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Couplet is a unique art form in Chinese traditional culture. The development of deep neural network (DNN) technology makes it possible for computers to automatically generate couplets. Especially, Transformer is a DNN-based ``Encoder-Decoder'' framework, and widely used in natural language processing (NLP). However, the existed Transformer mechanism cannot fully exploit the essential linguistic knowledge in Chinese, including the special format and requirements of Chinese couplets. Therefore, this article adapts the Transformer mechanism to generate meaningful Chinese couplets. Specifically, the contributions of our work are threefold. First, considering the fact that the words in the corresponding positions of the antecedent clause and the subsequent clause in a Chinese couplet always have same part-of-speech (pos, i.e., word class), pos information is intentionally added into the Transformer to improve the accuracy of the conceived couplet. Second, to deal with the large number of unregistered and low-frequency words in Chinese couplet, a specific unregistered/low-frequency word processing mechanism (UWP) is designed and combined with the Transformer model. Third, to further improve the coherence of couplets, we incorporate the polish mechanisms (PMs) into Transformer model. In terms of three evaluation criteria including bilingual evaluation understudy (BLEU), perplexity, and human evaluation, the experimental results demonstrate the effectiveness of our designed Chinese couplet generation system.

The article deals with matla‘ (first she‘r – two-line couplet – in a ghazal) of the first ghazal in the Divan by Mirza Asadulla-khan Ghalib (1792–1869) written in Urdu. One of the items usually commented there is the garment made of paper (kāġhażī peirahan). It used to be worn in ancient times by the complainers who appealed to the ruler. The range of complaints in the poetry of Ghalib as well as by other Urdu and Persian poets was wide, however, stable. “Wearing paper clothes”, the petitioner complained about the Almighty, the ill fate, a cruel girl, a lack of understanding of the petitioner’s poetry and the poor remuneration, and finally, about the poet himself, who “dressed” his poems in the paper. Тhese diverse situations form the elements of the literary motif as well as its context and are common in the Persian verses by the predecessors of Ghalib and also himself. Its analysis helps to understand all levels of meaning inherent in one of the most difficult-to-interpret texts by Ghalib.

The previously undeciphered manuscript inv. No. 5875 preserved at the Institute of Oriental Manuscripts, Russian Academy of Sciences, proves to be a Tangut version of a primary reader. Its Chinese original is an inconsistently miscellaneous compilation of ancient literary allusions and contemporary folk maxims. The text combines the two distinct literary styles of antithetical couplet and ordinary prose and has no easily defined subject. Although its Chinese original has not been found yet, and the whole text has not been thoroughly deciphered so far, the present article offers a tentative translation of some of its stories in order to lay a foundation for further studies.

A mnemonic couplet to help students learn the names of the cranial nerves has been in use in the United States since the mid-nineteenthth century. The original in iambic tetrameter is attributed to Oliver Wendell Holmes, Sr. Using a systematic search, more than 40 variants have been identified and, where possible, ordered in time. Variations depended in part on evolving preferred names for individual cranial nerves, regional geographic features, and idiosyncratic choices. Some inferior variants ignored critical features of the original (e.g., meter, number of poetic feet, or even the rhyme). Others strove to have a memorable couplet with the basic features of the original but without resorting to disparaging phrases. However, with the modern names for the cranial nerves, few of the extant versions of the mnemonic make sense, or preserve iambic tetrameter and rhyme, while avoiding derogatory or lewd expressions. Two new versions are suggested that meet these constraints.

Zechariah 1:1-6 summarizes a speech to the people that reports the failure of the previous generations to heed the message of the prophets who God has sent while successfully challenging the current generation to turn to YHWH. The eight visions of the second block (1:7-6:15) share common compositional elements, but they also show evidence of later reworking. The third block, Zechariah 7-8, constitutes a collection of short sayings dated approximately two years after temple construction began. Zechariah 6:1-8 could be divided into two sections. First is disclosure of the vision (6:1-4) and the last one is the disclosure and explanation of the vision (6:5-8). Particularly, in this first subparagraph, Zechariah seems to present his thoughts in chiasmus. This chiasmus has a structural function which often a chiastic couplet is used to both open and close a stanza or poem. Zechariah introduced his eighth vision with four verbs, which are thematic words.

The effect of mythology on classical Turkish literature is an undeniable fact. Mythology has been one of the main sources of our literature that has been shaped under the influence of beliefs, traditions and customs for centuries. In Turkish literature the effects of Sehname, which comes out of Persian literature, are seen very much. In this study, how the personalities mentioned in the Sehname written by Firdevsi, one of the 10th century poets, were used in the Divan of Seyh Galib, one of the important poets of the 18th century, was examined. The aim of this study is to reveal the effects of the sebk-i Hindi, which constitutes the trend of the period. Within the scope of the study, firstly, brief information about individuals was given using various sources. Then, how and to what extent, how often and in what meanings the relevant mythological element was used in the Divan of Seyh Galib was tried to be explained with couplet examples.

Wāridāt (mystical inspiration) is a term that signifies the sudden inspiration and state that comes to heart from the unknown. Many works in wāridāt genre have been produced by Ṣūfīs. One of these works is Ismāʻīl Ḥaḳḳī Brusawī’s Ayyuh al-Bulbul, which is a handwritten treatise in Arabic. In this treatise which means O Nightingale, the word nightingale refers to heart. The small volume work which contains the leaves 84b-110a was written in AH. 1115/GC. 1704. Even though it is a short treatise, the mystical information in it are of great value. In this work Brūseawī writes about the mystical inspirations he had in different times and situations. Wāridāt sometimes appear as revelations and sometimes in the form of a couplet or rubāʻī (quatrain) in Turkish, Arabic or Persian. The author annotated these wāridāt with several different instruments such as verses and ahadith along with other prophets’ sayings, the opinions of ṣūfīs and their poems. The purpose of this article is to introduce and analyze this small treatise among other manuscripts to the readers and also to present the mystical opinions and explanations in it. Our study is a research based on manuscript examination. Since we had access to the first edition of this manuscript in good condition (without the need of a copy comparison) the author’s copy is used as the source. Ayyuh al-Bulbul is firstly read very carefully and translated into Turkish. Later, in accordance with the limits of the article, the text is examined and analyzed via text analysis method. In this context, along with physical elements such as individuals and events, the actual expressions and ideas that are the basis of the text are evaluated and commented on. Another method used in this article to define and explain these elements that the author tackled in his work, is descriptive research method. To have a better grasp of the text, along with the aforementioned methods, other works of the author and the views of some ṣūfīs were also used. Thus, the basic idea of the text was revealed. The theme of this treatise is the wāridāt that are experienced in the heart. Throughout the treatise the addressing is to heart which is named as nightingale of heart. Brūsawī explained a wārid in detail which he thought that came from Allah. While annotating the wāridāt, he talks about the essence of the heart, how it came to be, its duties and different states as they are related to the topic. He explained the heart’s substance, importance and roles by using some metaphors and similes. According to Brūsawī, the heart is the child that is born out of the soul and the body’s marriage. The state of the heart that turned away from anything but Allah, the important times for the heart and the advices for the heart are also among the matters discussed frequently in the treatise. One of the unique features of Ayyuh al-Bulbul is that the annotations of the wāridāt that came in as revelations are accepted as Ishārī tafsīr. Therefore, it is understood that this treatise can also be seen as a ṣūfī tafsīr. Brūsawī is an author who in his time appeared to be a representative of Ibn al-ʻArabī. Hence, his ideas on heart, his comments and explanations on revelations that came as wāridāt and his choice of terms are all under the effect of Waḥdat al-wudjūd (the unity of existence) thought. There is no doubt that there are a great many works that examines the heart’s spiritual side and states. Since the earliest times, purification and melioration of the heart is one of the topics that is a lot of work is focused on by ṣūfīs. For, they believe that both in the world and hereafter the salvation will come with a pure heart, based on the suggestions of the Qur’ān and Sunnah. As one of those ṣūfīs, Brūsawī reminds us in his books the important points one need to remember and follow in order for his heart to turn back into its original pure state in which the faith in Allah is absolute. Thanks to this attitude, his heart gave him protective advice from harmful diseases and disasters. The author from time to time, also made some psychological analyzes on the human being and some states of his spiritual heart. As a result, this article aims to contribute to the studies in this field by bringing out a manuscript in Arabic which belongs to wāridāt genre, analyze it and introduce it to the reader. But since the limits of the article didn’t allow to a complete translation of the work, we must say that the parts of the book which are deemed more important and necessary to mention are prioritized. There is no doubt that the investigation of other works of similar type and subject, which have not been discovered in manuscripts, by researchers will contribute to the Ṣūfī/Taṣawwuf literature.

There is no information in biographical sources about Kucuk Hafiz Mustafa Efendi (d.?), one of the 18th century authors. What we know about him is limited to what is recorded in his work named Nuzhetu'l-‘ussâk. According to this information, the author was educated in Enderun in Seferli Kogusu, where he spent most of his time learning science during the reign of Ahmed III (r. 1703-1730) and left Enderun in the following years. There are two works of the author who sometimes had difficulties in his life, named Nuzhetu'l-‘ussâk" and Serh-i Kaside-i Rusuhi, written in the style of commentary. The first of these works is written to comment a couplet in the poem of Suleymân Rusuhi which consist of 13 couplets and has the word “nedir” as rhyme, and the second is written to comment the other couplets of the same poem. Serh-i Kaside-i Rusuhi, which constitutes the subject of this study, shows a concise commentary feature compared to the other work of the author. So much so that a few of the couplets in Rusuhi's poem, which contains some mystical questions, were annotated with only a few sentences. In the commentary of some couplets, it is seen that the author kept the explanation wide and discussed the subject in detail with quotations from different sources. In the work, it is seen that various subjects such as "esmâ, sifât, the wisdom, Ruh-i Muhammedi, the Word of the Tawheed, polytheism, the faith, the destiny and superiority of man to other beings " are discussed. The commentary enriched by the quotations of verses and hadiths can be regarded as a work written in the middle prose type.

Chinese couplets, as one of the traditional Chinese culture, is the treasure of Chinese civilization and the inheritance of Chinese history. Given a sentence (namely an antecedent clause), people reply with another sentence (namely a subsequent clause) equal in length. Because of the complexity of the semantic and grammatical rules of couplet, it is not easy to create a suitable couplet that meets the requirements of sentence pattern, context, and flatness. With the development of neural models and natural language processing, automatic generation of Chinese couplets has drawn significant attention due to its artistic and cultural value, most of these works mainly focus on generating couplet by given text information, while visual inspirations for couplet generation have been rarely explored. In this paper, we design a Chinese couplet generation model based on NIC (Neural Image Caption), which can compose a piece of couplet suitable to the artistic conception in an image. At first, we use the improved VGG16 model to predict the input image. The content of the image can be automatically recognized and the corresponding description are generated and translated into Chinese keywords. Then, the encoder-decoder framework is used repeatedly to process these keywords, and finally the couplet can be generated. Moreover, to satisfy special characteristics of couplets, we incorporate the attention mechanism into the encoding-decoding process, which greatly improves the accuracy of couplets generated automatically.

The previously undesiphered manuscript inv. № 5875 preserved in the Institute of Oriental Manuscripts, Russian Academy of Sciences, proves to be the Tangut version of a primary reader. Its Chinese original is an inconsistently miscellaneous compilation of ancient literary allusions and contemporary folk maxims. The text is composed by different literary style of antithetical couplet and ordinary prose without a consistent subject. Although its Chinese original has not been found yet and the whole text has not been thoroughly deciphered so far, narrations and translations may be provided as many as possible in the present paper in order to lay a foundation for further studies.

In Timurid times Persian littérateurs devised a new kind of logogriph (muʿammā) that differed con­siderably from the muʿammā as was known in the Arabic tradition. The most salient feature of the new, Persianate muʿammā, which is normally a couplet, is that it has two levels of meaning: an obvious or surface meaning (‘the poetic meaning’), and an encoded ‘riddle meaning’, which gives the clues to the solution of the riddle. Since the 16th century the new, Persianate muʿammā became very popular with Ottoman Turkish and Arabic littérateurs as well. In fact, to judge by the available evidence, it appears that the new muʿammā gradually became the most popular kind of literary riddle in Arabic. The present paper presents Quṭbaddīn an-Nahrawālī’s (917-990/1511-1582) Treasure of Names, the most influential Arabic treatise on the new muʿammā, which is modelled on earlier Persian treatises. It discusses the growth of the new muʿammā in Arabic, describes the rules applying to it as presented in an-Nahrawālī’s treatise, analyses several Arabic muʿammayāt cited in that treatise and concludes by mentioning some additional Ottoman-era Arabic treatises on the riddle that testify to the great popularity of the new muʿammā in Arabic until the late 19th century.

The article reveals the features of the phenomenon of a satirical couplet on the Soviet stage of the 1950-1980s. The lack of research on this subject in modern historical science is explained by a biased attitude towards Soviet culture in general as a fully determined by official ideology and censorship. It is shown that in the Soviet satire the role of the personalities of the entertainment artists and their creative manner was great. The entertainment duets of P. Rudakov and V. Nechaev, A. Shurov and N. Rykunin, as well as such artists as B. Bentsianov, A. Belov, I. Nabatov were all-Union known. As a rule, in the genre of satirical couplet, they worked for decades (almost their entire creative life), having constant success. It was extremely important to use familiar for audience, popular songs, as the basis for the couplet and perform with high-quality musical accompaniment. The ways of getting the couplet to the audience are reflected in the article. It is noted that the viewer could get acquainted with the works in the genre of satirical couplet at concerts, both solo and divertisment, and until the end of the 1960s. - on television, since variety satirical acts were a mandatory component of the holiday TV broadcast «Goluboy Ogonyok». Interest in the genre of couplet and satire content led to the appearance of official records on gramophone records and amateur tape recordings. The subject of satire in couplet is disclosed. It is shown that satire did not bypass the hot topics and urgent problems of Soviet society, among which - poor quality of services, shortage of goods, bureaucracy, bribery, miscalculations of the state power in the development of agriculture and industry, and even censorship. At the same time, the satirical works themselves, of course, passed a sieve of censorship, which reduced their severity and topicality.

The notion of love is one of the most studied subjects in diwan poetry. Love-lover-beloved is used by almost all ottoman poets and is one of the indispensable, common forms of diwan poetry. Beloved is at the center of the poems in which love is concerned. The parables used in the diwan poetry about beloved are quite rich. Like moon, water of life, spring, friend, intriguer, houri, image, rose, king, cypress, seductive, belle, unfaithful, angel, candle, sake, fairy many words they are often used to express beloved through simile. Some of these words likened of the beloved and some are adjectives; but all of them are used as the name of the beloved directly in couplets. Modern period Persian poets, name Rahi, Mohammad Hoseyin Moayyeri in own ghazals beloved like gazelle, hunter, moon, saint, spring, life, sun, rose, fairy, image, flame, witness, star agreed with various names and adjectives. In the study, these names and adjectives used by the hostage for the beloved are briefly explained. how the poet used these names and adjectives by associating with his beloved was examined with the sample couplets brought from the ghazals. These names and adjectives are listed in Persian alphabetical order. In the footnote next to the headings, the page number and the couplet number of the similar examples in the poet's diwan are given.

Resumo Para verter o dístico elegíaco latino, algumas traduções poéticas metrificadas de obras ovidianas em língua portuguesa têm demonstrado certa preferência pelo dístico vernáculo, engendrado por Péricles Eugênio da Silva Ramos (1964), composto por verso alexandrino sucedido de decassílabo. Seguindo este modelo, apresentamos nossa proposta de transposição criativa para a carta de Fílis a Demofonte (Ep. 2), elaborada com base nas considerações de alguns tradutores-poetas que se serviram deste mesmo arranjo e nos pressupostos teórico-metodológicos norteadores da prática da tradução poética, segundo Roman Jakobson (1969), Samuel Levin (1978) e José Paulo Paes (2008). Abstract To translate the Latin elegiac couplet, some metrified poetic translations of Ovidian works into Portuguese have shown a preference for the vernacular couplet created by Péricles Eugênio da Silva Ramos (1964). This couplet is formed by combining one Alexandrine verse followed by a decasyllable. Following this model, we present our proposal of a creative transposto of the letter of Phyllis to Demophoon (Ep. 2), based on the considerations of some poet translators that used the same arrangement and on the theoretical and methodological basis of the practice of poetic translation according to Roman Jakobson (1969), Samuel Levin (1978) and José Paulo Paes (2008).

A text with many cultural terms was a complicated source text to translate into the target text because it contained different references as perceived by both language users. This research aimed to find out translation techniques applied by the translator in translating proverbs of Mandailing Folklore Anak Na Dangol Ni Andung into English and to explain its translation quality. This study made uses of a qualitative approach with a descriptive method. The data of the research were the text in Mandailing language as the source language and the English text as the target language; and were enriched by the key informants as the primary data. The data obtained were qualitatively analyzed using the theory of translation techniques. The research result showed that in translating proverbs there were four translation techniques namely single translation technique, couplet technique, triplet technique and quartet technique. It also showed that 45% of data were accurate and 55% translation were less accurate, 58,3% of data were acceptable and 41.7% translation was less acceptable, and 68.3% of data was high readability and 31.7% translation were medium readability. Finally, the study concluded the quality of the translation products depended on the translation techniques by considering the accuracy, acceptability, and the readability of the target language.

Ancient Chinese is the essence of Chinese culture. There are several natural language processing tasks of ancient Chinese domain, such as ancient-modern Chinese translation, poem generation, and couplet generation. Previous studies usually use the supervised models which deeply rely on parallel data. However, it is difficult to obtain large-scale parallel data of ancient Chinese. In order to make full use of the more easily available monolingual ancient Chinese corpora, we release An-chiBERT, a pre-trained language model based on the architecture of BERT, which is trained on large-scale ancient Chinese corpora. We evaluate AnchiBERT on both language understanding and generation tasks, including poem classification, ancient-modern Chinese translation, poem generation, and couplet generation. The experimental results show that AnchiBERT outperforms BERT as well as the non-pretrained models and achieves state-of - the-art results in all cases.

Şiir insanın muhatap aldığı kişi veya topluluğa karşı duygularını en etkili bir biçimde aktardığı, yaygın bir şekilde kullanılan edebi bir türdür. Bütün dillerde ve kültürlerde bir edebi sanat olarak yer alan şiir Arap toplumu ve Arapça dili için de önemli bir unsurdur. İslam öncesi Cahiliye döneminden günümüze kadar bu önemini devam ettirmiştir. Binlerce Arapça divan kaleme alınmış, bu divanların bir kısmı incelenmiştir, bir kısmı ise incelenmek üzere araştırılmayı beklemektedir. Teknolojik gelişmeler ışığında, kitap yapraklarında araştırılmayı bekleyen binlerce şiir dijital ortamlara aktarılmaya başlanmıştır. Binlerce şairin divanının yer aldığı dijital programlardan birisi de el-Mevsûʻatu’ş-Şiʻriyye isimli programdır. Bu programda İslam öncesi dönemden günümüze kadar yaşamış 2.300 şairin divanı yer almaktadır. Programda divanlar şairlerin yaşadığı dönemlere ve ülkelere göre tasnif edilmiştir. Program sade ve kullanışlı bir ara yüze sahiptir. Program dili Arapçadır ve menü sayısı oldukça azdır. Bu özelliği ile programın kullanımı oldukça basittir. Bu çalışmada el-Mevsûʻatu’ş-Şiʻriyye isimli programın kurulumu ve kullanımı resimlerle birlikte anlatılmıştır. Ayrıca programın içeriği detaylı bir şekilde verilmiştir.

"Why can't I have my postpartum care in the same room as my baby?" questioned Hilary, a neonatal intensive care unit (NICU) "alumni" parent, during a design event for the new British Columbia's Women's Hospital 70 single family room NICU. This simple yet provocative question was nearly dismissed and the idea of a combined care model lost, since most members of the team thought it was simply "not possible." Hilary did not give up and continued to raise this idea throughout every design event. It was Hilary's fortitude and sharing of her NICU experience that was the inspiration for the MotherBaby Care unit. The voice of one woman has improved the birth experiences of potentially thousands of mothers and their at-risk newborns. By honoring women's voices and values in health care, positive changes that matter to women, infants, and families can be made. Mothers also shared: "I knew what was best for me was to be with my baby," "If I could stand up after my C-section, I would drag my IV pole to be with my baby!", "Teach me how to take care of my premature baby before I am ready to go home!" MotherBaby Care is a combined care or "couplet" care where one NICU nurse provides care for a postpartum mother and her at-risk newborn in the Level 2 NICU. This review describes the journey from innovation and design to the implementation of the MotherBaby Care model.

The article provides the first modern analysis of one of the bestselling transatlantic evangelical poems of the eighteenth century, the Scottish minister Ralph Erskine’s Gospel Sonnets. The article argues that the importance of the marriage metaphor and rhyme in the poem provided a specific meaning to the form of the couplet in eighteenth-century transatlantic evangelicalism—a form often associated with an outdated understanding of a monolithic enlightenment. In the case of Erskine, it produced the Calvinist couplet. What the author terms “espousal poetics” designates the much larger presence and purpose of the marriage metaphor in the emerging revivalist community: to fuse the paradoxes of a sound Calvinist theology with poetics.

Rabindranāth Thākur (Tagore) practised nearly every literary form, but his primary mode is lyric poetry. He defines his artistic persona in its terms: all his other work takes its bearings from it. He wrote no epics, virtually no long poems of any kind. Of some 4,500 poetical items, nearly 2,200 are songs, and many more song-like though not set to music. The poems cover an extraordinary formal range. Traditional Bengali verse-forms like the payār couplet appear along with blank verse and the sonnet, derived from the West though assimilated in Bengali by Rabindranath's day. There is a huge range of lyric stanza-forms. His later poetry employs a distinctive type of irregular couplets as well as vers libre . This variety contrasts markedly with the uniform style and structure of Rabindranath's own English versions, couched in a formalized, somewhat archaic poetic prose. They hold no clue to the formal energy and versatility of the originals. The English selection also creates the misleading image of a largely religious or spiritual poet. Undoubtedly, a sustained vein of philosophic spirituality runs through his poetry. He wrote many hymns for the Brahmo Samaj, the reformed Hindu community to which his family belonged. His poetry shows profound assimilation of the Vedas and Upanishads. But it mostly upholds no doctrinal religion and is often incompatible with any. He consistently finds a spirit immanent in nature and human life. The interaction of the natural with the supra-natural is presented in many veins, from the theistic to a kind of refined animism. A great many poems address human matters pure and simple, human love above all. His own art is a regular theme. There is some political poetry, from local satire to fierce attacks on the global order. Many poems concern the inner life and external situation of women, complementing his fiction and essays on the subject. There is an unsuspected amount of humour, whimsy, and nonsense. Rabindranath's poetry comprises a whole universe of themes and concerns. This chapter is a very brief overview of a vast, hugely varied, mostly untranslated, and intellectually complex body of poetry. That poetry does not evolve in a straight graph.

With an increasing awareness of the importance of nurturing care and within a framework of Infant- and Family-Centred Developmental Care (IFCDC), zero separation, keeping parent and infant in continuous close physical and psychological proximity to each other, is key. In modern neonatology, high technological and pharmaceutical treatments are consistently integrated with caregiving considerations. Mother-Newborn Couplet Care is a concept of care where the dyad of the ill or prematurely born infant and the mother, needing medical care of her own, are cared for together, from the birth of the baby to its discharge. Mother-Newborn Couplet Care requires systems changes in both obstetrics and paediatrics considering planning and organisation of care, equipment and design of units. Accordingly, strong leadership setting clear goals and changing the professional mindset by providing targeted education and training is crucial to ensure the warranted high quality of care of all mother-baby dyads.

Blockchain and privacy is a couplet that is not easy to comprehend. Apparently, their relation is conflictual and unidirectional, with the blockchain as a threat to the privacy of the users or in general of the people whose data are recorded in the ledgers. At a closer look, their correlation is more elaborate. On one hand, there are undoubtedly points of concern in terms of data protection when a blockchain is operating; on the other hand, the law can create the condition for making use of the blockchain technology in a way that is compliant with the privacy legislation, sometimes by restricting the applicability of this technology when the risks of data exposure are too high and the data are particularly sensitive, sometimes by regulating the data entries or exploiting the blockchain to reach a higher level of efficiency of data treatment (Millard in Comput Law Secur Rev 34:843–8462018; Steinbeck in How new EU privacy laws will impact blockchain: expert take 2018).

The couplet custom is one of China's intangible cultural heritage, and it occupies a pivotal position in Chinese traditional culture. The general couplet requires that the first sentence and the second sentence be opposite and semantically coherent. As a particular type of couplets, Wu-Qing couplets are related on the character level but irrelevant at the sentence level. Such characteristics make the Wu-Qing couplet significantly different in structure and semantics compared to the general couplets. In this paper, Convolutional Neural Network is used to extract structural features. Long Short-Term Memory network and vector operations are used to extract semantic features, and the Attention mechanism is used to strengthen structural and semantic information. Finally, we propose a model with structural and semantic features between general couplets and Wu-Qing couplets. The final F1 score reached 82.6, which was an increase of 5.4 compared to the baseline model.

The Wu-Qing couplet is a unique form of expressions in couplets and an important part of Chinese traditional culture. It shows the profoundness and interesting features of Chinese. However, there is still no research on the automatic generation of Wu-Qing couplets because the corpus of Wu-Qing couplets is scarce and it cannot support the training process of deep learning. This paper proposes a sequence-to-sequence Wu-Qing couplet generation model based on the idea of transfer learning. At the same time, in order to further improve the effectiveness of the model, based on the characteristics of Wu-Qing couplets, such as coherence, rhythm change, and semantic separation, this paper proposes an evaluation model, which can reorder the output of the generation model for better results. Finally, a complete Chinese Wu-Qing couplet automatic generation system is constructed based on the generation model and the evaluation model.

Poetry and couplets, as a valuable part of human cultural heritage, carry traditional Chinese culture. Auto-generation couplet and poetry writing are challenges for NLP. This paper proposed a new multi-task neural network model for the automatic generation of poetry and couplets. The model used seq2seq encoding and decoding structure, which combined attention mechanism, self-attention mechanism and multi-task learning parameter sharing. The encoding part used two BiLSTM networks to learn the similar characteristics of ancient poems and couplets, one for encoding keywords and the other for encoding generated poems or couplet sentences. The decoding parameters were not shared. It consisted of two LSTM networks which decode the output of ancient poems and couplets, respectively, in order to preserve the different semantic and grammatical features of ancient poems and couplets. Poetry and couplets have many similar characteristics, and multi-task learning can learn more features through related tasks, making the model more generalized. Therefore, we used multi-task model to generate poems and couplets, which is significantly better than single-task model. Also our model introduced a self-attention mechanism to learn the dependency and internal structure of words in sentences. Finally, the effectiveness of the method was verified by automatic and manual evaluations.

Chapter 1 provides the first literary treatment of the transatlantic bestseller, Ralph Erskine’s Gospel Sonnets. The chapter argues that the poem makes visible how poetry and homiletics enabled each other and, as they did so, fused together the revivalist minister and the poet, the itinerant and the poem, and soteriology and verse form. Erskine developed an espousal poetics (a poetics based on the metaphor of Christ wed to the believer) that saturated the rhymed couplet with Calvinist thought and helped produce a lived affective theology. While scholars have conceived of the Augustan Age in terms of Alexander Pope’s heroic couplet primarily as an Enlightenement form, this chapter argues that early Evangelicalism contributed a different meaning to poetic form—what Roberts calls the “Calvinist couplet.”

Theocritus’ Idyll 5 details an amoebaean singing contest between two herdsmen in which the goatherd, Comatas, sings an opening couplet and the shepherd, Lacon, replies with a second. This paper considers one exchange between the competitors which has been the cause of particular frustration to readers of the poem due to an obscure, and likely obscene, pastoral analogy offered by Lacon at lines 94-95. After a consideration of evidence drawn from the text, Theocritean scholia and Greek lyric and elegiac poetry, an interpretation of the exchange is offered which may provide some clarity to a much-cited problem in Idyll 5.

Kasîde-i Tantarâniyye; Mu‘înuddîn Ebû Nasr b. Abdurrezzâk et-Tantarânî el-Merâğî’nin, Büyük Selçuklu sultanları Alparslan ile oğlu Melikşah döneminde vezirlik yapan ve eğitimin öncüsü olarak addedilen Nizâmiye medreselerinin kurucusu olan Nizâmülmülk’ü methetmek amacıyla kaleme aldığı meşhur bir kasidedir. Otuz beş beyitten müteşekkil, Kasîde-i terci‘iyye, Kasîde-i mücennese, Kasîde-i tarsi‘iyye gibi birçok isimle de anılan Kasîde-i Tantarâniyye, edebî sanatlarla müzeyyen yapısı itibariyle diğer kasideler arasından temayüz etmiş; üzerine yazılan şerh, nazîre ve tesdislerle farklı bağlamlarda dikkate değer bir edebî ilgiye mazhar olmuştur. Kasideye şerh yazan isimler arasında Ebu’l-Alâ Alâeddin Muhammed b. Muhammed el-Bihiştî el-İsferâyînî, Muhammed Hâcî Nebî el-Humeydî el-Kevsec, Ni‘metullah b. Rûhullah el-Hüseynî el-Kerbelâî, Ebu’l-Leyl Abdurrabbih Muhammed İbnu’l-Hâc el-Arabî el-Unnâbî, Mustafa İsâmuddin Üsküdârî, Derviş Muhammed b. Hâc Velî b. Hac Resûl Tarsûsî Bezârî Hanefî Kâdirî, Muhammed b. Murâd el-Bosnevî, Mustafa b. Ebû Bekir es-Sivâsî, Şerîf Abdulkâdir el-Mevsılî, Müderris-Müftü Mehmed Kemâleddin Harpûtî bulunmaktadır. Kasidenin Türkçe, Farsça ve Fransızcaya tercümeleri de yapılmıştır. Beyazıt Devlet Kütüphanesi’nde Farsça tercümesi bulunan kasidenin, Silvestre de Sacy tarafından yapılmış Fransızca bir tercümesi de mevcuttur. Kemalpaşazâde ile İbrâhim b. Mehmed el-Yalvâcî’nin tercümeleri de kasidenin Türkçeye yapılan tercümelerinden en fazla ön plana çıkanlardır.Kasidenin bazı Türkçe tercüme ve şerhleri üzerine birkaç akademik çalışma yapılmış olmasına rağmen Arapça şerhleri üzerine herhangi bir neşre rastlanamamıştır. Bu çalışmada da Kasîde-i Tantarâniyye hakkında çeşitli bilgiler verilmekle birlikte Ni‘metullah b. Rûhullah el-Hüseynî el-Kerbelâî’nin kasideye yazmış olduğu Arapça şerh ele alınmıştır., al-Kasidah at-Tantaraniyyah was written by Muinuddîn Abu Nasr b. Abd al-Razzak al-Tantarani al-Maraghi for the purpose of praising Nizamulmulk who was vizier on the period of Alparslan and his son Malekshah who were Sultans of Great Seljuk Empire. al-Tantarani also was considered as founder of Nizamiah Madrasah which was regarded as the leader of education at that time. al-Tantaraniyyah composed of thirty five couplets and is called with a few names such as al-Kasidah al-Tarjeeyyah, al-Kasidah al- Mojannasah and al-Kasidah al-Tarseeyyah. It took attention with its preciosity which is full of literary arts. al-Kasidah maintainces its importance in literary circle until today by the paraphreases and nazeerahs and tasdeeses which had been written about it.Abu al-Lail Abdarrabbih Mohammad Ibn al-Haj al-Arabi al-Unnabi, Abu al-Alâ Alaaddin Mohammad b. Mohammad al-Baheshtî al-Esfarayini, Mohammad Haji Nabi al-Humaidi al-Kavsaj, Nimetallah b. Rûhullah al-Hoseinî al-Kerbelai, Mustafa Isamuddin Uskudari, Mohammad b. Haj Veli b. Haj Rasul Tarsusi Bazari Hanefi Qadiri, Mohammad b. Murad al-Bosnawi, Mustafa b. Abu Bakr al-Sivasi, Shareef Abdalqadeer al-Mavsili, Müderris-Müftü Mehmed Kemaleddin Harputi are some commentators who wrote the paraphreases about al-Tantaraniyyah. Also it were translated into Turkish, Persian and French. A version of its Persian translation is stored in Bayazit State Library. It was translated into French by Silvestre de Sacy and translated into Turkish by Kemalpashazade and Ibrahim b. Mehmed al-Yalvaci.Though availabity of academic studies on al-Tantaraniyyah’s Turkish paraphrases and translations, it has not been found out an academic study on Arabic paraphreases. So in this article, giving some informations about al-Kasidah al-Tantaraniyyah, it will be submitted on Sharh al-Kasidah al-Tantaraniyyah by Nimetallah b. Rûhullah al-Hoseinî al-Kerbelai.Structured AbstractIn Arabic literature, eulogiums which are written within the frame of particular issues and in certain order are named by their subjects and their rhyme letters or their first verses. For example, in regard to be its ryhme letter, some of eulogiums are named as al-Kasidah al-Mimiyyah, al-Kasidah al-Nuniyyah, Lamiyat al-Arab and Lamiyat al-Ajem; in regard to their issues some are named as al-Khamriyyah and al-Tardiyyah; and also there are eulogiums which have a specific names such as Qasidah al-Burdah, Qasidah al-Munfarijah.In classical Arabic poetry, as a verse form the eulogiums are taken much interests by poets and some of them comes to the fore in proportion to others because of some reasons and they are studied again within the contex of paraphreas, annotation, takhmees and tashteer.Qasidah al-Burdah written by both Kaab b. Zuhair and Busiri, al-Qasidah al-Khamriyyah and al-Qasidah al-taiyyah written by Ibn al-Faridh, Lamiyah al-Arab by Shanfarah, al-Qasidah al-Nuniyyah by Abu al-Fath al-Busti were among those eulogiums which were the most paraphreased ones.In classical Arabic literature, al-Qasidah al-Tantaraniyyah is among those most popular eulogiums. It is named as al-Qasidah al-Tarjeeyyah in regard to have similar repeated voices, named as al-Qasidah al-Mujannasah in regard to include different examples of literary art named paronomasia, named as al-Qasidah al-Tarseeyyah in regard to have a lot of items in same ryhme and poetic meter, also named as Zu al-kafiatain to involve two rhymes in each verse. al-Kasidah al-Tantaraniyyah was commited to paper by Muinuddîn Abu Nasr b. Abd al-Razzak al-Tantarani al-Maraghi who was from Baghdad and Baghdad’s best poets in hijri fifth century. He was described as ‘the greatest intellectual’ and qualified as ‘the poesy is his unimportant talent’ by Dawlatshah in Tazkirat al-shoarah. al-Kasidah al-Tantaraniyyah was written to glorify Nizamulmulk who was the most known vizier of Great Seljuk Empire. al-Tantaraniyyah has high sense of art and thirty-five couplets. In each six parts of poem comprises of five couplets. Its twenty-five couplets are for the part of naseeb and ten couplets are for encomia part. It was written by using Arabic aruz prosedy’s ramal form which is fâilâtun fâilâtun fâilâtun fâilun.In part of naseeb which is formed of twenty-five couplets, writer of al-Kasidah al-Tantaraniyyah Abd al-Razzak al-Tantarani explains his deep love to Prophet Mohammad. Due to this reason al-Kasidah al-Tantaraniyyah is respected between encomias which were written for Prophet Mohammad. al-Tantarani says in this poem that he lost his mind by reason of his deep love to Prophet Mohammad and his waist was leaned like an arc, he was suffering because of being away from Prophet Mohammad and his heart which is full of love was exhausted. Also, he says in poem that he cried so much, because of this some scars were appeared on his cheeks and he would be well if he came together with Prophet Mohammed. From twenty fifth couplet al-Tantarani begins to glorify Nizamulmulk to whom he calls as ‘ascetic’ and describes as a leader who guides intellectuals in consequence of his knowledge and piousness. In this part, al-Tantarani mentions about Nizamulmulk’s generosity to poor people and his power and his fairness and moderation to his comrades.Abu al-Lail Abdarrabbih Mohammad Ibn al-Haj al-Arabi al-Unnabi, Abu al-Ala Alaaddin Mohammad b. Mohammad al-Baheshti al-Esfarayini, Mohammad Haji Nabi al-Humaidi al-Kavsaj, Nimetallah b. Rûhullah al-Hoseinî al-Kerbelai, Mustafa Isamuddin Uskudari, Mohammad b. Haj Veli b. Haj Rasul Tarsusi Bazari Hanefi Qadiri, Mohammad b. Murad al-Bosnawi, Mustafa b. Abu Bakr al-Sivasi, Shareef Abdalqadeer al-Mavsili, Müderris-Müftü Mehmed Kemaleddin Harputi are some commentators who wrote the paraphreases about al-Tantaraniyyah. Also it were translated into Turkish, Persian and French. A version of its Persian translation is stored in Bayazit State Library. It was translated into French by Silvestre de Sacy and translated into Turkish by Kemalpashazade and Ibrahim b. Mehmed al-Yalvaci.Though availabity of academic studies on al-Tantaraniyyah’s Turkish paraphrases and translations, it has not been found out an academic study on Arabic paraphreases. So in this article, giving some informations about al-Kasidah al-Tantaraniyyah, it will be submitted on Sharh al-Kasidah al-Tantaraniyyah by Nimetallah b. Rûhullah al-Hoseinî al-Kerbelai. In this copy of Sharh al-Kasidah al-Tantaraniyyah, el-Kerbelai followed three periods while studing on this eulogium. First is to explain poet’s word with the words which are commonly used in Arabic. Second is to clarify the words grammatically. Third is to explain couplets meanings clearly.

Translation is a process to render the meaning from the source text into the target text. A translator, however, will find some problems during translation process. Equivalence is the case which often appears (i.e. culture specific concept, the source-language concept is not lexicalized in the target language, source-language word is semantically complex, etc). To cope with equivalnce problems in translation process, some experts suggest some strategies which can be applied in doing translation. Some strategies are transference, naturalization, cultural equivalent, etc. The strategies which often appears in the example texts in this paper are transference, naturalization, descriptive equivalent, couplet and through-translation. It is recomended that translator apply the strategies if only there is no equivalence problem in target language.

The word “Knittelvers” has been used since the eighteenth century to describe four-stress rhyming couplets which seem to be rather simply and awkwardly constructed, and whose content is frequently comical, course, vulgar or obscene. Today German Knittelvers is perhaps best known from the works of Goethe and Schiller, as well as other late eighteenth and early nineteenth century writers.Well-known examples occur together with other verse forms in Goethe’s Faust and Schiller’s Wallensteins Lager, as well as in ballads and occasional poems by both poets. While literary critics have shown considerable interest in Knittelvers written from the fifteenth to the eighteenth century, there has been almost no discussion of the further use and development of this verse form from the nineteenth century to the present, despite the fact that it continues to appear in both humorous and serious works by many contemporary German writers. This article focuses on an example of dramatic Knittelvers in a late twentieth century play, namely Daniel Call’s comedy Schocker, a modern parody of Goethe’s Faust. Among other things, Call’s play, as well as other examples of Knittelvers in works by twentieth and early twenty-first century poets, demonstrates that while this verse form has undergone some changes and variations, it still retains metrical characteristics which have remained constant since the fifteenth century. Today these four-stress couplets continue to function as a means of depicting comic, mock-heroic and tragicomic situations by means of parody, farce and burlesque satire.

With but a single Alif as my loadI set the couplet down that starts my ode,A nod to old Khayyam still deep in thought,And I, alone, depart upon my road. In ivory towers is the secret taught,To add ...

In the Persian poem, the elements constituting the music are: metrical prosody, the rhymes, and homophony of words in the poem that is the result of the artistic repetition of the various phonetic units of the language. Harmony between these elements and poem content can be considered as a footnote of this phonetic phenomenon and Complementary of the musical quality of the lyrics. In the form of “sonnet”, with regard to the structural characteristics, the mentioned musical elements can be divided into two groups: one is related to the sonnet structure (which is constantly in a sonnet) and other is related to the couplet (which in the different couplet of a sonnet may be changed). The Biddle Dehlavī lyrics is described by “roam” adjective, but his sonnet meter is to a large extent “ordinary”, because high frequency meters of the sonnet, which four fifth of sonnets were versified in that format, are according to the lyric tradition of that time period. However, in low frequency meters of his sonnets, there are uncommon meters that distinguishes it from other poets. Most of the readers of Biddle poems and experts in the Biddle poems believe that his sonnets are the most valuable of his poems. In the other hand, because of its history and lyric nature, the sonnet form has a stronger link to the musics and the meter role is more highlighted in his sonnets.

The automotive industry has played a crucial role in the thinking around mass prefabricated housing since the early twentieth century. In Australia, a chronic housing affordability crisis, combined with the pending departure of automotive manufacturing, means that the house/car couplet is again under comparison—and not always for the right reasons. The key argument of this article is that a better understanding of the specificities of housing relative to other industries has the potential to release industrialized housing from the trope of a perennial “good idea” that ultimately leads to disappointing results. This might free the industry, allowing it to provide truly innovative and disruptive solutions to the problems surrounding contemporary housing. Further, a richer understanding of the differences between the house and car as industrial products will clarify thinking around the current status of industrialized building production and help chart a more productive future course for housing more generally.

The emerging of social networks, e.g., Facebook, Twitter, and Instagram, has eventually changed the way in which we live. Social networks are acquiring and storing a significant amount of profile information and daily activities of over billions of active users. The data sets, drawn from the social networks, are becoming great sources for exploring and attracting huge interests from different research communities. However, publishing social network data sets have also raised serious security and privacy risks; it is highly likely that they will be targeted by the hackers due to their substantially commercial values. To deal with the problem of privacy leakage, a number of attack models and corresponding privacy preserving solutions have been proposed recently. A common approach is to anonymize the identities of the users when publishing the data sets while we argue that the remaining relationship is sufficient to identify an anonymized user. In this paper, we define a new type of attack as attribute couplet attack . The attribute couplet attack facilitates the relationship of a couplet of anonymous nodes (i.e., a pair of users) and some limited background information to unveil the protected identities. To achieve privacy-preservation under attribute couplet attacks, we propose a new anonymity concept as k-couplet anonymity. A social network data set satisfies the k-couplet anonymity if, for any pair of nodes, there exist at least the other $k-1$ couplets sharing the same attributes. Then, we design and implement two heuristic algorithms to promote the k-couplet anonymity. Furthermore, we design an approximate algorithm for multiple-attribute social networks to realize the k-couplet anonymity. The evaluation results on multiple data sets demonstrate that the privacy and utility of the social network data sets can be well preserved, when incorporating the proposed k-couplet anonymity and the associate heuristic algorithms.

Ovid is now firmly established as a central figure in the Latin poetic canon, and his Fasti is his most complex elegy. Drafted alongside the Metamorphoses before the poet's exile, it was only published after the death of Augustus, and involves a wide range of myth, Roman history, religion, astronomy and explication of the calendar. In its aetiology and conversations with gods, it is a Latin equivalent of Callimachus' Aetia. This invaluable new commentary on a central book of the poem explores Ovid's playful inversion of genre, his witty but challenging style of Latin, his use of the elegiac couplet, intertextuality and much more. With a comprehensive introduction providing key background for students and instructors, this guide to Book 3, the first in English for nearly a century, makes use of the latest scholarly research to illuminate Ovid's wide-ranging and amusing account of Roman life.

Many mawlids (mawlid al-nabī) have been writtenas a reflection of the love for the prophet Muhammad. Süleymān Çelebi’s (d. 825/1422) Wasila al-nacāt, has been seen asthe founding work in Turkish literature in this category. The effect of Wasila al-nacāt has continued for centuries, and inspired many other mawlids. One of them is Enverī Erzincānī’s work named Mawlūd al-sharīf (Sumbulal-gulzār al-kalām al-kadīm). In literature tradition, mawlids are written inmasnawī in ​​verse form, Mawlūd al-sharīf was written instyle. ode. In this respect, the work can be seen as an exception between theother ones. Another remarkable aspect of the work is the similarity between thetwo stories in Nasibī al-mawlid which is estimatedto be written in XV. or XVI. century. Until now, no academic work has been doneabout Mawlūd al-sharīf. Thesources that provide information about Mawlūd al-sharīf report about, two copies, one in Çorum Hasanpasha Manuscript Library (Çorum HasanpaşaYazma Eserler Kütüphanesi) and the other in Kastamonu Manuscript Library(Kastamonu Yazma Eserler Kütüphanesi). Research showed that the copy inKastamonu was in fact another copy of Wasilaal-nacāt another copy of Mawlūd al-sharīf was also found in the ÇorumHasanpasha Manuscript Library (Çorum Hasanpaşa Yazma Eserler Kütüphanesi). The number of couplets of Mawlūd al-sharīf has increased to 202 with the finding of the second copy. About theauthor of the work that is approximatly written in the XVII. or XVIII.century no information could be found. This study, introduces the Mawlūdal-sharīf and its authors, compares it with Wasila al-nacāt and presents an critical analysis of the text.Summary: The term mawlid means birth,birth time and place of birth. It was used to describe works such as the birthof the Prophet, miracles and the death of the Prophet. Next to these there alsomany mawlids about the lifes of Fatīma the daughter of the Prophet and herhusband Alī, and few about the lifes of a spiritual guide. The first examplesof this type seen in Arabic literature are Ibn Dihya al-Kalbī (d. 633/1235),Muhammad al-Azafī (d. 633/1236) and Cafar b. Hasan al-Barzancī (d. 1177/1764);Muhammad b. Masūd el-Kāzarūnī (d. 758/1356) and Sūzanī (d. 569/1173). The celebrations related to mawlid have turned into ceremonial form inthe era of the Fatimies. The Fatimies held, Mawlid-al-Alī, Mawlid al-Hasan,Mawlid al-Husayin and Mawlid al-Fatīma ceremonies next to the Prophet’s. Thefirst mawlid ceremony in the form of today was seen in the time of Muzaffaral-Dīn Gokboru (d. 630/1233).Different ideas have been put forward about the first mawlid text inTurkish literature, but Süleymān Çelebi’s Wasila al-nacat has beenaccepted as a pioneer work in the recognition and love of this kind. Manymawlids were written with the influence of Wasila al-nacat. The likenessof the content and the motifs of the majority of mawlids to Wasila al-nacatis interpreted as a strong sign indicating its importance in this genre. Thetranslation of Wasila al-nacat into Arabic, Circassian, Greek, Kurdish,Tatar, Sawamish, English, German, Albanian, Bosnian... languages ​​should beconsidered as a factor that exposes its breadth.It is estimated that around 200 Turkish mawlids have been written, butthis number is increasing with new studies. One of these mawlids is the work ofEnverî Erzincānī called Mawlūd al-sharīf Ethem Erkoç and Mehmet FatihKöksal are the researchers who have been aware of the existence of this workfor the first time. Both researchers mention that the work has 142 couplets andthe only copy is that in the Çorum Hasanpasha Writing Works Library (ÇorumHasanpaşa Yazma Eserler Kütüphanesi). In his work called Mawlid-nāmaKöksal states that there is a second copy of the work, but the copy ofKastamonu, which is known as the second copy, is actually a copy of Wasilaal-nacat. In the present study, another more bulky version of Mawlūdal-sharīf was recorded in Çorum Hasanpasha Manuscript Library (ÇorumHasanpaşa Yazma Eserler Kütüphanesi). In the catalogs of the National Library(Milli Kütüphane) and Çorum Hasanpasha Manuscript Library (Çorum HasanpaşaYazma Eserler Kütüphanesi), the mawlid is indicated as Persian; the reason forthis mistake might be, the fact that the first twelve of the text is Persian.Although there were many poets who used the pseudonym Enverī there is nopoet in Turkish literature, who was from Erzincan and wrote a mawlid with thesame pseudonym. It was understood thatthe poet was a sayyid.In five places the author’s name or pseudonym is mentioned. His workshows that he is from Erzincān and that he has a mawlid. As a mawlid poetEnverī, adopted a quite ambitious style. He praises himself for writing inPersian, being the best Persian speaker in this area, and boasted his purecharacter and wise poetry.In the headlines of the copies the work is called Mawlūd al-sharīf /Sunbul al-gulzār al-kalām al-kadīm. Therefore, it would be moreappropriate to consider the work as a double name sage. The copies do notinclude a record of the copyright date of the work. According to the secondcopy, which is shorter and which has the impression that it is incomplete, thework was copied in 1249/1833. It can be said that the Mawlid was writtenin the XVII. or XVIII. century because of its language and style.In the mawlid tradition of writing mawlid, generally masnawī form waspreferred. Rarely some mawlids were conposed in verse styles. One of theseworks, which are two for now, is the one in which Çizmeci-zāde Vehbī wrote thecouplets of Wasila al-nacat in sixth verse form. The other one is the Mawlūdal-sharīf of Enverī Erzincān. Mawlūd al-sharīf was written entirelyin the form of an ode, except of two stories with 48 couplets must have beenadded later. The work with 202 couplet was separated from Wasila al-nacat andother mawlids in terms of starting with a Persian tawhid and using the style ofan ode. Because of the small number of citations, the subjects described in Wasilaal-nacat have not been contacted or have been summarized. Mawlūdal-sharīf is one of the shortest ones. Because of the small number ofcouplets of Mawlūd al-sharīf, the subjects described in detail in Wasilaal-nacat are either not mentioned or only summarized. The work, consists oftwo major sections: The birth of the Prophet and the miracle of miraj.The remarkable feature of Mawlūd al-sharīf is that the two storiestold are identical to the stories in Nasībī Mawlid (XV. or XVI.century). The first story tells how, a Jewish couple living in Baghdad becameMuslims because of their respect for the mawlid ceremony. The second storytells about, a young named Alī who organized a mawlid ceremony with littlemoney left from his mother and therefore died with faith. Surprisingly, thissimilarity is seen in the content and narrative forms of the stories in bothtexts. The fact that the comparative stories are almost the same makes on thinkof the possibilities of imitating, quoting or saving rather than an impressionof the author by the previous text. Taking into account the chronological time,it seems more likely to accept the quotations in the Mavlūd al-sharīf asduplicating. Writing the stories in Mawlūd al-sharīf after the mainchapters and the line differences in the rulers reinforce the impression thatthe stories are added later., Hz. Muhammed’e duyulan sevginin yansıması olarak birçok mevlidyazılmıştır. Süleyman Çelebi’nin (ö. 825/1422) Vesiletü’n-necât’ı, Türkedebiyatında bu türün kurucu eseri olarak kabul edilmiştir. Vesiletü’n-necât’ınetkisi asırlarca devam etmiş, bu saikle birçok mevlid yazılmıştır. Bunlardanbiri de Enverî Erzincanî’nin Mevlûd-i Şerif (Sümbül-i Gülzâr-ı Kelâm-ıKadîm) adlı eseridir. Edebî gelenekte mevlidler, genellikle mesnevi nazımbiçimiyle yazılırken Mevlûd-i Şerif, kaside şeklinde telif edilmiştir.Eser, bu yönüyle diğer mevlidler arasında bir istisna olarakdeğerlendirilebilir. Eserin dikkat çeken başka bir yönü de XV-XVI. yüzyıldayazıldığı tahmin edilen Nasibî Mevlidi’nde geçen iki hikâye arasındakiayniyete yakın bir benzerliğin bulunmasıdır. Mevlûd-i Şerif hakkında şuana kadar akademik bir çalışma yapılmamış. Mevlûd-i Şerif hakkında bilgiveren kaynaklarda, biri Çorum Hasanpaşa Yazma Eserler Kütüphanesinde, diğeriKastamonu Yazma Eserler Kütüphanesinde bulunan iki nüshasından söz edilmiştir.Yapılan incelemeler sonucunda Kastamonu’daki nüshanın aslında Vesiletü’n-necât’ınbaşka bir nüshası olduğu anlaşılmıştır. Yapılan araştırmalarla Mevlûd-iŞerif’in başka bir nüshası, yine Çorum Hasanpaşa Yazma Eserler Kütüphanesindebulunmuştur. Mevlûd-i Şerîf’in 142 olan beyit sayısı, ikinci nüshanınbulunmasıyla 202’ye çıkmıştır. XVII. ya da XVIII. yüzyılda yazıldığı tahminedilen eserin müellifi hakkında bir bilgi bulunamamıştır. Bu çalışmada Mevlûd-iŞerîf ve müellifi tanıtıldıktan sonra Vesiletü’n-necat’lakarşılaştırılmış ve iki nüsha karşılaştırılarak mevlidin tenkitli metnineşredilmiştir.Özet: Doğum, doğum zamanı ve doğum yeri anlamınagelen mevlid terimi, edebiyatımızda Hz. Peygamber’in doğumu, mucizeleri vevefatı gibi dönemleri ve olayların anlatıldığı eserleri tanımlamak içinkullanılmıştır. Hz. Peygamber’in yanı sıra çokça Hz. Ali ve Fatma, nadiren birmürşidin hayatını anlatan mevlidler de yazılmıştır. İlk örnekleri Arapedebiyatında görülen bu türün müellifleri arasında İbnü Dihyeti’l-Kelbî (ö.633/1235), Muhammed el-Azefî (ö. 633/1236) ile Cafer b. Hasan el-Berzencî (ö.1177/1764); İran edebiyatında Muhammed b. Mesûd el-Kâzerûnî (ö. 758/1356) ileSûzenî (ö. 569/1173) sayılabilir.Mevlidle ilgili kutlamalar, ilk defa Fatimiler zamanında tören formunadönüşmüştür. Hz. Peygamber’in dışında Fatimilerde, Mevlid-i Ali, Mevlid-iHasan, Mevlid-i Hüseyin ve Mevlid-i Fatma törenleri de yapılmıştır. Günümüzdekişekliyle ilk mevlid merasimi, Muzafferiddün Gökbörü (ö. 630/1233) zamanındagörülmüştür.Türk edebiyatındaki ilk mevlid metninin hangisi olduğu hakkında farklıfikirler ileri sürülmüş olsa da Süleyman Çelebi’nin Vesîletü’n-necât’ıbu türün tanınmasında ve sevilmesinde öncü eser olarak kabul edilmiştir. Vesiletü’n-necât’ıntesiriyle birçok mevlid yazılmıştır. Bunların büyük bir kısmının muhteva vemotiflerinin Vesiletü’n-necât’a benzetilmesi, onun bu türüniçindeki önemini gösteren kuvvetli bir işaret olarak telakki edilmiştir. Vesiletü’n-necât’ınArapça, Çerkezce, Rumca, Kürtçe, Tatarca, Sevâhil dili, İngilizce, Almanca,Arnavutça, Boşnakça... gibi dillere tercüme edilmesi, onun etki alanıngenişliğini ortaya koyan bir unsur olarak görülmüştür.Türk edebiyatında 200 kadar mevlidin yazıldığı tahmin edilmekle beraberyeni çalışmalarla bu sayı daha da artmaktadır. Bu mevlidlerden biri de Enverî-iErzincanî’nin Mevlûd-i Şerîf adlı eseridir. İlk kez bu eserinvarlığından haberdar eden araştırmacılar Ethem Erkoç ile Mehmet FatihKöksal’dır. Her iki araştırmacı eserin 142 beyit olduğunu ve Çorum HasanpaşaYazma Eserler Kütüphanesinde bulunan tek nüshasından söz etmiştir. Köksal, Mevlid-nâmeadlı eserinde, eserin ikinci nüshasının bulunduğunu belirtmişse de ikincinüshası olarak bilinen Kastamonu nüshası, aslında Vesiletü’n-necat’ınbir nüshasıdır. Yaptığımız araştırmada Mevlûd-i Şerîf’in yine ÇorumHasanpaşa Yazma Eserler Kütüphanesinde kayıtlı daha hacimli başka bir nüshasıtespit edilmiştir. Milli Kütüphane ve Çorum Hasanpaşa Yazma Eserler Kütüphanesikataloglarında bu mevlidin Farsça olduğu bilgisi verilmiş olsa da metnin ilk oniki beytinin Farsça olması, bu yanlışın nedeni olabilir.Türk edebiyatında Enverî mahlasını kullanan birçok şair bulunmasınarağmen tezkireler ve diğer biyografik kaynaklarda mevlid yazan, Erzincanlı olanve Enverî mahlasını kullanan başka bir şaire rastlanmamıştır. Şairin seyyidolduğu anlaşılmıştır. Mevlidin beş yerinde yazarın adı ya da mahlasızikredilmiştir. Eserinden, şairin Erzincanlı olduğu ve şu an için birmevlidinin olduğu bilgisine ulaşılmıştır. Enverî, bir mevlid şairine göreiddialı bir üslubu benimsemiştir. Şair, Farsça yazmayı övünç vesilesi yapmış,bundan dolayı kendini, bu alanda en iyiFarsça bilen kişi olarak tanıtmış, saf karakteri ve hikmetli şiiriyleövünmüştür.Eser, nüshaların başlıklarında “Mevlûd-i Şerîf /Sünbül-i Gülzâr-ıKelâm-ı Kadîm” olarak adlandırılmıştır. Bundan dolayı eseri, çift isimlibir mevlid olarak değerlendirmek daha uygun görünmektedir. Nüshalarda eserintelif tarihiyle ilgili bir kayıt belirtilmemiştir. Daha kısa olan ve eksikolduğu intibaını uyandıran H2 nüshasına göre eser, 1249/1833 yılında istinsahedilmiştir. Dil ve üslup özelliklerinden dolayı Mevlid’in XVII. ya daXVIII. yüzyılda yazıldığı söylenebilir.Mevlid geleneğinde genellikle mesnevi nazım biçimi tercih edilmiştir. Çoknadir görülse de farklı nazım biçimleriyle oluşturulan mevlidler deyazılmıştır. Şimdilik iki tane olan bu eserlerden biri, Çizmeci-zâde Vehbî’nin Vesiletü’n-necât’ınbazı beyitlerini tesdis ettiği mevlididir. Diğeri ise Enverî-i Erzincanî’nin Mevlûd-iŞerîf’idir. Mevlûd-i Şerîf, sonradan ilave edildiğini tahmin ettiğimiz 48 beyitlik iki hikâyedışında bütünüyle kaside nazım biçimiyle yazılmıştır. 202 beyit olan eserinFarsça bir tevhidle başlatılması ve kaside şekliyle yazılması bakımından eser, Vesiletü’n-necâtve diğer mevlidlerden ayrılmıştır. Mevlûd-i Şerîf kısa mevlidlerdenbiridir. Mevlûd-i Şerîf’in beyit sayısının az olmasından dolayı Vesiletü’n-necât’taayrıntılı olarak anlatılan konulara ya değinilmemiş ya da bunlar özetlenerekverilmiştir.Eserde, çoğu mevlidde bulunan temel iki bölüm anlatılmıştır: Hz.Peygamber’in doğumu ve Mi’raç mucizesi.Mevlûd-i Şerîf’in dikkat çekicibir hususiyeti, anlattığı iki hikâyenin Nasîbî Mevlidi’ndeki (XV-XVI.yüzyıl) hikâyelerle aynı olmasıdır. Birinci hikâyede, Bağdat’ta yaşayan Yahudibir karı-kocanın mevlide saygılarından dolayı Müslüman olmaları anlatılmıştır.İkincisinde ise Ali adında bir gencin annesinden kalan bir flori ile mevlidokutması ve imanla vefat etmesi anlatılmıştır. Şaşırtıcı orandaki bu benzerlik,her iki mevlidde anlatılan hikâyelerin muhteva ve ifade biçimlerinde degörülür. Mukayese edilen hikâyelerin nerdeyse aynı olması, etkilenmeden çoktaklit etme, alıntılama ya da müstensihin tasarrufu ihtimallerinidüşündürmüştür. Kronolojik zaman hesaba katıldığında Mevlûd-i Şerif’tekialıntılamaları, bir müstensihin ilavesi olarak kabul etmek daha muhtemelgörünüyor. Mevlûd-i Şerif’teki hikâyelerin ana bölümlerden sonrayazılması, cetvellerdeki çizgi farklılıkları hikâyelerin sonradan eklendiğiizlenimini daha da kuvvetlendirmiştir.

Chinese couplets, as one of the traditional Chinese culture, is the treasure of Chinese civilization and the inheritance of Chinese history. Given a sentence (namely an antecedent clause), people reply with another sentence (namely a subsequent clause) equal in length. Because of the complexity of the semantic and grammatical rules of couplet, it is not easy to create a suitable couplet that meets the requirements of sentence pattern, context, and flatness. In this paper, given the issued antecedent clause, we can automatically generate the subsequent clause by encoder-decoder model. Moreover, to satisfy special characteristics of couplets, we incorporate the attention mechanism into the encoding-decoding process, which greatly improves the accuracy of couplets generated automatically.

Social Network is one of the most desired platform where an immense amount of data are available from many different social platforms. Publishing data without hiding sensitive data or diplomatic data about individuals is a crucial problem which cannot guarantees the privacy. Therefore published data needs to remove identifying particulars of the individuals (anonymized) before the data is released. Anonymizing data is more challenging and a popular privacy preserving model for data publishing in social networks. However even after anonymizing the data sets, attackers try to find new methods to derive private information of individuals with some background knowledge and identify them. One of such method is attribute couplet attack where the attacker has some background information about the data and derive the identity using a pair of node attributes. In the existing approach, the k-couplet anonymity achieves the privacy under the attribute couplet attack by using edge modification approach. This will change the distance properties between nodes and might also introduce undesirable and misleading fake relations. In this paper, we design an algorithm named Couplet Anonymization by using node addition approach. Adding new nodes and connecting them to some of the nodes in the original network can avoid this attribute couplet attack and gives a better chance to preserve the network properties. This node addition helps to reduce the misleading fake relations and also preserves the utility of the social networks.

As one of the quintessence of Chinese traditional culture, couplet compromises two syntactically symmetric clauses equal in length, namely, an antecedent and subsequent clause. Moreover, corresponding characters and phrases at the same position of the two clauses are paired with each other under certain constraints of semantic and/or syntactic relatedness. Automatic couplet generation is recognized as a challenging problem even in the Artificial Intelligence field. In this paper, we comprehensively study on automatic generation of acrostic couplet with the first characters defined by users. The complete couplet generation is mainly divided into three stages, that is, antecedent clause generation pipeline, subsequent clause generation pipeline and clause re-ranker. To realize semantic and/or syntactic relatedness between two clauses, attention-based Sequence-to-Sequence (S2S) neural network is employed. Moreover, to provide diverse couplet candidates for re-ranking, a cluster-based beam search approach is incorporated into the S2S network. Both BLEU metrics and human judgments have demonstrated the effectiveness of our proposed method. Eventually, a mini-program based on this generation system is developed and deployed on Wechat for real users.

This article examines how two late seventeenth-century women read Katherine Philips as attested by their surviving manuscript compilations. In her commonplace book, Katherine Butler quotes from six poems by Philips, her passages ranging in length from a couplet to an entire poem. Her favoured theme is friendship, but she is also drawn to passages that treat the emptiness of worldly pleasures and the need to master passions. Stylistically, Butler favours the rhyming couplet in the commonplace book as a whole, but when she quotes Philips she is drawn to both rhyming couplets and other stanzaic forms. Sarah Cowper includes two passages from Philips in two different manuscripts: an alphabetical, thematically arranged commonplace book and a largely prose religious miscellany. In the former, Cowper includes a couplet on implicit religious duties being the most acceptable and, in the latter, she includes the entire poem “A prayer”, which we know from a diary entry of 1701 that she admired. For both reade...

Between 1805 and 1806 ,Wordsworth tried his hand at translating sonnets from Michelangelo's Rime. Three of them were first collected in 1807 in the section entitled "Miscellaneous Sonnets" of Poems, in Two Volumes (Curtis ed., 1983: 143-145). tThey were modelled on Milton's as recorded in the Notes he dictated to Isabella Fenwick in 1843: "In the cottage of Town End, one afternoon in 1801, my Sister read to me the Sonnets of Milton. I had long been acquainted with them, but I was particularly struck on that occasion by the dignified simplicity and majestic harmony that runs through most of them,--in character so totally different from the Italian, and still more so from Shakespeare's fine Sonnets. I took fire, if I may be allowed to say so, and produced three sonnets that same afternoon, the first I ever wrote except an irregular one at School. Of these three the one only I distinctly remember is T grieved for Bonaparte'" (Curtis ed., 1993: 19). The statement was confirmed with some reservations, in a letter, November, 1802: "Milton's sonnets ... I think manly and dignified compositions, distinguished by simplicity and unity of object and aim, and undisfigured by false or vicious ormaments. They are in several places incorrect, and sometimes uncouth in language, and, perhaps, in some, inharmonious; yet, upon the whole, I think the music exceedingly well suited to its end, that is, it has an energetic and varied flow of sound crowding into narrow room more of the combined effect of rhyme and blank verse than can be done by any other kind of verse I know of" (De Selincourt ed., EY: 379). Here Wordsworth vented feelings and opinions he transformed and metapoetically transferred to the Prefatory Sonnet (late 1802): "Nuns fret not at their Convent's narrow room" (Curtis ed., 1983: 133), and, later, paid homage to Milton by translating and publishing one of his sonnets--originally written in Italian, "Giovane piano e semplicetto amante" as "A plain youth, Lady, and a simple lover"--in the Morning Post, October 5, 1803. Wordsworth's expressive continuity flows from his correspondence to the poetic text, praised because "'twas pastime to be bound / Within the sonnet's scanty plot of ground" (10-11), affording the reader to "find short solace there" (14)--and eventually, to the Fenwick Notes. His liking for the form was re-stated in 1827 in a sonnet opening with an almost peremptory invitation, at once poetic and metapoetic: "Scorn not the Sonnet; Critic, you have frowned" (Hayden ed., 1977, II: 635), in keeping with nearly thirty years' exploration of its resources and potentialities. Traditionally devoted to the excercise of lyrical verse first in Italy and later on thoughout Europe, the sonnet is used by Wordsworth to support the poetics of self-expression expounded in the Preface to Lyrical Ballads (1800), where poetry is defined as the "spontaneous overflow of powerful feelings" (Hayden ed., 1977, I: 886). In the 1827 sonnet, Wordsworth expresses it again through various metaphors that paradoxically attribute his own poetics to a string of European sonneteers: Dante, Petrarch, Shakespeare, Camoens, Spenser, and Milton, as "in his hand / The Thing became a trumpet; whence he blew / Soul-animating strains--alas, too few!"--twenty-three sonnets in all, five in Italian. The imprinting is given by Petrarch and Cinquecento Petrarchists (Bembo, Della Casa, Vittoria Colonna), revisited by Milton who adopts the classical quatorzain: an octave composed of two quatrains with enclosed rhymes and a sestet with a varied rhyme scheme, overshadows the indigenous Elizabethan and Shakespearean version, consisting of three quatrains with new rhymes in each of them, and a final couplet. Wordsworth's handling of the Italian pattern influences and impacts on both octave and sestet like Milton's, as the binary structure of the Italian sonnet is often disrupted by having the octave flow into the sestet, especially through a frequent recourse to enjambement (over 50% in Milton, nearly 40% in Wordsworth, counting only the sonnets from Poems, in Two Volumes). …

(ProQuest: ... denotes non-US-ASCII text omitted.)The Magnificat (Luke 1:46b-55) imitates the form and content of various biblical psalms and odes, including the Song of Hannah (1 Sam 2:1-10). But to what extent does it show flashes of its own poetic sophistication? How convincing is the pastiche? In this article, I will address these questions through the lens of two grammatical peculiarities in the hymn that are generally dismissed as nonstandard Greek usage. The first aligns two verbs in a synonymous parallelism but sets them in diffferent tenses (vv. 46b-47). The second references the same object through two different object constructions (v. 55).An earlier study has already argued that the first alternation finds a background in Hebrew poetry.1 In this article I will elaborate on this thesis and discuss the literary merits of this technique in the broader hymn. In turn, I will apply a poetic analysis to the second construction as well. I believe the two anomalies are comparable and can be classed together as stylistic or nonsemantic grammatical alternations. This category of poetic devices is amply attested in the Hebrew Bible and evidently plays a vital role in the marked language of this hymn as well. When one adds these techniques to the inventories of the hymn's poetic features, the skill of its poet stands out in stronger relief.2I. Tense Alternation (Luke 1:46b-47)A. Analysis of the GreekIn the opening couplet of the Magnificat, a present-tense verb (µeγαλ?νeι, "magnifies," v. 46b) stands opposite an aorist (?γαλλ?ασeν, "rejoiced," v. 47) in a synonymous parallelism:Luke 1:46b-47...My soul magnifies the Lord,and my spirit rejoiced in God my savior.The juxtaposition of these tenses has attracted considerable attention in secondary literature. Since for most interpreters, the immediate occasion of Mary's song justifies the present tense of µeγαλ?νeι, those treatments focus almost exclusively on the choice of an aorist form in verse 47.Interpretations of the Aorist in Verse 47One set of approaches identifies ?γαλλiασeν with one of several non-past uses of the aorist. BDF, for instance, identifies ?γαλλiασeν as a gnomic aorist.4 This type, rare in Hellenistic Greek, is associated with aphorisms and statements of general fact. Since the motive clauses following this couplet identify Mary's rejoicing as a reaction to particular events of her recent experience (vv. 48-49), however, a gnomic sense is unlikely in this instance. It is still less likely when one compares ?γαλλ?ασeν to the true gnomics in verses 51-53.5 The aorist in verse 47 differs considerably from these verbs, which include "features of proverbial statement, such as nouns with generic articles, indefinite noun or pronoun reference," and an eye toward "universal occurrences of the event."6An alternative explanation would identify ?γαλλ?ασeν as one of the few New Testament examples of a dramatic aorist, or an "aorist of present state."7 A dramatic aorist here would represent a Hebraism, capturing qualities of the stative perfect (a type emphasizing a present condition resulting from a past, completed action).8 The LXX translates some 47 percent of Hebrew perfects with a present or future value as aorists.9 Four such verbs appear in the first line of the Song of Hannah, an obvious template for the phrasing of Luke 1:46b-47:101 Sam [LXX 1 Kgdms] 2:1...My heart has been made to exult in the Lord.My horn has been exalted in my God.My mouth has been enlarged against my enemies,Because I have been gladdened in your salvation.Although this comparison provides a compelling explanation for the aorist form in verse 47, it ignores the fundamental difficulty of verses 46b-47, namely, the shiftin tense. Why does the poet11 of the Magnificat use a different tense in each line? Why not render both verbs as dramatic aorists, especially with 1 Sam 2:1 as a model? …

The dominant vehicle for oral poetry in the song culture of Kalymnos is the mantinadha, a rhyming couplet in iambic decapentameter. Though this poetic form has been studied extensively by philologists and anthropologists working in the Greek Aegean, a combined philological, ethnographic, and musicological approach is necessary to establish an expanded theoretical framework capable of exploring the interaction between poetry, music, and sociality. In performance, the texts of these poems are stretched, rearranged, interrupted, and delayed in order to conform to the contours of different melodies, each of which makes unique structural demands on the couplets that are sung to it. Close musical, metrical, and ethnographic analysis of several performances and attention to the interpretive choices of the expert performer or meraklis suggests an implicit theory, a model of the internal theory encoded in the music that governs the Kalymnian melody-poetry interface and reveals the ways in which the application of specific poetic and musical techniques both heightens the dialogic quality of these couplets and imbues them with socially poetic power.

This article explores points of connection between the couplets of Shakespeare’s Sonnets (1609) and the instructional literature of husbandry, arguing that Shakespeare shares with these practical genres a commitment to an aesthetic of didacticism and detachability. Through a reading of the Sonnets alongside Thomas Tusser’s Hundreth Good Pointes of Husbandrie (1557), a popular handbook composed in rhyming couplets, I argue that a poetic tradition of practical fragmentation is embedded in Shakespeare’s couplets, and helps explain a longstanding critical dissatisfaction with the sonnets’ conclusions. Attending both to the imaginative practices of husbandry and to the material forms of the printed page (specifically, practices of indentation), I argue, generates new insights into the operations of a poetic memory performed not by a whole poem, but by detachable, and so storable, fragments.

This paper contrasts the rhythm of Li Bai's “GUAN SHAN YUE”（关山月）and that of Fletcher's English version “The MOON OVER The PASS” and finds out the functional equivalence between the Ping (平) and Ze (仄) (level and oblique tones) of Chinese poetry and the lightly stressed and heavily stressed syllables of English poetry, the number of Yan (言) (the number of characters) and the number of feet, and the rhymes. To promote the realization of musical beauty, formal beauty and emotional expression in the translation of Chinese poetry and reproduce the rhythm of ancient Chinese poetry, five-character and seven-character poem with regular line can be translated into iambic pentameter; pre-Tang poem and Song Ci with irregular line can be translated according to the analogy of character and syllable, and the feet of the translated poem can mainly be iambs; the rhyme of the translated poem can be couplet rhyme, cross rhyme or alternate rhyme. Based on this strategy, the author translates her self-created poem “MAN JIANG HONG ZHAN YI”（满江红·战疫）into English to prove the feasibility of the rhythm reproduction strategy of the English translation of ancient Chinese poetry.

“Fixe heere,” a curious fragment by the young Milton, has been interpreted by critics as an emblematic piece expressing the poet’s pervasive sense of belatedness. In my “speculative flight of fancy,” I propose a different reading, one that finds a general sense of anticipation and adventure in Milton’s couplet.

Chinese couplet is a special form of poetry involving a pair of lines that adhere to certain rules. This paper presents VV-Couplet, an open source automatic couplet generation system. This system is based on the attention-based sequence-to-sequence neural model that ‘translates’ the first line to the second line. Particularly, it relies on a local attention mechanism that learns the basic rules of couplet generation. Moreover, entity names such as person names and addresses are particularly treated. We open an online couplet generation service, and the entire source code and data for interested readers to reproduce our work.

Social Network is an emerging platform where a huge data are available without hiding individuals or groups of people's sensitive information on the network. This highly sensitive data can be used by a third party or an external attacker for social targeting where the privacy is not guaranteed. Anonymizing data is one of the privacy-preserving models which help in reducing privacy leaks and also it increases the data utility. However, the attackers try to derive new methods to identify the individual's data. One among the new method is attributed couplet attack with some background knowledge to find the identity of the individuals by using a pair of node attributes. In the existing approach, the k-couplet anonymity achieves the privacy under the attack called attribute couplet. In this paper, we use factor analysis to reduce this attribute couplet attack.

This chapter draws on two separate but inter-related areas of research. The first is the life, career and works of Thomas Maitland, who was the son of Richard Maitland of Lethington and a Scottish neo-Latin poet. Maitland’s extant work was printed in the Delitiae Poetarum Scotorum (1637) and is surprisingly versatile, comprising seven elegies, four sylvae (or occasional poems) in hexameter, and 28 short poems and epigrams, ranging in length from 2 to 30 lines, and in a variety of meters. The second is the use of the elegiac couplet by Scottish neo-Latinists before 1603, which by necessity also involves an examination of the extent and nature of erotic and obscene poetry written by Scots in the same period, and the situation of Scotland within the context of international developmets in neo-Latin elegy. Maitland’s erotic poems, which comprise four elegies and a range of epigrams in elegiac couplets and hendecasyllables, are important for two reasons. Firstly, Maitland comes closer than any of his other Scottish contemporaries to creating original poetry that also successfully emulates the conceits, themes and structures of Classical erotic poetry – chiefly that of Tibullus, Propertius, Ovid, Catullus, and Martial. Secondly, Maitland is an important ‘missing link’ in the development of Scottish elegiac verse. While the greatest Scottish neo-Latinist of the age, George Buchanan, wrote erotic and obscene poetry in the 1540s and 1550s, and a range of authors including David Hume and Arthur Johnston contributed to the genre in the early seventeenth century, only Maitland and Mark Boyd (author of Epistolae quindecim (1590) and Epistolae heroides et hymni (1592), which directly imitated Ovid’s Heroides) actively developed this field in a Scottish context in the immediate post-reformation period.