User:Beland/sandbox

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Vaccine schedule update[edit]

United States[edit]

Vaccine schedule recommendations for the United States are made by the National Center for Immunization and Respiratory Diseases at the Centers for Disease Control and Prevention. The National Childhood Vaccine Injury Act requires all health-care providers to provide parents or patients with copies of Vaccine Information Statements before administering vaccines.[1]

Injuries caused by any of the recommended vaccines (except dengue, PPSV23, RSVPPSV23, RSV, and RZV) are compensated through either the National Vaccine Injury Compensation Program or the Countermeasures Injury Compensation Program.


  •   † Range of recommended ages for everyone.
  •   # Range of recommended ages for certain risk factors and medical conditions.
  •   ‡ Range of recommended ages for catch-up immunization.
  • See references for more details.


Vaccine Schedule for the United States: 2024[2][3]
Infection Birth Months Years
1 2 4 6 9 12 15 18 19–23 2–3 4–6 7–10 11–12 13–15 16 17–18 19–26 27–49 50–64 65+
Respiratory syncytial virus Nirsevimab† depending on birth month and mother's vaccination status Nirsevimab# RSVV# during pregnancy (seasonal) RSVV# ≥60
Hepatitis B HepB† dose 1 HepB† dose 2 HepB‡ HepB† dose 3 HepB‡ HepB x2–4† 19-59 HepB x2–4# ≥60
Rotavirus RV† RV† RV†
Diphtheria DTaP† DTaP† DTaP† DTaP‡ DTaP† DTaP‡ DTaP† Tdap‡ Tdap† Tdap‡ Td or Tdap (every 10 years)†
Tetanus
Pertussis
Haemophilus influenzae Hib† Hib† Hib† Hib‡ Hib† Hib‡ Hib# Hib x1–3#
Polio IPV† IPV† IPV† IPV‡ IPV† IPV‡
Pneumococcus PCV13† PCV13† PCV13† PCV13‡ PCV13† PCV13‡ PCV13# PCV13# PCV13#
PPSV23# PPSV23 x1–2# PPSV23†
Influenza IIV (yearly)† IIV or LAIV (yearly)†
Measles MMR# MMR† MMR‡ MMR† MMR‡ MMR x1–2‡
Mumps
Rubella
Varicella VAR† VAR‡ VAR† VAR‡ VAR x1–2‡ VAR 2x#
Hepatitis A HepA# HepA x2† HepA‡ HepA x2–3#
Meningococcus MenACWY# MenACWY† MenACWY‡ MenACWY† MenACWY‡ MenACWY x1–2#
MenB x2–3#
MenB#
Human papillomavirus HPV# HPV x2–3† HPV‡ HPV‡ HPV#
Herpes Zoster RZV or ZVL†


Special circumstances[edit]

All vaccines have specific medical conditions for which they are counterindicated (administration is recommended against), and some have special administration guidance for certain conditions.

The CDC recommends pregnant women receive some vaccines, such as the measles, mumps, rubella (MMR) vaccine a month or more before pregnancy. The Tdap vaccine (to help protect against whooping cough) is recommended during pregnancy. Other vaccines, like the flu shot, can be given before or during pregnancy, depending on whether or not it is flu season. Vaccination is safe right after giving birth, even while breastfeeding.[4][5][6][7]

Sparkle[edit]

Notes to self: Follow ups[edit]

Geographical list titles[edit]

Note to self re: Talk:Mains electricity by country/Archive 4#Vehicles_and_non-country_places:

-- Beland (talk) 18:35, 23 May 2018 (UTC)

Other followup needed on:

-- Beland (talk) 02:11, 6 May 2019 (UTC)

Fixups, random[edit]

Rhyme[edit]

(results from 2023-06-01 dump)

  • Alliterative Revival - A second type of verse combining rhymed [[stanza]]s, usually of thirteen or occasionally fourteen lines, with the basic four-stress line also appeared during the Revival: it appears to have been a new development of the 14th century. Here the alliteration may often follow the pattern ''aa / aa'', ''ax / aa'', or even ''aa / bb'', though lines with four alliterating words are much more common than in verse using the unrhymed long line.
  • Casabianca (poem) - It is written in [[ballad meter]], rhyming ''abab''. It is about the true story of a boy who was obedient enough to wait for his father's orders, not knowing that his father is no longer alive. It is perhaps not widely realised that the boy in the poem is French and not English; his nationality is not mentioned.
  • Comtessa de Dia - Typical subject matter used by Comtessa de Dia in her lyrics includes optimism, praise of herself and her love, as well as betrayal. In ''{{lang|oc|A chantar}}'', Comtessa plays the part of a betrayed lover, and although she has been betrayed, continues to defend and praise herself. In ''{{lang|oc|Fin ioi me don'alegranssa}}'', however, the Comtessa makes fun of the {{lang|oc|lausengier}}, a person known for gossiping, comparing those who gossip to a "cloud that obscures the sun." In writing style, Comtessa uses a process known as ''{{lang|oc|coblas singulars}}'' in ''{{lang|oc|A chantar}}'', repeating the same rhyme scheme in each strophe, but changing the ''a'' rhyme each time. ''{{lang|oc|Ab ioi}}'', on the other hand, uses ''{{lang|oc|coblas doblas}}'', with a rhyme scheme of ab' ab' b' aab'. ''{{lang|oc|A chantar}}'' uses some of the motifs of Idyll II of [[Theocritus]].
  • Egidius waer bestu bleven - The lyrics of the song may be two verses shorter than shown below. After all, the manuscript does not contain them, see the site of the Koninklijke Bibliotheek. In that case, the rhyme scheme is perfectly symmetrical: ABA bbaba ABA ababb ABA. That could indicate that the most important verse of the song is the B verse: “mi lanct na di, gheselle mijn”. The rhyme scheme therefore only has two rhyme sounds (which is normal for a rondelle), namely '-even' and '-ijn' (which is pronounced 'ien' in Middle Dutch). These sharp sounds do not only occur in rhyme position, they are also hidden in the name Egidius and are also quite common elsewhere in the song, for example in the B-verse. In a song about death one would expect mostly dull sounds: oo, oe and aa, but not here; only “du coors die dead” sounds heavy. The light, happy, sharp sounds seem at first glance to be a contrast to the heaviness of the subject, but they also suggest the sharpness of the pain of being cut off. Gerrit Komrij: "The pain of death has opened his eyes to the pain of life." The choice for the sharp sounds (especially ie) may be prompted by the name of the regretted, but there is also a simpler explanation; in Latin literature, the ie was a sound associated with sadness.
  • Eiríkur Rögnvaldsson - '''Eiríkur Rögnvaldsson''' (born 1 June 1955 in [[Sauðárkrókur]], [[Iceland]]) is an Icelandic [[linguist]] and [[professor]] of Icelandic at the [[University of Iceland]]. He is the author of several prominent works on the Icelandic language, including ''Íslensk hljóðkerfisfræði'' (“Icelandic phonology”, 1993), ''Íslensk rímorðabók'' (“Icelandic rhyme dictionary”, 1989), and several textbooks for university and high school students. He is also a prominent Icelandic scholar in the field of [[natural language processing]], having among other things co-authored the [http://www.linguist.is/icelandic_treebank/Icelandic_Parsed_Historical_Corpus_(IcePaHC) Icelandic Parsed Historical Corpus].
  • Ernest Hilbert - In recent years Hilbert has composed in his own [[sonnet]] form described by [[Daniel Nester]] as the "[[Hilbertian]]" sonnet. Critic Christopher Bernard refers to them as "loosely formed sonnets, a form that Hilbert has made his own, proving this most classic of forms can contain anything the 21st century can throw at it." In his "Brief Introduction to Versification," which appears as an appendix to ''The Fortunes of Poetry in an Age of Unmaking'', professor James Matthew Wilson describes the Hilbertian sonnet as "a nonce form of the sonnet" with the [[rhyme scheme]] ABCABC DEFDEF GG. "While unmetered or only loosely metered, Hilbert's sonnets observe the boundaries of the little room of the sonnet marked by the rhyme scheme quite carefully." Critic [[Maryann Corbett]] has written in ''[[Rattle (magazine)|Rattle]]'' that "Hilbert has made the limits tight in a new way. He's created his own Houdini-like set of chains to wriggle out of: a new form that's already known as the Hilbertian sonnet, with the rhyme scheme abc abc def def gg. It's a form designed to grate against the expectations of the reader who is geared to the usual foursquare quatrains in the octaves of the Petrarchan and Shakespearian sonnet forms." Critic and classical scholar Chris Childers wrote in ''[[The Hopkins Review]]'' that "the structural units of Hilbert's sonnets fall outside the usual parameters of octave-sestet... allowing Hilbert to put the conventional volta (or turn) anywhere or nowhere. The effect is to de-formulaicize and de-familiarize the sonnet’s traditional rhetorical shape, shifting the weight of emphasis off of argument and onto imagery and voice, an effect to which the distant mutedness of the rhymes also contributes."
  • Glossary of poetry terms - ** [[Ballad]]: a popular narrative song passed down orally. In English, it typically follows a form of rhymed ("abcb") [[Quatrain|quatrains]] alternating 4-stress and 3-stress lines.
  • Glossary of poetry terms - * [[Common metre]]: a quatrain that rhymes "abab" and alternates 4-stress and 3-stress iambic lines. This is the meter used in hymns and ballads.
  • Glossary of poetry terms - * [[Couplet]]: two successive rhyming lines ("aa"), usually of the same length (usually re-occurring as "aa bb cc dd ...").
  • Glossary of poetry terms - * [[Enclosed rhyme]] (aka enclosing rhyme): "abba".
  • Glossary of poetry terms - * [[Long metre]] (aka long measure): a poetic metre consisting of quatrains (4-line stanzas) in [[iambic tetrameter]] with the rhyme pattern "abab".
  • Glossary of poetry terms - ** [[Petrarchan sonnet|Petrarchan]] (or Italian): traditionally follows the rhyme scheme "abba, abba, cdecde"; a common variation of the end is "cdcdcd", especially within the final 6 lines
  • Glossary of poetry terms - ** [[Shakespeare's sonnets|Shakespearean]] (or English): follows the rhyme scheme abab, cdcd, efef, gg, introducing a third quatrain (grouping of four lines), a final couplet, and a greater amount of variety with regard to rhyme than is usually found in its Italian predecessors. By convention, sonnets in English typically use iambic pentameter, while in the Romance languages, the hendecasyllable and Alexandrine are the most widely used meters.
  • Glossary of poetry terms - * [[Tercet]] (or triplet): a unit of three lines, rhymed ("aaa") or unrhymed, often repeating like the couplet.
  • Glossary of poetry terms - * [[Terza rima]]: an Italian stanzaic form consisting of tercets with interwoven rhymes ("aba bcb ded efe...").
  • Gondibert - The poem introduced the "Gondibert stanza", a [[decasyllabic quatrain]] in pentameters rhyming abab. It was adopted by Waller in ''[[s:A Panegyric to my Lord Protector|A panegyrick to my Lord Protector]]'' (1655) and by [[John Dryden]] in ''[[s:Heroic Stanzas on the Death of Oliver Cromwell|Heroic Stanzas on the Death of Oliver Cromwell]]'' and ''[[s:Annus Mirabilis: The Year of Wonders|Annus Mirabilis]]''. [[John Wilmot, 2nd Earl of Rochester]] uses it satirically in ''[[s:The Disabled Debauchee|The Disabled Debauchee]]''. According to the ''Cambridge History of Early Modern English Literature'' "Dryden revives this measure to make his peace with the 1650s and advertise his bid to continue Davenant's Laureate project, but it would soon be wickedly parodied in Rochester's 'Disabled Debauchee'."
  • Gospel Plow - The structure of Jackson's rendition is interesting because it does not follow the traditional spiritual composition format of four-line stanzas in the ''aaab'' or ''aaba'' rhyme scheme. Instead, it is composed in three-line stanzas that follow the ''aab'' rhyme scheme'' which might be attributed to being a gospel adaptation of the traditional spiritual form of the song.
  • Gwahoddiad - The tune is in [[Time signature#Stress and meter|3/4 time]], with [[fermata]]s at the option of the [[Choirmaster|songleader]]. The [[Meter (hymn)|metrical pattern]] is 6686 with refrain 5576. The [[rhyme scheme]] is abcb''';''' the second and fourth lines rhyme, whether in the verse or in the refrain.
  • Helinand of Froidmont - Helinand wrote a work in [[Old French]] called ''Les Vers de la Mort'' ("Verses of Death") shortly after entering the monastery, between 1194 and 1197. In fifty [[stanza]]s, Helinand asks [[Death (personification)|Death]] to call upon his best friends and exhort them to abandon the world. Each stanza contains twelve octosyllabic lines; the [[rhyme scheme]] is aab aab bba bba. This form was imitated by later poets and is called by critics the "helinandian stanza." In this poem, Death appears as a ubiquitous and hyperactive agent. Helinand does not use macabre elements, except in the title, which puns on the [[homonymy]] between "vers" (worms) and "vers" (verses). His lyrical sermon uses various tropes such as [[anaphora (rhetoric)|anaphora]], [[metaphor]], and [[adnomination]] to great effect. Throughout this unique [[testimony]] of his poetic talent as a ''[[trouvère]]'', Helinand appears as a precursor of [[François Villon|Villon]], [[Le Chastelain de Couci|Chastelain]] <!--Chastelain was from 12th-century not 15th-century -->, and other French poets of the 15th century. {{clarify|date=October 2014}}
  • Hemistich - In Arabic and Persian poetry, a line of verse almost invariably consists of two hemistichs of equal length, forming a couplet. In some kinds of Persian and Arabic poetry, known as [[mathnawi]] or [[masnavi]], the two hemistichs of a line rhyme with the scheme ''aa'', ''bb'', ''cc'', ''dd'', etc. In other kinds, such as the [[ruba'i]], [[qasida]], or [[ghazal]], the rhyme scheme is ''aa'', ''ba'', ''ca'', ''da'', and so on with the same rhyme used for the second hemistich of every couplet.
  • Hudibrastic - Instead of [[pentameter]], the lines were written in [[iambic tetrameter]]. The rhyme scheme is the same as in [[heroic verse]] (aa, bb, cc, dd, etc.), but Butler used frequent [[feminine rhyme]] for humor.
  • Ibn Faris - '''Abū al-Ḥusayn Aḥmad ibn Fāris ibn Zakariyyā ibn Muḥammad ibn Ḥabīb al-Rāzī''' ({{lang-ar|أبو الحسين أحمد بن فارس بن زكريا بن محمد بن حبيب الرازي}}, died [[Ray, Iran]] 395/1004) was a [[Persians|Persian]]{{sfn|Bosworth|1975|p=296}} linguist, scribe, scholar, philologist and lexicographer, As well as bearing the epithet ''al-Rāzī'' ('meaning 'from Ray'), ibn Fāris was also known variously by the epithets '''al-Shāfiʿī''', '''al-Mālikī''', '''al-lughawī''' ('the linguist'), '''al-naḥwī''' ('the grammarian'), '''al-Qazwīnī''' ('from Qazvin') and (possibly inaccurately) '''al-Zahrāwī''' ('from al-Zahrāʾ'). He is noted for compiling two of the early dictionaries to organise words alphabetically rather than according to the word's rhyming pattern. He was primarily associated with Ray. Initially, he was an adherent of the Shafi'i ''[[madhhab]]'', but later switched to the Maliki.
  • John Cornford - His best-known poem, usually titled (after Cornford's death) "To Margot Heinemann," partakes of the same emotional directness, but in a more tender vein. The poem has been described by the poet [[Carol Rumens]] as "one of the most moving and memorable 20th-century love poems". While the form is in some respects traditional—ballad-form quatrains rhyming abcb—its rhythms are skillfully irregular, with two to three stresses per line, and its rhymes often slant, including those of the moving last stanza: "And if bad luck should lay my strength Into the shallow grave, Remember all the good you can; Don't forget my love." Rumens says: "You feel as if you have been presented with a photograph of a young soldier's inner life. He is a passionate lover and a passionate warrior: these qualities are held in perfect psychic balance. And they are timeless. The speaker could be one of Homer's heroes. He could be a Spartan at [[Battle of Thermopylae|Thermopylae]]." But the famous opening lines "Heart of the heartless world, / Dear heart, the thought of you" actually contain a blind quotation from [[Karl Marx|Marx]], who in the Introduction to his ''[[Critique of Hegel's Philosophy of Right]]'' describes religion as "the heart of a heartless world."
  • Kyrielle - If the kyrielle is written in couplets, the [[rhyme scheme]] will be: "aA aA". There are a number of possible rhyme schemes for kyrielle constructed in quatrains, including "aabB ccbB" and "abaB cbcB" (uppercase letters signify the refrain). In the original [[French poetry|French]] kyrielle, lines were generally octosyllabic. In English, the lines are generally [[iambic tetrameter]]s.
  • Laughing Song - "Laughing Song" is a lyric poem, written in three stanzas of four-beat lines rhyming aabb. The title of this poem and its rhyme scheme is very appropriate for the message that Blake is trying to convey. The title in itself states that this is a song about laughter, and the three stanzas give this impression, especially in the final line of the second stanza: "With their sweet round mouths sing 'Ha, Ha, He.' ", and the final line of the third stanza: "To sing the sweet chorus of 'Ha, Ha, He.' "
  • Lied vom Hürnen Seyfrid - ''Hürnen Seyfrid'' is written in the so-called "Hildebrandston", named after its use in the ''[[Jüngeres Hildebrandslied]]'' that had an accompanying melody. The four line stanza consists of four "Langzeilen" or "long lines", each divided bya a [[caesura]] into [[hemistich]]s, each hemistich being three metrical feet long (having three stresses). Thus it is similar to the {{illm|Nibelungenstrophe|de}} only simplified, since the scheme used by the ''Nibelungenlied'' adds an extra stress on the final (8th) hemistich. The long lines rhyme in couplets (aabb), with occasional rhymes occurring in the hemistiches (xx).{{sfnp|Heinzle|1999|pp=85–86}} In the printed versions of ''Hürnen Seyfrid'', the hemistichs are printed as individual lines, producing an eight-line stanza.{{sfnp|Lienert|2015|p=67}}
  • List of English translations of the Divine Comedy - !scope=col |Publisher(s)!!scope=col | Parts translated !!scope=col | Form{{Efn|The ''Divine Comedy'' was originally written in [[hendecasyllabic]] ''[[terza rima]]'', eleven syllable long lines and a rhyme scheme of ''aba bcb cdc... yzy z''. Most English translations that attempt to replicate the rhyme scheme replace the hendecasyllables with [[iambic pentameter]], a ten-syllable form more common in English-language poetry. Many translations use a simplified rhyme scheme of ''aba cdc efe''..., described by Cunningham and listed here as "defective ''terza rima''".{{Sfn|Cunningham|1954|pp=115, 177}}|group=lower-roman}}!! scope="col" | Notes
  • List of most-viewed YouTube videos - | align=center | 19. || "[[Baa, Baa, Black Sheep|Baa Baa Black Sheep]]" || [[Cocomelon – Nursery Rhymes]] || align=center | 3.64 || align=right | June 25, 2018 ||
  • Little Willie rhymes - The above [[meter (poetry)|meter]] and line length, often rhymed '''aabb''', was subsequently relaxed with alternative [[rhyming scheme]] '''abab''' as illustrated by the following verse from a 1904 collection of Willie Ballads:
  • London, 1802 - "London, 1802" is a [[Petrarchan sonnet]] with a rhyme scheme of ''abba abba cdd ece''. The poem is written in the second person and addresses the late poet John Milton, who lived from 1608–1674 and is most famous for having written ''Paradise Lost''.
  • Máj - Most of the poem rhymes in an ''abba'' pattern, and while most of the lines are [[tetrameter]]s, some of the longer non-narrative [[Lyric poetry|lyrical]] descriptions consist of longer lines. Sometimes the poet uses longer dashes to indicate stops that are nonetheless part of the line, such as in the second canto, where the dripping of water measures out the convict's time: "zní--hyne--zní a hyne-- / zní--hyne--zní a hyne zas--" ("sound--die--sound and die-- / sound--die--sound and die again").
  • Malagueña (genre) - The verses of the malagueña are built as [[hendecasyllabic]] or [[octosyllabic]] [[quatrains]] with rhyme schemes of either ''ABAB'' or ''ABBA''. An example of a malagueña verse is one performed by the Venezuelan ensemble [[Vasallos del sol]], transcribed below:
  • Manannan Ballad - The ballad was written in [[quatrain]]s, rhyming ''abab''. The lines have [[Octosyllable|eight syllables]], or occasionally nine, in [[Iamb (poetry)|iambic]] metre. The poem uses neither [[alliteration]] nor [[internal rhyme]].{{sfn|Thomson|1961|p=523}}
  • Mandailing language - # {{Lang|btm|Ende Ungut-Ungut}}: Differentiated by the theme. {{Lang|btm|Ende}} is an expression of the heart, a change due to various things, such as the misery of life due to death, abandonment, and others. It also contains knowledge, advice, moral teachings, kinship system, and so on. {{Lang|btm|Ende}} laments use the pattern of rhymes with ab-ab or aa-aa. Attachments usually use a lot of plant names, because the language leaves.{{Clarify|date=November 2022}}
  • Mangal-Kāvya - ''Mangals'' are usually similar in form though variant in length. They are written for the most part in the simple payar meter, a couplet form with the rhyme scheme "aa bb," etc., which is considered an appropriate form for oral literature.
  • Maredudd ab Owain ab Edwin - During Maredudd's reign the [[Normans|Norman]]s sacked south-east Wales in response to Welsh support for Saxon revolts like that of [[Eadric the Wild]]. After a few attempts to halt this, Maredudd decided not to resist the Norman encroachment on [[Kingdom of Gwent|Gwent]] and was rewarded with lands in [[England]] in 1070. In 1072 he was killed in a battle by the river Rhymni. He was succeeded by his brother, [[Rhys ab Owain]], rather than his young son, Gruffydd ap Maredudd.
  • Martin Codax - '''Martin Codax''' or '''Codaz''', '''Martín Codax''' ({{IPA-gl|maɾˈtiŋ koˈðaʃ|lang}}) or '''Martim Codax''' was a [[Galician people|Galician]] [[medieval]] [[Minstrel|''joglar'']] (non-noble composer and performer, as opposed to a [[Troubadour|''trobador'']]), possibly from [[Vigo]], [[Galicia (Spain)|Galicia]] in present-day Spain. He may have been active during the middle of the thirteenth century, judging from scriptological analysis. He is one of only two out of a total of 88 authors of ''cantigas d'amigo'' who used ''only'' the archaic strophic form ''aaB'' (a rhymed distich followed by a refrain). He employed an archaic rhyme-system whereby ''i~o / a~o'' were used in alternating strophes. In addition Martin Codax consistently utilised a strict parallelistic technique known as ''leixa-pren'' (see the example below; the order of the third and fourth strophes is inverted in the Pergaminho Vindel but the correct order appears in the [[Cancioneiro da Biblioteca Nacional]] in Portugal, and the [[Cancioneiro da Vaticana]]). There is no documentary biographical information concerning the poet, dating the work at present remains based on theoretical analysis of the text.
  • Martinetes - The [[stanza]] of the martinete is the cuarteta romanceada: four eight-syllable lines, rhyming in assonance abcb. The subject matters often contain allusions to persecution, prison, and the environment of the forges.
  • Meinloh von Sevelingen - However, he is also the first Minnesänger to show influence from the [[Rhineland]] and thus from the [[troubadours]] and [[trouvères]].{{sfn|de Boor|1972|p=242}} This is apparent in the tri-partite structure of most of his strophes, which have the seven-line rhyme-scheme aa|bb|cxc, an anticipation of the later classic [[canzona]] form ab|ab|cxc. The unrhymed sixth line (the "Waise" or "orphan") is a characteristic Romance import.{{sfn|Paul|Glier|1979|pp=87, 89}}
  • Metre (poetry) - Persian poetry is written in couplets, with each half-line (hemistich) being 10-14 syllables long. Except in the [[ruba'i]] (quatrain), where either of two very similar metres may be used, the same metre is used for every line in the poem. Rhyme is always used, sometimes with double rhyme or internal rhymes in addition. In some poems, known as [[masnavi (poetic form)|masnavi]], the two halves of each couplet rhyme, with a scheme ''aa'', ''bb'', ''cc'' and so on. In lyric poetry, the same rhyme is used throughout the poem at the end of each couplet, but except in the opening couplet, the two halves of each couplet do not rhyme; hence the scheme is ''aa'', ''ba'', ''ca'', ''da''. A ''ruba'i'' (quatrain) also usually has the rhyme ''aa, ba''.
  • Mid-Atlantic accent - *No weak vowel merger: The vowels in "Ros''a''s" and "ros''e''s" are distinguished, with the former being pronounced as {{IPA|[ə]}} and the latter as either {{IPA|[ɪ]}} or {{IPA|[ɨ]}}. This is done in General American, as well, but in the Mid-Atlantic accent, the same distinction means the retention of historic {{IPA|[ɪ]}} in weak preconsonantal positions (as in RP), so "rabb''i''t" does not rhyme with "abb''o''t".
  • Minnesang - From around 1170, German lyric poets came under the influence of the Provençal [[troubadour]]s and the French ''[[trouvère]]s''. This is most obvious in the adoption of the [[strophic form]] of the ''[[canzone]]'', at its most basic a seven-line strophe with the rhyme scheme ab|ab|cxc, and a musical AAB structure, but capable of many variations.
  • Music of Puerto Rico - [[Jíbaro (Puerto Rico)|Jíbaro]]s are small farmers of mixed descent who constituted the overwhelming majority of the Puerto Rican population until the mid-twentieth century. They are traditionally recognized as romantic icons of land cultivation, hard-working, self-sufficient, hospitable, and with an innate love of song and dance. Their instruments were relatives of the Spanish vihuela, especially the [[Puerto Rican cuatro|cuatro]] — which evolved from four single strings to five pairs of double strings — and the lesser known tiple. A typical jíbaro group nowadays might feature a cuatro, guitar, and percussion instrument such as the [[güiro]] scraper and/or bongo. Lyrics to jíbaro music are generally in the décima form, consisting of ten octosyllabic lines in the rhyme scheme abba, accddc. Décima form derives from 16th century Spain. Although it has largely died out in that country (except the Canaries), it took root in various places in Latin America—especially Cuba and Puerto Rico—where it is sung in diverse styles. A sung décima might be pre-composed, derived from a publication by some literati, or ideally, improvised on the spot, especially in the form of a “controversia” in which two singer-poets trade witty insults or argue on some topic. In between the décimas, lively improvisations can be played on the cuatro. This music form is also known as "típica" as well as "trópica".
  • Niggers in the White House - The poem is composed of 14 [[stanza]]s with four lines per stanza. Every stanza is written in the [[simple 4-line]] [[rhyme scheme]] (abcb). The term "nigger" is used in all the stanzas of the poem except two. It is ascribed to "unchained poet", whose identity is unknown.{{Citation needed|date=June 2019}}
  • O Come, O Come, Emmanuel - Each stanza of the hymn consists of a four-line verse (in 88.88 meter with an ''aabb'' rhyme scheme), paraphrasing one of the O antiphons. There is also a new two-line refrain (again in 88 meter): "Gaude, gaude! Emmanuel / nascetur pro te, Israel", i.e., "Rejoice, Rejoice! Emmanuel will be born for you, O Israel". There are only five verses: two of the antiphons are omitted and the order of the remaining verses differs from that of the O Antiphons, most notably the last antiphon ("O Emmanuel") becomes the first verse of the hymn and gives the hymn its title of “Veni, veni, Emmanuel”:
  • O Sacred Love of the Beloved Country - The poem is written in lines of 11 [[syllable]]s, in [[ottava rima]] (rhyming ab ab ab cc).
  • Pantoum - [[Baudelaire]]'s famous poem "Harmonie du soir" is usually cited as an example of the form, but it is irregular. The stanzas rhyme ''abba'' rather than the expected ''abab'', and the last line, which is supposed to be the same as the first, is original.
  • Pantun - In its most basic form, the {{lang|ms|pantun}} consists of a quatrain which employs an ''abab'' [[rhyme scheme]]. A {{lang|ms|pantun}} is traditionally recited according to a fixed rhythm and as a rule of thumb, in order not to deviate from the rhythm, every line should contain between eight and 12 syllables. "The {{lang|ms|pantun}} is a four-lined verse consisting of alternating, roughly rhyming lines. The first and second lines sometimes appear completely disconnected in meaning from the third and fourth, but there is almost invariably a link of some sort. Whether it be a mere association of ideas, or of feeling, expressed through [[assonance]] or through the faintest nuance of thought, it is nearly always traceable" (Sim, page 12). The {{lang|ms|pantun}} is highly allusive and in order to understand it, readers generally need to know the traditional meaning of the symbols the poem employs. An example (followed by a translation by Katharine Sim):{{sfnp|Sim|1987}}
  • Pantun - Sometimes a {{lang|ms|pantun}} may consist of a series of interwoven quatrains, in which case it is known as a {{lang|ms|pantun berkait}}. This follows the ''abab'' rhyme scheme with the second and fourth lines of each [[stanza]] becoming the first and third lines of the following stanza. Finally, the first and third lines of the first stanza become the second and fourth lines of the last stanza, usually in reverse order so that the first and last lines of the poem are identical. This form of {{lang|ms|pantun}} has exercised the most influence on Western literature, in which it is known as the ''[[pantoum]]''.
  • Paul-Jean Toulet - As a writer, Toulet is best known for ''Les Contrerimes,'' poems written in a verse form of his own invention, the rhyme scheme ''abba'', with the lines alternating long, short, long, short. The collection was published posthumously, although many of the poems appeared in various literary magazines, either in earlier versions or finished forms (Toulet was an inveterate polisher of his verse).
  • Paul-Jean Toulet - Toulet was known for his acerbic wit, opium addiction, and friendship with Maurice Sailland. Born to a wealthy sugar planter family, he gained fame for his poetry collection, Les Contrerimes, featuring a unique abba rhyme scheme. Although his novels are mostly unreadable today, Mon amie Nane is an exception. Toulet inspired the fantaisiste poetic movement and translated Arthur Machen's The Great God Pan into French. His novel, Monsieur de Paur, homme public, inspired by Machen, saw little success until its re-publication in 1918 by admirer Henri Martineau.
  • Persian metres - *Lyric poems, in which, apart from the first line, the two halves of each verse do not rhyme, but the same rhyme is used at the end of every verse throughout the poem, thus ''aa ba ca ...''. Among lyric poems with a single rhyme throughout, the two most common forms are the [[ghazal]] (a short poem usually about love) and the [[qasida]] (which is longer, and may be over 100 verses). The short [[ruba'i]] (quatrain) and [[do-bayti]], which usually have the rhyme scheme ''aa ba'', also belong to this type.
  • Persian metres - *Poems in rhyming couplets, each couplet with a different rhyme, thus with the scheme ''aa bb cc ...''. A poem of this type is known as a ''[[Mathnawi (poetic form)|masnavi]]'' (plural ''masnavīyāt''). The poems in rhyming couplets can be of any length from a single couplet to long poems such as [[Ferdowsi]]'s ''[[Shahnameh]]'', which is over 50,000 couplets long, or [[Rumi]]'s ''[[Masnavi|Masnavi-ye Ma'navi]]'' "Spiritual Masnavi", of over 25,000 couplets.
  • Persian metres - The rhyme scheme for a ''ruba'i'' is ''aa ba''; in this respect it resembles lyric poetry rather than a ''masnavi''.
  • Persian metres - The same metre 2.1.11, or ''hazaj'', was used from early times in popular poetry, such as the [[do-baytī]], in which the opening iamb (u –) can sometimes be replaced by – – or – u. A ''do bayti'' is a quatrain, but in a different metre from the ''ruba'i''; like the ''ruba'i'' its rhyme scheme is ''aa ba''. The theme of love is evident in examples such as the following by [[Baba Tahir|Baba Taher]]:
  • Persian metres - This metre 5.1.10 is also used, although less often, in lyric poetry. In one of his ghazals, [[Saadi Shirazi|Saadi]] uses it in a stanzaic form with four lines to a verse. The rhyme scheme is ''aaba, ccca, ddda'', and so on. The twelfth verse goes as follows:
  • Persian metres - *Very short poems (typically of two lines) which are included in works such as Saadi's [[Gulistan (book)|Golestan]]. In these, the rhyme-scheme ''ab cb'' is typical, but ''ab ab'', ''aa bb'', and ''aa aa'' are also found.
  • Persian riddles - (Afghanistan, rhyme aaba, following the quatrain pattern known as ''čar bayti'' also used in folk lyrics.)
  • Pierrot lunaire (book) - Each of Giraud's poems is a [[rondel (poem)|rondel]], a form he admired in the work of the [[Parnassianism|Parnassians]], especially of [[Théodore de Banville]]. (It is a "bergamask" rondel, not only because the jagged progress of the poems recalls the eponymous rustic [[Bergamask|dance]], but also because 19th-century admirers of the Commedia dell'Arte characters [or "masks"] often associated them with the Italian town of [[Bergamo]], from which Harlequin is said to have hailed.) Unlike many of the Symbolist poets (though certainly not all: [[Paul Verlaine|Verlaine]], [[Stéphane Mallarmé|Mallarmé]], even the early [[Arthur Rimbaud|Rimbaud]] and [[Jules Laforgue|Laforgue]], worked comfortably within strict forms), Giraud was committed to traditional techniques and structures as opposed to the comparatively amorphous constraints of [[free verse]]. He exclaimed to his friend [[Emile Verhaeren]], after reading the latter's ''Les Moines'' (The Monks), "What I disapprove of with horror, what angers and irritates me is your improvising disdain for verse form, your profound and vertiginous ignorance of prosody and language." Such an attitude leads the critic Robert Vilain to conclude that, while Giraud shared "the Symbolists' concern for the careful, suggestive use of language and the power of the imagination to penetrate beyond the surface tension of the here-and-now", he was equally committed to a Parnassian aesthetic. He adheres to the sparer of the rondel forms, concluding each poem with a [[quintet]] rather than a [[sestet]] and working within rather strictly observed eight-syllable lines. As is customary, each poem is restricted to two rhymes alone, one [[masculine rhyme|masculine]], the other [[feminine rhyme|feminine]], resulting in a [[rhyme scheme|scheme]] of ABba abAB abbaA, in which the capital letters represent the [[refrain]]s, or repeated lines. Within this austere structure, however, the language is—to use Vilain's words—"suggestive" and the imaginative penetration beneath the "here-and-now" daring and provocative.
  • Poetic devices - * [[Rondeau (forme fixe)|Rondeau]]–A fixed form used in light or witty verses. It consists of fifteen octo- or decasyllabic lines with three stanzas and two rhymes applied throughout. A word or words from the initial segment of the first line are used as a refrain to end the second and third stanza to create a rhyme scheme aabba aabR Gabbana.
  • Political verse - Each verse is a 15-syllable [[Iambus (genre)|iambic verse]], normally (and in accordance with the [[ancient Greek]] poetical tradition) the Political verse is without [[rhyme]]. So it is a type of [[blank verse]] of [[iambic heptameter]]. The meter consists of lines made from seven ("hepta") feet plus an unstressed syllable. There is a standard [[cesura]] (pause in the reading of a line of a verse that does not affect the metrical account of the timing) after the eighth syllable. Rhyme occurs only rarely, especially in the earlier folk songs and poems. Later examples, especially in personal poetry and in songwriting there is rhyme. In those cases the [[rhyme scheme]] is more commonly that of the [[couplet]]: aa, or, aa/bb/cc/dd etc.; sometimes the rhyme may appear at the end of the cesura and that of the stanza, or in two successive cesurae. Generally speaking though, rhyme is used quite sparingly, either to make a dramatic point or for comic effect.
  • Rafael Bonachela - For the Sydney Dance Company, Bonachela has created multiple new works, including ''we unfold'' (2009), ''6 Breaths'' (2010), ''Are We That We'' (2010), ''Irony Of Fate'' (2010), ''Soledad'' (2010), ''LANDforms'' (2011), ''The Land of Yes and the Land of No'' (2011–12), ''2 One Another'' (2012), ''Project Rameau'' (2012), ''Project Rameau'' (joint with [[Richard Tognetti]])(2012–13), ''13 Rooms'' (2013), ''Emergence'' (2013), ''Les Illuminations'' (2013), ''2 in D Minor'' (2014), ''Inside There Falls'' (Installation by [[Mira Calix]])(2014), ''Interplay'' (2014), ''Louder Than Words'' (2014), ''Scattered Rhymes'' (2014), ''Frame of Mind'' (2015), ''CounterMove'' (2016), ''Lux Tenebris'' (2016), ''Nude Live'' (2017), ''Ocho'' (2017), ''Orb'' (2017), ''ab [intra]'' (2018) and ''Impermanence'' (2021).{{r|n0}}
  • Rhyme scheme - * A<sup>1</sup>abA<sup>2</sup> A<sup>1</sup>abA<sup>2</sup> – Two stanzas, where the first lines of both stanzas are exactly the same, and the last lines of both stanzas are the same. The second lines of the two stanzas are different, but rhyme at the end with the first and last lines. (In other words, all the "A" and "a" lines rhyme with each other, but not with the "b" lines.)
  • Rhyme scheme - * [[Roundel (poetry)|Roundel]]: abaB bab abaB (capital letters represent lines repeated verbatim)
  • Rhyme scheme - * [[Villanelle]]: A<sup>1</sup>bA<sup>2</sup> abA<sup>1</sup> abA<sup>2</sup> abA<sup>1</sup> abA<sup>2</sup> abA<sup>1</sup>A<sup>2</sup>, where A<sup>1</sup> and A<sup>2</sup> are lines repeated exactly which rhyme with the "a" lines
  • Rondeau (forme fixe) - Another version has the refrains shortened even further. Both restatements are reduced to just the first two or three words of the first line, which now stand as short, pithy, non-rhyming lines in the middle and at the end of the poem. These half-lines are called {{lang|fr|rentrement}}. If derived from the erstwhile {{lang|fr|rondeau quatrain}}, this results in a 12-line structure that is now called the "rondeau prime", with the {{lang|fr|rentrements}} in lines 7 and 12. If derived from the erstwhile 21-line {{lang|fr|rondeau cinquain}}, the result is a 15-line form with the {{lang|fr|rentrements}} in lines 9 and 15 (rhyme scheme aabba–aabR–aabbaR).
  • Rondeau (forme fixe) - In larger rondeau variants, each of the structural sections may consist of several verses, although the overall sequence of sections remains the same. Variants include the ''rondeau tercet'', where the refrain consists of three verses, the ''rondeau quatrain'', where it consists of four (and, accordingly, the whole form of sixteen), and the ''rondeau cinquain'', with a refrain of five verses (and a total length of 21), which becomes the norm in the 15th century. In the ''rondeau quatrain'', the rhyme scheme is usually ABBA ab AB abba ABBA; in the ''rondeau cinquain'' it is AABBA aab AAB aabba AABBA.
  • Sonnet 102 - Sonnet 102 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The 8th line exemplifies a regular iambic pentameter:
  • Sonnet 109 - Sonnet 109 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The 12th line exemplifies a regular iambic pentameter:
  • Sonnet 116 - Sonnet 116 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The 10th line exemplifies a regular iambic pentameter:
  • Sonnet 124 - Sonnet 124 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter:
  • Sonnet 125 - Sonnet 125 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form ''abab cdcd efef gg'', although (as discussed below) in this case the ''f'' rhymes repeat the sound of the ''a'' rhymes. It is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter:
  • Sonnet 126 - Although known as "Sonnet 126", this poem is not formally a sonnet in the strict sense, and is one of only two poems in the series (the other being [[Sonnet 99]]) which do not conform to Shakespeare's typical rhyme scheme. Instead of 14 lines rhyming ''abab cdcd efef gg'', the poem is composed of six couplets (''aa bb cc dd ee ff''). Like the other sonnets (except [[Sonnet 145]]) it is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The 5th line exemplifies a regular iambic pentameter:
  • Sonnet 132 - Sonnet 132 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The 3rd line exemplifies a regular iambic pentameter:
  • Sonnet 136 - Sonnet 136 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The 7th line exemplifies a regular iambic pentameter:
  • Sonnet 137 - Sonnet 137 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The 5th line exemplifies a regular iambic pentameter:
  • Sonnet 138 - Sonnet 138 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The 6th line exemplifies a regular iambic pentameter:
  • Sonnet 144 - Sonnet 144 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The 4th line exemplifies a regular iambic pentameter:
  • Sonnet 147 - Sonnet 147 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The 8th line exemplifies a regular iambic pentameter:
  • Sonnet 154 - Sonnet 154 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The 1st line exemplifies a regular iambic pentameter:
  • Sonnet 15 - Sonnet 15 is typical of an English (or "Shakespearean") sonnet. Shakespeare's sonnets "almost always consist of fourteen rhyming [[Iambic pentameter|iambic-pentameter]] lines", arranged in three quatrains followed by a couplet, with the rhyme scheme ''abab cdcd efef gg''. Sonnet 15 also contains a [[Volta (literature)|volta]], or shift in the poem's subject matter, beginning with the third quatrain.
  • Sonnet 17 - Sonnet 17 is an English or Shakespearean [[sonnet]], consisting of three [[quatrain]]s followed by a [[couplet]]. It follows the form's typical rhyme scheme: ''abab cdcd efef gg''. Sonnet 17 is written in [[iambic pentameter]], a form of [[Metre (poetry)|meter]] based on five pairs of metrically weak/strong syllabic positions. The sonnet's fourth line exemplifies a regular iambic pentameter:
  • Sonnet 21 - Sonnet 21 is a typical English or Shakespearean [[sonnet]]. It consists of three [[quatrain]]s followed by a [[couplet]], nominally rhyming ''abab cdcd efef gg'' — though this poem has six rhymes instead of seven because of the common sound used in rhymes ''c'' and ''f'' in the second and third quatrains: "compare", "rare", "fair", and "air".
  • Sonnet 29 - Sonnet 29 follows the same basic structure as Shakespeare's other sonnets, containing fourteen lines and written in [[iambic pentameter]], and composed of three rhyming [[quatrain]]s with a rhyming [[couplet]] at the end. It follows the traditional English rhyme scheme of ''abab cdcd efef gg'' — though in this sonnet the ''b'' and ''f'' rhymes happen to be identical. As noted by Bernhard Frank, Sonnet 29 includes two distinct sections with the Speaker explaining his current depressed state of mind in the first octave and then conjuring what appears to be a happier image in the last sestet.
  • Sonnet 41 - Shakespeare's sonnets conform to the [[Shakespearean sonnet|English]] or Shakespearean sonnet form. The form consists of fourteen lines structured as three [[quatrain]]s and a [[couplet]], rhyming ''abab cdcd efef gg'' and written in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. While Shakespeare's versification maintains the English sonnet form, Shakespeare often rhetorically alludes to the form of [[Petrarchan sonnets]] with an [[octave]] (two quatrains) followed by a [[sestet]] (six lines), between which a "turn" or [[Volta (literature)|''volta'']] occurs, which signals a change in the tone, mood, or stance of the poem. The first line exemplifies a regular iambic pentameter:
  • Sonnet 4 - The rhyme scheme of the sonnet is ''abab cdcd efef gg'', the typical rhyme scheme for an English or Shakespearean [[sonnet]]. There are three [[quatrain]]s and a [[couplet]] which serves as an apt conclusion. The fourth line exemplifies a regular [[iambic pentameter]] line:
  • Sonnet 53 - Sonnet 53 is an English or Shakespearean [[sonnet]]. The Shakespearean sonnet contains three [[quatrain]]s followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of this form, ''abab cdcd efef gg'' and is composed in a type of poetic [[Metre (poetry)|metre]] called [[iambic pentameter]] based on five pairs of metrically weak/strong syllabic positions. The seventh line exemplifies a regular iambic pentameter:
  • Sonnet 54 - Sonnet 54 is an English or Shakespearean [[sonnet]]. The English sonnet contains three [[quatrain]]s followed by a final rhyming [[couplet]]. This poem follows the rhyme scheme of the English sonnet, ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of [[Metre (poetry)|metre]] in which each line has five feet, and each foot has two syllables that are accented weak/strong. The fifth line exemplifies a regular iambic pentameter:
  • Sonnet 57 - Sonnet 57 is an English or Shakespearean [[sonnet]]. The English sonnet contains three [[quatrain]]s followed by a final rhyming [[couplet]]. It follows the form's typical rhyme scheme, ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The sixth line exemplifies a regular iambic pentameter:
  • Sonnet 60 - Sonnet 60 is an English or Shakespearean [[sonnet]]. The Shakespearean sonnet contains three [[quatrain]]s followed by a final rhyming [[couplet]]. It follows the form's typical rhyme, ''abab cdcd efef gg'' and is written a type of poetic [[Metre (poetry)|metre]] called [[iambic pentameter]] based on five pairs of metrically weak/strong syllabic positions. The thirteenth line exemplifies a regular iambic pentameter:
  • Sonnet 64 - Sonnet 64 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form, ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The fourth line exemplifies a regular iambic pentameter:
  • Sonnet 65 - Sonnet 65 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form, ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter:
  • Sonnet 68 - Sonnet 68 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form, ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The second line exemplifies a regular iambic pentameter:
  • Sonnet 71 - Sonnet 71 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the typical rhyme scheme of the form, ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a type of poetic [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions. The first line exemplifies a regular iambic pentameter:
  • Sonnet 78 - Sonnet 78 is an English or Shakespearean [[sonnet]]. The English sonnet has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the rhyme scheme, ''abab cdcd efef gg'' and is composed in [[iambic pentameter]], a [[Metre (poetry)|metre]] based on five feet in each line, and two syllables in each foot, accented weak/strong. Most of the lines are regular iambic pentameter, including the 5th line:
  • Sonnet 7 - Sonnet 7 is a typical English or Shakespearean [[sonnet]]. This type of sonnet consists of three [[quatrain]]s followed by a [[couplet]], and follows the form's rhyme scheme: ''abab cdcd efef gg''. The sonnet is written in [[iambic pentameter]], a type of [[Metre (poetry)|metre]] based on five pairs of metrically weak/strong syllabic positions per line, as exemplified in line five (where "heavenly" is contracted to two syllables):
  • Sonnet 88 - Sonnet 88 is an English or Shakespearean [[sonnet]], which has three [[quatrain]]s, followed by a final rhyming [[couplet]]. It follows the rhyme scheme, ''abab cdcd efef gg'' and is composed in [[iambic pentameter]] lines, which is a poetic [[Metre (poetry)|metre]] in which each line has five feet, and each foot has two syllables accented weak/strong. Most of the lines are regular iambic pentameter, including the first line:
  • Sonnet on the Great Suffering of Jesus Christ - The poem is written in the manner of Italian or [[Petrarchan sonnet]], rhyming ''abba abba cdc dcd''. It is composed in typical 11-syllable Polish [[hendecasyllable]] lines having half-lines of 5 and 6 syllables, separated by a [[caesura]]:
  • Star of the County Down - "The Star of the County Down" uses a tight rhyme scheme. Each [[stanza]] is a double [[quatrain]], and the first and third lines of each quatrain have an internal rhyme on the second and fourth feet: [aa]b[cc]b. The refrain is a single quatrain with the same rhyming pattern.
  • Stirling numbers of the second kind - The Stirling numbers of the second kind can represent the total number of [[rhyme scheme]]s for a poem of ''n'' lines. <math>S(n,k)</math> gives the number of possible rhyming schemes for ''n'' lines using ''k'' unique rhyming syllables. As an example, for a poem of 3 lines, there is 1 rhyme scheme using just one rhyme (aaa), 3 rhyme schemes using two rhymes (aab, aba, abb), and 1 rhyme scheme using three rhymes (abc).
  • Success is counted sweetest - The poem's three unemotional [[quatrain]]s are written in [[iambic trimeter]] with only line 5 in [[iambic tetrameter]]. Lines 1 and 3 (and others) end with extra syllables. The rhyme scheme is abcb. The poem's "success" theme is treated [[paradox]]ically: Only those who know defeat can truly appreciate success. Alliteration enhances the poem's lyricism. The first stanza is a complete observation and can stand alone. Stanzas two and three introduce military images (a captured flag, a victorious army, a dying warrior) and are dependent upon one another for complete understanding.
  • Svetlana (ballad) - It is written in [[trochee]] with alternating feet 4-3, and in long lines to compensate for the endings for men, and in short lines - for women.{{dubious|date=May 2023}}<!-- Is this actually referring to [[Masculine and feminine endings]]? --> The stanza has 14 lines with the [[rhyming scheme]] abaBcFcFddEihE (masculine capitalized, feminine lowercase). Thus, it closely resembles a [[sonnet]], albeit much longer.
  • Symphony No. 5 (Enescu) - The text used in the last movement of the symphony does not quite correspond to any of the four "official" versions of Eminescu's poem, but is based on an early variant beginning with the words "De-oi adormi curând / În noaptea uitării / Să mă duceţi tăcând, / La marginea mării" (When soon I'm laid to rest / in the quiet evening / bring me silently / to the seashore). Eminescu's variant has nine stanzas, but for the symphony, Enescu has added an extra one in the penultimate position. It is taken from the final version, but with the last two lines exchanged in order to match the ''abab'' rhyme scheme of the earlier variant: "Luceferi ce răsar / Din umbră de cetini / O să-mi zâmbească iar / Fiindu-mi prieteni" (Rising evening stars / from the shadow of the branches / will smile on me again / having been my friends).{{sfn|Bentoiu|2010|p=535}}{{sfn|Țăranu|1973|p=24}}
  • Terza rima - '''''Terza rima''''' ({{IPAc-en|ˌ|t|ɛər|t|s|ə|_|ˈ|r|iː|m|ə}}, <small>also</small> {{IPAc-en|US|ˌ|t|əːr|-}}, {{IPA-it|ˈtɛrtsa ˈriːma|lang}}; {{Literal translation|third rhyme}}) is a [[rhyme|rhyming]] [[Verse (poetry)|verse]] form, in which the poem, or each poem-section, consists of [[tercets]] (three line stanzas) with an interlocking three-line [[rhyme scheme]]: The last word of the second line in one [[tercet]] provides the rhyme for the first and third lines in the tercet that follows (''aba bcb cdc''). The poem or poem-section may have any number of lines, but it ends with either a single line or a [[couplet]], which repeats the rhyme of the middle line of the previous tercet (''yzy z'' or ''yzy zz'').
  • The complaint and lamentation of Mistresse Arden of Feversham in Kent - The ballad is written in 48 quatrains of [[iambic pentameter]], rather than the traditional [[Common metre|ballad meter]]. The rhyme scheme is ''aabb''. Most of the ballad is related from the first-person perspective of Alice Arden herself; this shifts significantly in the last six stanzas, which is told from the perspective of an anonymous narrator and relates the deaths of those accused of murdering Arden.
  • The Garden of Love (poem) - The first two stanzas of the poem are written in a loose anapestic trimeter and rhyme ''abcb''. The third stanza begins in the same way, but the last two lines of this stanza make a sharp break with the form of the preceding stanzas. These concluding lines are written in tetrameter rather than trimeter, and they fail to maintain the ''abcb'' rhyme scheme. Instead the lines rhyme internally (''gowns''/''rounds'' and ''briars''/''desires''). These abrupt changes in versification serve to dramatize the changes that have taken place in this "Garden of Love."
  • There's a certain Slant of light - The poem's metrical pattern resembles [[ballad meter]], however, only the final stanza fully follows the meter of a trochaic ballad. The other stanzas are more irregular in observance of ballad meter. The first stanza, although it is in ballad meter (4-3-4-3), seems stilted when following the four downbeats of trochaic ballad; it is read most naturally with anapests at the start of line 1 and at the beginning and end of line 3. Stanzas two and three appear to shorten the beginning of each line (3-3-4-3), creating an abrupt effect. End-rhyme follows a scheme of abcb defe ghih jklk, a typical ballad pattern.
  • The Ruined Maid - The poem is presented a conversation between two people. To depict this, Hardy uses two voices: For the ruined maid he uses proper English, and for the other person he uses a working-class dialect. The poem features a couplet rhyme scheme which can often be found in satirical poetry. This form is also known as an "aabb" rhyme scheme because every two lines rhyme in each stanza.
  • The Snow (poem) - A large majority of the surviving manuscripts of this poem, including Cardiff MS 4.330 and Peniarth MS 49, mentioned above, attribute it to [[Dafydd ap Gwilym]]. However, two of them, including the very earliest, BL Add. MS 14967, assign it to Ieuan ap Rhys ap Llywelyn, and another two to [[Dafydd ab Edmwnd]] with the suggestion that it might be Dafydd ap Gwilym's; both Ieuan ap Rhys and Dafydd ab Edmwnd lived at least a century after Dafydd ap Gwilym's time. "The Snow" was included in the 1789 collection of Dafydd's works, {{ill|Barddoniaeth Dafydd ab Gwilym|lt=''Barddoniaeth Dafydd ab Gwilym''|cy}},{{sfn|Parry|1952|p=clxxxi}}{{sfn|Fulton|1996|p=226}} and was attributed to Dafydd in a selection of {{Lang|cy|cywyddau}} edited by [[Ifor Williams]] and Thomas Roberts in 1914,{{sfn|Williams|Roberts|1935|pp=67–69}} but [[Thomas Parry (author)|Thomas Parry]] excluded it from his 1952 edition, citing as objections the poem's simplicity of style and language and its very sparing use of ''[[Cynghanedd#Cynghanedd sain %28"sound-harmony"%29|cynghanedd sain]]'', a complicated system of [[alliteration]] and [[internal rhyme]], and of {{Lang|cy|sangiad}}, the breaking up of syntax by interpolating a word or phrase into a line. Its style, he summed up, was exactly that of the 15th century, and he favoured the claims of Ieuan ap Rhys,{{sfn|Parry|1952|p=clxxxi}}{{sfn|Fulton|1996|p=226}} though when he included it in his ''Oxford Book of Welsh Verse'' (1962) he labelled it as an anonymous 15th century poem. Parry's rejection of the poem from the Dafydd ap Gwilym canon proved very controversial and provoked many protests from other scholars, notably in two papers by D. J. Bowen.{{sfn|Thomas|2001|p=309}}{{sfn|Fulton|1996|p=223}} Nevertheless, the most recent edition of his poems, by Dafydd Johnston and others, again excluded "The Snow".
  • The Waste Land - 'The typist home at teatime' section was originally in entirely regular stanzas of [[iambic pentameter]], with a rhyme scheme of ''abab''—the same form as Gray's ''Elegy'', which was in Eliot's thoughts around this time. Pound's note against this section of the draft is "verse not interesting enough as verse to warrant so much of it". In the end, the regularity of the four-line stanzas was abandoned.
  • Thomas Wyatt (poet) - Wyatt's professed object was to experiment with the English language, to civilise it, to raise its powers to equal those of other European languages.{{sfn|Tillyard|1929}} His poetry may be considered as a part of the Petrarchism movement within [[Renaissance literature]]. A significant amount of his literary output consists of translations and imitations of sonnets by Italian poet [[Petrarch]]; he also wrote sonnets of his own. He took subject matter from Petrarch's sonnets, but his rhyme schemes are significantly different. Petrarch's sonnets consist of an "[[Petrarchan sonnet|octave]]" rhyming ''abba abba'', followed by a "sestet" with various rhyme schemes. Wyatt employs the Petrarchan octave, but his most common sestet scheme is ''cddc ee''. Wyatt experimented in stanza forms including the [[rondeau (forme fixe)|rondeau]], [[epigrams]], [[terza rima]], [[ottava rima]] songs, and satires, as well as with monorime, triplets with refrains, quatrains with different length of line and rhyme schemes, quatrains with codas, and the French forms of douzaine and treizaine.{{sfn|Berdan|1931}} He introduced the ''poulter's measure'' form, rhyming couplets composed of a 12-syllable iambic line ([[Alexandrine]]) followed by a 14-syllable iambic line ([[Fourteener (poetry)|fourteener]]),{{sfn|Schmidt|1999|p=133}} and he is considered a master of the [[iambic tetrameter]].{{sfn|Rebholz|1978|p=45}}
  • Alles mit Gott und nichts ohn' ihn, BWV 1127 - The B section of the stanza, consisting of its middle four explanatory lines, is sung from bar 17 to 25.{{sfn|Maul|2005|p=23}} The setting of this section is harmonically more expansive than that of the A section.{{sfn|Maul|2006|p=10}} The mirrored A section, consisting of the two last lines of the stanza, follows from bar 26 to 34.{{sfn|Maul|2005|p=24}} The word order of the seventh line of the stanza, sung in bars 26 to 27, is changed as the first pass of the second line (bars 8–10): "{{lang|de|soll Wundersegen einher ziehn}}" instead of "{{lang|de|soll einher Wundersegen ziehn}}" in the poem.{{sfn|Ambrose|Maul}} In these bars Bach returns from the [[subdominant]] ([[F major]]), at the end of the B section, to the [[tonic (music)|tonic]] (C major), after which the "catchy tune" with which the A section opened is repeated to the same words (line 8 = line 1, the Duke's motto in all stanzas).{{sfn|Maul|2005|pp=24–25}} In this way Bach realises a free [[da capo]] form, that is, instead of an exact repeat of the A section, a variant of the A section follows after the B section (A-B-A').{{sfn|Maul|2005|pp=23–25}}
  • Andrea Zanzotto - *''Poems by Andrea Zanzotto'', Translated from the Italian by [[Anthony Barnett (poet)|Anthony Barnett]], A-B, Lewes ([[Canada]]) 1993 {{ISBN|0-907954-19-7}}; translation from ''LA BELTA'' and from ''PASQUE''.

Readability[edit]

{{cleanup|reason=Convert long prose list(s) to bulleted list(s).}}

{{copyedit|for=overly long sentences, conversion of long prose list(s) to bulleted list(s)}}

(needs refresh)

You[edit]

Sorting[edit]

(updated from 2022-12-20 dump) 

{{you|date=December 2022}}
{{copyedit|date=December 2022|for=[[MOS:CONTRACTIONS]] and [[MOS:YOU]]}}
{{MOS|article|date=December 2022|[[MOS:CONTRACTIONS]] and [[MOS:YOU]]}}

Can be fixed[edit]

Parsing problems[edit]

(Updated from 2022-12-20 dump, ignoring italicized and single quoted content)

Worst - raw[edit]

(waiting for results from 2023-05-20 dump)

Worst - refined[edit]

(waiting for results from 2023-05-20 dump)

Useful[edit]

JWB[edit]

Fixups, HTML entity[edit]

HTML entities and special characters - Guidelines[edit]

Characters to avoid |
This box:
Avoid Instead use Note
… (&hellip;) ... (i.e. 3 periods) See MOS:ELLIPSIS.
Unicode Roman numerals like Ⅰ Ⅱ ⅰ ⅱ Latin letters equivalent (I II i ii) MOS:ROMANNUM
Unicode fractions like ¼ ½ ¾ &frasl; {{frac}}, {{sfrac}} See MOS:FRAC.
Unicode subscripts and superscripts like ¹ ⁺ ⁿ ₁ ₊ ₙ <sup></sup> <sub></sub> See WP:SUPSCRIPT. In article titles, use {{DISPLAYTITLE:...}} combined with <sup></sup> or <sub></sub> as appropriate.
µ (&micro;) μ (&mu;) See MOS:NUM#Specific units
Ligatures like Æ æ Œ œ Separate letters (AE ae OE oe) Generally avoid except in proper names and text in languages in which they are standard. See MOS:LIGATURES.
∑ (&sum;) ∏ (&#8719;) ― (&horbar;) Σ (&Sigma;) Π (&Pi;) — (&mdash;) (Not to be confused with \sum and \prod, which are used within <math> blocks.)
‘ (&lsquo;) ’ (&rsquo;) ‚ (&sbquo;) “ (&ldquo;) ” (&rdquo;) „ (&bdquo;) ´ (&acute;) ′ (&prime;) ″ (&Prime;) ` (&#96;) Straight quotes (" and ') Use {{coord}}, {{prime}} and {{pprime}} for mathematical notation; elsewhere use straight quotes unless discussing the characters themselves. See MOS:QUOTEMARKS.
‹ (&lsaquo;) › (&rsaquo;) « (&laquo;) » (&raquo;) Use &lang; and &rang; for math notation. In foreign quotations normalize angle quote marks to straight, per MOS:CONFORM, except where internal to non-English text, per MOS:STRAIGHT.
&ensp; &emsp; &thinsp; &hairsp; Normal space These are sometimes used for precision positioning in templates but rarely in prose, where non-breaking (&nbsp;) and regular spaces are normally sufficient. Exceptions: MOS:ACRO, MOS:NBSP.
In vertical lists

• (&bull;) · (&middot;) ⋅ (&sdot;)

* Proper wiki markup should be used to create vertical lists. See HELP:LIST#List basics.
&zwj; &zwnj; see note Used in certain foreign-language words, see zero-width joiner/zero-width non-joiner. Should be avoided elsewhere.
₤ £ for GBP, keep ₤ for Italian Lira and other lira currencies that use ₤ (see the main article for that currency) MOS:CURRENCY; find broken instances
Potentially confusing or technically problematic characters |
This box:
Category coded form (direct form) Notes
Miscellany &amp; (&) &lt; (<) &gt; (>) &#91; ([) &#93; (]) &apos; (') &#124; (|) Use these characters directly in general, unless they interfere with HTML or wiki markup. Apostrophes and pipe symbols can alternatively be coded with {{'}} and {{!}} or {{pipe}}. See also character-substitution templates and WP:ENCODE.
Greek letters &Alpha; (Α) &Beta; (Β) &Epsilon; (Ε) &Zeta; (Ζ) &Eta; (Η) &Iota; (Ι) &Kappa; (Κ) &Mu; (Μ) &Nu; (Ν) &Omicron; (Ο) &Rho; (Ρ) &Tau; (Τ) &Upsilon; (Υ) &Chi; (Χ) &kappa; (κ) &omicron; (ο) &rho; (ρ) In isolation, use coded forms to avoid confusion with similar-looking Latin letters; in a Greek word or text, use the direct characters.
Quotes &lsquo; (‘) &rsquo; (’) &sbquo; (‚) &ldquo; (“) &rdquo; (”) &bdquo; („) &acute; (´) &prime; (′) &Prime; (″) &#96; (`) Can be confused with straight quotes (" and '), commas, and with one another. MOS:STRAIGHT generally requires conversion to straight quotes, except when discussing the characters themselves or sometimes with non-English languages. See next row for prime characters.
Apostrophe-like ' ` ′ ´ ʻ ʼ ʽ ʾ ʼ ʽ ʻ ʼ
Dashes, minuses, hyphens &ndash; (–) &mdash; (—) &minus; (−) - (hyphen) &shy; (soft hyphen) Can be confused with one another. For dashes and minuses, both forms are used (as well as {{endash}} and {{emdash}}). Soft hyphens should always be coded with the HTML entity or template. Plain hyphens are usually direct, though at times {{hyphen}} may be preferable (e.g. Help:CS1#Pages). See MOS:DASH, MOS:SHY, and MOS:MINUS for guidelines.
Whitespace &nbsp; &emsp; &ensp; &thinsp; &hairsp; &zwj; &zwnj; In direct form these are nearly impossible to distinguish from a normal space. See also MOS:NBSP.
Non-printing &lrm; &rlm; In direct form these are nearly impossible to identify. See MOS:RTL.
Mathematics-related &and; (∧) &or; (∨) &lang; (⟨) &rang; (⟩) Can be confused with x ^ v < >. In some cases TeX markup is preferred to Unicode characters; see MOS:FORMULA. Use {{angbr}} instead of ⟨) / (⟩)
Dots &sdot; (⋅) &middot; (·) &bull; (•) Can be confused with one another. Interpuncts (&middot;) are common in horizontal lists and to indicate syllables in words. Multiplication dots (&sdot;) are used for math. In practice, the dots are used directly instead of the HTML entities.

Motivation:

Preliminary consensus seems to be to:

  • Fix broken HTML entities
  • Convert "characters to avoid" in the first table above
  • Convert numerical HTML entity references to named entities if available, or (preferably, if printable) actual characters
  • Convert letters with diacritics if based on Latin alphabet, from HTML entities to characters
  • Convert Greek letters from HTML entities to characters in Greek words
  • Keep combining characters as HTML entities; they are too difficult to edit as themselves
  • Keep whitespace characters as HTML entities; they are too difficult to edit as themselves (but mostly they get dropped or converted to regular spaces)
  • Keep Private Use Area characters as HTML entities; different editors would otherwise see different characters, depending on what fonts they have installed. Template:PUA says that there may also be an incompatibility of raw PUA characters with AutoWikiBrowser. These characters should not appear outside of that template.
  • Leave scientific symbols and Greek letters in STEM articles (these are controversial; some people want to eliminate them and others want to keep at least some of them)

New guideline for non-English quotations:

Apostrophe-like todos:

HTML entities - Notes on listings[edit]

The "find all" links are live (and thus probably better to use in most cases) and the articles listed and counted are slightly out of date. The "find all" links may also find more than the counted and listed articles, both because moss ignores certain areas of text and because it ignores cases like "AT&T;" (& in the middle of a series of capital letters).

Notes:

  • Problems are reported on this page as all lowercase, but the problem on the page itself may have different capitalization. For example, &Amp will be reported here as &amp. Because HTML entities are case sensititve, &Amp is an error even though &amp is allowed.

Handy references:

HTML entities - manual fixups[edit]

HTML entities and bad characters - auto generated - 2024-05-20[edit]

To avoid[edit]

Not included in JWB scripts; fix manually or update moss code.

Low priority[edit]

Fix automatically with jwb-articles.txt

Uncontroversial entities[edit]

Fix automatically with jwb-articles.txt

Fractions[edit]

Skipped[edit]

(make proper per-table footnotes)

Bible cleanup[edit]

Old Testament – 929 chapters[8]
Book / Division Chapters
Pentateuch (or the Law) 187
Genesis 50
Exodus 40
Leviticus 27
Numbers 36
Deuteronomy 34
Historical Books 249
Joshua 24
Judges 21
Ruth 4
1 Samuel 31
2 Samuel 24
1 Kings 22
2 Kings 25
1 Chronicles 29
2 Chronicles 36
Ezra 10
Nehemiah 13
Esther 10
Books of Wisdom (or "Poetry") 243
Job 42
Psalms 150
Proverbs 31
Ecclesiastes 12
Song of Solomon 8
Major Prophets 183
Isaiah 66
Jeremiah 52
Lamentations 5
Ezekiel 48
Daniel 12
Minor Prophets 67
Hosea 14
Amos 9
Micah 7
Zechariah 14
New Testament – 260 chapters[8]
Book / Division Chapters
Gospels 89
Matthew 28
Mark 16
Luke 24
John 21
History 28
Acts 28
Pauline Epistles 87
Romans 16
2 Corinthians 13
Galatians 6
Ephesians 6
Philippians 4
1 Timothy 6
General Epistles 34
Hebrews 13
Apocalyptic Writings

(Prophecy)

22
Revelation 22

Early Christianity template[edit]

Jewish, Gnostic, and Christian groups in the 1st century
Group Followed Mosaic Law Considered Jesus Scriptures Beliefs Origin Legacy
Jewish Christians Yes ? ? Umbrella term for several sects Followers of Jesus of Nazareth within Judaism
Nazarenes Yes ? ? ? ? ?
Pauline Christianity (Gentile Christianity) No ? ? Umbrella term ? ?
Pauline Christianity

Terminology notes:

  • Nazarene - sometimes used refer to Jesus (because he was from Nazareth) or all Christians, especially in the 1st century
  • Sabians: A Quranic name of uncertain meaning, possibly referring to Mandaeans or Harranians or Elcesaites. Today used by some Mandaeans.
  1. ^ "Vaccine Information Statements: Instructions" (PDF). Retrieved 2010-05-05.
  2. ^ ADD REF HERE
  3. ^ ADD REF HERE
  4. ^ "Pregnancy and Vaccination | Vaccines for Pregnant Women | CDC". www.cdc.gov. 2017-07-20. Retrieved 2018-02-28.Public Domain This article incorporates text from this source, which is in the public domain.
  5. ^ "Get the Whooping Cough Vaccine While You Are Pregnant". Centers for Disease Control and Prevention. 2017-07-24. Retrieved 2018-02-28.
  6. ^ "Update on Immunization and Pregnancy Tetanus Diphtheria and Pertussis Vaccination – ACOG". www.acog.org. Retrieved 2018-02-28.
  7. ^ "Immunization in Pregnancy and Postpartum" (PDF). May 2014.
  8. ^ a b Cite error: The named reference blueletterbiblebooks was invoked but never defined (see the help page).
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