Poetry

==Forms==
{{see also|Category: Poetic forms}}
[[File:Сортавала. Рунопевец с кантеле.jpg|thumb|upright|Statue of runic singer Petri Shemeikka at Kolmikulmanpuisto Park in [[Sortavala]], [[Republic of Karelia|Karelia]]]]
Specific poetic forms have been developed by many cultures. In more developed, closed or "received" poetic forms, the rhyming scheme, meter and other elements of a poem are based on sets of rules, ranging from the relatively loose rules that govern the construction of an [[elegy]] to the highly formalized structure of the [[ghazal]] or [[villanelle]].<ref>{{Harvnb|Fussell|1965|pp=160–165}}</ref> Described below are some common forms of poetry widely used across a number of languages. Additional forms of poetry may be found in the discussions of the poetry of particular cultures or periods and in the [[Glossary of poetry terms|glossary]].

===Sonnet===
{{Main|Sonnet}}
[[File:William Shakespeare by John Taylor, edited.jpg|thumb|left|upright|[[William Shakespeare]]]]
Among the most common forms of poetry, popular from the [[Late Middle Ages]] on, is the sonnet, which by the 13th century had become standardized as fourteen lines following a set rhyme scheme and logical structure. By the 14th century and the [[Italian Renaissance]], the form had further crystallized under the pen of [[Petrarch]], whose sonnets were translated in the 16th century by [[Thomas Wyatt (poet)|Sir Thomas Wyatt]], who is credited with introducing the sonnet form into English literature.<ref>{{Harvnb|Corn|1997|p=94}}</ref> A traditional Italian or [[Petrarchan sonnet]] follows the rhyme scheme ''ABBA, ABBA, CDECDE'', though some variation, perhaps the most common being CDCDCD, especially within the final six lines (or ''sestet''), is common.<ref>{{Cite book |last=Minta |first=Stephen |url=https://archive.org/details/petrarchpetrarch0000mint/page/15 |title=Petrarch and Petrarchism |publisher=Manchester University Press |year=1980 |isbn=978-0-7190-0748-4 |pages=[https://archive.org/details/petrarchpetrarch0000mint/page/15 15–17]}}</ref> The [[English sonnet|English (or Shakespearean) sonnet]] follows the rhyme scheme ABAB CDCD EFEF GG, introducing a third [[quatrain]] (grouping of four lines), a final [[couplet]], and a greater amount of variety in rhyme than is usually found in its Italian predecessors. By convention, sonnets in English typically use [[iambic pentameter]], while in the [[Romance languages]], the [[hendecasyllable]] and [[Alexandrine]] are the most widely used meters.

Sonnets of all types often make use of a ''volta'', or "turn," a point in the poem at which an idea is turned on its head, a question is answered (or introduced), or the subject matter is further complicated. This ''volta'' can often take the form of a "but" statement contradicting or complicating the content of the earlier lines. In the Petrarchan sonnet, the turn tends to fall around the division between the first two quatrains and the sestet, while English sonnets usually place it at or near the beginning of the closing couplet.

[[File:Carol Ann Duffy (cropped).jpg|thumb|upright|[[Carol Ann Duffy]]]]
Sonnets are particularly associated with high poetic diction, vivid imagery, and romantic love, largely due to the influence of Petrarch as well as of early English practitioners such as [[Edmund Spenser]] (who gave his name to the [[Spenserian sonnet]]), [[Michael Drayton]], and Shakespeare, whose [[Shakespeare's sonnets|sonnets]] are among the most famous in English poetry, with twenty being included in the ''[[Oxford Book of English Verse]]''.<ref>{{Cite book |title=Oxford Book of English Verse |title-link=Oxford Book of English Verse |publisher=Oxford University Press |year=1900 |editor-last=Quiller-Couch |editor-first=Arthur}}</ref> However, the twists and turns associated with the ''volta'' allow for a logical flexibility applicable to many subjects.<ref>{{Harvnb|Fussell|1965|pp=119–133}}</ref> Poets from the earliest centuries of the sonnet to the present have used the form to address topics related to politics ([[John Milton]], [[Percy Bysshe Shelley]], [[Claude McKay]]), theology ([[John Donne]], [[Gerard Manley Hopkins]]), war ([[Wilfred Owen]], [[e.e. cummings]]), and gender and sexuality ([[Carol Ann Duffy]]). Further, postmodern authors such as [[Ted Berrigan]] and [[John Berryman]] have challenged the traditional definitions of the sonnet form, rendering entire sequences of "sonnets" that often lack rhyme, a clear logical progression, or even a consistent count of fourteen lines.

===Shi===
{{Main|Shi (poetry)}}
[[File:Dufucalligraphy.jpg|thumb|left|upright|[[Du Fu]], "On Visiting the Temple of [[Laozi]]"]]
''Shi'' ({{zh|t=[[wikt:詩|詩]]|s=[[wikt:诗|诗]]|p=shī|w=shih}}) Is the main type of [[Classical Chinese poetry]].<ref>[[Burton Watson|Watson, Burton]] (1971). ''Chinese Lyricism: Shih Poetry from the Second to the Twelfth Century''. (New York: Columbia University Press). {{ISBN|0-231-03464-4}}, 1</ref> Within this form of poetry the most important variations are "folk song" styled verse (''[[yuefu]]''), "old style" verse (''[[gushi (poetry)|gushi]]''), "modern style" verse (''[[jintishi]]''). In all cases, rhyming is obligatory. The Yuefu is a folk ballad or a poem written in the folk ballad style, and the number of lines and the length of the lines could be irregular. For the other variations of ''shi'' poetry, generally either a four line (quatrain, or ''[[jueju]]'') or else an eight-line poem is normal; either way with the even numbered lines rhyming. The line length is scanned by an according number of characters (according to the convention that one character equals one syllable), and are predominantly either five or seven characters long, with a [[caesura]] before the final three syllables. The lines are generally end-stopped, considered as a series of couplets, and exhibit verbal parallelism as a key poetic device.<ref>[[Burton Watson|Watson, Burton]] (1971). ''Chinese Lyricism: Shih Poetry from the Second to the Twelfth Century''. (New York: Columbia University Press). {{ISBN|0-231-03464-4}}, 1–2 and 15–18</ref> The "old style" verse (''Gushi'') is less formally strict than the ''jintishi'', or regulated verse, which, despite the name "new style" verse actually had its theoretical basis laid as far back as [[Shen Yue]] (441–513 CE), although not considered to have reached its full development until the time of [[Chen Zi'ang]] (661–702 CE).<ref>[[Burton Watson|Watson, Burton]] (1971). ''Chinese Lyricism: Shih Poetry from the Second to the Twelfth Century''. (New York: Columbia University Press). {{ISBN|0-231-03464-4}}, 111 and 115</ref> A good example of a poet known for his ''Gushi'' poems is [[Li Bai]] (701–762 CE). Among its other rules, the jintishi rules regulate the tonal variations within a poem, including the use of set patterns of the [[Four tones (Middle Chinese)|four tones]] of [[Middle Chinese]]. The basic form of jintishi (sushi) has eight lines in four couplets, with parallelism between the lines in the second and third couplets. The couplets with parallel lines contain contrasting content but an identical grammatical relationship between words. Jintishi often have a rich poetic diction, full of [[allusion]], and can have a wide range of subject, including history and politics.<ref>{{Cite book |last=Faurot |first=Jeannette L |url=https://archive.org/details/drinkingwithmoon0000unse/page/30 |title=Drinking with the moon |publisher=China Books & Periodicals |year=1998 |isbn=978-0-8351-2639-7 |page=[https://archive.org/details/drinkingwithmoon0000unse/page/30 30]}}</ref><ref>{{Cite journal |last=Wang |first=Yugen |date=1 June 2004 |title=Shige: The Popular Poetics of Regulated Verse |journal=T'ang Studies |volume=2004 |issue=22 |pages=81–125 |doi=10.1179/073750304788913221|s2cid=163239068 }}</ref> One of the masters of the form was [[Du Fu]] (712–770 CE), who wrote during the Tang Dynasty (8th century).<ref>{{Cite book |last=Schirokauer |first=Conrad |title=A brief history of Chinese and Japanese civilizations |publisher=Harcourt Brace Jovanovich |year=1989 |isbn=978-0-15-505569-8 |edition=2nd |page=119}}</ref>

===Villanelle===
{{Main|Villanelle}}
[[File:AudenVanVechten1939.jpg|thumb|upright|[[W. H. Auden]]]]
The villanelle is a nineteen-line poem made up of five triplets with a closing quatrain; the poem is characterized by having two refrains, initially used in the first and third lines of the first stanza, and then alternately used at the close of each subsequent stanza until the final quatrain, which is concluded by the two refrains. The remaining lines of the poem have an AB alternating rhyme.<ref>{{Cite book |last=Kumin |first=Maxine |author-link=Maxine Kumin|chapter-url=https://archive.org/details/exaltationofform00finc/page/314 |title=An Exaltation of Forms: Contemporary Poets Celebrate the Diversity of Their Art |publisher=University of Michigan Press |year=2002 |isbn=978-0-472-06725-1 |editor-last=Varnes |editor-first=Kathrine |page=[https://archive.org/details/exaltationofform00finc/page/314 314] |chapter=Gymnastics: The Villanelle}}</ref> The villanelle has been used regularly in the English language since the late 19th century by such poets as [[Dylan Thomas]],<ref>"[[Do Not Go Gentle into that Good Night]]" in {{Cite book |last=Thomas |first=Dylan |title=In Country Sleep and Other Poems |publisher=New Directions Publications |year=1952 |page=18}}</ref> [[W. H. Auden]],<ref>"Villanelle", in {{Cite book |last=Auden |first=W. H. |title=Collected Poems |publisher=Random House |year=1945}}</ref> and [[Elizabeth Bishop]].<ref>"One Art", in {{Cite book |last=Bishop |first=Elizabeth |title=Geography III |publisher=Farrar, Straus & Giroux |year=1976}}</ref>

===Limerick===
{{main|Limerick (poetry)}}
A limerick is a poem that consists of five lines and is often humorous. Rhythm is very important in limericks for the first, second and fifth lines must have seven to ten syllables. However, the third and fourth lines only need five to seven. Lines 1, 2 and 5 rhyme with each other, and lines 3 and 4 rhyme with each other. Practitioners of the limerick included [[Edward Lear]], [[Alfred, Lord Tennyson|Lord Alfred Tennyson]], [[Rudyard Kipling]], [[Robert Louis Stevenson]].<ref>{{Cite web|last=Poets|first=Academy of American|title=Limerick {{!}} Academy of American Poets|url=https://poets.org/glossary/limerick|access-date=2020-10-10|website=poets.org|quote="Limericks can be found in the work of Lord Alfred Tennyson, Rudyard Kipling, Robert Louis Stevenson"}}</ref>

===Tanka===
{{Main|Tanka}}
[[File:Kakinomoto Hitomaro.jpg|thumb|upright|[[Kakinomoto no Hitomaro]]]]
Tanka is a form of unrhymed [[Japanese poetry]], with five sections totalling 31 ''[[On (Japanese prosody)|on]]'' (phonological units identical to [[Mora (linguistics)|morae]]), structured in a 5–7–5–7–7 pattern.<ref>{{Cite book |title=Global linguistic flows |publisher=Taylor & Francis |year=2009 |isbn=978-0-8058-6283-6 |editor-last1=Samy Alim |editor-first1=H. |page=181 |editor-last2=Ibrahim |editor-first2=Awad|editor3-link=Alastair Pennycook |editor-last3=Pennycook |editor-first3=Alastair}}</ref> There is generally a shift in tone and subject matter between the upper 5–7–5 phrase and the lower 7–7 phrase. Tanka were written as early as the [[Asuka period]] by such poets as [[Kakinomoto no Hitomaro]] (''fl.'' late 7th century), at a time when Japan was emerging from a period where much of its poetry followed Chinese form.<ref>{{Cite book |last1=Brower |first1=Robert H. |title=Japanese court poetry |last2=Miner |first2=Earl |publisher=Stanford University Press |year=1988 |isbn=978-0-8047-1524-9 |pages=86–92}}</ref> Tanka was originally the shorter form of Japanese formal poetry (which was generally referred to as "[[waka (poetry)|waka]]"), and was used more heavily to explore personal rather than public themes. By the tenth century, tanka had become the dominant form of Japanese poetry, to the point where the originally general term ''waka'' ("Japanese poetry") came to be used exclusively for tanka. Tanka are still widely written today.<ref>{{Cite book |title=The tanka anthology: tanka in English from around the world |publisher=Red Moon Press |year=2003 |isbn=978-1-893959-40-8 |editor-last1=McCllintock |editor-first1=Michael |pages=xxx–xlviii |editor-last2=Ness |editor-first2=Pamela Miller |editor-last3=Kacian |editor-first3=Jim}}</ref>

===Haiku===
{{Main|Haiku}}
Haiku is a popular form of unrhymed Japanese poetry, which evolved in the 17th century from the ''[[hokku]]'', or opening verse of a [[renku]].<ref>{{Harvnb|Corn|1997|p=117}}</ref> Generally written in a single vertical line, the haiku contains three sections totalling 17 ''on'' ([[Mora (linguistics)|morae]]), structured in a 5–7–5 pattern. Traditionally, haiku contain a [[kireji]], or cutting word, usually placed at the end of one of the poem's three sections, and a [[kigo]], or season-word.<ref>{{Cite book |title=Haiku moment: an anthology of contemporary North American haiku |publisher=Charles E. Tuttle Co |year=1993 |isbn=978-0-8048-1820-9 |editor-last=Ross |editor-first=Bruce |page=xiii}}</ref> The most famous exponent of the haiku was [[Matsuo Bashō]] (1644–1694). An example of his writing:<ref>{{Cite web |url=http://www.worldhaikureview.org/5-1/whcj/basho_fuji.htm |title=Basho's Haiku on the theme of Mt. Fuji |last=Yanagibori |first=Etsuko |website=The personal notebook of Etsuko Yanagibori |url-status=dead |archive-url=https://archive.today/20070528144552/http://www.worldhaikureview.org/5-1/whcj/basho_fuji.htm |archive-date=28 May 2007}}</ref>

:{{nihongo2|富士の風や扇にのせて江戸土産}}
:fuji no kaze ya oogi ni nosete Edo miyage
:the wind of Mt. Fuji
:I've brought on my fan!
:a gift from Edo

===Khlong===
{{Main|Thai poetry}}
The ''khlong'' ({{lang|th|โคลง}}, {{IPA-th|kʰlōːŋ|}}) is among the oldest Thai poetic forms. This is reflected in its requirements on the tone markings of certain syllables, which must be marked with ''mai ek'' ({{lang|th|ไม้เอก}}, {{IPA-th|máj èːk}}, {{lang|th|◌่}}) or ''mai tho'' ({{lang|th|ไม้โท}}, {{IPA-th|máj tʰōː|}}, {{lang|th|◌้}}). This was likely derived from when the Thai language had three tones (as opposed to today's five, a split which occurred during the [[Ayutthaya Kingdom]] period), two of which corresponded directly to the aforementioned marks. It is usually regarded as an advanced and sophisticated poetic form.<ref name="Hudak khloong">{{Cite web |url=http://thaiarc.tu.ac.th/poetry/khloong/khloonge.html |title=โคลง Khloong |website=Thai Language Audio Resource Center |publisher=Thammasat University |access-date=6 March 2012}} Reproduced form {{cite book |last=Hudak |first=Thomas John |title=The indigenization of Pali meters in Thai poetry |year=1990 |series=Monographs in International Studies, Southeast Asia Series |issue=87 |publisher=Ohio University Center for International Studies|location=Athens, Ohio |isbn=978-0-89680-159-2 }}</ref>

In ''khlong'', a stanza (''bot'', {{lang|th|บท}}, {{IPA-th|bòt}}) has a number of lines (''bat'', {{lang|th|บาท}}, {{IPA-th|bàːt}}, from [[Pali]] and [[Sanskrit]] ''[[Pada (foot)|pāda]]''), depending on the type. The ''bat'' are subdivided into two ''wak'' ({{lang|th|วรรค}}, {{IPA-th|wák}}, from Sanskrit ''varga'').{{NoteTag|In literary studies, ''line'' in western poetry is translated as ''bat''. However, in some forms, the unit is more equivalent to ''wak''. To avoid confusion, this article will refer to ''wak'' and ''bat'' instead of ''line'', which may refer to either.}} The first ''wak'' has five syllables, the second has a variable number, also depending on the type, and may be optional. The type of ''khlong'' is named by the number of ''bat'' in a stanza; it may also be divided into two main types: ''khlong suphap'' ({{lang|th|โคลงสุภาพ}}, {{IPA-th|kʰlōːŋ sù.pʰâːp|}}) and ''khlong dan'' ({{lang|th|โคลงดั้น}}, {{IPA-th|kʰlōːŋ dân|}}). The two differ in the number of syllables in the second ''wak'' of the final ''bat'' and inter-stanza rhyming rules.<ref name="Hudak khloong" />

====Khlong si suphap====
The ''khlong si suphap'' ({{lang|th|โคลงสี่สุภาพ}}, {{IPA-th|kʰlōːŋ sìː sù.pʰâːp|}}) is the most common form still currently employed. It has four ''bat'' per stanza (''si'' translates as ''four''). The first ''wak'' of each ''bat'' has five syllables. The second ''wak'' has two or four syllables in the first and third ''bat'', two syllables in the second, and four syllables in the fourth. ''Mai ek'' is required for seven syllables and ''Mai tho'' is required for four, as shown below. "[[Dead word (Thai language)|Dead word]]" syllables are allowed in place of syllables which require ''mai ek'', and changing the spelling of words to satisfy the criteria is usually acceptable.

===Ode===
{{Main|Ode}}
[[File:Quintus Horatius Flaccus.jpg|thumb|upright|[[Horace]]]]
Odes were first developed by poets writing in ancient Greek, such as [[Pindar]], and Latin, such as [[Horace]]. Forms of odes appear in many of the cultures that were influenced by the Greeks and Latins.<ref>{{Cite book |last=Gray |first=Thomas |title=English lyrics from Dryden to Burns |publisher=Elibron |year=2000 |isbn=978-1-4021-0064-2 |pages=155–56}}</ref> The ode generally has three parts: a [[strophe]], an [[antistrophe]], and an [[epode]]. The strophe and the antistrophe of the ode possess similar metrical structures and, depending on the tradition, similar rhyme structures. In contrast, the epode is written with a different scheme and structure. Odes have a formal poetic diction and generally deal with a serious subject. The strophe and antistrophe look at the subject from different, often conflicting, perspectives, with the epode moving to a higher level to either view or resolve the underlying issues. Odes are often intended to be recited or sung by two choruses (or individuals), with the first reciting the strophe, the second the antistrophe, and both together the epode.<ref>{{Cite book |last1=Gayley |first1=Charles Mills |title=English Poetry |last2=Young |first2=Clement C. |publisher=Kessinger Publishing |year=2005 |isbn=978-1-4179-0086-2 |edition=Reprint |page=lxxxv}}</ref> Over time, differing forms for odes have developed with considerable variations in form and structure, but generally showing the original influence of the Pindaric or Horatian ode. One non-Western form which resembles the ode is the [[qasida]] in [[Arabic poetry]].<ref>{{Cite book |editor-last=Kuiper |editor-first=Kathleen |url=https://archive.org/details/poetrydramaliter0000unse/page/51 |title=Poetry and drama literary terms and concepts |publisher=Britannica Educational Pub. in association with Rosen Educational Services |year=2011 |isbn=978-1-61530-539-1 |page=[https://archive.org/details/poetrydramaliter0000unse/page/51 51]}}</ref>

===Ghazal===
{{Main|Ghazal}}
The {{transliteration|ar|italic=no|ghazal}} (also {{transliteration|ar|italic=no|ghazel}}, {{transliteration|ar|italic=no|gazel}}, {{transliteration|ar|italic=no|gazal}}, or {{transliteration|ar|italic=no|gozol}}) is a form of poetry common in [[Arabic poetry|Arabic]], [[Bengali poetry|Bengali]], [[Persian literature|Persian]] and [[Urdu poetry|Urdu]]. In classic form, the {{transliteration|ar|italic=no|ghazal}} has from five to fifteen rhyming couplets that share a [[refrain]] at the end of the second line. This refrain may be of one or several syllables and is preceded by a rhyme. Each line has an identical meter and is of the same length.<ref>{{Cite web |url=https://poets.org/glossary/ghazal |title=Ghazal - glossary on poets.org |access-date=18 July 2023}}</ref> The ghazal often reflects on a theme of unattainable love or divinity.<ref>{{Cite book |last=Campo |first=Juan E. |title=Encyclopedia of Islam |publisher=Infobase |year=2009 |isbn=978-0-8160-5454-1 |page=260}}</ref>

As with other forms with a long history in many languages, many variations have been developed, including forms with a quasi-musical poetic diction in [[Urdu]].<ref>{{Cite journal |last=Qureshi |first=Regula Burckhardt |date=Autumn 1990 |title=Musical Gesture and Extra-Musical Meaning: Words and Music in the Urdu Ghazal |journal=Journal of the American Musicological Society |volume=43 |issue=3 |pages=457–497 |doi=10.1525/jams.1990.43.3.03a00040}}</ref> Ghazals have a classical affinity with [[Sufism]], and a number of major Sufi religious works are written in ghazal form. The relatively steady meter and the use of the refrain produce an incantatory effect, which complements Sufi mystical themes well.<ref>{{Cite journal |last=Sequeira |first=Isaac |date=1 June 1981 |title=The Mystique of the Mushaira |journal=The Journal of Popular Culture |volume=15 |issue=1 |pages=1–8 |doi=10.1111/j.0022-3840.1981.4745121.x}}</ref> Among the masters of the form are [[Rumi]], the celebrated 13th-century [[Persia]]n poet,<ref>{{Cite journal |last=Schimmel |first=Annemarie | author-link=Annemarie Schimmel|date=Spring 1988 |title=Mystical Poetry in Islam: The Case of Maulana Jalaladdin Rumi |journal=Religion & Literature |volume=20 |issue=1 |pages=67–80}}</ref> and his equally famous near-contemporary [[Hafez]]. Hafez uses the ghazal to expose hypocrisy and the pitfalls of worldliness, but also expertly exploits the form to express the divine depths and secular subtleties of love; creating translations that meaningfully capture such complexities of content and form is immensely challenging, but lauded attempts to do so in English include [[Gertrude Bell]]'s ''Poems from the Divan of Hafiz''<ref>{{cite book |last=Hafez |author-link=Hafez |translator-first=Gertrude |translator-last=Bell |title=Poems from the Divan of Hafiz |url=https://archive.org/details/dli.ernet.507877 |place=London |date=1897 |ref=none}}</ref> and ''Beloved: 81 poems from Hafez'' ([[Bloodaxe Books]]) whose Preface addresses in detail the problematic nature of translating ghazals and whose versions (according to [[Fatemeh Keshavarz]], Roshan Institute for [[Persian Studies]]) preserve "that audacious and multilayered richness one finds in the originals".<ref>{{cite web |url=https://www.bloodaxebooks.com/ecs/product/beloved-1196 |title=Beloved: 81 poems from Hafez |date=2018 |publisher=Bloodaxe Books}}</ref> Indeed, Hafez's ghazals have been the subject of much analysis, commentary and interpretation, influencing post-fourteenth century Persian writing more than any other author.<ref>Yarshater. Retrieved 25 July 2010.</ref><ref>[http://www.amaana.org/sultweb/msmhafiz.htm Hafiz and the Place of Iranian Culture in the World] {{Webarchive|url=https://web.archive.org/web/20090503140008/http://www.amaana.org/sultweb/msmhafiz.htm |date=3 May 2009 }} by [[Aga Khan III]], 9 November 1936 London.</ref> The [[West-östlicher Diwan]] of [[Johann Wolfgang von Goethe]], a collection of lyrical poems, is inspired by the Persian poet Hafez.<ref>{{Cite book |last=Shamel |first=Shafiq |url=https://books.google.com/books?id=nwKfmAEACAAJ&q=goethe+hafiz |title=Goethe and Hafiz |year=2013 |publisher=Peter Lang |isbn=978-3-0343-0881-6 |access-date=29 October 2014}}</ref><ref>{{Cite web |url=http://www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detailseiten&seitentyp=produkt&pk=70235 |title=Goethe and Hafiz |url-status=dead |archive-url=https://web.archive.org/web/20141029210449/http://www.peterlang.com/index.cfm?event=cmp.ccc.seitenstruktur.detailseiten&seitentyp=produkt&pk=70235 |archive-date=29 October 2014 |access-date=29 October 2014}}</ref><ref>{{Cite web |url=http://www.lifeofthought.com/e69.htm |title=GOETHE |url-status=dead |archive-url=https://web.archive.org/web/20150905080250/http://www.lifeofthought.com/e69.htm |archive-date=5 September 2015 |access-date=29 October 2014}}</ref>