Spiritual Stations in Bektashiyyah: Sharia, tariqa, haqiqa, and the fourth station, marifa, which is considered "unseen", is actually the center of the haqiqa region. Marifa is the essence of all four stations.

QMRThe founder of the Bektashiyyah sufi order Hacı Bektaş-ı Veli (Ḥājjī Baktāsh Walī), a murid of Malāmatī-Qalāndārī Sheikh Qutb ad-Dīn Haydar, who introduced the Ahmad Yasavi's doctrine of "Four Doors and Forty Stending" into his tariqah.

Hinduism Chapter

QMRInternational Society for Krishna Consciousness (ISKCON) take a literal reading of Puranas which teach that time and space are cyclical, and that the earth goes through a cyclic model of yugas that says that life on earth devolves through four stages, or cosmic epochs, with each one becoming increasingly dark, alienated than the previous.[36][37][38] History therefore to ISKCON is a succession of four epochs called yugas, the first being the best a Golden age, then devolving to the present degenerate age, the Kali Yuga. After Kali Yuga, the process repeats itself, with the earth entering a stage of sleep and then being reborn.[39] According to the teachings of ISKCON the current age we are now in, which began approximately 5000 years ago, is called Kali Yuga. Kali Yuga is a 432000-year-long devolution, a stage of degeneration on earth and for the human being.[40]

QMRThe Purusha Sukta of the earliest Hindu text Rigveda mentions Purusha, the primeval cosmic being.[15] Purusha is described as all that has ever existed and will ever exist.[16] This creature's body was the origin of four different kinds of people: The Brahman, the Rajanya, the Vaishya, and the Shudra.[17] Viraj, variously interpreted as the mundane egg[15] (see Hiranyagarbha) or the twofold male-female energy, was born from Purusha, and the Purusha was born again from Viraj. The gods then performed a yajna with the Purusha, leading to the creation of the other things in the manifested world from his various body parts and his mind. These things included the animals, the Vedas, the Varnas, the celestial bodies, the air, the sky, the heavens, the earth, the directions, and the Gods Indra and Agni. It is likely that this myth has proto-Indo-European origins, as it is similar to other myths found in the Indo-European cultures, in which the creation arises out of the dismemberment of a divine being (cf. Ymir of the Norse mythology).[1]

In Garuda Purana, there was nothing in the universe except the Brahman. The universe became an expanse of water, and in that Vishnu was born in the golden egg. He created Brahma with four faces. Brahma then created the devas, asuras, pitris and manushas. He also created the rakshasas, yakshas, gandharvas. Other creatures came from the various parts of his body. (e.g. snakes from his hair, sheep from his chest, goats from his mouth, cows from his stomach, others from feet) . His body hair became the herbs. The four varnas came from his body parts and the four Vedas from his mouths. He created several sons from his mind, Daksha, Daksha's wife, Manu Svaymbhuva, his wife Shatarupta and the rishi Kashypa. Kashypata married thirrteen of Daksha's daughter and all the devas and the createures were born through them.[18]:103 Other Puranas and the Manu Smriti mention several variations of this theory.

Other religions chapter

QMRAccording to Pausanias in the later 2nd century AD,[13] there were three original Muses, worshiped on Mount Helicon in Boeotia: Aoidē ("song" or "tune"), Meletē ("practice" or "occasion"), and Mnēmē ("memory"). Together, these three form the complete picture of the preconditions of poetic art in cult practice. In Delphi three Muses were worshiped as well, but with other names: Nētē, Mesē, and Hypatē, which are assigned as the names of the three chords of the ancient musical instrument, the lyre. Alternatively they later were called Cēphisso, Apollonis, and Borysthenis, whose names characterize them as daughters of Apollo. In later tradition, four Muses were recognized: Thelxinoë, Aoedē, Arche, and Meletē, said to be daughters of Zeus and Plusia or of Uranus. The fourth is always different

QMRNovruz in Azerbaijan (Azerbaijani: Novruz Bayramı) is a traditional holiday, which celebrates the New Year, and the coming of Spring. When Azerbaijan was part of the Soviet Union, celebration of Novruz was generally unofficial, and at times even prohibited.[1] Currently in Azerbaijan, Novruz is treated as an official public holiday. In accordance with Article 105 of the Labour Code of Azerbaijan passed in 2006, workers receive five days off for Novruz.[2] After neighbouring Iran, Azerbaijan hosts the longest observance and amount of public days related to Novruz, with thus a total (including weekend) of 7 days.[3] Novruz customs and celebration[edit] Usually preparation for Novruz begins a month prior to the festival. Each of forthcoming 4 weeks is devoted to one of the four elements and called accordingly in Azerbaijan. Each Tuesday people celebrate the day of one of the four elements - water, fire, earth and wind.[4] People do house cleaning, plant trees, make new dresses, paint eggs, make national pastries such as shekerbura, pakhlava, shorgoghal and a great variety of national cuisine.[5] Wheat is fried with kishmish (raisins) and nuts (govurga). As a tribute to pre-Islamic Zoroastrian beliefs, every Tuesday during four weeks before the holiday kids jump over small bonfires and candles are lit. On the holiday eve the graves of relatives are visited and tended.[6]

QMRAzerbaijan's four main islands in the Caspian Sea have a combined area of over thirty square kilometers.

QMRPractices[edit] Main article: Four Doors The Alevi spiritual path (yol) is commonly understood to take place through four major life-stages, or "gates". These may be further subdivided into "four gates, forty levels" (Dört Kapı Kırk Makam). The first gate (religious law) is considered elementary (and this may be perceived as subtle criticism of other Muslim traditions). The following are major crimes that cause an Alevi to be declared düşkün (shunned):[39] killing a person committing adultery divorcing one’s wife stealing backbiting/ gossiping Most Alevi activity takes place in the context of the second gate (spiritual brotherhood), during which one submits to a living spiritual guide (dede, pir, mürşid). The existence of the third and fourth gates is mostly theoretical, though some older Alevis have apparently received initiation into the third.[40]

QMRSocial groups[edit] A Turkish scholar working in France has distinguished four main groups among contemporary Alevis, which cautiously show their distinctive features in modern Turkey.[66] Calligraphic hat in Alevi-Bektashism. The first congregation is mainly represented by the urban area population and emerged during the period of the Republic of Turkey. For many decades, this group of people belonged to the political left and presumed the Aleviness just as an outlook on the individual human life rather than a religious conviction by persistently renouncing the ties of the Batiniyya-Alevism with Twelver political branch of Shia Islam. The followers of this congregation, who later turned out to be the very stern defenders of the Erdoğan Çınar hold ritual unions of a religious character and have established cultural associations named after Pir Sultan Abdal as well. According to their philosophy, human being should enjoy a central role reminiscent of the doctrine of Khurramites, and as illustrated by Hurufi phrase of God is Man quoted above in the context of the Trinity. The second group of people, who adopted some aspirations of Christian mysticism, is more directed towards heterodox mysticism and stands closer to the Hajji Bektashi Brotherhood. According to the philosophy developed by this very last group of congregation, Christian mystic St Francis of Assisi and Hindu Mahatma Gandhi are being supposedly considered as better believers of God than those of Muslims as it should expectedly be in that manner, since the concept of God in Islam has already been embodied by the supreme authority of Allah. The third group regards themselves as true Muslims and are prepared to cooperate with the state. It adheres to the way of Jafar as-Sadiq, the sixth Imam. Its concept of God is closer to that of orthodox Islam, but like the two groups already mentioned it considers the Quran to have been manipulated by the early Sunni Caliphs in order to eliminate Ali. The fourth is said to be under active influence from official Iranian Shi'a to be confirmed adherents to Twelver and to reject Bektashism and folk religion. It follows Sharia and opposes secular state power.[citation

QMR"Alevi-Bektashis acknowledge they are from Ahl al Kitab" by stating that the last four holy books (Quran, Gospel, Torah and Psalms) has the same degree of importance in guiding people to the Divine Truth. This confession is pronounced in Turkish: "Dört kitab'ın Dördü de "Hâkk"" Four valid books in Islam, namely Psalms, Torah, Gospel, and Qu'ran are all the "Righteous"

19 is the total squares of the quadrant model if you add the three of the fifth quadrant

19 is the total squares of the quadrant model if you add the three of the fifth quadrant

Maḥmūd Pasīkhānī (Persian: محمود پسیخانی) was the founder of the Nuqtavi movement in Iran, an offshoot of the Hurūfī movement. He was born in Pasikhān, Iran in Gīlān. Pasikhānī claimed he was the reincarnation of Muḥammad on a higher plane. He declared himself Mahdī in 1397.

QMRPasīkhānī never married and encouraged celibacy among his followers saying that the celibate have reached the rank of wāḥid, which has the numerical value of nineteen. The Nuqtavis placed an exceptionally heavy emphasis on the number nineteen. They also advanced a cyclical view of time, which is reminiscent of the Ismā'īlī.[1] The Nuqtavis held that the total length of the Earth's existence is 64,000 years and that this is divided into four periods of 16,000 years. 16 is the quadrant model 64 is four quadrant models.

Art Chapter

QMRA Gatsby is a South African submarine sandwich typically sold as a foot-long sandwich sliced into four portions.[2] It is a popular sandwich in the Western Cape province,[3] with many fast food and takeaway restaurants, stores[1] and food stands purveying them. One large sandwich may be shared among several people.[2] The gatsby is also sometimes referred to as the nickname AK‑47, in part due to how it can be held in one's arm in a similar manner to the firearm.[4] It has been described as a "filling, budget meal", a standard menu item in Cape Town corner stores,[2] and as a significant part of the heritage and a cultural symbol of Cape Flats, where it originated from.[1]

QMR Flag of the late Empire- Byzantine Empire----- It was a 16 square quadrant model

QMRThe art of Ancient Greece is usually divided stylistically into four periods: the Geometric, Archaic, Classical, and Hellenistic. The Geometric age is usually dated from about 1000 BC, although in reality little is known about art in Greece during the preceding 200 years (traditionally known as the Greek Dark Ages), the period of the 7th century BC witnessed the slow development of the Archaic style as exemplified by the black-figure style of vase painting. The onset of the Persian Wars (480 BC to 448 BC) is usually taken as the dividing line between the Archaic and the Classical periods, and the reign of Alexander the Great (336 BC to 323 BC) is taken as separating the Classical from the Hellenistic periods.

QMRThe four major beer producers in Japan are Asahi, Kirin, Sapporo, and Suntory producing mainly pale-colored light lagers with an alcohol strength of around 5.0% ABV. Pilsner style lagers are the most commonly produced beer style in Japan, but beer-like beverages, made with lower levels of malts called happoshu (literally, "bubbly alcohol") or non-malt happōsei (発泡性?, literally "a type of bubbly alcohol") have captured a large part of the market, as tax is substantially lower on these products.

QMRThe four sitting statues on the pedestal of the Congress Column represent the four basic freedoms enshrined in the Belgian Constitution of 1831: the freedom of religion, association, education and the press.

QMRAzerbaijani rugs[edit] A rug market in the town of Ganja, a 19th-century photo. Azerbaijani rugs are a product of Azerbaijan, an ancient center of carpet weaving. Azerbaijan has been since the ancient times known as a center of a large variety of crafts. The archeological dig on the territory of Azerbaijan testifies to the well developed agriculture, stock raising, metal working, pottery and ceramics, and last but not least carpet-weaving that date as far back as to the 2nd millennium BC. Azerbaijani carpets can be categorized under several large groups and a multitude of subgroups. The true scientific research of the Azerbaijani carpet is connected with the name of Latif Kerimov, a prominent scientist and artist. It was his classification that related the four large groups of carpets with the four geographical zones of Azerbaijan, i.e. Guba-Shirvan, Ganja-Kazakh, Karabakh and Tabriz. Baku rug[edit] Baku carpets are marked for their increased softness of the material and intense colors, as well as excellent artistic taste and exquisite decoration. This school has about 10 compositions. The historical sources and inscriptions on the carpets testify to the fact that carpet making was widely spread in these villages and carpet-ware was exported outside the country. The carpet composition often includes medallions. They are filled by various motifs, most often by stylized images of plants, which lost their resemblance to the original object after they had been geometrized. Ganja rug[edit] The carpets of Ganja are notable for peculiarity of their compositions and ornamental patterns. The Ganja carpets include a relatively small number of carpet compositions, all in all between 8 and 20 patterns. The Kazakh carpets cover about 16 compositions with various patterns. Kazakh, which is located on the NW of Azerbaijan, is the most famous carpet production region and also accounts for the Kazakh and Borchaly carpet groups. The Kazakh carpets have a geometrical ornamental pattern, the composition is not very complex with a focus on a schematic presentation of the geometrical patterns, plants and animals. The ornamental decor of the Ganja carpets is rich and diverse, with a focus on geometrical motifs as well as schematic presentation of plants and animals. Karabakh rug[edit] A Karabakh carpet of Gasimushagy sub-group. Şəlvə village of Lachin, 1819. A 1996 Azerbaijani postage stamp issued for Novruz. Main article: Karabakh carpet The Karabakh carpet is one of five major regional groups of carpets made in Azerbaijan named after the Karabakh region, which comprises present Nagorno-Karabakh and adjacent lowland territories ('lowland Karabakh'). The Karabakh carpets amount to 33 compositions. Due to the specifics of the local sheep wool the Karabakh carpets are characterized by thick pile, high and fluffy. These carpets are marked for their vivid and joyous colors. They are divided into four groups: without medallions, with medallions, namazlyk and subject carpet. In the mountainous part of Karabakh the carpets were made in Malybeili, Muradkhanly, Dashbulakh, Jebrail, Goradis and many other villages. Shirvan rug[edit] Shirvan is one of the most ancient historical regions of Azerbaijan. Carpet making of different types is a widespread craft with both settled and nomadic natives. The Shirvan school accounts for carpets manufactured in the following towns and villages of the Shirvan region: Shemaha, Maraza, Akhsu, Kurdamir. The school totals 25 compositions. The Salyan carpets, with similar artistic and technical features, also belong to this school. The Shirvan carpets are characterized by an intricate design, which depicts numerous artifacts of everyday life, birds and people.

QMRThe Founders of the Daughters of the American Revolution is a sculpture located beside Constitution Hall in Washington, D.C., United States.[1] Dedicated in 1929, the sculpture was created by artist and socialite Gertrude Vanderbilt Whitney in honor of the four founders of the Daughters of the American Revolution (DAR): Mary Desha, Mary Smith Lockwood, Ellen Hardin Walworth, and Eugenia Washington.[2] The sculpture is one of three outdoor artworks in Washington, D.C. by Whitney, the other two being the Titanic Memorial and the Aztec Fountain at the Pan American Union Building.[3]

QMRGamma Phi Beta (ΓΦΒ) is an international sorority that was founded on November 11, 1874, at Syracuse University in Syracuse, New York.[2] The term "sorority," was coined for Gamma Phi Beta by Dr. Frank Smalley, a professor at Syracuse University. The four founders are Helen M. Dodge, Frances E. Haven, E. Adeline Curtis and Mary A. Bingham. The sorority's international headquarters are located in Centennial, Colorado. Gamma Phi Beta currently has more than 190,000 initiated members, 181 chartered collegiate chapters and more than 175 alumnae groups across the United States and Canada. Gamma Phi Beta's primary objective is to inspire the highest type of womanhood.

Painting Chapter

QMRAn argyle (occasionally argyll) pattern is made of diamonds or lozenges. The word is sometimes used to refer to an individual diamond in the design but more commonly refers to the overall pattern. Most argyle layouts contain layers of overlapping motifs, adding a sense of three-dimensionality, movement, and texture. Typically, there is an overlay of intercrossing diagonal lines on solid diamonds. The argyle pattern is derived from the tartan of Clan Campbell, of Argyll in western Scotland,[1] used for kilts and plaids, and from the patterned socks worn by Scottish Highlanders since at least the 17th century. (See illustrations in History of the kilt.) These were generally known as "tartan hose".[2][3]

QMRFour Horsemen of the Apocalypse, an 1887 painting by Victor Vasnetsov. The Lamb of God is visible at the top.

QMRThe flag of the People's Republic of China (simplified Chinese: 中华人民共和国国旗; traditional Chinese: 中華人民共和國國旗; pinyin: Zhōnghuá Rénmín Gònghéguó guóqí) is a red field charged in the canton (upper corner nearest the flagpole) with five golden stars. The design features one large star, with four smaller stars in a semicircle set off towards the fly (the side farthest from the flag pole). The red represents the communist revolution; the five stars and their relationship represent the unity of the Chinese people under the leadership of the Communist Party of China (CPC). Sometimes, the flag is referred to as the "Five-star Red Flag" (simplified Chinese: 五星红旗; traditional Chinese: 五星紅旗; pinyin: wǔ xīng hóng qí).[2]

QMrThe Byzantine love for colour had its sinister side. The races in the Hippodrome used four teams: red, white, blue and green; and the supporters of these became political factions, taking sides on the great theological issues—which were also political questions—of Arianism, Nestorianism and Monophysitism, and therefore on the Imperial claimants who also took sides. Huge riots took place, in the 4th to 6th centuries and mostly in Constantinople, with deaths running into the thousands, between these factions, who naturally dressed in their appropriate colours. In medieval France, there were similar colours-wearing political factions, called chaperons.

QMRDuring the Palaiologan period, the insigne of the reigning dynasty, and the closest thing to a Byzantine "national flag" (Soloviev), was the so-called "tetragrammic cross", a gold or silver cross with four letters beta "B" (often interpreted as firesteels) of the same colour in each corner.[17][18]

QMRThe flag of South Korea, also known as the Taegukgi (also spelled as Taegeukgi, literally "Taeguk flag") is the national flag of South Korea. It has four trigrams in a cross formation. There is also the yin and yang symbol which I discussed in a previous book is a swastika/cross in a sphere. The flag's background is white, which is a traditional Korean color, common to the daily attire of 19th century Koreans. It represents peace and purity. The circle in the middle is derived from the philosophy of yin and yang and represents the balance of the universe. The blue section represents the negative cosmic forces, and the red section represents the opposing positive cosmic forces. The trigrams together represent the principle of movement and harmony. Each trigram (hangeul: 괘 [gwae]; hanja: 卦) represents one of the four classical elements.[1] These four trigrams are described in the table below: Name in Korean Nature Seasons Cardinal directions Four virtues Family Four elements Meanings Palgwae Geon.svg geon (건 / 乾) heaven (천 / 天) spring (춘 / 春) east (동 / 東) humanity (인 / 仁) father (부 / 父) heaven (천 / 天) justice (정의 / 正義) Palgwae Ri.svg ri (리 / 離) sun (일 / 日) autumn (추 / 秋) south (남 / 南) justice (의 / 義) daughter (녀 / 女) fire (화 / 火) fruition (결실 / 結實) Palgwae Gam.svg gam (감 / 坎) moon (월 / 月) winter (동 / 冬) north (북 / 北) intelligence (지 / 智) son (자 / 子) water (수 / 水) wisdom (지혜 / 智慧) Palgwae Gon.svg gon (곤 / 坤) earth (지 / 地) summer (하 / 夏) west (서 / 西) courtesy (례 / 禮) mother (모 / 母) earth (토 / 土) vitality (생명력 / 生命力)

QMRAokana: Four Rhythm Across the Blue, known in Japan as Ao no Kanata no Four Rhythm (蒼の彼方のフォーリズム Ao no Kanata no Fō Rizumu?, subtitled Beyond the sky, into the firmament), officially abbreviated as Aokana (あおかな?) and translated as Four Rhythm Across the Blue,[1] is a Japanese adult visual novel developed by Sprite and released for Windows on November 28, 2014. The game will be ported to the PlayStation Vita. A manga adaptation began publication in Monthly Comp Ace magazine in October 2015. An anime television series adaptation, produced by Gonzo and directed by Fumitoshi Oizaki, premiered in January 2016.

Music Chapter

QMRFour In Blue is a 1969 album by the Motown R&B group The Miracles, issued on the label's Tamla Records subsidiary (Tamla 297) in the U.S., and the Tamla-Motown label elsewhere in the world, (STML 11151), and was the final Miracles album of the 1960s . It reached #78 on the Billboard pop album chart, and reached the Top 10 of Billboard's R&B Album chart,peaking at #3, despite the fact that no singles were released from this album in the U.S. or the UK.

QMRPiano four hands (French: À quatre mains, German: Zu vier Händen, Vierhändig, Italian: a quattro mani) is a type of piano duet in which the two players play on a single piano.[1] A duet with the players playing separate instruments is generally referred to as a piano duo.[2] Music written for piano four hands is usually printed so that the part for each player occupies the page which is direct...See More

QMRPiano four hands (French: À quatre mains, German: Zu vier Händen, Vierhändig, Italian: a quattro mani) is a type of piano duet in which the two players play on a single piano.[1] A duet with the players playing separate instruments is generally referred to as a piano duo.[2] Music written for piano four hands is usually printed so that the part for each player occupies the page which is directly opposite to him. The upper part, for the pianist sitting on the right and with the music on the right side of the page, is called primo, while the lower part, for the pianist on the left, is called secondo. Contents [hide] 1 Repertoire 1.1 Arrangements 1.2 Original works 2 Organ four hands 3 See also 4 Notes 5 References Repertoire[edit] Arrangements[edit] By far the greater proportion of music "à quatre mains" consists of arrangements of orchestral and vocal compositions and of quartets and other groups for stringed instruments. Indeed, scarcely any composition of importance for any combination of instruments exists which has not been arranged and published in this form, which on account of its comparative facility of performance is calculated to reproduce the characteristic effects of such works more readily and faithfully than arrangements for piano solo. Such arrangements were especially popular before the development of recording technology, as the vast majority of the time there would be no other way to hear many of the best-known works of music. Original works[edit] However, the increase of power and variety obtainable by two performers instead of one offers a legitimate inducement to composers to write original music in this form, and the opportunity has been by no means neglected, although cultivated to a less extent than might have been expected. The earliest known printed works for the pianoforte à quatre mains were published in Dessau about 1782, under the title Drey Sonaten füre Clavier als Doppelstücke fur zwey Personen mit vier Handen von C. H. Müller. However, before this, Ernst Wilhelm Wolf, the musical director at Weimar in 1761, had written one or more sonatas for two performers, which were published after his death. So far as is known these were the first compositions of their kind, although the idea of the employment of two performers (but not on one instrument) may have originated with Johann Sebastian Bach, who wrote three concertos for two harpsichords, three for three, and one for four, all with accompaniment of stringed instruments. But the short compass of the keyboard, which in Bach's time and indeed until about 1770 never exceeded five octaves, was ill-adapted to the association of two performers on the same instrument, and it is doubtless on this account that the earlier composers have left so little music of the kind. Haydn, Mozart, and Beethoven appear to have had but little inclination for this description of composition. According to Fétis, Haydn wrote but one piece 'à quatre mains,' a divertissement, which was never published (two other sonatas published under his name, op. 81 and 86, are spurious). Of the nine pianoforte duets by Mozart the two finest, the Adagio and Allegro in F minor and the Fantasia in F minor, were originally written for a mechanical organ or musical clock in a Vienna exhibition, and were afterwards arranged for piano by an unknown hand. Beethoven left but one sonata, op. 6, three marches, op. 45, and two sets of variations, none of which are of any great importance. Among the best-known composers, Schubert made the fullest use of the original effects possible to music "à quatre mains." His compositions include the Sonata in C major for piano four-hands, D 812, the Divertissement à la hongroise, D 818, and Fantasia in F minor for piano four-hands, D 940. In addition to these he wrote fourteen marches, six polonaises, four sets of variations, three rondos, one sonata, one set of dances, and four separate pieces. Among the German Romantic composers, the four-hand works of Schumann and Brahms are the most interesting. Mendelssohn wrote only one original work of the kind, although he himself arranged some of his orchestral works and also his Octet, and the Variations in B-flat major for piano, op. 83, in this form. Besides writing a number of small pieces for two performers, Schumann made a very novel and successful experiment in his Spanische Liebeslieder (op. 138), which consist of ten pieces for four voices, being songs, duets, and a quartet, with piano four-hand accompaniment. An analogous idea was later carried out by Brahms, who has written two sets of waltzes for four hands and four voices (Liebeslieder Walzer, Op. 52, and Neue Liebeslieder, Op 65). Among his instrumental four-hands pieces, the best-known is 16 Waltzes, Op 39. A well-known piece by a French Romantic composer is the Dolly Suite by Fauré. Organ four hands[edit] Organ music for four hands is very rare, although the experiment has been made by Hesse, Höpner, and especially by Julius André, who has written twenty-four pieces for two performers on the organ; but no increased effect appears to be obtainable from such an arrangement which can at all compensate for its practical inconvenience.

QMrPiano four hands (French: À quatre mains, German: Zu vier Händen, Vierhändig, Italian: a quattro mani) is a type of piano duet in which the two players play on a single piano.[1] A duet with the players playing separate instruments is generally referred to as a piano duo.[2]

QMRThe Four Last Songs (German: Vier letzte Lieder), Op. posth., for soprano and orchestra are, with the exception of the song "Malven" (Mallows) composed later the same year, the final completed works of Richard Strauss, composed in 1948 when the composer was 84.

QMRInstrumentation[edit] File:Ancasta-LaViottiChamberOrchestraMozartKV136.ogv Viotti Chamber Orchestra performing the 3rd movement of Mozart's Divertimento in D Major (K136) The typical symphony orchestra consists of four groups of related musical instruments called the woodwinds, brass, percussion, and strings (violin, viola, cello and double bass). Other instruments such as the piano and celestamay sometimes be grouped into a fifth section such as a keyboard section or may stand alone, as may the concert harp and electric and electronic instruments. The orchestra, depending on the size, contains almost all of the standard instruments in each group. In the history of the orchestra, its instrumentation has been expanded over time, often agreed to have been standardized by the classical period[3] and Ludwig van Beethoven's influence on the classical model.[4] In the 20th century, new repertory demands expanded the instrumentation of the orchestra, resulting in a flexible use of the classical-model instruments in various combinations.

QMRThe tenor guitar or four-string guitar is a slightly smaller, four-string relative of the steel-string acoustic guitar or electric guitar. The instrument (in its acoustic form) was developed so that players of the four-string tenor banjo could double on the guitar. Later, solid-body electric models were also produced.[1] Contents [hide] 1 Construction 2 History and development 3 Tuning 4 Related instruments 5 Use and performers 6 Current use 7 See also 8 References Construction[edit] Tenor guitars are four stringed instruments normally made in the shape of a guitar, or sometimes with a lute-like pear shaped body or, more rarely, with a round banjo-like wooden body. They can be acoustic and/or electric and they can come in the form of flat top, archtop, wood-bodied or metal-bodied resonator or solid-bodied instruments. Tenor guitars normally have a scale length (from bridge to nut) of between 21 and 23 inches. History and development[edit] 1928 Dobro style 37 tenor guitar from Lowell Levinger's collection The earliest origins of the tenor guitar are not yet fully clear but it now seems very unlikely that a true four-stringed guitar-shaped tenor guitar appeared before the late 1920s. Gibson built the tenor lute TL-4 in 1924, which had a lute-like pear-shaped body, four strings and a tenor banjo neck. It is possible that similar instruments were made by other makers such as Lyon and Healy and banjo makers, such as Bacon. In the same period, banjo makers, such as Paramount, built transitional round banjo-like wood-bodied instruments with four strings and tenor banjo necks called tenor harps. From 1927 onwards, the very first true wood-bodied acoustic tenor guitars appeared as production instruments made by both Gibson and Martin. Almost all the major guitar makers, including Gibson, Martin, Epiphone, Kay, Gretsch, Guild and National, have manufactured tenor (and plectrum) guitars as production instruments at various times. In collaboration with Cliff Edwards, Dobro built the four-stringed round-bodied resonator tenor scale length instrument called the Tenortrope in the early 1930s. Makers such as Gibson even used to offer the tenor (or plectrum) models as a custom option for their six string guitar models at no extra charge. Gibson also had a line of tenor guitars under their "budget" brand name of Kalamazoo. Budget tenor guitars by makers such as Harmony, Regal and Stella, were made in large numbers in the 1950s and 1960s and are still widely available. Tenor guitars were manufactured continuously by both Gibson and Martin from the 1920s until the 1970s. National, formed by the Dopyera Brothers, also made significant numbers of resonator tenor and plectrum guitars between the 1920s and 1940s, some of which were also used by jazz musicians as a second instrument. Dobro, another company associated with the Dopyera Brothers, as well as National, also built various resonator tenor guitar models. Tuning[edit] Tenor guitars are normally tuned in fifths (usually C3 G3 D4 A4, similar to the tenor banjo, mandola, or the viola) although other tunings are also common, such as "guitar tuning", "Chicago tuning," or baritone ukulele tuning (D3 G3 B3 E4), "Irish" or "octave mandolin" tuning (G2 D3 A3 E4, like a violin but one octave below) and various "open" tunings, for slide playing. The tenor guitar can also be tuned like a soprano/concert/tenor ukulele, using various versions of G3 C4 E4 A4 tuning. The normal CGDA tuning is very "open" and it gives the instrument voicings more reminiscent of the mandolin family than the guitar family, from both open and closed chords. The fifths tuning also makes for easy moveable chord shapes. The instrument is equally well suited to both rhythm and lead playing. Though books are available for the standard tunings above, books are also available for more esoteric tunings as well such as GDAD, CGBD and DGBE in the Chord Genius series of books published by Northern Musician Services. One of the attractions of this instrument is the breadth of available tunings. Related instruments[edit] 1928 National Style O plectrum guitar from Lowell Levinger's collection There are versions of the tenor guitar with four strings but a scale length of around 25 inches, similar to that of a six string guitar. As string tension for any pitch increases with length, some have say these guitars cannot be tuned to the normal CGDA fifths tuning because the A string cannot be tuned to pitch without breaking. However, there are a variety of available methods for addressing this point and bringing the longer-scaled tenor guitar up to standard tuning and pitch: special string sets; strings extracted from a seven string guitar set; etc. Tenor guitars can also be tuned to a reentrant CGDA tuning where the A and sometimes the D are pitched an octave lower. The plectrum guitar is a close four stringed relative of the tenor guitar with a longer scale length of 26–27 inches and tunings usually based on the plectrum banjo - CGBD or DGBD. Plectrum guitars are also very suitable for guitar tuning–DGBE–because of their longer scale length but are much less suitable for CGDA tuning because of the high A string. Plectrum guitars were not made in as large numbers as tenor guitars and are now more rare. Plectrum guitars played a similar role for plectrum banjo players in this period as the tenor guitar, but they were less common. One of the best known plectrum guitarists from the Jazz Age was Eddie Condon, who started out on banjo in the 1920s and then switched to a Gibson L7 plectrum guitar in the 1930s and stayed with it all his musical life up to the 1960s. In 1968 Eddie Peabody, a very well known plectrum banjoist who performed from the 1920s through to 1970, designed a six string, four course, electric guitar-like instrument with a plectrum scale length of 26 inches and plectrum tuning of CGDB. It was called the Banjoline and it was mainly manufactured by Rickenbacker. The Rickenbacker version of the Banjoline was based on their hollow-bodied 360 guitar model and it had two pickups with a selector switch and two sets of volume and tone controls. The six strings were grouped into four courses with the C strings doubled as an octave pair, there were two G strings doubled in unison and the D and the B strings were single strings. It also had an Ac'cent tremolo arm. It was available as the standard model 6005 and the De Luxe model 6006 and it came in three colours Fireglo, Mapleglo, and Azureglo. The De Luxe 6006 was double-bound with checkered binding and it also had checkered binding on the headstock. Due to its doubled strings and electric pick ups, its sound was similar to that of the doubled strings of the twelve string electric guitar that had been made famous by Rickenbacker as played by George Harrison of The Beatles and Roger McGuinn of The Byrds. Eddie Peabody recorded two LPs playing his banjo classics on the Banjoline for the Dot label, which still exist today. They are entitled Eddie Plays Smoothies and Eddie Plays More Smoothies. It is reported that versions of the Banjoline were also built by other manufacturers, such as Fender, and possibly even Vega. Vega certainly built at least one tenor scale length solid-bodied two pick up electric guitar with six strings arranged in four courses. Unfortunately, although the Rickenbacker Banjoline was made in quite large numbers, it was not commercially successful. However, it remains a fascinating instrument with a unique sound and a wide range of very interesting tuning possibilities. Use and performers[edit] Cincinnati, Ohio musician Kentucky Graham playing a hollow-body electric tenor guitar Tenor guitars are now very closely associated with the tenor banjo with its similar standard CGDA fifths tuning and they initially came to significant commercial prominence in the late 1920s and early 1930s as tenor banjos were slowly being replaced by six string guitars in jazz bands and dance orchestras. Tenor banjo players could double on tenor guitars to get a guitar sound without having to learn the six string guitar. This is a practice still carried out by many contemporary jazz banjo players. This period is generally regarded as the initial "golden age" of the tenor guitar. Two of the McKendrick brothers, confusingly both named Mike - "Big" Mike and "Little" Mike, doubled on tenor banjo and tenor guitar in jazz bands dating from the 1920s. According to Bob Brozman in his book on National instruments, The History and Artistry of National Instruments, they both played National tenor guitars and they are both shown in the book in photos with their National tenor guitars. "Big" Mike McKendrick both managed and played with Louis Armstrong bands while "Little" Mike McKendrick played with various bands, including Tony Parenti. Brozman's book also features photos of Hawaiian music bands that include players with both National tenor and plectrum guitars. The Delmore Brothers were a very influential pioneering country music duo from the early 1930s to the late 1940s that featured the tenor guitar. The Delmore Brothers were one of the original country vocal harmonising sibling acts that established the mold for later similar acts, such as the Louvin Brothers, and even later, the Everly Brothers. The younger of the Delmore brothers, Rabon, played the tenor guitar as an accompaniment to his older brother, Alton's, six string guitar. Rabon favoured the Martin 0-18T tenor guitar and the Louvin Brothers later recorded a tribute album to the Delmores that featured Rabon's Martin 0-18T tenor played by mandolinist Ira Louvin, but tuned as the four treble guitar strings. Another interesting 1930s band to feature the tenor guitar was the Hoosier Hotshots, considered to be the creators of mid-western rural jazz. Their leader, Ken Trietsch, played the tenor guitar, as well as doubling on the tuba. 1932 Martin 0-18 T Sunburst Tenor Guitar In British Columbia, Canada, Professor Douglas Fraser plays thirties jazz with “The Genuine Jug Band” on a 1939 Gibson arch top tenor guitar. A musical style called Texas fiddling uses the tenor guitar as part of its rhythm accompaniment. Well known exponents of the tenor guitar in Texas fiddle music include Jerry Thomassen, Al Mouledous, and Gary Lee Moore. Thomassen has a signature tenor guitar named after him that is built by luthier Steve Parks. Gary Lee Moore has produced an excellent teaching resource for playing the tenor guitar as backup for Texas fiddling, entitled Getting Started in Fiddle Backup, obtainable as a free pdf download on the Tenor Guitar Registry discussion board web site. In the 1930s Selmer Guitars in Paris manufactured four string guitars based on guitar designs by the Italian luthier Mario Maccaferri that were to be marketed to banjo players as a second six-string guitar-like instrument. The two main four string models offered by Selmer included a regular tenor guitar, with a 23 inch scale length, tuned CGDA, and the Eddie Freeman Special, with a larger body and a longer scale length, using a reentrant CGDA tuning. The Eddie Freeman Special had been designed by English tenor banjoist Eddie Freeman to have a better six string guitar sonority for rhythm guitar work than the normal tenor guitar with its very high A string. However, it was still tuned CGDA so that it could still be played by tenor banjoists. The Eddie Freeman Special was based on a six string model and it had a larger six string body and a six string scale length of 25.25 inches, rather than the tenor's smaller body and normal 23 inch scale length. The CGDA tuning used was re-entrant with the C and D tuned in the same octave and the G and the A tuned in the same octave, lowering the overall tone. The tuning and scale length give this very unusual four string guitar a sonority that is very close to that of the six string guitar, compared to a regular tenor guitar. Maccaferri heavily promoted the EFS guitar through the Melody Maker and Eddie Freeman even wrote a special tune for it called 'In All Sincerity'. There are also promotional photos of the well-known British singer, banjoist and guitarist Al Bowlly, playing the Eddie Freeman Special and it can be seen in use by Ray Noble's guitarist in a recording session photo of his orchestra. This guitar, unfortunately, was not commercially successful in the 1930s, possibly due to concerted resistance by the British six-string guitar fraternity, particularly Ivor Mairants. Many were subsequently converted to much more valuable six-string models because of the Django Reinhardt connection. Originals of the Eddie Freeman Special are now very rare and are consequently highly valuable. Within the last three years, modern Maccaferri-style luthiers, such as the late David Hodson in the UK and Shelley Park in Canada, as well as others, have started building this four string model again due to demand from their customers. Many have now been made and they are becoming more widely played. They are considered to have a beautiful sound and offer a very broad range of tuning possibilities including CGDA, GDAE, DGBE, CGBD, DGBD and ADGB. Modern acoustic tenor guitar from Gold Tone As the six string guitar eventually became more popular in bands in the 1930s and 1940s, tenor guitars became much less played, although some tenor guitar models had been made in very large numbers throughout this period and are now still common. Tenor guitars came to prominence again in the 1950s and 1960s, possibly due to the effects of the Dixieland jazz revival and the folk music boom. At this time, they were made by makers such as Epiphone, Gibson, Guild and Gretsch as archtop acoustics and/or electrics, as well as a range of flat top models by Martin. Around this time in the 1950s and 1960s, electric tenor guitars were also referred to as "lead guitars," although the rationale for this is not now clear, unless it was for marketing purposes. Lead playing on a six string guitar often involves just using its top four strings. A major player of the electric tenor as a lead guitarist in the bebop and rhythm and blues styles from the 1940s to the 1970s was the jazz guitarist Tiny Grimes, who recorded with Cats and The Fiddle, Charlie Parker, Art Tatum and others. Tiny used guitar (DGBE) tuning on his tenor guitars, rather than tenor CGDA tuning. The Martin 0-18T flat top acoustic tenor guitar was played in the late 1950s by Nick Reynolds of The Kingston Trio. The acoustic tenor guitar became a popular instrument in the folk music boom of this period, particularly this model. In 1997, as a tribute to the Kingston Trio, Martin re-issued 34 limited edition 40th-anniversary commemorative sets (40 sets had been planned, but only 34 orders were received and executed) of the three main instruments used by the Kingston Trio to celebrate their founding in 1957. The commemorative set included a custom Martin Kingston Trio KT-18T tenor guitar with "The Kingston Trio" and “1957–1997” engraved on the fingerboard in mother-of-pearl and its label was signed by C. F. Martin IV, the CEO of Martin Guitars and 4 of the surviving members of the Kingston Trio. Current use[edit] Modern replica of a 1930s Lyon & Healy tenor guitar. Background tiles are 20cm square In the last five years[when?] there has been an upsurge of interest in the tenor guitar and specialist luthiers now build a range of tenor guitar models or can adapt existing instruments. Contemporary players of the tenor guitar include Neko Case, Josh Rouse, David Tiller, Joel Plaskett, Adam Gnade,[2] Ani DiFranco, Carrie Rodriguez, Kim Warner, Heather Maloney and Joe Craven. Jason Molina played a tenor guitar for much of his early work as Songs: Ohia. The instrument is often used by musicians looking to replace or augment sounds produced by more conventional instruments. Elvis Costello features a tenor guitar on the title track of his 2004 release Delivery Man. On the video for "Club Date: Elvis Costello & the Imposters Live in Memphis" he is seen playing an orange 1958 Gretsch Chet Atkins 6120 single cutaway archtop tenor guitar. They find most use in their original role as rhythm instruments in jazz and blues, as well as combining with six string guitars in jazz, blues, folk or ethnic music settings. Being tuned in fifths, they also work well with both mandolin family and violin family instruments. They can also fit into the mould of 'ethnic' sounding instruments, such as the bouzouki. Tenor guitars can be very difficult to locate since they were mostly manufactured in the United States.[clarification needed] Up until relatively recently they were usually regarded as musical oddities with little value but now they are becoming very attractive to both players and collectors, particularly the National resonator instruments Production tenor guitars by Gibson and Martin from the 1940s to the 1960s are still generally available, such as Gibson's ETG-150 electric/acoustic tenor guitar and Martin's 0-18T acoustic tenor guitar. Original tenor guitars in good condition by any of the major guitar makers are considered very desirable, both as instruments for playing, and as interesting collectibles in their own right. Some specially ordered custom tenor guitar models can be extremely rare since only one of them may have been manufactured. Prominent UK users of the tenor guitar include the Lakeman brothers, Seth Lakeman and Sean Lakeman, and John McCusker and Ian Carr, who both play with the Kate Rusby Band. Terry Bohner, a character in the mockumentary film A Mighty Wind about the U.S. folk music era of the 1950s and 1960s, uses a tenor guitar. Wes Borland, the guitarist for nu metal band Limp Bizkit plays a low-tuned (F#1-F#2-B2-E3) tenor guitar on the songs Nookie, The One, Full Nelson, and Stalemate. Since 2010, Astoria, Oregon, has hosted an annual Tenor Guitar Gathering, on the basis of which some call it the "unofficial Tenor Guitar Capital of the World."[3] Warren Ellis plays a tenor guitar on the Nick Cave and the Bad Seeds album Push the Sky Away, and has custom tenor guitars built by Eastwood Guitars[4]

QMRThe tenor guitar or four-string guitar is a slightly smaller, four-string relative of the steel-string acoustic guitar or electric guitar. The instrument (in its acoustic form) was developed so that players of the four-string tenor banjo could double on the guitar. Later, solid-body electric models were also produced.[1]

QMRThe cuatro of Venezuela has four single nylon strings, tuned (ad'f#'b). It is similar in shape and tuning to the ukulele, but their character and playing technique are vastly different. It is tuned in a similar fashion to the traditional D tuning of the ukulele, but the A and B are an octave lower. Consequently, the same fingering can be used to shape the chords, but it produces a different inversion of each chord.[1] A cuatro player is called a cuatrista.

Its 15th-Century ancestor was the Portuguese Cavaquinho. The predecessor of the Venezuelan cuatro is the four-string Spanish guitar which disappeared in the 16th century after a short period of surging popularity. In the 1950s, Fredy Reyna documented the evolution of the renaissance guitar into the current Venezuelan Cuatro, and reinvented the cuatro as a solo instrument, equally capable of rendering traditional Venezuelan music as well as Renaissance pieces. The popularity of the instrument in Venezuela and elsewhere may be due to its apparent simplicity, having only four strings, as well as its compact size.

QMRThe cavaquinho (pronounced [kɐvɐˈkiɲu] in Portuguese, [kavaˈkiɲu] in Brazilian Portuguese) is a small string instrument of the European guitar family with four wire or gut strings. A cavaquinho player is called a cavaquista. Portuguese cavaquinhos The most common tuning is D-G-B-D (from lower to higher pitches); other tunings include D-A-B-E (Portuguese ancient tuning, made popular by Júlio Pereira) and G-G-B-D and A-A-C#-E. Guitarists often use D-G-B-E tuning to emulate the highest four strings of the guitar (also the same tuning as the baritone ukulele).[1] The G-C-E-A tuning is sometimes used to emulate the soprano/tenor ukulele,[2] an instrument developed from the braguinha and rajão, brought to Hawaii by Portuguese immigrants, from Madeira Island, in the late 19th century.[3]

QMRThere are many instruments which can be or are commonly referred to as four string guitars. Guitar family instruments with four strings[edit] Bass guitar Braguinha Cak used in Kroncong music Cavaquinho Celovic used in Tamburica orchestras Cuatro Venezolano Tenor guitar Ukulele Cigar box guitars often have three or four strings. Guitar family instruments with four courses of strings[edit] The Renaissance guitar. Brac and Bugaria used in Tamburica orchestras Some Chitarra Battentes Some Kabosys Tahitian ukulele Tiple

QMRKiev (/ˈkiːɛf, -ɛv/)[7] or Kyiv (Ukrainian: Київ [ˈkɪjiu̯] ( listen); Russian: Киев [ˈkʲiɪf]) is the capital and largest city of Ukraine, located in the north central part of the country on the Dnieper River. The population in July 2013 was 2,847,200[1] (though higher estimated numbers have been cited in the press),[8] making Kiev the 8th largest city in Europe. Kiev is an important industrial, scientific, educational, and cultural centre of Eastern Europe. It is home to many high-tech industries, higher education institutions and world-famous historical landmarks. The city has an extensive infrastructure and highly developed system of public transport, including the Kiev Metro. The city's name is said to derive from the name of Kyi, one of its four legendary founders

Dance Chapter

QMRIn real life[edit] The "Four Horsemen" is the professional wrestling faction that competed in the National Wrestling Alliance and World Championship Wrestling in the 1980s and 1990s. The faction's original incarnation consisted of Ric Flair, Arn Anderson, Ole Anderson, Tully Blanchard, and James J. Dillon, with other members including Lex Luger, Sid Vicious, Sting, Steve McMichael, Dean Malenko, Chris Benoit, Brian Pillman, Curt Hennig, Barry Windham, and Paul Roma. "The Four Horsemen", an informal discussion (30 September 2007) between Richard Dawkins, Christopher Hitchens, Sam Harris and Daniel Dennett, during which they discuss definitions of atheism and the legitimacy of their criticism of religion.[1] Four Horsemen of the Infocalypse, a term for Internet criminals, or the imagery of internet criminals. The Four Horsemen of Notre Dame was a group of football players at the University of Notre Dame under coach Knute Rockne in 1924. They were Harry Stuhldreher, Don Miller, Jim Crowley, and Elmer Layden. A United States Postal Service stamp was issued in their honor in 1998 bearing a black-and-white image from 1925 of the four players all on dark horses. "The Four Horsemen of the Supreme Court" refers to four United States Supreme Court justices Pierce Butler, James McReynolds, George Sutherland, and Willis Van Devanter, who consistently voted to overturn much of President Roosevelt's New Deal initiatives during the Great Depression. Psychologist John Gottman uses the term for the four most destructive behaviours harming relationships "The Hideous Four Horsemen - Terror, Bewilderment, Frustration, Despair. Unhappy drinkers will understand!" is an important reference within the Big Book by Alcoholics Anonymous (Page 151, Chapter 11, "A Vision For You"). In entertainment and media[edit] Film[edit] (Chronological) In The Four Horsemen of the Apocalypse (1921), a silent movie produced by Metro Pictures Corporation, based on the eponymous novel by Vicente Blasco Ibáñez, the Four Horsemen were implied to be the result of human greed and war. Four Horsemen of the Apocalypse (1962), another film based on the same book that changes the timeline from the First to the Second World War. Starring Charles Boyer and Glenn Ford, and directed by Vincente Minnelli Clint Eastwood's Pale Rider (1985) also alludes to Death on a pale horse, played by him. At least two of the Four Horsemen appear near the end of The Rapture (1991). However, their role is mostly off-camera and allegorical. Also, the film mislabels War as the first Horsemen. In Tombstone (1993), during the opening in a Mexican town, Johnny Ringo quotes the biblical Book of Revelation: "Behold the pale horse". The man who "sat on him was Death... and Hell followed with him". In The Crow: Wicked Prayer (2005), four satanic cult members call themselves after the non-biblical four horseman - Death (David Boreanaz) who drives a black car, War (Marcus Chong) who drives a red SUV, Famine (Tito Ortiz) who drives a sickly yellow muscle car, and Pestilence (Yuji Okumoto) who drives a green Ford Pinto truck. Horsemen (2009) features murders that are inspired by the Four Horsemen. Now You See Me (2013) features a group of magicians who go by the name of The Four Horsemen. X-Men: Apocalypse is an upcoming (2016) film whose lead character Apocalypse is seen in a post-credit teaser in the film X-Men: Days of Future Past with the Four Horsemen watching as he builds pyramids. Subsequent publicity information has revealed that his 'Horsemen' in the film will be Magneto, Psylocke, Storm and Archangel.

QMRThroughout the essay, Zapffe alludes to Nietzsche, "the poster case, as it were, of seeing too much for sanity."[2] After placing the source of anguish in human intellect, Zapffe then sought as to why humanity simply didn't just perish. He concluded humanity "performs, to extend a settled phrase, a more or less self-conscious repression of its damaging surplus of consciousness" and that this was "a requirement of social adaptability and of everything commonly referred to as healthy and normal living."[1] He provided four defined mechanisms of defense that allowed an individual to overcome their burden of intellect. Remedies against panic[edit] Isolation is the first method Zapffe noted, who defined it as "a fully arbitrary dismissal from consciousness of all disturbing and destructive thought and feeling" and cites "One should not think, it is just confusing" as an example.[1] Anchoring, according to Zapffe, is the "fixation of points within, or construction of walls around, the liquid fray of consciousness". The anchoring mechanism provides individuals a value or an ideal that allows them to focus their attentions in a consistent manner. Zapffe compared this mechanism to Norwegian playwright Henrik Ibsen's concept of the life-lie from the play The Wild Duck, where the family has achieved a tolerable modus vivendi by ignoring the skeletons and by permitting each member to live in a dreamworld of his own. Zapffe also applied the anchoring principle to society, and stated "God, the Church, the State, morality, fate, the laws of life, the people, the future" are all examples of collective primary anchoring firmaments. He noted flaws in the principle's ability to properly address the human condition, and warned against the despair provoked resulting from discovering one's anchoring mechanism was false. Another shortcoming of anchoring is conflict between contradicting anchoring mechanisms, which Zapffe posits will bring one to destructive nihilism.[1] Distraction is when "one limits attention to the critical bounds by constantly enthralling it with impressions."[1] Distraction focuses all of one's energy on a task or idea to prevent the mind from turning in on itself. Sublimation is the refocusing of energy away from negative outlets, toward positive ones.

Meaning of the mnemonic[edit] The AVPU scale has four possible outcomes for recording (as opposed to the 13 possible outcomes on the Glasgow Coma Scale). The assessor should always work from best (A) to worst (U) to avoid unnecessary tests on patients who are clearly conscious. The four possible recordable outcomes are:[2] Alert: The patient is fully awake (although not necessarily oriented). This patient will have spontaneously open eyes, will respond to voice (although may be confused) and will have bodily motor function. Voice: The patient makes some kind of response when you talk to them, which could be in any of the three component measures of eyes, voice or motor - e.g. patient's eyes open on being asked "Are you OK?". The response could be as little as a grunt, moan, or slight move of a limb when prompted by the voice of the rescuer. Pain: The patient makes a response on any of the three component measures on the application of pain stimulus, such as a central pain stimulus like a sternal rub or a peripheral stimulus such as squeezing the fingers. A patient with some level of consciousness (a fully conscious patient would not require a pain stimulus) may respond by using their voice, moving their eyes, or moving part of their body (including abnormal posturing). Unresponsive: Sometimes seen noted as 'Unconscious', this outcome is recorded if the patient does not give any eye, voice or motor response to voice or pain. In first aid, an AVPU score of anything less than A is often considered an indication to get further help, as the patient is likely to be in need of more definitive care. In the hospital or long term healthcare facilities, caregivers may consider an AVPU score of less than A to be the patient's normal baseline. In some emergency medical services protocols, "Alert" can be subdivided into a scale of 1 to 4, in which 1, 2, 3 and 4 correspond to certain attributes, such as time, person, place, and event. For example, a fully alert patient might be considered "alert and oriented x 4" if he/she could correctly identify the time, their name, their location, and the event. EMS crews may begin with an AVPU assessment, to be followed by a GCS assessment if the AVPU score is below "A." The AVPU scale is not suitable for long-term neurological observation of the patient; in this situation, the Glasgow coma scale is more appropriate.

Literature and comic books[edit] (Alphabetical by author or comics publisher) Incarnations of Immortality, a long-running series of fantasy novels by Piers Anthony, was influenced by the mythology of the Four Horsemen. The titles of two books in the series, On a Pale Horse and Wielding a Red Sword, refer to Death and War respectively, though they are not formally titled such; the books revolve around characters whose supernatural duties are similar to those of the Horsemen. The Incarnation of War has four associated lesser incarnations in a seeming of the Four Horsemen: Famine, Pestilence, Conquest, and Slaughter. The Four Horsemen appear in Archie Comics' Teenage Mutant Ninja Turtles Adventures comics. War also appears as a playable character in the Super Nintendo version of the Tournament Fighters video game. In Blart: The Boy Who Didn't Want To Save The World, by Dominic Barker, Blart and the gang, when facing Zoltab, have to fight the Four Horsemen of the Apocalypse. Women of the Apocalypse,[2] an anthology of four novellas by Eileen Bell, Roxanne Felix, Ryan T. McFadden, and Billie Milholland (ISBN 978-1-77053-000-3) features four modern, Albertan heroines facing down the Four Horsemen, in four speculative fiction variants on the Four Horsemen of the Apocalypse. In The Talismans of Shannara by Terry Brooks, Shadowen who have taken the forms of the Four Horsemen are dispatched to kill Walker Boh. In Army of Darkness comics, published first by Dark Horse Comics and then Dynamite Entertainment, Ash is faced with the Four Horsemen. In DC Comics, the Four Horsemen of Apokolips were foretold in the Crime Bible. They were created by a coalition of evil scientists and caused Black Adam to go insane by killing his brother-in-law Osiris, and his wife Isis, though he killed all of them. Their leader is Death, and they were later able to possess people's bodies to resurrect themselves. Sobek is the Horseman of Famine, Yurrd. In the Unicron Trilogy portion of Transformers, co-published by Hasbro and Takara, the Four Horsemen are Transformers who serve under Unicron.[3] Los Cuatro Jinetes del Apocalipsis (The Four Horsemen of the Apocalypse), a Spanish novel by Vicente Blasco Ibáñez whose English translation by Charlotte Brewster Jordan was the best-selling novel in the U.S. in 1919. (ISBN 978-1-4264-0564-8) The Lords of Deliverance series by Larissa Ione feature the four horsemen of the Apocalypse named as Pestilence, Famine, War and Death. In the series they try to avoid breaking their seals and causing an Apocalypse.[citation needed] In Marvel Family #48, the Marvels face the Four Horsemen in a story titled "The Four Horsemen Ride Again", wherein they try to cause disasters through humans. They are classed as Famine, Fire, Plague, and War. Unlike most depictions, it is claimed War is caused by the others. The Horsemen of Apocalypse are a team of Marvel Comics supervillains (usually manipulated superheroes; Angel, Wolverine and Gambit, for example, all had stints as Horsemen of Death) who serve Apocalypse, an ancient, evil mutant who believes in survival of the fittest and causes disasters to this end. Those who come to retrieve Sethe in Toni Morrison's novel Beloved are referred to as the four horsemen: "When the four horsemen came—schoolteacher, one nephew, one slave catcher and a sheriff—the house on Bluestone Road was so quiet they thought they were too late” (174). The title of best-selling author James Patterson's fifth book in the Women's Murder Club series, The 5th Horseman, is a reference to the biblical story. Seraph of the End, a manga series written by Takaya Kagami, is set in a post-apocalyptic setting with creatures called the "Four Horsemen of John" that roam the ruins. Some of the main cast also carry the weapons of the horsemen: Yoichi carries a bow, Yu carries a sword, Kimizuki carries twin swords (in place of scales) while Shinoa carries a scythe. Terry Pratchett has parodied the Four Horsemen of the Apocalypse several times. In Good Omens, co-written with Neil Gaiman, the Four Horsemen (or Horsepersons, as War is female) ride motorcycles. Pestilence is changed out for Pollution, who took over in 1936 when Pestilence left "muttering something about Penicillin." War is a war correspondent, and Famine is the author of a bestselling diet book. They have aliases that allude to their traditional colors (i.e. Raven Sable, Carmine Zuigiber). There is also a group of four Hells Angels that follow them, taking the names of more mundane plagues such as Cruelty to Animals and No Alcohol Lager. In Thief of Time, part of Pratchett's Discworld series, a fifth horseman is mentioned: Ronnie Soak (Kaos spelled backwards). He is the fifth member who quit before the group became famous and now works as a milkman. The book also explores how the Horsemen have become more man-based during their time in existence, such as War now largely old and dependent on his wife to remind himself of his daily activities. Death is also a major recurring character in the series. In Scud: The Disposable Assassin by Rob Schrab, Scud fights and kills the four horsemen of the apocalypse Jonathan Hickman's East of West features three of the four horsemen as they seek revenge for their brother (the fourth) who was murdered (ongoing series). In the novel "Darksiders: the Abomination Vault", the four horsemen undertake the role of destroying legendary magical weapons known as the "Grand Abominations". The book features only Death and War of the biblical four, with Conquest and Famine being replaced with Fury and Strife. In the novel "Tantrics of Old", the Four Horsemen are part of the larger story arc and their origins are discussed from the perspective of the mythology within the book. The Four Horseman play critical roles in Kevin Kauffmann's Forsaken Comedy trilogy. Niccolo—the Horseman of Pestilence—acts as a major protagonist in the series.

Music[edit] Heroes, Saints and Fools, an album by Saracen features the song Horsemen of the Apocalypse. "4 Horsemen of the apocalypse", LP 1985, Bollock Brothers (containing "Faith healer") The punk band The Clash, on their album London Calling, have a song called "Four Horsemen". The album artwork for Muse's fourth studio album, Black Holes and Revelations, features the four horsemen sitting around a table on the planet Mars. Their respective horses are small, and on the table in front of them, to represent how each affliction of the horsemen has outgrown those of their horses. Thrash metal band Metallica's 1983 song "The Four Horsemen" directly references the Four Horsemen of the Apocalypse. However, in their version the riders are Time, Famine, Pestilence and Death (perhaps for Metrical-Rhythmical reasons), while in the Bible the first three are "Conquest" or "Pestilence", "War" and "Famine". Horsemen of the Apocalypse was also one of Metallica's demos. Parody band Beatallica wrote the song "For Horsemen", a mash-up of Metallica's "The Four Horsemen" and The Beatles' "For No One". The song "The Four Horsemen" on the Judas Priest album Nostradamus directly references the Four Horsemen of the Apocalypse.[vague] The lyrics to "Cattle and the Creeping Things" by The Hold Steady refer to the Four Horsemen (among several other Biblical references): "They got to the part with the cattle and the creeping things. They said I'm pretty sure we've heard this one before. Don't it all end up in some revelation? With four guys on horses, and violent red visions? Famine, and death, and pestilence and war? I'm pretty sure I heard this one before." The lyrics to "Revelations" by DragonForce feature a veiled reference to the Four Horsemen in the latter part of the chorus: "And the Horsemen shall come, they will judge all your lives, Revelations will now be unveiled." The punk band Gallows reference the four horsemen in their song "Death Voices" with the lyric 'Four riders, four horses. Bring me famine, bring me death. Bring me war and pestilence.'. In the song "The Man Comes Around" by Johnny Cash, there are multiple references at the beginning and end of the song to the four horsemen, namely Pestilence or Conquest and the pale horserider Death. Megadeth's song "Blessed Are The Dead" from the album United Abominations refers to a "White horse on the clouds of death, a red warhorse to end all wars, a pale horse and pestilence led by a black horse with famine and scales", referencing the Four Horsemen. However, the white horse and the pale horse's representations are switched, with the white horse representing death instead of pestilence, and vice versa for the pale horse. The album cover also features mascot Vic Rattlehead with traits of the Horsemen (white with blood-stained wings like Conquest, long black hair and a black cloak resembling the black horse of Famine, wielding various firearms like the sword used by the War Horseman, and has pale, veinous-looking skin like that of Death).[4]) Klaxons refer directly to the four horsemen of the apocalypse in a hidden track at the end of their debut studio album. Aphrodite's Child's song "The Four Horsemen" directly references the Four Horsemen of the Apocalypse. The song Revelation (Death's Angel) by Manowar features many references to the Four Horsemen and the Apocalypse itself. Marilyn Manson's song, "Four Rusted Horses" references the four horsemen as being worn out. The band Jesus H. Christ & The Four Hornsmen Of The Apocalypse is a reference. The extreme metal band Demonoid's debut album Riders of the Apocalypse is a concept album about the Four Horsemen. Swedish metal guitarist Yngwie Malmsteen has a song called 'Four Horsemen (Of The Apocalypse)' on his 2008 album Perpetual Flame. Finnish doom metal band Reverend Bizarre has a song called 'Apocalyptic Riders'. The song has direct citations from the Bible about The Four Horsemen. The music video "I Feel Better" by Hot Chip is loosely based on The Four Horsemen of The Apocalypse In the storyboard film for Gorillaz' Rhinestone Eyes, the Boogieman is hinted at being a contemporary of the Horsemen, or possibly the Fifth Seal. In the music video for Magnetic Man's "Getting Nowhere ft John Legend" it depicts 4 urban BMX riders in hoodies biking throughout the city. The 4 bikers are seen wearing Black, White, Red and Grey hoodies, symbolizing the colors of the Horsemen. Throughout the video they are present during situations of conflict, famine and death. Rapper Canibus has a song called 'Horsementality' (aka 'Abide By') on his album 2000 B.C. (Before Can-I-Bus) featuring Ras Kass, Kurupt, Killah Priest. The four came together and formed the super group called The HRSMN aka "The Four Horsemen" where each member references themselves to each rider. The cover of the "Weird Al" Yankovic album Alpocalypse features Yankovic riding the black horse (whose mane has Yankovic's trademark curly hair), accompanied by the other three horsemen. Die Apokalyptischen Reiter [German for The Riders of the Apocalypse] a German Metal Band The Horsemen feature prominently in The Indelicates album David Koresh Superstar. In the song "The Grand Conjuration" by Opeth from Ghost Reveries makes a reference to the pale horse rider (Death) searching the Earth. In the Genesis song "Anyway", from The Lamb Lies Down on Broadway, the character Rael is facing death in an underground cave and sings "Anyway, they say she comes on a pale horse, But I'm sure I hear a train." The Harvey Danger song "Plague of Locusts", off the EP Sometimes You Have to Work on Christmas (Sometimes), directly refers to the Four Horsemen of the Apocalypse in the lines, "The names are in the Book, not yours, Four horsemen ride the range, Hark! The herald angels' carnage, Pestilence and bloodshed wash away all your mistakes, Before they cast your wretched flesh into the Fiery Lake." Norwegian Black Metal band Satyricon refer directly to the four horsemen and the apocalypse, in the song "The Dawn of a new Age" from the album Nemesis Divina Entombed has a song called "Warfare, Plague, Famine, Death" in reference to the four horsemen, on their album Serpent Saints - The Ten Amendments The punk rock band The Dead Milkmen entitled their 1997 greatest hits album "Death Rides a Pale Cow". This is a combination of the band's symbol (a hand-drawn smiling cow with "x-ed" out eyes) and Death riding upon a pale horse. Australian Metalcore band Parkway Drive's song 'Leviathan I' contains the lyrics "Show me War. Show me Pestilence." and their song 'Dark Days' contains the lyrics "Behold the Pale Horse", in reference to Death. Polish alternative rock/post-punk band Kult have a song entitled "Jeźdźcy" (Polish for "The Horsemen") on their album "Spokojnie"; the song describes the first three riders to carry Famine, War and Death, respectively whilst the last one which is referred to as "more powerful than the other three" brings "Love", "Faith" and "Hope" as well as "the Sun" and "Stars". Norwegian Complextro artist Savant's album Protos contains a song called 'Rider In Red', named after the second rider. Americana songwriter and musician Ray Wylie Hubbard's 2009 album A. Enlightenment B. Endarkenment (Hint: There is no C) contains the song The Four Horsemen of the Apocalypse whose lyrics directly reference Revelations and end each stanza with 'the Four Horseman of the Apocalypse

Tabletop roleplaying games[edit] Deadlands and its sequels call the Four Horsemen the "Reckoners" and each has dominion over some area of the Weird West, with their Servitors directly furthering the goals of each. Their ultimate goal is to walk the earth in bodily form, which they achieve shortly before the events of Deadlands: Hell on Earth. Television[edit] (Alphabetical by series) In Babylon 5 the Centauri ambassador Londo Mollari refers to his three unloved wives as "Famine", "Pestilence" and "Death", which is ironic as apparently such labelling leaves the title of "War" to himself. In the Charmed episode "Apocalypse Not", the horsemen are depicted as well-dressed demons who run the Apocalypse like a business, and have to try to bring it about by a certain time or they will be vanquished by the Source of all Evil. Although the sisters temporarily trap War in a dimensional portal, they are forced to work with the other three Horsemen when Prue Halliwell is trapped in the rift as well, but the sisters' willingness to leave Prue in the portal to stop the Horsemen by keeping War trapped prompts the higher powers to release Prue as their willingness to sacrifice their sister for the world suggests that the Apocalypse will not succeed. Interesting to note, Conquest was replaced by Strife, instead of the usual proxy of Pestilence. The Colbert Report, an American late night news satire television program, features a recurring segment called "Four Horsemen of the A-Pop-calypse". In this segment, Stephen Colbert's character denounces the media (divided into the four categories of books, television, movies and radio) for supposedly hastening the apocalypse.[5] In Dexter, Season 6, episode 3 "Smokey and the Bandit", the closing scene of the episode sees the Season 6 villains staging the Four Horsemen of the Apocalypse in order to scare residents of Miami, and features a close-up on the decapitated head of a man previously killed. In Digimon Adventure, the final enemies the Digidestined face are the four Dark Masters (MetalSeadramon, Machinedramon, Puppetmon, and Piedmon), followed by Apocalymon, paralleling the story of the Four Horsemen of the Apocalypse. In the Hercules: The Legendary Journeys episode "Revelations," the archangel Michael releases the Four Horsemen one by one to end the World. Hercules and Iolaus team with Ares in an attempt to stop them. When Hercules sacrifices himself to stop Death, Michael states that this was a test to see if humanity can be given another chance which Hercules succeeded in. The Four Horsemen were assumed to have been resealed afterwards. In Highlander: The Series, the Four Horsemen are the Immortals Kronos (the leader of the Horsemen), Methos (Duncan McLeod's friend who previously refused to admit to being a Horseman, also claimed himself as Death), Silas, and Caspian. In Jericho, season 1, episode 3 "Four Horsemen", after the storm ceases, Jake devises a plan in which four cars drive in four directions in an attempt to contact survivors and gather information. Gray Anderson, the Mayor's main political rival, refers to the scout party as "The Four Horsemen". The Messengers features a group of four people chosen by "The Man" (Diogo Morgado) as the new Horsemen of the Apocalypse, in a mission to break the seven seals. Until now, only three horsemen were confirmed: Rose Arvale (Anna Diop) is Death and is a regular character. She is a former nurse who initially acts as the de facto leader, claiming to have the gift of speaking and understanding any universal language. However, on the ninth episode ("Death Becomes Her") the Messengers learn that she is a Horseman despite not sharing any ideal of The Man's for world domination. Her real powers reside in dark magic. Senator Cindy Richards (Lauren Bowles) is War and debuts in the fourth episode ("Drums of War"). She had a son who was killed while serving in the Armed Forces, and then she planned to have the Afghan Prime Minister assassinated. Leland Schiller/"Abaddon" (Sam Littlefield) is Pestilence and debuts in the sixth episode ("Metamorphosis"). Known anonymously as a vigilante hacker, Leland wants revenge against an insurance company that denied the medical support for his ill mother. After his attempt was foiled by the Messengers, he was sent to prison, only to be soon released by Rose Arvale.

In a Metalocalypse two-minute animated promo for Darksiders II (aired August 17, 2012) the members of Dethklok play Darksiders II and end up summoning the games protagonist the Horseman Death (who appears in animated form). In fourth series finale of Misfits, the Four Horsemen of the Apocalypse are featured, as guest character Nadine accidentally released the horsemen, but instead of horses they rode black bmx's. In The Real Ghostbusters animated TV series from 1986, there is an episode where the protagonists hunt the Four Horsemen in order to stop the Apocalypse. In the Red Dwarf episode "Gunmen of the Apocalypse", the regulars find themselves in a computer simulation of a Wild West town, facing a gunfight against the Four Horsemen of the Apocalypse. In the episode "Cracked China" of Robot Chicken, the Four Horsemen are referenced in a sketch called "Apocalypse Ponies", parodying both My Little Pony and the Four Horsemen. In Sleepy Hollow, the headless horseman is revealed to be one of the Four Horsemen, Death, summoned back to life by a mysterious coven practicing black magic in Sleepy Hollow; Ichabod Crane is the man responsible for cutting off his head when the horseman served in the British army during the war for independence while Crane fought for the patriots, the two being summoned back to life at the same time due to their blood mingling after Crane and the Horseman killed each other. The horseman seeks his head in order to regain his full power, summon the other three horsemen and begin the apocalypse, his current powers limited to being indestructible apart from exposure to sunlight. The Headless Horseman's identity is later revealed to be Abraham Van Brunt, the former fiancé of Crane's wife Katrina, who was killed by the Hessians during an aborted ambush. The Horseman of Pestilence later appeared as the entity responsible for the disappearance of the Roanoke Colony by infecting them with a fatal disease that could not be cured by any other means apart from the colony hiding in an area concealed from the rest of the world. In the first season finale, the Horseman of War was revealed to be Henry Parish, AKA Jeremy Crane, Crane's resurrected son and the Sin-Eater who helped Crane escape his connection to the Horseman, angry at how his parents' actions led him to be buried alive for centuries due to his mother's interrupted attempt to save his life. As of the end of the second season, Henry turned against Moloch and was killed when he attempted to take the power of an ancient coven of witches, while Abraham was last shown consenting to attempts to restore his humanity so long as he was not kept prisoner, but Pestilence has not been seen since his debut, and the identity of the fourth Horseman is unknown; however, the demon Moloch has stated that there have been Horsemen before the current wave, suggesting that replacements for Henry and Abraham could still be summoned. In the The Simpsons episode "Simpsons Bible Stories", the Simpson family sleep through a church sermon and wake up to the apocalypse, where the Four Horsemen are shown riding on a red cloud through the sky. In the episode "Bart Gets an Elephant", when Stampy the elephant walks through the Flanders' yard, Ned Flanders wakes up and gasps, "It's the four elephants of the apocalypse!" Maude immediately corrects him, "That's horsemen, Ned."[6]

In Squidbillies season 3 episode "Armageddon It On!", the Cuyler clan briefly meets Horseman of Pestilence (voiced by Riley Martin). Despite being one of the Four Horsemen of the Apocalypse the Cuylers are not fazed by his presences (at first they think he is part of the US Air Force). He shows his power by releasing a plague of "scorpions with human faces" and turns water into blood, however to his astonishment and disgust the squids eat the scorpions and drink the blood. Early and Granny are also unimpressed by him and question why he is even one of the Four Horsemen as he doesn't seem to measure up to the other 3 Horsemen (War, Famine, and Death). Insulted the Horsemen leaves but warns to prepare for the end of days. An episode of Stargate SG-1, "The First Horseman", references the Horseman Pestilence as a deadly disease, created by a Prior of the Ori, is spread across the face of the Earth. In Supernatural, the Four Horsemen are referenced in the fourth season episode "Death Takes A Holiday" by the demon Alistair before he goes to kill two reapers in an effort to break a seal that will lead to releasing Lucifer from Hell. Alistair claims that the scythe he is carrying was borrowed from an old friend who didn't "really ride a pale horse" but who does "have three amigos" who are "jonesing for the Apocalypse". After the raising of Lucifer at the end of the fourth season, the Horsemen are unleashed onto the world. Each takes the form of an male with an appropriately coloured car and a ring that imbues them their power. However, these rings are also the only apparent weakness of War, Famine and Pestilence, as removing their rings weakens them considerably, although Death is unaffected by the removal of his ring (Also, Death is only following Lucifer's agenda due to a spell binding him to Lucifer, although the other three Horsemen appear to be willing servants of Lucifer). In "Hammer of the Gods", the final message of the archangel Gabriel reveals that the Horsemens' rings have the power to recapture Lucifer by re-opening his Cage when they are put together and a particular spell is chanted. In the fifth season episode "Good God, Y'All!", War, portrayed by Titus Welliver, makes an appearance. He drives a cherry red Ford Mustang and uses the ring on his right ring finger to make people hallucinate and kill each other by provoking conflict; in the episode, he divides a town by causing two groups to believe that the other side has been possessed by demons, but his influence is ended when Sam and Dean manage to cut off his ring. In the episode "My Bloody Valentine", Famine, portrayed by James Otis, appeared as a sick, wheelchair bound old man and causes suicides in a town by making people consume/perform what they hunger for until their death; examples include a couple hungering for love literally eating each other, a man on a diet gorging himself on Twinkies, a former alcoholic drinking himself to death, and even the protagonist's angelic ally Castiel is attacked through his vessel's hunger for red meat. Arriving with an entourage of demons in a black SUV, Famine would feast on souls until he was strong enough to spread on his own. He was defeated when Dean Winchester proved immune to his powers- albeit because Dean was spiritually dead after the difficulties he had experienced during the Apocalypse- and Sam Winchester's old demonic powers were awakened when Famine restored his addiction to demon blood, allowing Sam to use his demonic powers to attack Famine by attacking the demons he had just consumed. Pestilence, portrayed by Matt Frewer appears at the end of "Hammer Of The Gods". He walks into a service station and spreads disease by spreading sickly, green slime everywhere and bringing flies into the place. He is then shown driving away in a dirty Pinto whilst flies flood the car; his rampage is shown in the next episode, "The Devil You Know", causing regional outbreaks of swine flu across the nation. He actively appeared in "Two Minutes to Midnight", shown capable to infect humans with a plethora of diseases, also being a pivotal part of Lucifer's apocalypse; his pandemic of swine flu allowed the distribution of the Croatoan virus under the guise of vaccines. He was working in a nursing home, crafting hybrid diseases that caused instant death. Castiel was ultimately responsible for destroying him when he proved partly immune to Pestilence's powers despite his weakened condition. Later in the season, The Horsemen Death is summoned to Earth by Lucifer via a ritual in the episode "Abandon All Hope", albeit unseen. He is then mentioned in "Dead Men Don't Wear Plaid", though again not seen, where he raises fifteen dead who return to their families only to turn rabid after a certain time. In "Two Minutes to Midnight", Death, now portrayed by Julian Richings, is shown walking along the street with a cane; he bumps into a man, who after making a pithy remark, soon falls over dead. Death drives a pale 1959 Cadillac Eldorado Seville. Death explains to Dean that he is unwillingly bound to Lucifer, and is not particularly interested in the apocalypse. Death provides his ring, extracting a promise that Dean will do anything to stop Lucifer. This version of Death claims to be as old as, if not older than, God, as neither of them can remember who came first. An eternal being, Death reappears after the apocalypse, helping Dean recover Sam's soul- still trapped in Lucifer's Cage even after his body was rescued- helping the Winchesters restore Castiel to normal after he was driven mad by the souls he acquired from Purgatory by providing them with the means to perform a ritual to separate the Purgatory souls from Castiel, and coming to talk to Sam when he faced death after failing to complete the trials to seal Hell. In the final episode of Tru Calling, "T'was the Night Before Christmas...Again", Tru calls her foil character Jack the fourth horseman of the apocalypse, as he is frequently referenced as "death". The Walking Dead episode "Arrow on the Doorpost" was originally titled "Pale Horse".[7] In the final season of X-Men: Evolution, Apocalypse captured and changed Mystique, Storm, Professor Xavier, and Magneto into his Horsemen, giving them the names War, Famine, Pestilence, and Death, each of them containing abilities that their given name implies. In The Young Ones, season 1, episode 5 "Interesting", which first aired in the UK in 1982, Rick Mayall and Nigel Planer are preparing the house for a party when a born-again Christian preacher, played by Dawn French pushes her way inside. As she warns the guys to behold Armageddon and the four horsemen of the apocalypse the scene cuts to a surreal comedy sketch featuring the Four Horsemen on a hillside.

Video games[edit] (Alphabetical by title) In Ace Combat 5: The Unsung War, there is a mission called The Four Horsemen. In Afterlife, the Four Horsemen are depicted as the Four Surfers of the Apocalypso, which are summoned if a player stays in extreme debt for too long a period. The Four Surfers appear riding a wave of fire and destruction and destroy the player's afterlife, thus ending the game. In Apocalypse, Trey Kincaid (the protagonist, played by Bruce Willis) must battle The Reverend, who has unleashed The Four Horsemen who were called Death, Plague, War and Beast, who are the minor boss fights. In The Binding of Isaac, the horsemen appear as bosses throughout the game. In Call of Duty 4: Modern Warfare, the four primary antagonists are collectively referred to as "the Four Horsemen". One of them on the group photograph remains unidentified, but is implied to be already dead (he's crossed out like the others will be). In the games sequel, "Call of Duty: Modern Warfare 2", the main antagonist, Vladimir Makarov, bears a heavy likeliness to the unidentified horseman from the first game. Considering both the exploits of Makarov and that the Modern Warfare series was planned as a trilogy, it is very likely that he is the Second Horseman 'War'. In Champions: Return to Arms, the Four Horsemen can be battled in a bonus stage. In City of Heroes, players must defeat the four Riders in the second mission of The Lady Grey Task Force. These Riders are said to be among the alien Rikti race's most fearsome warriors and have the names Rider: War, Rider: Famine, Rider: Pestilence, and Rider: Death. In this high level (45-50) task force, a team of both heroes and villains can work together to defeat these enemies as they appear repeatedly throughout the mission. The mission culminates in a battle against all four Riders at once and allows players to continue onward in their drive to save the world from total war and invasion by the alien forces of the Rikti. In The Darkness, after the protagonist commits suicide he finds himself in the Otherworld and must locate physical manifestations of the Four Horsemen before proceeding through the level and return to the living; only Death (three people upside-down on a cross) and War (a massive, grotesque cannon) are necessary to complete this section. In Darksiders, the player takes on the role of War, one of the four legendary Horsemen of the apocalypse. The game begins with War starting the apocalypse. However, it turns out that is not supposed to occur as the seven seals were not broken. As a result, War is stripped of his powers and returns to Earth 100 years later to find out who is responsible for initiating the apocalypse and destroying the balance between Heaven, Hell, and Earth. The other three horsemen are only mentioned in dialogue and are only seen arriving from far away at the game's end. The game's manual lists their names as "Death", "Strife" and "Fury". The sequel, Darksiders II, features Death in the spotlight, trying to redeem his brother. In Fall from Heaven, the most popular modification for Civilization 4, as the armaggedon counter increases, four horsemen (Stephanos the conqueror, Bubos the warbringer, Yersinia the plague-bringer and Ars Moriendi, death itself) appear, terrorizing the human civilizations. In Fallout Tactics: Brotherhood of Steel, players can randomly stumble across the four horsemen while wandering the world map (The encounter being named "Four Horsemen of the Post-Apocalypse" in reference to the nuclear war). They are sitting around a campfire, and make comments about the apocalypse, which has already occurred. Each horseman is in the "almost dead" health range, indicating that they have very low health compared to their maximum health. However, if a player attempts to heal any of the horseman, it becomes obvious that they each have ridiculous amounts of health, and that "almost dead" is still extremely high. Upon exiting the area, the player's party leader is switched for the squad member with the lowest charisma, thanks to the chaotic nature of the horsemen. In Final Fantasy VII, the final boss uses an attack called "Pale Horse." In Fire Emblem: Path of Radiance and Fire Emblem: Radiant Dawn, the once-evil kingdom of Daein holds four generals of utmost skill and power in battle who are referred to as the "Four Riders"—a reference to the Four Horsemen. The Four Horsemen of Apocalypse was a game project by 3DO.

In Guild Wars, one of the quests in The Underworld is called the Four Horsemen, where one has to kill four ghostly horsemen. However, these are named differently. In Heroes of Newerth, five characters have alternate avatars named, "War", "Famine", "Pestilience", "Death", and "Conquest" In Heroes Over Europe, upon receiving a Hawker Tempest, Danny Miller comments "seems the RAF wanted me to be one ... See More

Literature Chapter

QMRBrookfield 1998[edit] Adult education scholar Stephen Brookfield proposed that critically reflective practitioners constantly research their assumptions by seeing practice through four complementary lenses: the lens of their autobiography as learners of reflective practice, the lens of other learners' eyes, the lens of colleagues' experiences, and the lens of theoretical, philosophical and research literature.[25] Reviewing practice through these lenses makes us more aware of the power dynamics that infuse all practice settings. It also helps us detect hegemonic assumptions—assumptions that we think are in our own best interests, but actually work against us in the long run.[25] Brookfield argued that these four lenses will reflect back to us starkly different pictures of who we are and what we do. Lens 1: Our autobiography as a learner. Our autobiography is an important source of insight into practice. As we talk to each other about critical events in our practice, we start to realize that individual crises are usually collectively experienced dilemmas. Analysing our autobiographies allows us to draw insight and meanings for practice on a deep visceral emotional level. Lens 2: Our learners' eyes. Seeing ourselves through learners' eyes, we may discover that learners are interpreting our actions in the way that we mean them. But often we are surprised by the diversity of meanings people read into our words and actions. A cardinal principle of seeing ourselves through learners' eyes is that of ensuring the anonymity of their critical opinions. We have to make learners feel safe. Seeing our practice through learners' eyes helps us teach more responsively. Lens 3: Our colleagues' experiences. Our colleagues serve as critical mirrors reflecting back to us images of our actions. Talking to colleagues about problems and gaining their perspective increases our chance of finding some information that can help our situation. Lens 4: Theoretical literature. Theory can help us "name" our practice by illuminating the general elements of what we think are idiosyncratic experiences.

QMRNesîmî's collected poems, or dîvân, number about 300, and include ghazals, qasidas (“lyrics”), and rubâ'îs (“quatrains”) in Azerbaijani Turkic,[2][3][4] Persian, and Arabic. His Turkish Divan is considered his most important work,[11] contains 250–300 ghazals and more than 150 rubâ'îs. A large body of Bektashi and Alevi poetry is also attributed to Nesîmî, largely as a result of Hurûfî ideas' influence upon those two groups. Shah Ismail I, the founder of Safavid dynasty in Iran, who himself composed a divan in Azerbaijani Turkic under the pen name of Khatai,[19] praised Nesimi in his poems[20] According to the Encyclopedia of Islam:[10] His work consists of two collections of poems, one of which, the rarer, is in Persian and the other in Turkish. The Turkish Dīwān consists of 250-300 ghazels and about 150 quatrains, but the existing mss. differ considerably from the printed edition (Istanbul 1298/1881). No scholarly edition has so far been undertaken, but a study of his vocabulary is given by Jahangir Gahramanov, Nasimi divanynyn leksikasy, Baku 1970. The Persian Dīwān has been edited by Muhammad Rizā Mar'ashī, Khurshid-i Darband . Dīwān-i Imād Dīn Nasīmī, Tehran 1370 Sh./1991. One of Nesîmî's most famous poems is the gazel beginning with the following lines: منده صغار ايكى جهان من بو جهانه صغمازام گوهر لامکان منم كون و مکانه صغمازام Məndə sığar iki cahan, mən bu cahâna sığmazam Gövhər-i lâ-məkân mənəm, kövn ü məkâna sığmazam[21] Both worlds can fit within me, but in this world I cannot fit I am the placeless essence, but into existence I cannot fit The poem serves as an excellent example of Nesîmî's poetic brand of Hurufism in its mystical form. There is a contrast made between the physical and the spiritual worlds, which are seen to be ultimately united in the human being. As such, the human being is seen to partake of the same spiritual essence as God: the phrase lâ-mekân (لامکان), or "the placeless", in the second line is a Sufi term used for God.[22] The same term, however, can be taken literally as meaning "without a place", and so Nesîmî is also using the term to refer to human physicality.[23] In his poem, Nesîmî stresses that understanding God is ultimately not possible in this world, though it is nonetheless the duty of human beings to strive for such an understanding. Moreover, as the poem's constant play with the ideas of the physical and the spiritual underlines, Nesîmî calls for this search for understanding to be carried out by people within their own selves. This couplet has been described in different pictures, movies, poems, and other pieces of arts.[24] Some of Nesîmî's work is also more specifically Hurûfî in nature, as can be seen in the following quatrain from a long poem: اوزكى مندن نهان ايتمك ديلرسه ڭ ايتمه غل گوزلرم ياشڭ روان ايتمك ديلرسه ڭ ايتمه غل برك نسرین اوزره مسکين زلفكى سن طاغدوب عاشقى بى خانمان ايتمك ديلرسه ڭ ايتمه غل Üzünü məndən nihân etmək dilərsən, etməgil Gözlərim yaşın reəvân etmək dilərsen, etməgil Bərq-i nəsrin üzrə miskin zülfünü sən dağıdıb Âşiqi bîxânimân etmək dilərsən, etməgil[21] Seeing that moon I rejoiced I made of my eyes a cup for its wine I went on Hajj in pilgrim's garb I called Fâ, Zâd, and Lâm by the name "Truth" In the quatrain's last line, "Fâ", "Zâd", and "Lâm" are the names of the Arabic letters that together spell out the first name of the founder of Hurufism, Fazl-ullah. As such, Nesîmî is praising his shaykh, or spiritual teacher, and in fact comparing him to God, who is also given the name "Truth" (al-Haqq). Moreover, using the Perso-Arabic letters in the poem in such a manner is a direct manifestation of Hurûfî beliefs insofar as the group expounds a vast and complex letter symbolism in which each letter represents an aspect of the human character, and all the letters together can be seen to represent God. Nesîmî is also considered a superb love poet, and his poems express the idea of love on both the personal and the spiritual plane. Many of his gazels, for instance, have a high level of emotiveness, as well as expressing a great mastery of language: اوزكى مندن نهان ايتمك ديلرسه ڭ ايتمه غل گوزلرم ياشڭ روان ايتمك ديلرسه ڭ ايتمه غل برك نسرین اوزره مسکين زلفكى سن طاغدوب عاشقى بى خانمان ايتمك ديلرسه ڭ ايتمه غل Üzünü menden nihân etmek dilersen, etmegil Gözlerim yaşın revân etmek dilersen, etmegil Berq-i nesrin üzre miskin zülfünü sen dağıdıb Âşiqi bîxânimân etmek dilersen, etmegil[21] Should you want to veil your face from me, oh please do not! Should you want to make my tears flow, oh please do not! Should you want to lay your hair of musk atop the rose And leave your lover destitute, oh please do not!

QMRThe Quatrains of Nesimi Fourteenth-Century Turkic Hurufi

QMRThe Seven Steps Verse, also known as the Quatrain of Seven Steps (traditional Chinese: 七步詩; simplified Chinese: 七步诗; pinyin: Qi1 Bu4 Shi1), is a highly allegorical poem that is usually attributed to the poet Cao Zhi. The poem's first appeared in the classic text Shishuo Xinyu, published in 430. The famed scene (79th hui) describes Cao Pi's suspicions of his brother Cao Zhi trying to usurp his rule (Cao Pi was also jealous of his brother's talents, particularly his masterful command of imagery). Consequently, Cao Zhi is summoned to the court and is issued an ultimatum in which he must produce a poem within seven strides such that Cao Pi is convinced of his innocence. Cao Zhi does so, and Cao Pi becomes so flustered with emotion that he spares his brother, although he later exacts punishment upon Cao Zhi in the form of demotion. The poem itself is written in the traditional five-character quatrain style and is an extended metaphor that describes the relationship of two brothers and the ill-conceived notion of one harming the other over petty squabbling.

QMRIn poetry, a Ballad stanza is the four-line stanza, known as a quatrain, most often found in the folk ballad. This form consists of alternating four- and three-stress lines. Usually only the second and fourth lines rhyme (in an a/b/c/b pattern). Assonance in place of rhyme is common. Samuel Taylor Coleridge adopted the ballad stanza in The Rime of the Ancient Mariner, alternating eight and six syllable lines. All in a hot and copper sky! The bloody Sun, at noon, Right up above the mast did stand, No bigger than the Moon. Coleridge, The Rime of the Ancient Mariner, lines 111 – 114 The longer first and third lines are rarely rhymed, although at times poets may use internal rhyme in these lines. In mist or cloud, on mast or shroud, It perched for vespers nine; Whiles all the night, through fog-smoke white, While the creatures crooned Coleridge, The Rime of the Ancient Mariner, lines 75 – 78

Many folk chastushki are lewd or laden with vulgarities. The following are some relatively printable examples, with slightly loose English translations that attempt to give an approximate feeling of the chastushka's rhyme and meter, and the general meaning: Bolshevik political and anti-religious propaganda: Знаем Ленина заветы. Кулаки, попы - наш враг Призовет их всех к ответу Большевицкий красный флаг. We know Lenin's testaments The Kulaks, popes - our foe Calls them all to answer Bolshevik's red flag. Как у тёщи под окошком Я играю на гармошке. Ты послушай, тёща–блядь, Как наяривает зять! Mum–in–law, enjoy the fun — I am playing my bayan! Listen, you old fucking crock How your son–in–law can rock! Лейтенант, лейтенант — Лаковы сапожки, Если девки не дают — Попроси у кошки! Lieutenant, lieutenant, With polished boots, If the girls turn you down, Ask the cat!

QMRChastúshka, Russian: часту́шка, pronounced [tɕɐsˈtuʂkə], derives from "часто" - "frequently", or from "части́ть" - old word, that means "to do something with high frequency" and probably refers to high beat frequency (tempo) of chastushki. Chastushka is a traditional type of short Russian or Ukrainian folk humorous song with high beat frequency, that consists of one four-lined couplet, full of humor, satire or irony. Usually many chastushki are sung one after another. Chastushka makes use of a simple rhyming scheme to convey humorous or ironic content. The singing and recitation of such rhymes were an important part of peasant popular culture both before and after the Bolshevik Revolution of 1917. Contents [hide] 1 Form 2 Content 3 Examples 4 Footnotes 5 Further reading Form[edit] A chastushka (plural: chastushki) is a simple rhyming poem which would be characterized derisively in English as doggerel. The name originates from the Russian word "часто" ("chasto") - "frequently", or from части́ть ("chastit"), meaning "to do something with high frequency" and probably refers to high beat frequency of chastushkas. The basic form is a simple four-line verse making use of an ABAB, ABCB, or AABB rhyme scheme. Usually humorous, satirical, or ironic in nature, chastushki are often put to music as well, usually with balalaika or accordion accompaniment. The rigid, short structure (and, to a lesser degree, the type of humor used) parallels the poetic genre of limericks in British culture. Sometimes several chastushki are delivered in sequence to form a song. After each chastuska, there is a full musical refrain without lyrics to give the listeners a chance to laugh without missing the next one. Originally chastushki were a form of folk entertainment, not intended to be performed on stage. Often they are sung in turns by a group of people. Sometimes they are used as a medium for a back-and-forth mocking contest. Improvisation is highly valued during chastuska singing. Content[edit] Chastushki cover a very wide spectrum of topics, from lewd jokes to political satire, including such diverse themes as love songs and Communist propaganda. Following the 1917 Russian Revolution, chastushki varied considerably in content from region to region. In some areas hit particularly hard by the grain requisitioning of the Soviet regime during the Civil War, such as Riazan, peasant chastushki tended to be bitterly hostile.[1] In other places, particularly those in close proximity to Moscow, "Soviet chastushki" favorable to the Bolshevik government were sung and recited.[1] In the early 1920s chastushki were used by Young Communists in organized village gatherings as a form of anti-religious propaganda, subjecting the church and the rural clergy to ridicule using the traditional rural poetic form.[2] Scholar Lynne Viola provides one such example of an anti-religious Soviet rhyme, rendered here in literal English translation: All the pious are on a spree, They see god is not at home. He got drunk on homebrewed liquor, And left to go abroad.[2] Given the difficult economic circumstances of the Soviet peasantry in the late 1920s and 1930s, chastushki overwhelmingly took an anti-government form, with the singing of anti-Soviet couplets a common practice at peasant festivals of the period.[3] Following the assassination of Communist Party leader Sergei Kirov late in 1934, chastushki sprung up relating the killing to a recent decision to terminate bread rationing, including this literal translation of one example provided by scholar Sheila Fitzpatrick: When Kirov was killed, They allowed free trade in bread. When Stalin is killed, They will disband all the collective farms.[4]

QMRIt is often stated that ancient Hebrew poetry contains almost no rhyme. This assertion is understandable because the ancient texts preserved in the Hebrew Bible were written over a period of at least a millennium. Over that length of time, the pronunciation of every language changes. Words that were rhyming pairs at the beginning of that period may no longer rhyme at the end of that period. Further, different tribal groups or other groups of Hebrew speakers undoubtedly pronounced words differently in one and the same era. Using English as an example, we would be hard-pressed to find rhyme or even meter in the opening verses of Chaucer's Canterbury Tales, written in Middle English, if we were to pronounce the words of that poem as we pronounce their direct descendants in Modern English. Even within contemporary English, some speakers rhyme "again" with "rain" while others (northern English accents especially) rhyme "again" with "pen." The phonological phenomena that obscure the rhymes of Chaucer only 600 years after his death, are also to be found in Biblical Hebrew texts which spanned a millennium. One fine example of rhyme and meter in ancient Hebrew texts is found in the Book of Proverbs, 6:9, 10. As Hebraist Seth Ben-Mordecai (author, The Exodus Haggadah) points out, these two verses, split into four lines of poetry, demonstrate both internal rhyme (common to Biblical Hebrew texts) and end-of-line rhyme (less common in Hebrew but the norm in English rhyming poetry), as well as noticeable meter. Thus, the last word of the first line ('AD maTAI 'aTZEL tishKAV) rhymes with the last word of the last line (me'AT khibBUQ yaDAYM lishKAV). In the third line, the second and fourth words create an internal rhyme with each other (me'AT sheNOT, me'AT tenuMOT). Finally, the first word of the second line (maTAI taQUM mishshenaTEksgha) is identical to the first word of the first line, linking those two lines even without obvious rhyme. Similar rhyming verses within the Hebrew Bible ought to put to rest the [question]. It is sometimes stated that ancient Hebrew texts demonstrate assonance more often than rhyme. Indeed, assonance is prominent in ancient Hebrew texts - as are other forms of "sound matching." An example of assonance is found in the first song mentioned above (Exodus 15:1-19), where assonance occurs at the ends of the lines, as in "anwehu" and "aromemenhu" (15:2). It is, of course, true that consonance of "hu" smile emoticon"him") can occur frequently in the Hebrew, because the language allows speakers to affix object-case as suffixes to verbs. What is notable when comparing ancient Hebrew poetry to contemporary English poetry is the playfulness of the authors, and their evident willingness to use multiple sound-matching schemes,[citation needed] rather than limiting themselves to simple rhymes at the end of verses, as in English.

QMRThe use of such contractions is as old as Chinese characters themselves, and they have frequently been found in religious or ritual use. In the Oracle Bone script, personal names, ritual items, and even phrases such as 受又(祐) shòu yòu "receive blessings" are commonly contracted into single characters. A dramatic example is that in medieval manuscripts 菩薩 púsà "bodhisattva" (simplified: 菩萨) is sometimes written with a single character formed of a 2×2 grid of four 十 (derived from the grass radical over two 十).[9] There are also some extremely complex characters which have understandably become rather rare. According to Joël Bellassen (1989), the most complex Chinese character is Zhé.svg/𪚥 (U+2A6A5) zhé About this sound listen (help·info), meaning "verbose" and containing sixty-four strokes; this character fell from use around the 5th century. It might be argued, however, that while containing the most strokes, it is not necessarily the most complex character (in terms of difficulty), as it simply requires writing the same sixteen-stroke character 龍 lóng (lit. "dragon") four times in the space for one. Another 64-stroke character is Zhèng.svg/𠔻 (U+2053B) zhèng composed of 興 xīng/xìng (lit. "flourish") four times. It is written in a quadrant grid and is four 16 strokes. 16 is the squares of the quadrant model. Four 16s are 64

QMRThe dalit is a type of short Filipino poem, consisting of four lines with eight syllables each. There is a controversy regarding its origin. One school of thought states that the dalit is Spanish in origin, particularly because its syllabification is even or pares. Hence, it is said that the Spanish popularized the dalit in the Philippines. Another view holds that the dalit is indigenous, but the friars used its popularity to promote Catholicism, in the form of meditative verses.

QMRThe Tanaga is a type of Filipino poem, consisting of four lines with seven syllables each with the same rhyme at the end of each line --- that is to say a 7-7-7-7 Syllabic verse, with an AABB rhyme scheme as in this example: In the Tagalog original,[1] using archaic orthography: "Catitibay ca tolos sacaling datnang agos! aco’I momonting lomot sa iyo,I popolopot." In the modern Tagalog syllabication: "Katitibay ka Tulos Sakaling datnang agos! Ako'y mumunting lumot sa iyo'y pupulupot." Translation: "Oh be resilient you Stake Should the waters be coming! I shall cower as the moss To you I shall be clinging." Translation by Jardine Davies [1] The above Tanaga is attributed to Friars Juan de Noceda and Pedro de Sanlucar by Vim Nadera, and quoted them as saying “Poesia muy alta en tagalo, compuesta de siete silabas, y cuatro versos, llena de metafora.” (16th century) ("There is high poetry in Tagalog, composed of seven syllables and four verses with frequent metaphors.") Like the Japanese haiku, Tanagas traditionally do not have any titles. They are poetic forms that should speak for themselves. Most are handed down by oral history, and contain proverbial forms, moral lessons, and snippets of a code of ethics. A poetic form similar to the tanaga is the ambahan. Unlike the ambahan whose length is indefinite, the tanaga is a compact seven-syllable quatrain. Poets test their skills at rhyme, meter and metaphor through the tanaga, not only because is it rhymed and measured, but also it exacts skillful use of words to create a puzzle that demands some kind of an answer. It is almost considered a dying art form, but is currently being revived by the Cultural Center of the Philippines and National Commission of the Arts. Poetry groups, like the PinoyPoets, have been promoting Filipino poetry in English; the vernacular are also advocating the spread of this art form. The modern Tanaga[edit] The modern Tanaga still uses the 7777 syllable count, but rhymes range from dual rhyme forms: AABB, ABAB, ABBA; to freestyle forms such as AAAB, BAAA, or ABCD. Tanagas do not have titles traditionally because the Tanaga should speak for itself. However, moderns can opt to give them titles. [2] Tanaga in other languages[edit] While the Tanaga is originally intended to be written in Tagalog, it has been written in other languages such as English. Like-minded poets from all over the world are encouraged to utilize the Tanaga.

The Prologue to Romeo and Juliet is also a sonnet, as is Romeo and Juliet's first exchange in Act One, Scene Five, lines 104–117, beginning with "If I profane with my unworthiest hand" (104) and ending with "Then move not while my prayer's effect I take" (117).[11] The Epilogue to Henry V is also in the form of a sonnet. In the 17th century, the sonnet was adapted to other purposes, with John Donne and George Herbert writing religious sonnets, and John Milton using the sonnet as a general meditative poem. Both the Shakespearean and Petrarchan rhyme schemes were popular throughout this period, as well as many variants. The fashion for the sonnet went out with the Restoration, and hardly any sonnets were written between 1670 and Wordsworth's time. However, sonnets came back strongly with the French Revolution. Wordsworth himself wrote hundreds of sonnets, of which amongst the best-known are "Upon Westminster Bridge", "The world is too much with us" and the sonnet "London, 1802" addressed to Milton; his sonnets were essentially modelled on Milton's. Keats and Shelley also wrote major sonnets; Keats's sonnets used formal and rhetorical patterns inspired partly by Shakespeare, and Shelley innovated radically, creating his own rhyme scheme for the sonnet "Ozymandias". Sonnets were written throughout the 19th century, but, apart from Elizabeth Barrett Browning's Sonnets from the Portuguese and the sonnets of Dante Gabriel Rossetti, there were few very successful traditional sonnets. In Canada during the last decades of the century, the Confederation Poets and especially Archibald Lampman were known for their sonnets, which were mainly on pastoral themes. Gerard Manley Hopkins wrote several major sonnets, often in sprung rhythm, such as "The Windhover", and also several sonnet variants such as the 10½-line curtal sonnet "Pied Beauty" and the 24-line caudate sonnet "That Nature is a Heraclitean Fire". By the end of the 19th century, the sonnet had been adapted into a general-purpose form of great flexibility. This flexibility was extended even further in the 20th century. Among the major poets of the early Modernist period, Robert Frost, Edna St. Vincent Millay and E. E. Cummings all used the sonnet regularly. William Butler Yeats wrote the major sonnet "Leda and the Swan", which used half rhymes. Wilfred Owen's sonnet "Anthem for Doomed Youth" was another sonnet of the early 20th century. W. H. Auden wrote two sonnet sequences and several other sonnets throughout his career, and widened the range of rhyme-schemes used considerably. Auden also wrote one of the first unrhymed sonnets in English, "The Secret Agent" (1928). Robert Lowell wrote five books of unrhymed "American sonnets", including his Pulitzer Prize-winning volume The Dolphin (1973). Half-rhymed, unrhymed, and even unmetrical sonnets have been very popular since 1950; perhaps the best works in the genre are Seamus Heaney's Glanmore Sonnets and Clearances, both of which use half rhymes, and Geoffrey Hill's mid-period sequence "An Apology for the Revival of Christian Architecture in England". The 1990s saw something of a formalist revival, however, and several traditional sonnets have been written in the past decade. Spenserian sonnet[edit] A variant on the English form is the Spenserian sonnet, named after Edmund Spenser (c.1552–1599), in which the rhyme scheme is abab, bcbc, cdcd, ee. The linked rhymes of his quatrains suggest the linked rhymes of such Italian forms as terza rima. This example is taken from Amoretti: Happy ye leaves! whenas those lily hands Happy ye leaves. whenas those lily hands, (a) Which hold my life in their dead doing might, (b) Shall handle you, and hold in love's soft bands, (a) Like captives trembling at the victor's sight. (b) And happy lines on which, with starry light, (b) Those lamping eyes will deign sometimes to look,(c) And read the sorrows of my dying sprite, (b) Written with tears in heart's close bleeding book. (c) And happy rhymes! bathed in the sacred brook (c) Of Helicon, whence she derived is, (d) When ye behold that angel's blessed look, (c) My soul's long lacked food, my heaven's bliss. (d) Leaves, lines, and rhymes seek her to please alone, (e) Whom if ye please, I care for other none. (e) Urdu sonnet[edit] In the Indian subcontinent, sonnets have been written in the Assamese, Bengali, Dogri, English, Gujarati, Hindi, Kashmiri, Malayalam, Manipuri, Marathi, Nepali, Oriya, Sindhi and Urdu languages.[12] Urdu poets, also influenced by English and other European poets, took to writing sonnets in the Urdu language rather late.[13] Azmatullah Khan (1887–1923) is believed to have introduced this format to Urdu literature in the very early part of the 20th century. The other renowned Urdu poets who wrote sonnets were Akhtar Junagarhi, Akhtar Sheerani, Noon Meem Rashid, Mehr Lal Soni Zia Fatehabadi, Salaam Machhalishahari and Wazir Agha.[14] This example, a sonnet by Zia Fatehabadi taken from his collection Meri Tasveer,[15] is in the usual English (Shakespearean) sonnet rhyme-scheme. ڈبکںی پسِ پردہ کِسی نے میرے ارمانوں کی محفِل کو، کچھ اِس انداز سے دیکھا، کچھ ایسے طور سے دیکھا، غُبارِ آہ سے دے کر جلا آئینۂ دل کو، ہر اِک صورت کو میں نے خوب دیکھا، غور سے دیکھا نظر آئی نہ وہ صورت ، مجھے جس کی تمنّا تھی بہت ڈھُونڈا کیا گلشن میں، ویرانے میں، بستی میں منّور شمعِ مہر و ماہ سے دِن رات دُنیا تھی مگر چاروں طرف تھا گُھپ اندھیرا میری ہستی میں دلِ مجبور کو مجروحِ اُلفت کر دیا کِس نے مرے احساس کی گہرایوں میں ہے چُبھن غم کی مٹا کر جسم، میری روح کو اپنا لیا کس نے جوانی بن گئی آما جگہ صدماتِ پیہم کی حجاباتِ نظر کا سلسلہ توڈ اور آ بھی جا مجھے اِک بار اپنا جلوۂ رنگیں دکھا بھی جا “” Sonnet 'Dubkani' ڈبکںی by Zia Fatehabadi taken from his book titled Meri Tasveer "Dubkani" Pas e pardaa kisii ne mere armaanon kii mehfil ko (a) Kuchh is andaaz se dekhaa, kuchh aise taur se dekhaa (b) Ghubaar e aah se de kar jilaa aainaa e dil ko (a) Har ik soorat ko maine khoob dekhaa, ghaur se dekhaa (b) Nazar aaii na woh soorat, mujhe jiskii tamanaa thii (c) Bahut dhoondaa kiyaa gulshan mein, veeraane mein, bastii mein (d) Munnawar shamma e mehar o maah se din raat duniyaa thii (c) Magar chaaron taraf thaa ghup andheraa merii hastii mein (d) Dil e majboor ko majrooh e ulfat kar diyaa kisne (e) Mere ahsaas kii ghahraiion mein hai chubhan gham kii (f) Mitaa kar jism, merii rooh ko apnaa liyaa kisne (e) Jawanii ban gaii aamaajagaah sadmaat e paiham kii (f) Hijaabaat e nazar kaa sisilaa tod aur aa bhii jaa (g) Mujhe ik baar apnaa jalwaa e rangiin dikhaa bhii jaa. (g)

Dante's variation[edit] Most Sonnets in Dante's La Vita Nuova are Petrarchan. Chapter VII[4] gives sonnet "O voi che per la via", with two sestets (AABAAB AABAAB) and two quatrains (CDDC CDDC), and Ch. VIII, "Morte villana", with two sestets (AABBBA AABBBA) and two quatrains (CDDC CDDC). Occitan sonnet[edit] The sole confirmed surviving sonnet in the Occitan language is confidently dated to 1284, and is conserved only in troubadour manuscript P, an Italian chansonnier of 1310, now XLI.42 in the Biblioteca Laurenziana in Florence.[5] It was written by Paolo Lanfranchi da Pistoia and is addressed to Peter III of Aragon. It employs the rhyme scheme a-b-a-b, a-b-a-b, c-d-c-d-c-d. This poem is historically interesting for its information on north Italian perspectives concerning the War of the Sicilian Vespers, the conflict between the Angevins and Aragonese for Sicily.[5] Peter III and the Aragonese cause was popular in northern Italy at the time and Paolo's sonnet is a celebration of his victory over the Angevins and Capetians in the Aragonese Crusade: Valenz Senher, rei dels Aragones a qi prez es honors tut iorn enansa, remembre vus, Senher, del Rei franzes qe vus venc a vezer e laiset Fransa Ab dos sos fillz es ab aqel d'Artes; hanc no fes colp d'espaza ni de lansa e mainz baros menet de lur paes: jorn de lur vida said n'auran menbransa. Nostre Senhier faccia a vus compagna per qe en ren no vus qal[la] duptar; tals quida hom qe perda qe gazaingna. Seigner es de la terra e de la mar, per qe lo Rei Engles e sel d'Espangna ne varran mais, si.ls vorres aiudar. Valiant Lord, king of the Aragonese to whom honour grows every day closer, remember, Lord, the French king[6] that has come to find you and has left France With his two sons[7] and that one of Artois;[8] but they have not dealt a blow with sword or lance and many barons have left their country: but a day will come when they will have some to remember. Our Lord make yourself a company in order that you might fear nothing; that one who would appear to lose might win. Lord of the land and the sea, as whom the king of England[9] and that of Spain[10] are not worth as much, if you wish to help them. An Occitan sonnet, dated to 1321 and assigned to one "William of Almarichi", is found in Jean de Nostredame and cited in Giovanni Crescembeni, Storia della volgar Poesia. It congratulates Robert of Naples on his recent victory. Its authenticity is dubious. There are also two poorly regarded sonnets by the Italian Dante de Maiano. English (Shakespearean) sonnet[edit] Henry Howard, Earl of Surrey, c.1542 by Hans Holbein William Shakespeare, in the famous "Chandos" portrait. Artist and authenticity unconfirmed. National Portrait Gallery (UK). See also: Shakespeare's sonnets When English sonnets were introduced by Thomas Wyatt in the early 16th century, his sonnets and those of his contemporary the Earl of Surrey were chiefly translations from the Italian of Petrarch and the French of Ronsard and others. While Wyatt introduced the sonnet into English, it was Surrey who gave it a rhyming meter, and a structural division into quatrains of a kind that now characterize the typical English sonnet. Having previously circulated in manuscripts only, both poets' sonnets were first published in Richard Tottel's Songes and Sonnetts, better known as Tottel's Miscellany (1557). It was, however, Sir Philip Sidney's sequence Astrophel and Stella (1591) that started the English vogue for sonnet sequences. The next two decades saw sonnet sequences by William Shakespeare, Edmund Spenser, Michael Drayton, Samuel Daniel, Fulke Greville, William Drummond of Hawthornden, and many others. This literature is often attributed to the Elizabethan Age and known as Elizabethan sonnets. These sonnets were all essentially inspired by the Petrarchan tradition, and generally treat of the poet's love for some woman, with the exception of Shakespeare's sequence of 154 sonnets. The form is often named after Shakespeare, not because he was the first to write in this form but because he became its most famous practitioner. The form consists of fourteen lines structured as three quatrains and a couplet. The third quatrain generally introduces an unexpected sharp thematic or imagistic "turn", the volta. In Shakespeare's sonnets, however, the volta usually comes in the couplet, and usually summarizes the theme of the poem or introduces a fresh new look at the theme. With only a rare exception, the meter is iambic pentameter, although there is some accepted metrical flexibility (e.g., lines ending with an extra-syllable feminine rhyme, or a trochaic foot rather than an iamb, particularly at the beginning of a line). The usual rhyme scheme is end-rhymed a-b-a-b, c-d-c-d, e-f-e-f, g-g. This example, Shakespeare's "Sonnet 116", illustrates the form (with some typical variances one may expect when reading an Elizabethan-age sonnet with modern eyes): Let me not to the marriage of true minds (a) Admit impediments, love is not love (b)* Which alters when it alteration finds, (a) Or bends with the remover to remove. (b)* O no, it is an ever fixèd mark (c)** That looks on tempests and is never shaken; (d)*** It is the star to every wand'ring bark, (c)** Whose worth's unknown although his height be taken. (d)*** Love's not time's fool, though rosy lips and cheeks (e) Within his bending sickle's compass come, (f)* Love alters not with his brief hours and weeks, (e) But bears it out even to the edge of doom: (f)* If this be error and upon me proved, (g)* I never writ, nor no man ever loved. (g)* * PRONUNCIATION/RHYME: Note changes in pronunciation since composition. ** PRONUNCIATION/METER: "Fixed" pronounced as two-syllables, "fix-ed". *** RHYME/METER: Feminine-rhyme-ending, eleven-syllable alternative.

QMRA sonnet is a poetic form which originated in Italy; Giacomo Da Lentini is credited with its invention. The term sonnet is derived from the Italian word sonetto (from Old Provençal sonet a little poem, from son song, from Latin sonus a sound). By the thirteenth century it signified a poem of fourteen lines that follows a strict rhyme scheme and specific structure. Conventions associated with the sonnet have evolved over its history. Writers of sonnets are sometimes called "sonneteers", although the term can be used derisively. Contents [hide] 1 Italian (Petrarchan) sonnet 2 Dante's variation 3 Occitan sonnet 4 English (Shakespearean) sonnet 5 Spenserian sonnet 6 Urdu sonnet 7 Modern sonnet 8 See also 8.1 Groups of sonnets 8.2 Forms commonly associated with sonnets 9 Notes 10 Bibliography 11 External links Italian (Petrarchan) sonnet[edit] Main article: Petrarchan sonnet The sonnet was created by Giacomo da Lentini, head of the Sicilian School under Emperor Frederick II.[1] Guittone d'Arezzo rediscovered it and brought it to Tuscany where he adapted it to his language when he founded the Neo-Sicilian School (1235–1294). He wrote almost 250 sonnets.[2] Other Italian poets of the time, including Dante Alighieri (1265–1321) and Guido Cavalcanti (c. 1250–1300), wrote sonnets, but the most famous early sonneteer was Petrarca (known in English as Petrarch). Other fine examples were written by Michelangelo. The structure of a typical Italian sonnet of the time included two parts that together formed a compact form of "argument". First, the octave (two quatrains), forms the "proposition", which describes a "problem", or "question", followed by a sestet (two tercets), which proposes a "resolution". Typically, the ninth line initiates what is called the "turn", or "volta", which signals the move from proposition to resolution. Even in sonnets that don't strictly follow the problem/resolution structure, the ninth line still often marks a "turn" by signaling a change in the tone, mood, or stance of the poem. Later, the abba, abba pattern became the standard for Italian sonnets. For the sestet there were two different possibilities: cdd, cde and cdc, cdc. In time, other variants on this rhyming scheme were introduced, such as cdcdcd. Petrarch typically used an abba, abba pattern for the octave, followed by either cde, cde or cdc, cdc rhymes in the sestet. (The symmetries (abba vs. cdc) of these rhyme schemes have also been rendered in musical structure in the late 20th century composition Scrivo in Vento inspired by Petrarch's Sonnet 212, Beato in Sogno.[3]) In English, both English type (Shakespearean) sonnets and Italian type (Petrarchan) sonnets are traditionally written in iambic pentameter lines. The first known sonnets in English, written by Sir Thomas Wyatt and Henry Howard, Earl of Surrey, used this Italian scheme, as did sonnets by later English poets including John Milton, Thomas Gray, William Wordsworth and Elizabeth Barrett Browning. Early twentieth-century American poet Edna St. Vincent Millay also wrote most of her sonnets using the Italian form. This example, On His Blindness by Milton, gives a sense of the Italian rhyming scheme: When I consider how my light is spent (a) Ere half my days, in this dark world and wide, (b) And that one talent which is death to hide, (b) Lodged with me useless, though my soul more bent (a) To serve therewith my Maker, and present (a) My true account, lest he returning chide; (b) "Doth God exact day-labor, light denied?" (b) I fondly ask; but Patience to prevent (a) That murmur, soon replies, "God doth not need (c) Either man's work or his own gifts; who best (d) Bear his mild yoke, they serve him best. His state (e) Is Kingly. Thousands at his bidding speed (c) And post o'er land and ocean without rest; (d) They also serve who only stand and wait." (e) A sonnet is a poetic form which originated in Italy; Giacomo Da Lentini is credited with its invention. The term sonnet is derived from the Italian word sonetto (from Old Provençal sonet a little poem, from son song, from Latin sonus a sound). By the thirteenth century it signified a poem of fourteen lines that follows a strict rhyme scheme and specific structure. Conventions associated with the sonnet have evolved over its history. Writers of sonnets are sometimes called "sonneteers", although the term can be used derisively. Contents [hide] 1 Italian (Petrarchan) sonnet 2 Dante's variation 3 Occitan sonnet 4 English (Shakespearean) sonnet 5 Spenserian sonnet 6 Urdu sonnet 7 Modern sonnet 8 See also 8.1 Groups of sonnets 8.2 Forms commonly associated with sonnets 9 Notes 10 Bibliography 11 External links Italian (Petrarchan) sonnet[edit] Main article: Petrarchan sonnet The sonnet was created by Giacomo da Lentini, head of the Sicilian School under Emperor Frederick II.[1] Guittone d'Arezzo rediscovered it and brought it to Tuscany where he adapted it to his language when he founded the Neo-Sicilian School (1235–1294). He wrote almost 250 sonnets.[2] Other Italian poets of the time, including Dante Alighieri (1265–1321) and Guido Cavalcanti (c. 1250–1300), wrote sonnets, but the most famous early sonneteer was Petrarca (known in English as Petrarch). Other fine examples were written by Michelangelo. The structure of a typical Italian sonnet of the time included two parts that together formed a compact form of "argument". First, the octave (two quatrains), forms the "proposition", which describes a "problem", or "question", followed by a sestet (two tercets), which proposes a "resolution". Typically, the ninth line initiates what is called the "turn", or "volta", which signals the move from proposition to resolution. Even in sonnets that don't strictly follow the problem/resolution structure, the ninth line still often marks a "turn" by signaling a change in the tone, mood, or stance of the poem. Later, the abba, abba pattern became the standard for Italian sonnets. For the sestet there were two different possibilities: cdd, cde and cdc, cdc. In time, other variants on this rhyming scheme were introduced, such as cdcdcd. Petrarch typically used an abba, abba pattern for the octave, followed by either cde, cde or cdc, cdc rhymes in the sestet. (The symmetries (abba vs. cdc) of these rhyme schemes have also been rendered in musical structure in the late 20th century composition Scrivo in Vento inspired by Petrarch's Sonnet 212, Beato in Sogno.[3]) In English, both English type (Shakespearean) sonnets and Italian type (Petrarchan) sonnets are traditionally written in iambic pentameter lines. The first known sonnets in English, written by Sir Thomas Wyatt and Henry Howard, Earl of Surrey, used this Italian scheme, as did sonnets by later English poets including John Milton, Thomas Gray, William Wordsworth and Elizabeth Barrett Browning. Early twentieth-century American poet Edna St. Vincent Millay also wrote most of her sonnets using the Italian form. This example, On His Blindness by Milton, gives a sense of the Italian rhyming scheme: When I consider how my light is spent (a) Ere half my days, in this dark world and wide, (b) And that one talent which is death to hide, (b) Lodged with me useless, though my soul more bent (a) To serve therewith my Maker, and present (a) My true account, lest he returning chide; (b) "Doth God exact day-labor, light denied?" (b) I fondly ask; but Patience to prevent (a) That murmur, soon replies, "God doth not need (c) Either man's work or his own gifts; who best (d) Bear his mild yoke, they serve him best. His state (e) Is Kingly. Thousands at his bidding speed (c) And post o'er land and ocean without rest; (d) They also serve who only stand and wait." (e)

QMRShakespeare's Sonnets is the title of a collection of 154 sonnets accredited to William Shakespeare which cover themes such as the passage of time, love, beauty and mortality. It was first published in a 1609 quarto with the full stylised title: SHAKE-SPEARES SONNETS. Never before Imprinted. (although sonnets 138 and 144 had previously been published in the 1599 miscellany The Passionate Pilgrim). The quarto ends with "A Lover's Complaint", a narrative poem of 47 seven-line stanzas written in rhyme royal. Structure[edit] The sonnets are almost all constructed from three quatrains, which are four-line stanzas, and a final couplet composed in iambic pentameter.[19] This is also the meter used extensively in Shakespeare's plays.

QMRPetrarchan sonnet: "ABBA ABBA CDE CDE" or "ABBA ABBA CDC DCD" Shakespearean sonnet: "ABAB CDCD EFEF GG" Spenserian sonnet: "ABAB BCBC CDCD EE" They have four parts

QMRA quatorzain (from Italian quattordici or French quatorze, fourteen) is a poem of fourteen lines. Historically the term has often been used interchangeably with the term 'sonnet'. Various writers have tried to draw distinctions between 'true' sonnets, and quatorzains. Nowadays the term is seldom used, and when it is, it usually is used to distinguish fourteen line poems that do not follow the various rules that describe the sonnet.

QMRSimple 4-line rhymes are usually characterized by having a simple system of abcb repeated throughout the entire poem. Though usually simplistic looking, the songs can be very complex and are widely used today in most poetry and songs. Many poets and authors use this pattern, including popular children's poets Bruce Larkin and Kenn Nesbitt.

Other uses of the form[edit] The clerihew form has also occasionally been used for non-biographical verses. Bentley opened his 1905 Biography for Beginners with an example, entitled "Introductory Remarks", on the theme of biography itself: The Art of Biography Is different from Geography. Geography is about Maps, But Biography is about Chaps. The third edition of the same work, published in 1925, included a "Preface to the New Edition" in 11 stanzas, each in clerihew form. One stanza ran: On biographic style (Formerly so vile) The book has had an effect Greater than I could reasonably expect.

QMRA clerihew (pronunciation: /ˈklɛrᵻhjuː/) is a whimsical, four-line biographical poem invented by Edmund Clerihew Bentley. The first line is the name of the poem's subject, usually a famous person put in an absurd light. The rhyme scheme is AABB, and the rhymes are often forced. The line length and metre are irregular. Bentley invented the clerihew in school and then popularized it in books. One of his best known is this (1905): Sir Christopher Wren Said, "I am going to dine with some men. If anyone calls Say I am designing St. Paul's."[1] Contents [hide] 1 Form 2 Practitioners 3 Examples 4 Other uses of the form 5 See also 6 Notes 7 Further reading Form[edit] A clerihew has the following properties: It is biographical and usually whimsical, showing the subject from an unusual point of view; it mostly pokes fun at famous people It has four lines of irregular length and metre (for comic effect) The rhyme structure is AABB; the subject matter and wording are often humorously contrived in order to achieve a rhyme, including the use of phrases in Latin, French and other non-English languages[2] The first line contains, and may consist solely of, the subject's name. According to a letter in the Spectator in the 1960s, Bentley said that a true clerihew has to have the name "at the end of the first line", as the whole point was the skill in rhyming awkward names.[3] Clerihews are not satirical or abusive, but they target famous individuals and reposition them in an absurd, anachronistic or commonplace setting, often giving them an over-simplified and slightly garbled description (not unlike the schoolboy style of 1066 and All That). The unbalanced and unpolished poetic meter and line length parody the limerick, and the clerihew in form also parodies the eulogy. Practitioners[edit] The form was invented by and is named after Edmund Clerihew Bentley. When he was a 16-year-old pupil at St Paul's School in London, the lines about Humphry Davy came into his head during a science class.[4] Together with his schoolfriends, he filled a notebook with examples.[5] The first use of the word in print was in 1928.[6] Clerihew published three volumes of his own clerihews: Biography for Beginners (1905), published as "edited by E. Clerihew";[4] More Biography (1929); and Baseless Biography (1939), a compilation of clerihews originally published in Punch illustrated by the author's son Nicolas Bentley. G. K. Chesterton, a friend of Bentley, was also a practitioner of the clerihew and one of the sources of its popularity. Chesterton provided verses and illustrations for the original schoolboy notebook and illustrated Biography for Beginners.[4] Other serious authors also produced clerihews, including W. H. Auden,[7] and it remains a popular humorous form among other writers and the general public. Among contemporary writers, the satirist Craig Brown has made considerable use of the clerihew in his columns for The Daily Telegraph.

QMREnclosed rhyme (or enclosing rhyme) is the rhyme scheme "abba" (that is, where the first and fourth lines, and the second and third lines rhyme). Enclosed-rhyme quatrains are used in introverted quatrains, as in the first two stanzas of Petrarchan sonnets. Contents [hide] 1 Examples 2 External links 3 See also 4 References Examples[edit] How soon hath Time, the subtle thief of youth, A Stolen on his wing my three and twentieth year! B My hasting days fly on with full career, B But my late spring no bud or blossom shew'th. A (From John Milton's "On His Being Arrived to the Age of Twenty-Three") Telling me again where I went wrong, Just listen to the laughter of the falling rain - When everyone knows now, in vain, That it was the rain’s fault all along. Rainfall, you're no friend of mine. Where were you when she was storming out? When I was pleading and trying not to shout? For you and me now, it’s the end of the line. You made silly puddles and watched as my girl left town You just watched, and with all your power You didn’t pelt, pour, or shower, You didn’t even drizzle down. Surely there was something you could have done? If you’d poured from the sky She wouldn't have left me, but you just didn't try: But you didn't do nothing, you let her walk on. Sidney Beck's Guilty Raindrops

QMRA quatrain is a type of stanza, or a complete poem, consisting of four lines. Existing in various forms, the quatrain appears in poems from the poetic traditions of various ancient civilizations including Ancient Greece, Ancient Rome, and China; and, continues into the 21st century, where it is seen in works published in many languages. During Europe's Dark Ages, in the Middle East and especially Iran, polymath poets such as Omar Khayyam continued to popularize this form of poetry, also known as Ruba'i, well beyond their borders and time. There are fifteen possible rhyme schemes, but the most traditional and common are: AAAA, AABB, ABAB, and ABBA. Contents [hide] 1 Forms 2 See also 3 Notes 4 References Forms[edit] Portrait of Henric Piccardt. Engraving by Pierre Landry from 1672 after a lost painting by Nicolaes Maes. Under the portrait, a quatrain by Guy Patin. The heroic stanza or elegiac stanza (iambic pentameter, rhyming ABAB or AABB; from Thomas Gray's "Elegy Written in a Country Churchyard") The curfew tolls the knell of parting day, The lowing herd wind slowly o'er the lea, The plowman homeward plods his weary way, And leaves the world to darkness and to me. The Ruba'i form of rhymed quatrain was favored by Omar Khayyám, among others. This work was a major inspiration for Edward FitzGerald's Rubaiyat of Omar Khayyam, written in Persian. The ruba'i was a particularly widespread verse form: the form rubaiyat reflects the plural. One of FitzGerald's verses[1] may serve to illustrate: Come, fill the Cup, and in the fire of Spring Your Winter garment of Repentance fling: The Bird of Time has but a little way To flutter—and the Bird is on the Wing. The Midnight Songs poetry form is from Fourth Century China, consisting of regular five-character lines, with each quatrain formed from a pair of rhymed couplets. The subject matter involves the personal thoughts and feelings of a courtesan during the four seasons, into which the quatrains are individually assigned. Shairi (also known as Rustavelian Quatrain) is an AAAA rhyming form used mainly in The Knight in the Panther's Skin. The Shichigon-zekku form used in Classical Chinese poetry and Japanese poetry. This type of quatrain uses a seven characters length of line. Both rhyme and rhythm are key elements, although the former is not restricted to falling at the end of the phrase. Ballad meter (The examples from "The Unquiet Grave" and "The Wife of Usher's Well" are both examples of ballad meter.) Decasyllabic quatrain used by John Dryden in Annus Mirabilis, William Davenant in Gondibert, and Thomas Gray Various hymns employ specific forms, such as the common meter, long meter, and short meter. The thirty syllable, Celtic verse form Englyn from the Welsh language is another interesting variation of the quatrain, and is also now popular in the English language.

QMRDecasyllabic quatrain is a term used for a poetic form in which each stanza consists of four lines of ten syllables each, usually with a rhyme scheme of AABB or ABAB. Examples of the decasyllabic quatrain in heroic couplets appear in some of the earliest texts in the English language, as Geoffrey Chaucer created the heroic couplet and used it in The Canterbury Tales.[1] The alternating form came to prominence in late 16th-Century English poetry and became fashionable in the 17th Century when it appeared in heroic poems by William Davenant and John Dryden. In the 18th Century famous poets such as Thomas Gray continued to use the form in works such as "Elegy Written in a Country Churchyard".[2][3] Shakespearean Sonnets, comprising 3 quatrains of iambic pentameter followed by a final couplet, as well as later poems in blank verse have displayed the various uses of the decasyllabic quatrain throughout the history of English Poetry.[4] Contents [hide] 1 Heroic Quatrain 2 Elegiac decasyllabic quatrain 3 Criticisms of the form 4 References Heroic Quatrain[edit] The decasyllabic quatrain with an alternating rhyme scheme is often referred to as the "heroic quatrain", the "heroic stanza" or the "four-line stave".[5] It came to prominence in the poem Nosce Teipsum by Sir John Davies in 1599. Although the use of ten-syllable lines had existed long before Davies's poems, the most common usage for the decasyllabic form was in the heroic couplet, where two lines of iambic pentameter were composed with a rhyme scheme that caused the vowel sound at the end of each line to correspond with the vowel sound of the line immediately following it.[6] Hence, a quatrain formed of heroic couplets would have a scheme of AABB. However, Nosce teipsum used a variation of the form wherein the couplets were separated by interjected lines, causing the scheme to gain complexity.[2] Following the publication of Nosce Teipsum, other poets in the English language also began to break free from the heroic couplet in their longer works. In 1650 William Davenant published the preface to his epic poem Gondibert, which was intended to contain five parts, similar to a five-act play.[7] In letter to Davenant, Thomas Hobbes, whom Davenant had met in Paris as a Royalist in exile, stated that he believed the poetic form Davenant intended to use in his poem would greatly change the course of poetry by opening up new possibilities for poetic expression. However, Hobbes freely admitted that he knew little about poetry before he attempted to explain his thoughts on literary theory.[2][8] While Hobbes praised Davenant's intention to write a poem of the scope of Gondibert, the work was never completed, and Davenant's most significant contribution to the development of the form came from his influence on Dryden, who would prove to be the decasyllabic quatrain's most prominent practitioner.[7] When Dryden published Annus Mirabilis in 1667, the form he used for the long poem was that of the decasyllabic quatrain. The poem achieved prominence quickly, as it discussed the year of 1666, during which many disasters had plagued the people of England. The poem contained 1216 lines of verse in 304 stanzas, each with a period at the end to show a "completeness" in each stanza.[9] While the form had achieved fame with other poets of Dryden's era and was considered "fashionable" by figures of the literary world,[2] Dryden's poem quickly became known as the standard-bearer of the genre.[9] Elegiac decasyllabic quatrain[edit] In 1751, Thomas Gray published "Elegy Written in a Country Churchyard", composed in the heroic stanza. Written in iambic pentameter, the poem followed the same metrical and structural patterns seen in Annus Mirabilis, but the use of the poetic form in an elegy gave it the title of the "elegiac decasyllabic quatrain".[3] Other writers of Gray's time also wrote heroic stanzas about topics similar to those in Elegy, such as Thomas Warton in Pleasures of Melancholy and William Collins in Ode to Evening.[10] While the topic chosen for these quatrains appealed to the novel literary devices of Gray's period with emphasis on melancholy and by taking place in the evening, Gray's contemporaries did not believe that the heroic quatrain, which was commonly used in the era, was dramatically changed or altered in the poems.[10] Criticisms of the form[edit] When discussing the auditory impression created by the sound of the decasyllabic quatrain, Ralph Waldo Emerson described how he would hum the tune created by the pattern of the rhyme scheme then long to fill the sounds in with the words of a poem.[11] However, Henry David Thoreau, when writing about Emerson's "Ode to Beauty" criticizes the use of the decasyllabic quatrain by suggesting that its tune is unworthy of the thoughts expressed.[12] George Saintsbury, in A History of English Prosody from the Twelfth Century to the Present Day, argues that the heroic quatrain, while breaking from the conventions of the heroic couplet, contains limitations that outweigh its liberating characteristics. To Saintsbury, the decasyllabic quatrain contains a stiffness that can not be overcome: You can not vary your stops, as in blank verse or the Spenserian, there is not room enough: and the recurrent divisions necessatated by the stanza lack at once the conciseness and the continuity of the couplet, the variety and amplitude of the rhyme-royal, octave, or Spenserian itself.[2] In his essay on Annus Mirabilis, A. W. Ward suggests that the decasyllabic quatrain used by Davenant and Dryden, with its insistence on providing each quatrain with the "completeness" given by the final period, causes the verse to strike the reader as "prosy". While Ward respects Dryden's willingness to use a new form despite his mastery of the heroic couplet, he believes that Annus Mirabilis exemplifies the weaknesses of the form and hinders Dryden's ability to use poetry to fully express his philosophical conceits.[9] Saintsbury, agreeing with this assessment, suggested that Dryden's choice to revert to the heroic couplet for his three poems on the restoration.[13]

QMRFour Doors is the concept in tasawwuf, and to a lesser extent in other branches of Islam such as Ismailism and Alevism, that there are four paths to Allah, starting with Sharia, then to Tariqa, then to Marifa, then to Haqiqa.

The rhyme scheme is abab cdcd efef gg. Sonnets using this scheme are known as Shakespearean sonnets. Often, the beginning of the third quatrain marks the volta ("turn"), or the line in which the mood of the poem shifts, and the poet expresses a revelation or epiphany. There are a few exceptions: Sonnets 99, 126, and 145. Number 99 has fifteen lines. Number 126 consists of six couplets, and two blank lines marked with italic brackets; 145 is in iambic tetrameters, not pentameters. There is one other variation on the standard structure, found for example in sonnet 29. The normal rhyme scheme is changed by repeating the b of quatrain one in quatrain three, where the f should be.

Cinema Chapter

QMRThe Legend (Hangul: 태왕사신기; hanja: 太王四神記; RR: Taewangsasingi; lit. "Story of the First King's Four Gods") is a 2007 South Korean historical fantasy television series, starring Bae Yong-joon, Lee Ji-ah, Moon So-ri and Choi Min-soo. Directed by Kim Jong-hak and written by Song Ji-na, it aired on MBC from September 11 to December 5, 2007 on Wednesdays and Thursdays at 21:55 for 24 episodes.[1][2] Loosely based on the legend of Dangun and Gwanggaeto the Great of Goguryeo, the story also adds mythical elements of the Four Symbols depicted in fantasy form as the four guardians who serve the king of Jyushin. Bae was paid ₩250 million per episode, the highest salary to date for a Korean drama actor.[3][4]

QMR4 is a 2005 Russian drama film directed by Ilya Khrjanovsky after a screenplay by Vladimir Sorokin. Originally it was conceived as a short film, but turned into a full-length film after four years of work. Contents [hide] 1 Plot 2 Cast 3 Reception 4 Awards 5 External links Plot[edit] Meat merchant Oleg, prostitute Marina, and piano tuner "simply Volodya" drop into an all-night bar in Moscow, where they are served by a narcoleptic bartender (three plus one is four) while each regales the others with made-up biographies. Oleg claims to work in President Putin's administration, supplying him with bottled water and his wife with liquor; Marina passes herself off as a marketing executive; and Volodya, the infamous lead singer of the rock group Leningrad, as a geneticist who clones twins (two times two makes four, again) in a laboratory that has been engaged in these experiments since the days of Stalin. After they separate, these fantasy realities, especially Volodya's, begin to dominate their everyday lives.