Family Theatre presents Susan Hayward and Sterling Holloway. The Mutual Network in Cooperation with Family Theatre presents the story of Danny Dollar Bill starring Sterling Holloway. To introduce the drama, here is your hostess, Susan Hayward. Good evening, ladies and gentlemen. Family Theatre's only purpose is to bring to everybody's attention a practice that must become an important part of our lives if we're to win peace for ourselves, peace for our families and peace for the world. Family Theatre urges you to pray. Pray together as a family. Tonight, Family Theatre takes great pleasure in presenting the story of Danny Dollar Bill starring Sterling Holloway as the narrator. This is the story of a dollar bill named Danny. Danny wasn't exactly born. He was printed, which amounts to the same thing in the life of a dollar bill. Along with countless other dollar bills, Danny was put through huge machines which stamped him all over with numbers and official seals and all it goes to make the well-dressed dollar bill. Finally, he was put through a big machine that stamped a lovely picture of George Washington on one side of him. Danny didn't mind all this printing rigmarole, and in fact it was kind of fun. When he went through the machine that stamped the picture on him, it tickled and Danny wriggled. Well, finally Danny went sliding out a chute and landed on a long flat table. Cautiously, Danny lifted one of his crisp edges and glanced about. On an adjoining table, he saw a whole pile of new five dollar bills and being of a very friendly disposition, Danny yelled out to one of the five... Hi! But the five lifted Lincoln's nose and went... Well, Danny was a little hurt by this, but then one of the other dollar bills spoke up. Don't feel bad, Danny. The fives never speak to us dollar bills. They only speak to the tens. Oh, and do the tens talk to them? No, the tens speak only to the 20s. Well, gosh, then who do the 20s speak to? Now, there you've got a point. I doubt if they talk to the Treasury Secretary himself. Gee, there's quite a system around here, isn't there? Yeah, but you'll catch on when you've been around a few days. Hey, I wonder how much a dollar will buy. Well, I don't care so much about what I buy. I just want to make people happy. Well, Danny didn't have long to wait. For the next day, he was bound up in a neat little package with 99 other dollar bills and taken for a ride in an armored truck, bound for a nearby bank. Danny was about to go into circulation. His life was about to begin. Danny watched the people as they approached the teller's window, and wondered who he would be given to. And just then, the teller picked him from the dollar compartment and handed him to a man in uniform. The man carried Danny and some other money from the bank and headed straight for a huge black limousine. He got in and then gave all the money to a very distinguished-looking gentleman sitting in the rear seat, and then they all drove away. Danny's imagination began to race. What would the man buy with him? Maybe some shares in a large corporation or a part of a bridge or a building or an island even, and suddenly the cost stopped and Danny was handed back to the chauffeur who took him into a store and gave him to a girl behind the counter. The girl gave Danny an admiring look. Oh, brand new, huh? Just make it? Well, Danny thought this was very amusing and he gave her a loud pop of approval when she snapped him between her hands. Danny craned his edges to look back and see what the chauffeur had bought with him. But when he saw what it was, he wished he hadn't looked. The man was walking away with two cigars. He had spent Danny's whole value for just two cigars. And no change yet. It might just as well be a little old quarter or something, if that's all I'm going to buy in this world. He said to himself, I thought at least I'd be able to... Hey, hey, bud, sis, hey. Who's that? Hey, I'm sitting right underneath you. Underneath? Oh, gee, excuse me. I must be crowding you. Sit still, Chem. It's kind of cozy in all these cash registers, but we get used to it. Are you a dollar bill too? It's so dark in here, I can't quite make you out. Yeah, we're all dollars in this year's space. The name's Horace. Horace? Yeah, crummy name for a buck, ain't it? Oh, no. I didn't mean to... Oh, that's all right, kid. You knew? Yes. How do you like it? Well, it is a little disappointing so far. All I've done is buy two cigars. Don't worry, you'll get around. I just came in from the race track, myself. Oh? Yeah.  Plenty of excitement. You're always on the move. Well, just what do we buy at the races? Well, we don't buy nothing, really. People use us to bet on the nags. Oh, you ought to see them. I didn't go nuts. Does this betting make them happy? Happy? Yeah, I guess. When they win, which ain't often. The guys that bet me usually lose their shorts. I must be a jinx of something. Oh, I don't think I care too much about going to the race track, then. You see, Horace, I want to make people happy when I buy things for them.  Well, it's a noble ambition, kid. I wish you luck. But the chumps that put me in there, while it's never seemed much better off, I haven't owned me. But as I say, I wish you good luck. For the next several days, Danny was kept quite busy. Well, as busy as a dollar bill could be. And then one day, Danny found himself in a woman's purse. Well, it was enough to give even a dollar bill a headache. Well, Danny was carried about in this purse for some time until one day the purse was opened, and Danny found himself in the midst of a great celebration. He looked about and saw signs, claiming what appeared to be a holiday in his honor for everywhere they hung huge streamers reading dollar days. Danny's new honor paired him into a larger tracking store with absolute bedroom rain. Danny hadn't seen such confusion since one day in the bank when the Indian head pennies got after the buffalo nickels, and then he heard the woman saying to her companion, Mabel, I've got an extra dollar here. I think I'll buy Georgia time. I don't need any more goodness notes, but I can't resist the sale. And this was the last straw for little Danny dollar bill. Well, that does it. I'm not going to be spent for another silly purchase. Just wait till she reaches in here to get me. I'll take this one, Dairy. Here's the money. Oh, I dropped it. Mabel, help me find the dollar, will you? I dropped it right here somewhere. Well, it just seemed to wiggle right out of my hand. Oh, dear, I hope I didn't lose it. Well, Danny floated to the floor and was carried beneath the feet of the shoppers to the sidewalk outside where a whirlwind of ale lifted him high above the sidewalks. It was a gusty day, and Danny was blown for blocks before he finally came back to earth again. And when he did, he found himself in a park. Danny looked around. Hmm, now let's see. This time I'll do the choosing as to who spends me. Hey, there's a fellow who looks like he could use me.  I'll just lift one of my edges to the wind and see if I can't drift over his way. Hey, but I see you're still with us. I was hoping maybe you'd found something since I saw you yesterday. Hello, Clancy. No, no, nothing yet. Look, boy, I don't usually do this, but have you had anything to eat today? I could advance you a little, you know. Oh, thanks, Clancy. Look, I'm solvent. This dollar bill just blew up to me like a long lost friend. Ha! What can you buy for a dollar these days? Well, I was thinking of investing in a haircut. And the paper here that I might qualify for. Oh. Yeah, here it is here.  Young, ambitious, must be neat and good musical ear. And you think you'll qualify for that, eh? I've been exposed to music all my life, Clancy. David, my boy, who are you anyway? You ever hear of David Warwick? David Warwick? That concert fella played in Carnegie Hall and on them places? Yeah. Well, whatever happened to him. He just sort of dropped out of sight, didn't he? Clancy, David Warwick is now a bum who sits around on park benches and reads the one-hands. But I don't get it.  What are you doing here? Very simple, Clancy.   But why did you ever take it up in the first place? I didn't take it up, my friend. I wanted to paint, but I had no choice. Mother wanted me to be a concert pianist, so for as long as I can remember, it was always practice, practice, practice. All the other kids would be out playing ball or something, but me, David Warwick, I was playing the piano. Practice, practice. Well, years went by. There was one concert after another. I was a success, but I still wanted to make painting my life. Mother was just as determined that I should not let it interfere with my music. Well, it finally got so bad that I had to sneak out of the apartment to attend art classes. Are those domineering mothers? I rode along with it for quite a while. And then... I met he... She was an art instructor in the school I attended. Now, Clancy, it was one of those things. I fell for her all the way. She for me. So I thought... What happened then? Good question, Clancy. I wish I knew what happened. She just plain vanished. I've been looking for her ever since. Months now. It's hard for people to just disappear. Didn't she give any reason? That's all very strange, Clancy. Things seemed to be going so well. We'd planned to be married. For obvious reasons, I'd avoided introducing her to Mother. But one evening, I took Eve with me to the concert I was playing. Mother, you and Eve get acquainted while I make pretty music for the customers. Oh, hurry, David. The mice throw us already furious with you. Okay, I'll see you later. Let's go into David's dressing room for a moment, Eve. All right, Mrs. Warwick. Eve, I'll get right to the point. I frankly don't approve of your marrying, David. You don't... You don't? Why? I don't approve for this reason. I know just as well as I'm standing here that once David marries you and moves out of my home, you'll forsake his music for this painting quim of his. After all, it's his life. I know what's best for him. Well, Mrs. Warwick, I don't quite know what to say. Then let me say it for you.  You've had your present position with the art school for five years. You're considered one of their best instructors. You also support your invalid mother and your two younger brothers, correct? Yes. Quite. All very commendable. Now, I have a proposition for you. As you perhaps know, I will considerably influence in certain circles of this city. Therefore, I am in a position to offer you the management of the Chatsworth Galleries. Chatsworth Galleries? A position a good many people would give anything to have. But in return... You are to give up the idea of marrying David. Oh. To be even more explicit, never see him again. Just vanish. But Mrs. Warwick, you don't seem to understand. We love each other. Why, I wouldn't even consider such a thing. No job means that much to me. It might be wise to consider it, my dear. As I said, I do have considerable influence. You could report for work tomorrow morning and find someone else in your place. And also find yourself unable to get another teaching position anywhere in this city. But this is unbelievable. Well, think it over carefully, my dear. I'll leave you now and look in again at the end of David's concert. Oh, may I suggest? It would be better if we found you gone when we returned. As I said, my dear, I am used to having my own way.  Where's Eve? Where'd she go? Oh, David, the audience is clamoring for you. The audience? Now, where's Eve? She's... She's gone, David. Gone? Where? Well, we had a little chat and she decided... Check. What did you tell her? You sent her away. David, the audience is... I'm afraid something like this was going to happen. Look, Mother, if this is true, I'll never touch a piano again as long as I live. Now, please step aside. I'm going out and find Eve. But, David, the audience! David! David! That's the whole sad story, Clancy. I went out that night to find Eve and I'm still looking. Never a trace for him. No, not one. Mother is very thorough. There were no tracks. Yeah. Well, where's that barbershop? It's right down there past the gallery a bit. The gallery? Art gallery? Oh, yeah. The Chatsworth Galleries. I've heard of them. Exhibition today. Admission $1. Proceeds to Orphan's Milk Fund. You know, Clancy, I got an ocean to go in. Gosh, it seems years since I've wandered through one of these places. Man, it's your dollar. Hmm. Oh, no, I guess I'd better not. Still... Tell me, if you hate music so, and vowed never to touch a piano again, why were you going to apply for that piano tuner's job? Clancy, there's only one thing in this world I know anything about, and that's music. I don't like it or not. A man can get just so hungry. Well, here goes. Yes, sir. Give me a dollar's worth of haircutting, friend. Annie sat in the cash drawer of the barbershop. A very disappointed dollar bill. Though a shabby friend had spent him for something he needed, Danny knew the man wasn't going to be any happier for it. And most of all, he wanted to make people happy. Danny's side. Oh, shucks. Things just never seem to work out the way I'd like them to. Gosh, I wish I were a $5 bill. I'll bet if I could buy more, people would like me better. Don't you believe it? People treat us fives just the same. Well, the voice startled Danny. It came from the next compartment in the cash drawer. Danny raised one of his edges to see who had spoken. And when he saw, what a shock. It was a 5 who had spoken to him. A very dirty, wrinkled 5. I'm only a 1, you know. Oh, yes, I know. But I get over that silly business of not speaking to the small change a long time ago. Gee, I'm glad. I know. I used to be that way. But I finally woke up. After all, we all come from the same place. And we'll all end up in the same spot in the end. So why go through life snubbing the little guys, I say? What do you mean we'll all end up in the same place in the end? What does happen to old money anyway? You mean you don't know? No. Well, that ain't good. But take my advice and don't worry about it. Enjoy yourself and do what good you can while you're around. Oh, well, here goes somebody. Good luck, friend. The barber put in another $5 bill and counted out Danny and three other dollar bills for change. As Danny was being lifted out of the drawer, he waved to the new 5 going in. How are ya? Really. Another snub. But this time, Danny had to laugh. Chill, learn, chill, learn. A couple of trips to the butcher shop and the filling station, and she'll be speaking to everyone. Danny began his usual round of buying again. Always trying but never seeming to accomplish too much. Finally, several purchases later, he found himself on a bus. All right, step in, please. Step in. Step back on a bus, please. Let's go. A 5? Oh, come on, Mr. Have a heart. I know, I know. It's the smallest you got. Okay, a 40, 50, a dollar, two, three, four. Now, one dollar makes five. Step in, please. Ken, let me have a few dollars before we get there with you. What for? Well, I know you. Once you get near those gambling tables, you'll not stop until we're flat broke. Oh, all right here. Two bucks ought to get us home in style. Good. Now, you just forget that I've got it. Place your bets, ladies and gentlemen. Place your bets, please. Let's go after this play. I am tired. Wait a minute, wait a minute. Number 14 on the red rim. 14. Blast a lot. 14 red. Where's the rest of the money? Well, that's all, darling. You've reached the bottom of the barrel. Well, I can't stop now. I've got this thing beat. Oh, can't really. I'm in it. Give me that money you've got. Oh, no. Not on your life. Irene, give it to me. I'll give you one dollar. No more. A dollar? I can't play a dollar at this table. One dollar, Ken. Oh. Here. A dollar on 14 red. One dollar? Really, sir? The slot machines are in the corner. Look, I know this isn't quite cricket, but I've been here for hours. Give me a break, will you? Oh, one dollar it is, then. I'm going, Ken.  In a minute. Number 11 red, the winner. Number 11. Well. Okay, okay. I can't understand it. Place your bets, please. Cash me in, will you please? Sure thing. Here we are. $138. Hey, hey. How'd this old bill get in here? Run out of new ones? Yeah. Sorry, sir, but the dollar's a dollar. Yeah, no, but I like new ones. Sorry. Oh, it's okay. Hey, aren't you, Peppy? Yes, that's right. But I'm going home right now. The monkeys are dying. You don't mind getting an old bill? No, thank you, sir. No, Peppy don't mind. Old dollars all the same as new ones. My landlord, he don't care how I pay him. Just so long as I pay him. Oh, that's right. It's yours, then. Good night. Good night, sir. Thank you. Well, Duccio, we go home now. Very nice to wait at the end of the day, huh? One dollar for our music is a nice man. Oh, we better get to some weeds before we go. Weeds. I'm glad you're still open. Sure, Peppy. I'm open. I got to stay open later to make a living these days. What'll it be? Well, give me the same thing, I guess. A salami and a... Oh, and some bananas for the monkeys. Sure thing. How's it go today? Not so bad. A very nice evening. A fellow give us a dollar just before we start home. A dollar? Oh, far. Hey, that's good. Here you are, Peppy. Sixty-eight cents. You don't mind an all-a-dollar, do you? Oh, they're all the same with me. Is it your chance? Hey, you wait a minute. I'll walk with you. It's time to close up for the day, I think. I'll lock up the money and we go. You leave it at the money. That little withdrawal of wedgie. True. Somebody could steal it so easy. Oh, the body with the little money Luigi has. Come, we go. And the full of Luigi, I think you're crazy. And they had to leave your money that dinky little draw. Maybe you're right. I'll play it safe tonight. I'll take it home with me just to make sure. This is the first time I do this, too. That's better. I'll leave just one dollar in the draw for luck. That's good. I sleep better now. You ready? I'm ready. I go as far as four-tenths. We'll walk together. Money in this drawer. Hey, one lousy buck. Some haul. I guess I don't have to ask you what you were up to. Come on, let's have it. Okay. All right, now the rest of it. That's it. It's all there was in the till. One dollar. Let's see about that. Man, it looks like you were all right. Not a very profitable evening's worth, eh? Look, mister, give me a break, will you? It's not like I took a thousand dollars or something. All I got was a dollar. Can't you just sort of forget the whole thing? I promise. This is the last time I'll ever pull anything like this again. Honey. I'm sorry, son. It doesn't make any difference how much of that.  It's the same thing in your case. So come on. That dollar bill may have bought you some time in reform school. Danny Dollar Bill. He wished he'd never been printed. He wanted so much to make people happy. And all he'd succeeded in doing for young Tommy was to buy him five years of misery. Then one day he found himself in a large bank again. This was a common occurrence for Danny, but this time he noticed that he had been put to one side with some other old dollar bills. And for some reason, Danny felt uneasy about the situation and he tried to wriggle away, but the black teller, he paced a big glass paperweight smack on top of him and then he overheard the clerks talking. Helen, where are those old bills to be taken back and burned? Right here. I've got quite a little pile of them. You ready for them yet? Yeah, bring them over, will you? Right. I got them under this glass here so that... The bank clerk suddenly stopped and stared at Danny for a long time and then she broke into a big grin and picked him up. Hey, Joe, look at this bill under the magnifying glass. What's the matter with it? Well, just look at it. Well, I'll be. Say, we've got to show this to the boss. Well, Danny was completely mystified as the man took him into the office of the president of the bank. He looked at Danny closely and then... Well, I'll be doggone. We'll have to do something about this. For the next few days, Danny was the center of attraction as he was placed on a rich red velvet cushion and then mounted in a fine glass case in the lobby of the bank. Over him was a sign and then Danny knew why he was suddenly such an oddity. It all went back to that first day while he was being printed. One of the machines had tickled him and Danny had wriggled. This had caused a slight maw in the engraving and so on Danny Dollar Bill, George Washington, was smiling. Thus, even though it was an error, Danny had one of the very few pictures ever to show Mr. Washington smiling. And so Danny sits in his lovely little glass case in the bank lobby today and he watches as people look at him and then break into a big grin themselves. Danny is important at last. Not only is he now worth a fabulous amount as a collector's item, but more important to him, Danny now has something that can make people smile. Did you know that medical insurance is a Chinese invention? Well, it is. Many years ago, the head of a Chinese family made arrangements to pay his family doctor at the end of each year, but to pay him only for those days on which there had been no sickness in his home. Just the reverse of how it should be done, you might say, but think for a moment, doesn't it make sense? He paid his doctor to keep his wife and children well, not to make them well. You can be sure that doctor did everything in his power to see that there were very few days of sickness in that home. Soon, all of his neighbors heard about his wonderful plan and made the same arrangement with their own doctors. And then, after a time, it became a national custom. You know, this custom can be applied to other things with just as much success, with prayer, for instance. If you'll do as family theater advocates, pray together as a family, and you'll be doing more to ensure your family's unity than you might think. Through prayer, you'll strengthen your family unit enough to withstand any domestic ill that might arise. For it's more than a slogan. It's a promise when we say, the family that prays together stays together.   Susan Hayward was your hostess, and Marion Richmond played Danny Dollar. Others in our cast were Ted DeCorsia, Berna Felton, Whitfield Conner, Howard McNear, Martha Shaw, Jeffrey Silver, Jack Raymond, Billy Bochum, and Baden Powell. The script was written by William Lutz, with music composed and conducted by Harry Zimmerman, and was directed for Family Theater by Joseph F. Mansfield. Tony LaFranco expressing the wish of Family Theater that the blessings of God may be upon you and your home, and inviting you to join us next week at this time, when Family Theater will present Pat O'Brien and William Lundigan in Meet Mr. Jones. Join us, won't you? This is the Mutual Broadcasting System.


In this lesson, you hear Anna using many words that end in the letter R. It has paper, pens, tape, erasers, rubber bands, binder clips, paper clips, and a light. One difference between British and American English is the sound of R at the end of a word. In American English, that sound is a strong R as in stapler. In British English, the sound is closer to a stapler. It has paper, pens, tape, erasers, rubber bands, binder clips, paper clips, and a light. Now you try it. Say the words as Anna says them.


Getting feedback as a photographer is vital to improving your own photographic skills, both as a beginner and as an accomplished photographer. So often, especially in this day of being online, we put our images out looking for feedback and help and getting nothing really in return. No doubt you found it extremely frustrating. Well, I'm here to show you today how you can actually rephrase everything so you're gonna be able to get proper, meaningful feedback from your images and help move your photography forward. How's it, how's it? One of the major things, obviously, about improving your photography is not creating in a vacuum, it's getting some feedback and helpful advice about where you're kind of going wrong, where you're making missteps and how you can, most importantly, improve your photography. This is especially true for beginner photographers or somebody who's got decades of experience. So often online, I see people who are asking for help with their photography. They put up an image and they say, can you give me feedback? Can you critique this, please? And nothing really substantial comes back. And I think there are three reasons that this happens. And I'm gonna share with you these today so you don't fall into the same trap of looking for help online and just getting nothing really meaningful back in return. The difference between trying to create photography to please other people and improving your own photography, because they're two very different things. And I think a lot of new photographers fall into this trap of trying to create photography that pleases somebody else. And we're not looking to do this, we're looking to improve your own photography, to give your own photographic voice, a polish and an improvement in the direction that you want to take, not somebody else. Please bear that in mind and we'll come back to that point. So the first and most important thing, and I'm sure we've all seen this at some point, is somebody goes onto a photographic group online and they put up a picture and they say, can you give me feedback? And nothing comes back. And of course, the problem with that is they're being too airy-fairy, they're not being specific about the sort of feedback that they're looking for. A good example might be like a waterfall photograph. So if somebody wants to have that blurred effect with the water, it's gonna be like a sheet of just kind of clear glass going down there. And they take a photograph and they say, look, this is what I was trying to achieve but I didn't quite achieve it. Then somebody can give you proper feedback because then they can talk about things like shutter speed and how that could be helped and how to help with that. Now, of course, if you ask for just general feedback, you kind of miss that whole point entirely. And it means that people are not really able to give you anything meaningful.  Or at the very worst, what they will do is say, I don't like it or I like it. Now that's not feedback. Saying I like this or I don't like it isn't really feedback. It doesn't help you, does it? So next time that you want some sort of feedback on your photographs, ask a specific question. If you want to photograph a traditional style portrait using a traditional style portrait lens and you photograph it with maybe like a 35mm or a 28mm or something like that, then people could sort of say, look, okay, your lens choice is incorrect for what you were trying to achieve. But if you don't tell people what you're trying to achieve, they can't help you. So laser down into this idea of what it is exactly that you want help with in your photograph. The nature of what you want improving will obviously change over time. And I would certainly suggest that in the beginning you focus on one thing at a time. Beginner photographers tend to want to do everything all at once. And it's so important for you to kind of separate out the concepts that you want to work on. So if you want to work in composition, do so. If you want to work on focusing and trying to work on depth of field, do that. Exposures, F stops, all these things. Do them individually and ask for feedback on those things individually. Have a purpose to photographs that you're trying to use to improve your skills. And that will make getting feedback from people so much easier. When you go online and ask for help with your photography, there are going to be people who basically are just trying to use whatever platform you're on as a showboat for how much they think they know, right? They want to be the person who knows everything. So all they will do is use your photographs as a method of trying to inflate their own egos by saying that you were wrong with things. Do your best to push those people away, to forget about them. They are not helping your photography. This is the point that I was alluding to earlier that you need to be mindful about the sort of people who you are taking advice from. Now how long they've been taking photographs is a really, very little consequence with this. What you ultimately want to find are people who will help you develop your photography, not people who will take you and shape them into them, okay? It would be very easy for someone to sit there and go, look, this is what you need to do to photograph like me. And if that's what you want to do, then that's perfectly fine. There are a lot of people who would like to photograph like some other famous photographer. And that's okay. In fact, it's a very useful learning tool. But don't confuse the two. Be mindful and be very choosy about whom you listen to. You want people who are going to give you advice that is helping you improve the photography. So rather than saying like, oh, I would have done it this way, they want to be able to look at your photography and go based on what you've told them to say how you could improve that. So have you considered doing this? Have you kind of moved that? Everything wants to be from the perspective of improving your photography, not like I would have done this or I would have done that or this is what I would have changed. Because that's a very, that's somebody trying to push themselves onto you. Find people who will help you develop your photography. The third part of getting honest and good feedback and critique for your photography is giving honest and meaningful critique to other people. Now, even if you're a beginner photographer or you've had decades of experience, you can do this. And so I think so many photographers, especially new photographers, feel that they're not in a position to do so. Like somehow you need to kind of earn your wings to giving critique. And that's certainly not the case. Sometimes the best perspectives, the freshest perspectives can come through the eyes of people who are not hindered and held down by years or decades of their own way of doing things. This fresh perspective can be so liberating. That's why it's so enjoyable to talk to new photographers, to people who are just learning the ropes because the way that they look at things, the way that you may be looking at your own photography is so new. And that's a fantastic thing. So don't ever think that you're not able to give advice and give feedback to other people. Of course, these are all examples. And indeed, going back to that first point once more, if you are specific, if you are careful about who you take advice from and you offer it in a spirit of giving and back and forth, it's gonna so much help your own growth and your journey as a photographer. And you're also gonna develop relationships with people. And the more that people know you, the more that they are inclined to give you a bit more feedback, to have a bit more of a discussion, to be a bit more open with you and say things that sometimes can be somewhat difficult to hear, especially as you get to a level where the differences between what you consider to be a good photograph and a great photograph become quite subtle. And that's a discussion for a whole another day. But sometimes you need to hear that that didn't work or that what you were trying to do, you kind of, you missed and you went off on a tangent. This idea of a creative hub about this exchange of ideas, a wonderful breeding ground for creativity is very similar to my experiences at photo school where the lecturers gave us assignments and then obviously we had to complete them. And then we had a group critique at the end of the assignment where all our photographs were up on the wall. And that experience was extremely beneficial. I think that was probably the most beneficial thing from being at photo school was having this feedback where A, you were trying to compete with your peers because the nature of the beast means that you want to be good, you want to be better than the people next year. There's nothing necessarily wrong with that because you all encourage each other to be better through this whole circle of one-upmanship if you want to call it that. But also you are getting feedback from people the whole time. This is what I want you to encourage is to not just go online and jump into the first place that you can find and expect people to give you solid feedback. It can be a scary thing to go online and ask for feedback because you think that people are gonna go, ah, you suck, all right?  They're not for them. They're not for them, they're for you.  If you're a new photographer or you're interested in discovering more about the art of photography, how to see and the more the why rather than the how, I put up a playlist on the screen for you right here which has got some fantastic videos that are gonna enable you to develop your own photography. Thanks ever so much for being here today and I look forward to seeing you again soon.


This is stock number 9J327A. We are here at Summit Automotive in Fond du Lac, Wisconsin. You're new and used Jeep headquarters. Today we are checking out this super clean 2016 Jeep Grand Cherokee Summit. This vehicle has the award-winning 3.6 liter Pentastar V6 motor. And from this HD video you will be able to tell that this Jeep is extremely clean all the way around. Inside a note, considering the miles on it, Granite Crystal Pearl is the color. We shoot all of our videos in 1080p so if you have HD capabilities on your computer tablet or smartphone device, turn them on right now because it's like you're right here looking at the vehicle with me. And definitely your best way to check out the Jeep before seeing it in person. It comes with the 20 inch polished aluminum rims. Goodyear 4 Terra 26550R20 tires. And these tires have around I'd say 60 to 70% of the tread left on them. You can see any dents or dings on that front fender. Front bumper has the sensors in it. The parking sensors also has your adaptive cruise control. These sensors are part of the forward collision warning system. LED running lights, HID headlamps, passenger side fender, no dents or dings on that. The hood is in excellent condition as well. I didn't see any dents on that. And the passenger side rim, no major scuffs or scrapes. And down this side of the Jeep you can see just how clean the body is, how reflective and mirror-like that paint is. We take these HD videos so if you are far away, or even if you're close by and just cannot make the trip down but you're still interested in purchasing the Jeep, you can still see the vehicle, hear the vehicle, and have confidence in the vehicle that you're looking at before you even get here. So you can make that decision to give us a call and put money down or make that decision to get in the car and come on down and visit us. Whatever you'd like to do we make it easy here at Summit Automotive. As we come around to the back of the vehicle, rear bumpers in pretty nice condition. Dual rear exhaust, backup parking sensors. Get a really good idea of that metal flake and that granite crystal. One of my favorite colors. It does have the power lift gain. It has the all-weather format back here. You get the factory subwoofer, the sunshade which is a nice feature. It's good for groceries, keeping stuff cool but it's also good to keep valuables out of sight, out of mind. Underneath here, full-size spare tire. And to get this gate down you press that button. It'll beep at you three times and then it'll start coming down. And as you go down this side of the Jeep, just as clean as that passenger side, this back rim, about the same condition as the rest of them. Pretty nice. No denser dings on those doors. It does have the heated element, the blind spot monitoring, built-in directional signals, the enter and go system. Inside the Summit package gives you the dark brown leather seats. They're in pretty nice condition. No major rips or tears. Let's have the driver's side lumbar. You've got factory floor mats in the front. It has the Harman Kardon sound system, memory driver's seat, power windows, power locks and power mirrors. Auto headlamps and your power tilt and telescopic steering wheel. So I wanted to get inside the car to get out of that wind. It does have the power-folded mirrors and you see those work really nice. And as we take a look here you can see that this one has 70,302 miles. You've got a digital speedometer right there. And you can change how that looks if you want the actual readout there. Or if you want the old school one. And you've got all your information on there as well. It comes with a heated wood grain trim and leather-wrapped steering wheel. There's your adaptive cruise controls and your normal cruise controls. And then your information center and Bluetooth audio controls. It comes with the factory navigation system. 8.4 touchscreen radio. This is also where your backup camera shows up. You've got your heated and cooled seat buttons as well as your heated steering wheel button too. And then you've got AM, FM and Sirius XM radio capabilities. Dual climate control. You've got your auto start-stop. In here you've got your AUGS, USB and an SD card slot. And finally you have your Quadra Track 2 system along with the Quadra Lyft system. So that actually will raise and lower the vehicle and your downhill assist control. You have snow, sand, auto mud and rock features as well as a neutral setting for flat towing. Passenger seat. You've got factory format on that side. No rips or tears on that seat. And it does have the power vista roof. It has your memory, your home link system for your garage door security systems and lighting systems. I'll see your map lights. Then you do get 911 and assist in the mirror. So that vista roof opens up all the way. Pretty nice feature. And we'll take a quick look at the back seats and then we will check out under the hood. I don't believe this vehicle's ever been smoked in. Smells very clean inside. Back seats just as nice as the front seats. No rips or tears back here. You do get the summits stitched into the backrest. Latch child safety system for your car seats. These back seats are heated on the outboard side. They're your heated seat buttons. And you do get two USBs and a 115 volt, 150 watt plug-in. These seats do fold down for extra storage and they go down almost completely flat. Which is a really nice feature if you've got a whole bunch of extra stuff. And we'll take a quick look under the hood. I would personally like to thank you for checking out the video today, hopefully from this HD video.  Inside and out. Under the hood we have the award-winning 3.6 liter Pentastar V6 motor. Engine bay is very clean, runs very smooth. This Jeep has been fully safety and inspected by our service shop. Has a fresh oil and filter change. All the fluids have been checked and tapped off. Has been gone through mechanically 100% and is 100% ready to go. To see more pictures of this Jeep or one of our other 450 new and used cars, trucks, SUVs, minivans, Wranglers. You name it we got it go to our website www.summitauto.com. Pull pictures and descriptions of every single vehicle from two locations all at summitauto.com. And if you'd like to check out more HD videos you can go to youtube.com. Remember to like, subscribe and share on this video and all the videos that you see there. In fact in a second you'll see a link to subscribe to our YouTube channel on your left. A link to more used inventory videos like this one on your right if you have not been to our website on the bottom. A link to this video on our website, this vehicle on our website. Click those check us out and we really look forward to help you with this super clean 2016 Jeep Grand Cherokee Summit. Thanks again.


Good morning, everyone. So today I would like to give a talk on an ODF community website, which I've been developing and I've been doing that as part of my role as a government employee for the Dutch government. I work at the Ministry of the Interior And there I work in the group where we have the list of standards Actually we have two departments, one which curates a list of standards to use and another group which also works to maintain standards I'm in a group that maintains some standards and I'm responsible for ODF So the Dutch government is officially involved in ODF development because we think it's very important to have a standard for editable documents So a community site, it's in development so I'm going to show you some of the features of the site that we're currently developing I'm open to input if you have ideas on what we should have there It's a follow-up to an existing site and it focuses today mainly on how to do testing of compliance to ODF So the Dutch government has an ambition and it's a pretty heavy ambition. It's to do communication with its citizens completely digital next year So that'll be a challenge. I don't guess we're going to do that all the way but we're going to get quite far Many people are already doing lots of communication with the government in a digital form The most complicated example I think is the tax returns. Tax returns are done via a website where you can fill in everything And actually when you go to the site the government already has talked to your bank and has talked to your employer So they fill in all the data for a large part already and so that's an example of doing quite a lot of complicated digital stuff by the government Now if we're going to talk digitally, well before we did analog conversation, there's an issue coming up If you do analog communication you use normal language, you write your language and you write letters to each other, you talk to each other But when you go to the digital world there's an intermediate and that's your computer and then the internet and then the server And the communication there is very much more complicated. Normal users don't understand it So they rely on the technical people to write good software which ensures that this whole process goes smoothly As you can see first we had just Dutch and now we have this whole long list of standards which all have to work fine For the citizen to have a good experience Now this long list for large part is in use for more than 20 years so a lot of issues have been solved there But there are quite some standards which still need to improve We maintain a list of standards that we think the Dutch government should use Many governments have this list, a similar list and we work with other countries to sort of agree on the list So that even between governments, between countries we can use the same standards to communicate And it's important that we also test that the standards actually are working properly in all the software This is a series of pictures from well let's say 10 years ago by now how HTML was working and it was working very bad in all the internet browsers There was very little agreement on how to render a simple image Actually this is not a simple image, this is a fairly heavy test of an HTML document and that's why you see so many errors here But it was in a time when this was all very difficult for browsers and these days it's much better So many browsers get a 100-100 score for this type of test and in the web we're in a very good position right now The web is still in development so new features will not always be supported well on all the browsers But the features which are like 10 years old they always work pretty good in modern browsers Now in the office area it's more complicated because there you're also writing files So I could be creating a file in LibreOffice, send it to somebody who uses Google Docs He could be sending it to somebody using Microsoft Office or a different piece of software So data is read, written, read, written and then you come into a situation where you have like a gossip chain We have a number of people sending in a line and I have a nice fact, I tell it to the first guy He repeats it back and back and back and then at the end the message that I sent along the line is probably completely transformed in something totally unrelated And this is a situation which we face in office documents right now because interoperability is not perfect So that's why we have ODF PlugFest We come together and we see how good the interoperability is and we discover a lot of interesting things This is the last PlugFest we had last year in the Netherlands, it was hosted by the government Here's an example of something that can go wrong A document which has a text H, a header in LibreOffice, it's run by Microsoft Office and saved back again Can sometimes be transformed into a simple paragraph Now that's not layout, that's really the information inside the document Which a normal user might not see it first but it's a very serious thing in my opinion So this is the kind of things that we have to still weed out and fix How did we go about working? Well we would come together at one location with a laptop and then we would go to a website to see what we're going to do And it would say something like open a text document, write hello, save it back and open it in a different program And see if the result is good And when you've found if it's good or bad you write that down in a wiki site So we all had to come together for that and it's a bit inefficient So at the last block fest we used a different methodology which was to use automatic testing We created a lot of tests beforehand with small features of the ODF specification So italic fonts, bold fonts, a table, one column, two column, header, footer All these things were isolated in small files so that we could very quickly see if a feature was supported or not Then we opened these files and saved them again in all the different applications And summarized what we found if the feature was still present in all the files And then at the block fest itself we had all this data available And we simply sat in groups and looked through all the issues that were determined by the software To check if it's actually an interoperability issue or just a problem with the test Now all the results of those two days were collected in a report Yeah this is a bit of a technical detail of how the tests look inside but I'll skip that for now This is what the summaries look like So this was a test to see if all the Office Suite support to have a wavy line through a text So you see first Caligra shows correctly a wavy line through the Hello World And the green boxes show that this feature was loaded and saved back correctly So the style properties were the same after loading and saving Then the second implementation Google Docs actually loses the information about this styling And you can see in the picture that there's no wavy line Then we go to Abbey Words, WebODF, Liberal Office, Microsoft Office And you can see quite some differences in these implementations Most of them remember the fact that there should be a line through the word But not everybody supports that it's a wavy line So yeah this is one of the issues that we found And what we did with those is we just wrote it down And every feature got its own small paragraph This was a paragraph for the borders about paragraphs And we found some issues here in Google Docs, Abbey Words and WebODF Now this whole report was quite long and it's available online And we send it to all the implementers so that they can help improve things But it was just a fixed document and we just hoped that they would take action Here's the conclusions, we found some numbers We didn't cover all of the specifications so these numbers are not entirely meaningful Although the general trend is that Liberal Office is quite good Compared to other implementations in the styling area Yeah another issue came up this week about how to deal with cloud software And in general I'm skeptical about using cloud But for doing the testing process I kind of like it So we are now building a website hosted by OpenDoc Society So it's their computer where this software is running Where we will be doing the testing online We spent some time doing the last plug-fest to come up with a nice design Of how this all should work and doing it for a website is quite complicated But we have something to show you today So here is a list of features that we have now in the site And which we want to have in the future for the site So the most simple feature is that people coming to the site can upload a document And then the document will be opened in a number of different office suites And you can compare what the document looks like And I'll show you a nice live demo of that in a couple of minutes Where you can see that it's quite interactive how that works We will validate the document, you can browse the contents An ODF file is just a zip container Most people don't realize that but if you upload a file to our website You can look inside all the images in the zip container You can click on the XML files and look in there So even normal users quickly get a feeling of what ODF actually looks like on the inside The most important feature in my opinion is that we're going to create tests online So the XML example you saw earlier We have a page where you can create those online So if you have a part of the specification which you would like to investigate automatically You can write a small test there And we will keep track of it and run it for you And when there is new ODF software the test will be run again And we'll keep track of how good all the software implements this particular feature We will also have a wiki so that you can add information to the site It's supposed to be a community site so if you have interesting things to say about ODF For example a list of software which you think is interesting for a particular feature Or best practices on using ODF in your own language you can add it there This is still in progress so it's not a fluid experience right now But if you want to test it out and give feedback on that you're more than welcome You do need to make an account for that And by the way you can see the URL of the beta website is still in development here below So if my speech is boring you can already go here and play around What we also want is a live score board So if you have all these tests you can sum up and say for styling what is a score for this application And if you have tables for example they are important in your workflow You can also have a score for that or you can have an overall score And that's important because governments and companies would like to buy software Or develop software or go to websites with particular software that supports ODF But when a company says they support ODF it's very hard to see how well they support it There is no good data available on that And one of the big goals of this site is to create that information and collect it and keep track of it So that we can have a very good view on the ODF landscape, on the ODF software landscape to see how good is every software And I hope that by making this information public and easily visible to everybody That on the one hand people buying the software will choose software that can handle the standard well And that developers of software will be motivated to improve the support for ODF in their website or in their software And LibreOffice has a public bug database, but not all projects have that So when we discover a bug in a software which doesn't have a public bug database We still would like to keep track of the progress of this bug So we're also going to add a public bug tracker, so a third party bug tracker for projects which don't have a public one And maybe we'll also make that available to the ones which do have it But then it'll be mostly just a link to their website Yeah, uploading documents, this is actually a follow-up of a website you might know already called OfficeShots Where you can also upload your documents and see what it looks like in different offer suites But we've improved the UI, we made it more easy to use, and it looks like this So here's an example where I uploaded a document celebrating 20 years of KDE This was actually last weekend, and I've opened this in Microsoft Word and in Google Docs And you can see that the fonts are shifted a bit, the images shifted a bit Yeah, the line down the middle is the difference between one offer suite and the other offer suite Now I'll also try to show this live to you If you are on this website yourself, you can go to examples And then here you see a whole list of documents And well, this is perhaps an interesting one Here we see Google Docs and LibreOfficeWriter And you can move your mouse and just see what the differences are in rendering And you can say, OK, now I want to compare Google Docs to Caligra And voila, you can also do that So this is just to get a feel of what's wrong, right? This is not a thorough analysis like what Milos was showing yesterday It's not so advanced, but this is just for people to have a quick, quick feel of what is going on And there are plenty of bugs which will show dramatic differences here And that will help people to see, OK, this feature that I'm using is not widely supported So maybe I shouldn't use it If you're developing a template for your organization, you can check quickly if the template works across offer suites So I think it's simple, it's nicely visual And that is a nice low entry point for comparing how the offer suites work Yeah, so that's one feature Now the other feature is writing the tests To write a test you have to write a bit of ODF ODF is a large, large specification, many, many different elements, many different attributes So what we've done is we have developed a web plugin where you can write ODF And we have auto-completion there So if you don't remember a tag, you can just press control space or you type and then this pop-up will show And you say, ah, yes, in a text P I can have a span, for example So it knows where you are in your document and this should help writing fragments of ODF And if you're writing something which is invalid, you will get an error message So we've also implemented a validator in there Of course, I realize this is quite technical, but the people who do know how to do this I hope they get enthusiastic about this and we'll start helping writing tests Oh, spelling error, sorry This is what you get when you then run this test So this is a similar view to what we had before But that was a static document which we created once And this is live updated So when a new software comes in, this test is run again And the results are there for your Office Suite So if you are testing LibreOffice and you have a new build every day You could even use this for that Although I would then prefer that you have a separate instance for yourself Where you do nightly builds and then where you have a .something release Then we can hook it up here to have public results But if you want to internally also use this tool, it's perfectly okay The software is free software, so you can use it yourself You can click on the screenshot below You can get the PDF which was created You can just quickly go into the content XML or the styles XML You can see if there were validation errors And of course the green error at box has helped to make it all nice and visual And this will then result in a live scoreboard This is just a graphic from an ODF document But this will be a live website But we don't have that yet, we're working on that Okay, some technical parts maybe should quickly say how all of this works internally So it's a website with a SQL database, it's written in Haskell And yesterday I heard that there are some Haskell fans here this weekend So I see one over there and some other people were clapping yesterday So I hope that I can get some contributions on the server side for this But the most important thing is that you can connect with your ODF software to our site And that is done via a simple HTTPS interface where you can receive and send JSON messages The format is not yet, well it is somehow documented But this needs to improve on the website as well So the actual documentation of how to talk to our server to hook up your software Is going to be there, but everybody can basically hook up their own ODF software I'll let you repeat the question in the microphone so the audience at home can enjoy the question as well My question is when you want to set up the open document format testing site yourself Do you also have to use the Haskell-based web server or whether you can also use EngineX for example No, so the web server, it doesn't use Apache or anything, it's just one binary So you compile it and you run it, so you don't have to hook it up to anything, it's its own HTTPS server You can run it locally, you can just compile it and run it and then it's available on local host Yeah but if you already run a web server, can you reuse it for that or do you need to also run it in the Haskell-based thing? You need to have the ability to run any executable on your server and then with Apache redirect rules you can hook it up So you basically can proxy to the Haskell-based web server and use that? Yes, and then there is the editor, if you're interested in the details of how this editor works It's CodeMirror which is a very famous project for doing coding in the browser and we've written a plugin for that And this code is available on the URLs which you can see here OK, so I hope that this site can be a site for all audiences Normal users should be able to get information about the available software And I guess LibreOffice will be very prominent because it's very nice ODF software I hope that this site will be attractive for policymakers so they can make well informed decisions about what software to use in their organization if they care about standards and longevity of their data And it should be a tool for software developers to be motivated about improving their software for ODF And figuring out how to actually do that to see what are the differences with other software And how can I fix it if the problem is on my side So you can contribute to the site Of course, well the simplest thing you can do is just try it out Just go to beta.opendocumentformat.org, click around a bit If you see any issues you can report them in the bug database or you can send me a mail That would be a fantastic thing to do Or you could become a partner of the website, you could say we are using it We are helping to support it simply by being interested, maybe contributing code or content on the wiki That's the lowest, well after testing that's the easiest thing to help with And if you really enter ODF then you can help us write tests And maybe if you develop ODF software you can provide a document converter So that your software is tested on our site So thank you very much Here is the URL once more If you want I can click around a bit more on the website to show some features If you have already uploaded a document during this talk I can actually have a look What was the latest document? No, nobody has uploaded a document yet So if somebody feels the challenge you can try to upload a document during the questions And I will show it up here Other questions, yes Is it only for open document or also for Microsoft formats? Well, since Microsoft also supports ODF I think we can also call that a Microsoft supported format But it's not a Microsoft originating format and we don't support those at the moment And we don't have intention on our site to develop it but it will be fairly easy to edit More questions, oh everybody is busy uploading files I can show you one more example, for example the template we have today I uploaded that one as well So this is the template for our conference and this is Google Docs and Caligra And you can see it's kind of okay, unfortunately the bullet points are not supported by Google here Yeah, and the text in the bottom line, the tag is gone And actually the whole skyline of Bono is gone in Caligra So I don't know if they have a particular dislike of Bono or anything But there's no Bono in the Caligra version of this document, unfortunately And if we go to page 2, you can see still some font differences here Oh, this is a weird thing here, some images not supported on Google Docs Yeah, but how does LibreOffice do it itself? I guess the person who created this did so in LibreOffice so we can say that that is the reference here Yeah, so there we have an image for LibreOffice Yeah, let's try those So the font is very similar, it's just a pixel shift I guess And the icon is slightly smaller here The bullet point, which is a bit weird So the first slide, yeah there's still no Bono What is the expected interface for one of the implementations that could be tested? Yeah, so if you want to hook up your implementation, basically it's a JSON interface over HTTP So you have a software and it asks our server, hello, I can do stuff with ODF And I support ODT and ODP for example And I can convert it back to ODP and I can convert it to PDF So you list what you can do in an JSON message And then you get the message back saying, ah, you can do this for me For example, convert this document to PDF and then you upload it back via the JSON interface And you can show the nice pictures only if there's some PDF export? Yes Yeah, but the testing, so the testing if the ODF features are retained That you can do if you save back ODF And then that's the stuff that will go on to the scoreboard Because we don't have visual testing yet That's also planned, but first we want to make just the XML level testing better Okay, thank you very much


Plăoismistīabusæn mountain is not something that it's not a good thing at all And I won't even advise the worst enemy to reach such situation I'll advise or at least bring such situation website for you to reach the best situation to walk away as fast as possible in order to save themselves from such an experiences It is up to you in different practices I can say when an intolerance is ready in place and enjoy the emotions So, before you know, it result into unwanted circumstances. This thing is just that, I don't know, people that are in that kind of situation, they find it so difficult to live. I don't know why, I don't know what is the reason why they can't live domestic violence. They can't live that kind of a marriage or sometimes I don't know why. But most of them find it so difficult to live the marriage. The best thing is to just live the marriage. If it is a relationship, thank God it is a relationship, then you just separate. But if it is a marriage, you have to just live. Just give yourself a space. It's something that even if anybody is caught doing it, they should be punished severely. It's part of things that I don't like. Well, people in the social situation was act fast but hasn't speaking up. Speak up. Because for you not to speak up, you know, it takes life. It's a bad thing I would say. I don't support domestic violence in any way. Physical, verbally, emotionally at all. Whether it's to the man or to the woman, I don't support it. So I believe if it hasn't gotten physical yet, at least re-evaluate your marriage, make sure there is no form of abuse there. In that way both of you can enjoy your marriage. But if it has gotten physical, I believe it should seek the aid of counsellors who will settle it and if there is no repentance, I recommend separation. Please subscribe to our YouTube channel and don't forget to hit the notification button so you get notified about fresh news updates.


After the radical inflectional losses that characterised the previous periods of English, so few inflections were left that, from about 1500 onwards, most of the grammar of English was carried by syntax rather than by morphology. In many ways, the syntax of early modern English was like that of present-day English. Nevertheless, there were differences. The central goal of this e-lecture is to point out these differences. In particular, we will look at word-order patterns in early modern English, we will discuss the sequence of head and modifiers again, and as a special feature of early modern English, we will take a look at the structure of the verb phrase. The examples that will illustrate all these developments have been taken from the works of William Shakespeare, whose dramas and poems constitute the most influential literary source of that time. So let's start with the discussion of word-order. In early modern English, the order subject verb object was now the main word-order. It occurred in main and subordinate declarative clauses and was most widely spread in the literature. However, deviant patterns still occurred. Let us look at some examples. Now, the first two examples come from Hamlet, and they illustrate quite nicely the flexibility of word-order. In the first case, it will make a ghost of him. We clearly have an example of an SVO structure, whereas in the second case, the memory be green and that it will be fitted exhibits subject-object verb. And as we can see, the S-O-V pattern in the second case was still an available option during the early modern English period, especially for pronominal objects and in subordinate clauses. Here are two further examples, this time taken from Romeo and Juliet. This, Nate, I hold on a custom fist. Again, the use of the predominant word-order SVO. However, in this live philly, we have an OVS structure, object fronting. So again, subject verb object is used. In fact, most often, but other patterns still occurred. And this is even more supported by our last example from Macbeth. That, which rather though just fear to do. And here we have an example of object-subject verb. Now word-order patterns such as object-verb-subject or object-subject verb occasionally appear in early modern English texts, but they are very rare, especially in prose. By the way, did you notice that two items, that and which, in succession, that is two complementizers on the trot? Examples like these have played an important role in theoretical syntax, but that's a different story. Anyway, as a first conclusion, we can say that early modern English was predominantly an SVO language. Let us now look at head modifier patterns. The trend in early modern English in terms of word-order correlations was still mixed. Typical head modifier patterns can be found in prepositional phrases, like on his horse, where the preposition precedes its noun phrase. Noun-adjective patterns, by contrast, as in this creature fruitful were relatively rare in early modern English. Modifier head patterns, so mh, Modifier head patterns, by contrast were predominant in the sequence adjective noun, but did no longer occur within adpositional phrases where postpositions were no longer used. And what about sentence structure? Well, like in Middle English, early modern English prose, at least during its early phases, favored coordination, rather than heavy subordination. And clauses within complex sentences were preferably linked by simple coordinators such as and, but, and for. However, during the Renaissance, the revival of classical learning led to an increase in the use of elegant English and the trend towards subordination with conjunctions such as when, if, or because, etc., resulting in relatively long sentences became obvious. In poetry, the syntax of early modern English was essentially the same. However, poets like Shakespeare frequently used deviant word-order patterns to meet the special demands of rhyme and verse. Let us now look at the verb phrase in early modern English. The modern system of compound verb phrases began in Middle English and continued in early modern English. Today, verb phrases exhibit an optional modal verb, one or several primary auxiliary verbs and a lexical verb. Here are some examples. Might have been beaten, modal verb plus two auxiliary verbs and then the lexical verb. Or has been seen, two auxiliary verbs and then the lexical verb. Or will be going, modal verb, one auxiliary verb and the lexical verb and so on and so forth. The choice of the elements within a verb phrase depends on a number of syntactic rules which began to emerge during the early modern English period, but could be applied more flexibly than in present-day English. And these rules concern the choice of the primary auxiliary, have and or be. The use of the dummy auxiliary do. The integration of the progressive aspect and last but not least the system of the modal verbs themselves. So let us look at these aspects in more detail. Let's start with the primary auxiliary verb. In contrast to present-day English, early modern English had two auxiliary options to mark the present perfect aspect. Have and be. Here are two examples from the taming of the shrew. I have raved at the last and and to padua cum. Now the standard auxiliary for perfect forms was have. However, perfect forms with be were also used and were especially common. And they were especially common in contexts where we had verbs of motion such as come, enter and run. Or verbs of change of state become, grow, turn, etc. However, this rule was not applied consistently. Here is a counter example. Since we have come so far, now here the use of have denotes a continuing process rather than the result of the action of the verb. Another aspect concerns the use of the dummy auxiliary do. In present-day English, the semantically empty primary auxiliary do is used in the following contexts best remembered as the nice or N-I-C-E contexts where the N stands for negation, the I for inversion, the C for code, and the E for emphasis. Now here are some examples. I do not go. Do I go? I go. Don't I and I do go? So these are the typical contexts where do can be used in present-day English. Early modern English used do in the same contexts but was less strict in the use of do support. Let us take the first two contexts, negation and inversion to illustrate this. Here you have two examples. A C, you do not mean to part with her, so that is a use of do, which is in accordance with the present-day English principles of creating negation. And in the second case, I know not what to say. Well here we have the old form, the early modern English variant where we can form negative sentences without do support. And in the second case, do you hear, sir? Well here we have a question with do support, but came you from the church? Well in this case, of course, we have simple inversion without do support. Originally, do was primarily used as a causative verb as in this context. Do make myself a suitor to your daughter? A typical causative context. Thus it is not surprising that this context constitutes the basis for the majority of the examples in early modern English. So these are examples here, mostly then emphasis and code. Or shall I send my daughter? I pray you do. I do assure the feather. Well, in this case, code and emphasis. We have a use of do, which is in line with the NICE principles. The other context, especially negation and inversion, as already pointed out, were handled much less strictly. That is, they often occurred without do support. The progressive form began to appear in Middle English and became common during the early modern English period. Here are some examples. You're passing welcome. That no is laying in Marseille's road. Well, here we have the typical use. Now, the present participle itself was primarily used as a non-finite clause. Today, we would say a gerund.  Well, here we clearly have a gerund. And also the combination of progressive form and perfect aspect can be found in early modern English. That have been long-studying at Reims. So here we have three variants of using the progressive aspect in early modern English. Last but not least, the system of modal verbs. In early modern English, the modal verbs, also referred to as secondary auxiliary verbs, were used in the context we have already described as the NICE contexts. I think he cannot choose. What can you assure her? Counsel me, Tranieu, for I know though canst, wherein your cunning can assist me much. Well, here are the three contexts. And that would be a sort of use that is in line with the present-day English principles. Yet, there were differences between early modern English and present-day English. On the one hand, modals could still be inflicted. As illustrated over here, though canst. And then they could be used without a verbal complement. And here we have two examples. Hortensio, will you any waif? And a must-a-way today before Naikum. So two nice examples where we have just the modal verb without a verbal complement. So even though the verb phrase was formerly not very much different from present-day English, the actual realization of its component parts was. Now before we summarize, let me point out once more that there is an entry, early modern English, in the VLC language index, which allows you to look at further data that has been analyzed for you. So let's look at it. Here it is. And in the morphology and syntax section, there are two examples, one from Romeo and Juliet and the second one taken from the taming of the shrew. And in both cases, you can listen.  You have access to the transliteration. You can look at a syntactic functional analysis. And you have access to additional syntactic aspects like the lack of due support or adverbial proposing and so on. Well, let's summarize. Early modern English syntax was now almost like that of present-day English. The word order was predominantly SVO. And with the exception of adjective noun patterns, early modern English exhibited a head modifier sequence. Yet there were differences. These differences concerned the structure of the verb phrase and the elements within it, primary and secondary auxiliaries and the use of aspectual distinction. So despite the large number of similarities, there was still some way to go to reach the syntactic structure of present-day English. Thank you very much for attending my e-lectures on the historical development of English syntax.