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Contagious Diseases Acts

The Contagious Diseases Acts (CD Acts ) were originally passed by the Parliament of the United Kingdom in 1864 (27 & 28 Vict. c. 85), with alterations and additions made in 1866 (29 & 30 Vict. c. 35) and 1869 (32 & 33 Vict. c. 96). In 1862, a committee had been established to inquire into venereal disease (i.e. sexually transmitted infections) in the armed forces. On the committee's recommendation the first Contagious Diseases Act was passed. The legislation allowed police officers to arrest women suspected of being prostitutes in certain ports and army towns. Since there was no set definition of prostitution within the Act, the question was left to the police officer’s discretion, and women could be arrested even if there was no actual evidence of prostitution. The women were then subjected to compulsory physical examinations for venereal disease. If a woman was declared to be infected, she would be confined in what was known as a lock hospital until she recovered or her sentence was completed. Men suspected of frequenting prostitutes were not subjected to the same treatment of compulsory checks and confinement. The law was initially aimed at working-class women in towns near military bases, due to the concern that sexually transmitted infections were hampering Britain’s forces. The original act only applied to a few selected naval ports and army towns, but by 1869 the acts had been extended to cover eighteen "subjected districts".

Because military men were often unmarried and homosexuality was criminalized, prostitution was considered by military authorities to be a necessary evil, so long as the spread of venereal disease could be contained. The Act of 1864 stated that women found to be infected could be interned in lock hospitals for up to three months, a period extended to one year with the 1869 Act. These measures were justified by medical and military officials as the most effective means to shield men from venereal disease. However, no provision was made for the physical examination of prostitutes' male clientele, which became one of the many points of contention in a campaign to repeal the Acts.

After 1866, proposals were introduced to extend the acts to the north of England and to the civilian population. It was suggested that this extension would serve to regulate prostitution and stop street disorders caused by it in large cities.

The subject of venereal disease, known at the time as "social disease", created significant controversy within Victorian society. The Contagious Diseases Acts themselves affected the lives of thousands of prostitutes and working-class women. They sparked the debate over inequality between men and women, and were an early political issue that led to women organising themselves and actively campaigning for their rights.

The inconsistent treatment of genders inherent in the acts was a key part of Josephine Butler's campaigns for their repeal. In one of her public letters, she allowed a prostitute to deliver her own account of her personal encounters with men: "It is men, only men, from the first to the last that we have to do with! To please a man I did wrong at first, then I was flung about from man to man. Men police lay hands on us. By men we are examined, handled, doctored. In the hospital it is a man again who makes prayer and reads the Bible for us. We are had up before magistrates who are men, and we never get out of the hands of men till we die!"

Prostitution in Victorian England
The level of prostitution was high in Victorian England, such that the acts themselves affected a large proportion of the female workforce in Britain. For several reasons prostitution was predominantly a working class profession. For many working-class women their journey into prostitution was one of circumstance. During the nineteenth century the public began to concern itself with particular social problems, an increasing view of the "ideal woman" was beginning to emerge and the "angel of the home" was becoming a popular stereotype. The underlying expectation of Victorian "respectability" and morality, which particularly valued female chastity and modesty, also played a part in raising the standards for the actions of women. This rise of the middle class domestic morality made it increasingly difficult for women to obtain work in certain professions, causing an increase in such areas as needle-trades, shop girls, agricultural gangs, factory work, and domestic servants, all occupations with long hours and little pay. Low earnings, in some cases, meant that women had to resort to prostitution to be able to provide for themselves and their families, particularly in households where the male breadwinner was no longer around. Prostitution was a way to survive for many women stuck in poverty, but Victorian ideals framed it as a sinful and immoral way of life. A study from the late Victorian period showed that more than 90 per cent of prostitutes in Millbank prison were the daughters of "unskilled and semiskilled workingmen", more than 50 per cent of whom had been servants, the rest having worked in dead-end jobs such as laundering, charring, and street selling.

The nature of the occupation makes it difficult to establish the exact number of prostitutes in operation during the Victorian Period. Judicial reports of the years 1857 to 1869 show that prostitutes were more common in commercial ports and pleasure resorts and less so in hardware towns, cotton and linen manufacturing centres and woollen and worsted centres. The Westminster Review placed the figure between 50,000 and 368,000. This would make prostitution the fourth-largest female occupation. However, the police estimates of known prostitutes portray an entirely different estimate:

Police estimates of known prostitutes

This table relates only prostitutes known to the police. The unreliability of statistics during the nineteenth century prevents one from knowing if prostitution was increasing or decreasing during this period, but it is clear that Victorians during the 1840s and 1850s thought that prostitution and venereal disease were increasing.

Regulating prostitution was a key part of the government's efforts to control the high level of venereal disease in its armed forces. By 1864, one out of three sick cases in the army was caused by venereal disease; admissions into hospitals for gonorrhea and syphilis reached 290.7 per 1,000 of total troop strength. Prostitutes found customers within the armed forces, mainly due to servicemen's forced celibacy and the conditions of the barracks the men were forced to endure. The barracks were overcrowded, and had a lack of ventilation and defective sanitation. Very few servicemen were permitted to marry, and even those who were, were not given an allowance to support their wives, which occasionally forced those wives to become prostitutes as well. Since the government wanted to limit the spread of venereal diseases within the armed forces, the initial Act s targeted towns near bases and ports. Police officers were permitted to arrest any woman they suspected of being a prostitute. In certain cases, if a brothel was discovered near a base, a police officer was placed outside as a guard to track how many men were coming in and out, along with arresting the women who were under suspicion of prostitution.

The efficacy of the Acts in controlling the spread of venereal disease is questionable. Prior to the Acts, troop numbers were declining rapidly, from 83,386 to 59,758 over the course of 6 years. After a ‘Committee on the Contagious Diseases Acts’ was formed to investigate in 1879, evidence showed that many factors other than venereal disease played a part in this reduction. While certain men were discharged for venereal diseases, others were discharged due to bad character, and there was also a significant reduction in recruitment efforts. Additionally, doctors reported that the only improvement made since the Acts was in the treatment for venereal disease, with little or no impact on its spread.

Conditions in lock hospitals
If a woman was declared to be infected she would be confined in what were known as lock hospitals. The lock hospitals or lock wards were designed specifically to treat those infected with a venereal disease since 1746. Conditions in lock hospitals were sometimes inadequate. An 1882 survey estimated that there were only 402 beds for female patients in all the voluntary lock hospitals in Great Britain, and out of this number only 232 were "funded for use". Female venereal patients generally had to resort to workhouse infirmaries if there was no availability within a lock hospital.

Depending on the city, there may have been a lock asylum operating in partnership with the lock hospital. Women would receive treatment in the asylum, which was intended to correct their moral deviance. Women were seen as deviant if they were prostitutes, and the goal was to cure them of their sexual desires. The increased expectation of Victorian “respectability” made the asylum treatment much more popular among the general population. In a lock asylum, women were “taught appropriate behavior through religious instruction, and a decent working-class profession, so that a process of inclusion in respectable society would be fulfilled after a process of exclusion.” For men, their sexual desires were seen as natural impulses that could not and should not be controlled, so they were not subject to the same asylum treatment.

Early opposition
Florence Nightingale’s opposition to the “Continental system” or state regulation of prostitution probably delayed passage of the legislation by a couple of years. However, the first Contagious Diseases Act was adopted, after scarcely any debate in 1864.

In 1862, Nightingale prepared a thorough critique of the regulatory approach in Note on the Supposed Protection Afforded against Venereal Diseases, by recognizing Prostitution and Putting it under Police Regulation. The paper included statistics of hospital admissions for venereal disease for various army units at various stations. It showed that the system of regulation did not result in lower rates of disease. Nevertheless, the legislation proceeded. Nightingale next recruited journalist Harriet Martineau to write on the subject and provided her with background material. She published The Contagious Diseases Acts, as applied to Garrison Towns and Naval Stations, in 1870. The four articles in the series, printed in the Daily News, and credited to “an Englishwoman” ran on each of the last three days of 1869 and the first day of 1870, the last of which launched “The Ladies’ National Association for the Repeal of the Contagious Diseases Acts.” It was co-signed by 124 leading women opponents of the Acts. Josephine Butler, who went on to lead the lengthy campaign for repeal, was the third signatory, after Nightingale and Martineau.

When the first woman to qualify as a doctor in England, Elizabeth Garrett, wrote in favour of the Acts, Nightingale, using the name “Justina,” opposed her, with two articles, in the Pall Mall Gazette in 1870. Nightingale continued to give support behind-the-scenes to the repeal campaign.

Extension
In 1867, the Association for Promoting the Extension of the Contagious Diseases Acts was established and was just as prominent in publishing pamphlets and articles as the Ladies National Association for the Repeal of the Contagious Diseases Acts was. The Association strongly campaigned for the extension of the Contagious Diseases Acts outside of the naval and army towns and for them to be made applicable to the whole of the country, as they believed this was the best way of regulating prostitution. In 1869, the Act was extended across the whole country.

Later opposition
The Contagious Disease Acts were passed very quickly and quietly through the government and were not reported on much in the press because sexual diseases were thought of as inappropriate for public debate. However, as time went on, the impacts of the laws became more widely known and English citizens began to discover more about the harsh treatments and conditions they mandated. In 1870, the National Association for the Repeal of the Contagious Diseases Acts was established. This group initially barred women from its meetings, however, leading to the establishment of the Ladies National Association for the Repeal of the Contagious Diseases Acts by Josephine Butler. These repeal organizations attracted the vigorous support of moralists and feminists but also those more generally concerned with civil liberties, especially since the Acts were perceived as having violated basic human rights. Both groups actively campaigned against the acts and between 1870 and 1885:17,365 petitions against the acts bearing 2,606,429 signatures were presented to the House of Commons, and during the same period, more than 900 meetings were held. The opponents struck a chord with the public consensus on the issues surrounding the Acts including double standards and lack of consent.

Josephine Butler also published essays and spoke at several meetings to rally others in support of repealing the Contagious Disease Acts. These events included the “Influential Meeting of the Ladies”, “The Ladies’ Appeal and Protest”, the “MS LNA Circular”, and a “A Few Words Addressed to True Hearted Women.” Butler’sspeeches highlighted exactly what impact the Acts had on the lives of working-class women. In one of her speeches, she stated “it was recorded that virtuous women had been taken up, virtuous women had been insulted, wives had been taken up and insulted, and most justly, “a medical rape," meaning arrested women were often forced into an examination without their consent. Butler described how police officers could arrest any woman they suspected of prostitution, and had arrested several women who were not infected but still forced into an exam.

Another woman who took a lead calling for the repeal of the Acts was Elizabeth Blackwell, a doctor who used education to spread public awareness. As a member of the Moral Reform Union, she urged members to stand against the Acts and was one of the few doctors to speak up in opposition of them. Blackwell also emphasized how women and men were not receiving the same treatment under the law. In many of her speeches at conferences, she condemned the inherent double standard in the Acts and “aimed to take the responsibility of purity gatekeeping out of the hands of the women and shift some of the responsibility onto men as well.”

Similar to Florence Nightingale’s approach mentioned above, Dr. Charles Bell Taylor and William Paul Swain released a paper in 1869 on their observations of the Acts, in which they criticized the lack of police investigation or evidence required to bring women into a lock hospital or asylum. They argued that it was incredibly unfair that the treatment was not the same towards men with disease. Furthermore, their results highlighted that the Acts did not decrease the spread of disease at all. Additional discourse from their report states that “the public at large is wholly ignorant of the subject, and a due regard for the public welfare urgently demands that the question shall be generally and exhaustively discussed.”

Repeal
After years of protesting, the men and women of the National Association and the Ladies National Association gradually won the battle over the Contagious Diseases Acts, and, in 1886, the Acts were finally repealed. In the years that followed, doctors and researchers discovered that voluntary submission to be treated for sexually transmitted diseases was much more effective than the original compulsion that came with the Acts.

Archives
Extensive archives on the campaign to repeal the Contagious Diseases Acts are held at the Women's Library at the Library of the London School of Economics.

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Rainald of Dassel

Rainald of Dassel (c. 1120 – 14 August 1167) was Archbishop of Cologne and Archchancellor of Italy from 1159 until his death. A close advisor to the Hohenstaufen emperor Frederick Barbarossa, he had an important influence on Imperial politics, mainly in the Italian conflict of Guelphs and Ghibellines.

Life
Rainald was a scion of the Counts of Dassel, who had inherited large estates in the Suilbergau of Saxony upon the extinction of the ducal Billung dynasty in 1106. A younger son of the affluent count Reinold I of Dassel, he was destined as such to be an ecclesiastic, while his elder brother Ludolf succeeded in the Dassel county.

Ecclesiastical career
Rainald's father sent him to the Hildesheim Cathedral school and at a later date he probably went to Paris in France, where he studied with Adam of Balsham. As early as 1130 he is said to have had a high reputation for classical learning, and to have been a member of the Hildesheim cathedral chapter. He started working as a subdeacon under Bishop Bernard about 1146 and accompanied Abbot Wibald of Stavelot to the Roman Curia. According to documentary evidence he was appointed provost in 1148. Rainald became one of the most important dignitaries in Hildesheim, where he had the first stone bridge built above the Innerste river. He represented the diocese at the 1148 Council of Reims, presided over by Pope Eugene III, openly opposing a canon concerned with clerical dress. Particular attention was paid to his statements by John of Salisbury, who mentioned him in his Historia Pontificalis. In 1153 Rainald received the provostship of the St Maurice monastery in Hildesheim and St Peter's Abbey in Goslar. Soon after, he was also appointed provost of the Münster Cathedral chapter (in 1154), of the Maastricht Basilica of Saint Servatius (1156), and of Xanten Cathedral. However, when a new Bishop of Hildesheim was elected in 1153, he declined the see.

Chancellor
Frederick Barbarossa, elected King of the Romans in 1152, soon noticed Rainald's talents. As a member of the legation sent to Pope Eugene III at Rome he first revealed his political ability. After Frederick had been crowned Holy Roman Emperor by Pope Adrian IV in 1155, he appointed Rainald his chancellor.

In the rising conflict between emperor and papacy, the Diet of Besançon in October 1157 left no doubt as to the drift of Rainald's policies. He issued a directive which insisted upon the rights and the power of the Emperor, especially in the Kingdom of Italy, the strengthening of the autonomous German Catholic clergy, and the reduction of the influence of the papacy. Full of life, at times rough and blunt and again careful and calculating, Rainald, who, in spite of his ecclesiastical dignities, knew how to wield the sword, henceforth influenced the policy of his Imperial master.

The struggle with the Curia escalated at the Diet of Besançon, where Rainald entered into a fierce controversy with the papal legate Roland of Siena (later Pope Alexander III), vigorously rejecting Pope Adrian's use of the word beneficium, which might mean fief as well as benefit. In the expression used, that the pope would have been glad to grant the emperor even greater beneficia (or benefits), it was thought that the old desire of the Curia for the mastery of the world was to be found.

Though Rainald did not wish to separate Germany entirely from Rome and still held the medieval respect for the Catholic Church, his temperament carried Barbarossa much further than the latter desired, or then was advantageous in the circumstances. When Frederick finally submitted, it was Rainald who prevented him from making concessions which might have proved of advantage. In 1158 he and Duke Otto I of Bavaria undertook a diplomatic journey into Italy to prepare the way for the emperor's campaign.

Archbishop
In January 1159 the imperial envoy Rainald entered the city of Milan, which had been peacefully conquered in 1158, however, he was expelled and almost murdered by the inhabitants. While still staying in an Imperial army camp, he was appointed Archbishop of Cologne and Archchancellor of Italy in absence, as successor of the late Frederick II of Berg. When Pope Adrian died in 1159, the double election of Pope Alexander III and Victor IV led to a schism, during which Rainald aimed at strengthening the Imperial antipope Victor. At the 1160 Council of Pavia, he served as the emperor's ambassador and was employed in diplomatic negotiations with Genoa, Pisa, as well as the courts of King Louis VII of France and King Henry II of England, whom he endeavoured to win to the side of the antipope but did not succeed.

In 1162 Emperor Barbarossa began a second siege of Milan, which would end with the destruction of the city. In 1163 Alexander III excommunicated Rainald, who had loudly proclaimed in these negotiations the right of the emperor to dispose of the papal see. Basing his action on the Roncalian decrees issued at the Diet of Roncaglia, near Piacenza, in 1158, Rainald was once more successfully employed in Italy in the affairs of the emperor. When Victor IV died, Rainald, of his own volition and without waiting for the consent of the emperor, elected at Lucca a new antipope, Paschal III. Frederick would hardly have continued the schism. Rainald knew this and therefore wished to force the emperor to continue the struggle for imperial supremacy.

Back in Germany in 1164, he brought the bones of the Three Magi with him to Cologne as loot from Milan and as a gift of Emperor Frederick Barbarossa; today they are still in the Cologne Cathedral. In the meantime the number of the adherents against the lawful pope increased in Germany. Rainald finally won the consent of the English king to common ecclesiastico-political action in behalf of Paschal III and once more took up arms in defence of his one ambition, which he hoped the proposed canonization of Charlemagne at Aachen in 1165 would advance. The new alliance was sealed by the engagement of King Henry's daughter Matilda with the Saxon duke Henry the Lion. In this period Rainald was notably the patron of the Archpoet.

In 1167 he was again in Italy, actively engaged in preparing the way for the emperor. Together with Archbishop Christian I of Mainz, and under Rainald's guidance an army won a victory over a much larger force of Roman troops at the Battle of Monte Porzio on 29 May 1167 and laid siege to the city. His death soon after was likely of malaria; his mortal remains were transferred to Cologne and buried in the Lady Chapel of the Cathedral.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Rainald of Dassel


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Bayla

Bayla (Bandar Beyla, بندر بيلا), is a coastal town along the Guardafui Channel in the northeastern Bari region of Somalia. It is the capital of the Bayla District.

History
Bayla is located at the headland of Ras Ma'bar (or Cape Ma'bar). It historically served as an important landmark for sailors voyaging between the Arabian Peninsula and Horn of Africa.

A coastal community, Bayle is noted for its various beden, or ancient design sewn boats constructed without nails.

In the early modern period, Bedar Beyla was a part of the Majeerteen Sultanate (Migiurtinia), centered in Aluula. It was later incorporated into Italian Somaliland during the early 20th century.

The town sustained significant damage from the tsunami that followed the 2004 Indian Ocean earthquake.

Administration
In October 2015, the Puntland government in conjunction with the local Kaalo NGO and UN-HABITAT launched a new regional census to gather basic information in order to facilitate social service planning and development, as well as tax collection in remote areas. According to senior Puntland officials, a similar survey was already carried out in towns near the principal Garowe–Bosaso Highway. The new census initiative is slated to begin in the Bayla District, in addition to the Eyl District and Jariban District.

Demographics
The broader Bayla District has a total population of 14,376 residents.

Education
There are 13 primary schools in the Bayla District. Among these are Rasul-Macbar, Kulule, Caris and Qoton.

title: Bayla


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Beer in New Zealand

Beer is the most popular alcoholic drink in New Zealand, accounting for 63% of available alcohol for sale. At around 64.7 litres per person per annum, New Zealand is ranked 27th in global beer consumption per capita. The vast majority of beer produced in New Zealand is a type of lager, either pale or amber in colour, and typically 4–5% alcohol by volume.

Although the two largest breweries in New Zealand, Lion Nathan and DB Breweries, control almost 90% of sales by volume between them, there are over 150 smaller craft breweries and brewpubs producing a vast range of beer styles, including many ales.

History
There is no oral tradition or archaeological evidence of the indigenous people of New Zealand (Māori) brewing beer before the arrival of Europeans and major ingredients of beer were not introduced to New Zealand until Europeans arrived in the late 18th century.

Captain Cook was the first to brew beer in New Zealand, on Resolution Island while anchored in Dusky Sound, Fiordland. He experimented with the use of young rimu branches and leaves as a treatment against scurvy, plus wort, molasses and leaves of the mānuka (tea tree). It was brewed on Saturday 27 March 1773. "We also began to brew beer from the branches or leaves of a tree, which much resembles the American black-spruce. From the knowledge I had of this tree, and the similarity it bore to the spruce, I judged that, with the addition of inspissated juice of wort and molasses, it would make a very wholesome beer, and supply the want of vegetables, which this place did not afford; and the event proved that I was not mistaken."

The first commercial brewery in New Zealand was established in 1835 by Joel Samuel Polack in Kororareka (now Russell) in the Bay of Islands. During the 19th century, the brewing methods of Great Britain and Ireland were introduced to New Zealand, being the countries from which the vast majority of immigrants originated during that time – thus the dominant beer styles would have been ales, porters and stouts.

20th century
During the late 19th and early 20th century, the temperance movement in New Zealand had become a powerful and popular lobby group, as in the UK and the US. In 1919 at a national referendum poll, prohibition gained 49% of the vote and was only defeated when the votes of returned servicemen were counted. However, one aspect of wartime regulation was made permanent: a 6 pm closing time for licensed premises. This created the culture of the six o'clock swill, a law that was not repealed until 1967, and was to have an influence on the styles of beer brewed and drunk in New Zealand.

In the 1930s, the New Zealander Morton Coutts invented the continuous fermentation process. Gradually, beer production in New Zealand shifted from ales to lagers, using continuous fermentation. The style of beer made by this method has become known as New Zealand Draught, and became the most popular beer during the period of 6 pm closing.

During the same period, there was a gradual consolidation of breweries, such that by the 1970s virtually all brewing concerns in New Zealand were owned by either Lion Breweries or Dominion Breweries. Later, in the 1980s, small boutique or microbreweries started to emerge, and consequently the range of beer styles being brewed increased. The earliest was Mac's Brewery, started in 1981 in Nelson. Some pubs operated their own small breweries, often housed within the pub itself.

21st century
In recent years, pale and amber lager, the largest alcoholic drinks sector in terms of volume sales, have been on a downward trend as a result of a declining demand for standard and economy products. Conversely, ale production in New Zealand is primarily undertaken by small independent breweries and brewpubs, the Shakespeare Brewery in Auckland city being the first opened in 1986 for the 'craft' or 'premium' sector of the beer market. In 2010, this 'craft/premium' sector grew by 11%, to around 8% of the total beer market. This has been in a declining beer market, where availability of beer has dropped 7% by volume in the two previous years.

With a growth rate of 25% per year, craft beer and microbreweries were blamed for a 15 million litre drop in alcohol sales overall in 2012, with Kiwis opting for higher-priced premium beers over cheaper brands. The craft beer market in New Zealand is varied and progressive, with a full range of ale and lager styles of beer being brewed. New Zealand is fortunate in that it lies in the ideal latitude for barley and hops cultivation. A breeding programme had developed new hop varieties unique to New Zealand, many of these new hops have become mainstays in New Zealand craft beer.

Given the small market and relative high number of breweries, many breweries have spare capacity. A recent trend has seen the rise of contract brewing, where a brewing company contracts to use space in existing breweries to bring the beer to the market. Examples of contract brewers include Epic Brewing Company, Funk Estate and Yeastie Boys.

Over 2011 and 2012, New Zealand faced a shortage of hops, which affected several brewers countrywide. The shortage was primarily caused by a hop shortage in North America. Brewers Guild president Ralph Bungard noted that Americans were scrambling to get their hands on Kiwi hops as they were becoming more trendy in the American micro-brew market. One specialty brewery, Tuatara Brewery had just commenced production of an American Pale Ale—when the American hop shortage arose, they then created an Aotearoa Pale Ale, with New Zealand hops.

Styles
The most widely recognised style of beer to have originated in the country is New Zealand Draught. This is generally a malty, lightly hopped amber lager with 4–5% alcohol by volume. Martyn Cornell, the British beer writer, has suggested that New Zealand Draught is partly an evolution of the late 19th century mild ale, which was popular with the British working classes, many of whom emigrated to New Zealand. However, the beer is usually brewed using the continuous fermentation process and a lager yeast. During the latter period of the six o'clock swill, the beer was dispensed from kegs directly into customer's beer jugs using a hose and tap.

Much of the original ale lineage lingers on in the branding of nearly all New Zealand Draught beer, e.g. Speights Gold Medal Ale. In addition to this, the New Zealand Consumers' Institute criticised Tui for claiming to be an "East India Pale Ale" when it is in fact an amber lager that bears no resemblance to the traditionally hoppy, bitter India Pale Ale style.

Large breweries

 * Lion Breweries (owned by the Japanese company Kirin)
 * Speight's Brewery
 * Emerson Brewing Company
 * Panhead Custom Ales
 * Mac's
 * DB Breweries (owned by Heineken, based in The Netherlands)
 * Monteith's Brewing Company
 * Tuatara Brewing
 * Independent Breweries Ltd (owned by the Japanese company Asahi)

In addition, some international brands are brewed under licence in New Zealand. Some examples are Heineken, Amstel, and Tiger (DB Breweries); Kingfisher, Carlsberg, Holsten, and Tuborg (Boundary Road); and Kilkenny, Corona, Budweiser, Guinness, Stella Artois, and Beck's (Lion Nathan).

Microbreweries, nanobreweries and contract brewers
The following list contains some of the notable craft breweries of New Zealand. There are numerous other small breweries and brands.

Brewpubs

 * Dux de Lux, Christchurch
 * Fork & Brewer, Wellington – Champion Small Brewery of NZ 2018

title: Beer in New Zealand


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Talk:Beer in New Zealand

Publicity should be removed
There is unreferenced publicity on this page. There are no references to when and where Epic beer has won any prizes.

 * I have changed this link to the official NZ international beer awards results page for 2006.Cstubbies 10:55, 31 August 2007 (UTC)

New Zealand Breweries - CLOSED

 * Australis Brewing Company - brewed at Galbraith's Ale House in Auckland, and being the only brewery in the world to have its entire range (three beers) feature in Michael Jackson's Great Beer Guide.
 * Limburg Brewing Company - 2008 - Originally brewed in Hawkes Bay, then contract Brewed at Steam Brewing for 2007 before finally closing in 2008.
 * KEA Brewing Company - 2007 - Brewery previously Limburg Brewing
 * Martinborough Beers & Ales
 * Miner's Brewery - SOLD, renamed as West Coast Brewery
 * Resort Brewing - SOLD, renamed as Dux de Lux Queenstown
 * Hokianga Brewery
 * Circle Breweries
 * Pilot Bay - SOLD, was Rivehead Estate, currently Hallertau
 * Milkshed Brewing
 * East West Brewery
 * Marlborough Brewing Company - SOLD, now Renaissance Brewing
 * Black Robin Brewing Company
 * Ferrymead Brewing Company
 * Twin Pines Brewhouse
 * Parrot & Jigger
 * Brofords - SOLD, became Circle Breweries, now Kiwi Breweries
 * Club Habitat
 * Egmont Brewing
 * Ballies Brewery & Cafe
 * Amazulu - 1997
 * Victoria's - 1987

I have moved the above section from the article page. While embedded lists are discouraged on Wikipedia, there is some research value in some of these lists that should not be lost.  SilkTork  *YES! 17:51, 31 August 2008 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Beer in New Zealand. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20101029120827/http://www.wigrambrewing.co.nz:80/beer.html to http://www.wigrambrewing.co.nz/beer.html

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers.—cyberbot II  Talk to my owner :Online 04:41, 12 January 2016 (UTC)

Breweries list is very incomplete
There must be dozens of independent breweries in New Zealand these days. 101.100.128.225 (talk) 04:59, 27 February 2021 (UTC)
 * In 2019 there were over 200 . It doesn't seem appropriate to list them all, but I'll add some links. Anarchangel23 (talk) 05:46, 27 January 2022 (UTC)

title: Talk:Beer in New Zealand


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James Elmes

James Elmes (15 October 1782, London – 2 April 1862, Greenwich) was an English architect, civil engineer, and writer on the arts.

Biography
Elmes was educated at Merchant Taylors' School, and, after studying building under his father, and architecture under George Gibson, became a student at the Royal Academy, where he gained the silver medal in 1804. He designed a large number of buildings in London, and was surveyor and civil engineer to the Port of London, but is best known as a writer on the arts. He exhibited at the Royal Academy between 1801 and 1842. He was vice-president of the London Architectural Society from its foundation in 1806.

In 1813–4 he restored the top part of the spire of Chichester Cathedral, reconstructing the pendulum device incorporated into it by Sir Christopher Wren to counteract the effects of strong winds. Elmes described the contraption in his biography of Wren, calling it "one of the most ingenious and appropriate of its great inventor's applications."

He was the founder and editor of the Annals of the Fine Arts, a quarterly magazine published between 1816 and 1820. The content of the periodical was greatly influenced by the views of the historical painter Benjamin Robert Haydon, with whom Elmes had become friends while both were still students at the Royal Academy. Elmes claimed to have written the first review of Haydon's work ever published, in the Monthly Magazine in 1806. He also edited the Magazine of the Fine Arts and Monthly Review from 1821.

Elmes resigned from his post with the Port of London in 1848, due to a loss of sight, from which he later partially recovered.

He died at Greenwich on 2 April 1862, and was buried at Charlton. The architect Harvey Lonsdale Elmes was his son.

John Haviland, who became a successful prison architect in the United States was his pupil.

Buildings
His buildings included:
 * St John the Evangelist's Church, Chichester (1812–13) built in the Classical-style as an Anglican proprietary chapel. The Grade I-listed building is now redundant and in the care of the Churches Conservation Trust.
 * The New House of Correction, Bedford (1819). Sited on the main road from Bedford to Kettering, it was arranged on the panopticon system. The building was demolished 1851.
 * A block of large terraced houses at 6–12, Queen Anne's Gate, Westminster (1837). Number 6 was built as the Parliamentary Agency Offices. Designed in collaboration with Harvey Lonsdale Elmes.

Writings
Elmes published:
 * A Letter to Thomas Hope, Esq., on the Insufficiency of the existing Establishments for Promoting the Fine Arts towards that of Architecture and its Professors (1813).
 * Hints for the Improvement of Prisons, and for a more Economical Management of Prisoners, partly founded on the Principles of John Howard (1817).
 * New Churches. A Letter to the Earl of Liverpool on that part of the Speech of H.R.H. the Prince Regent which recommends the attention of Parliament to the Deficiency in the Number of Places of Public Worship belonging to the Established Church (1818).
 * Lectures on Architecture, comprising the History of the Art (1821).
 * Memoirs of the Life and Works of Sir Christopher Wren (1823).
 * The Arts and Artists; or. Anecdotes and Relics of the Schools of Painting, Sculpture, and Architecture (3 volumes, 1825).
 * A General and Bibliographical Dictionary of the Fine Arts (1826).
 * Metropolitan Improvements, or London in the Nineteenth Century (1827). Elmes' text accompanied a series of engravings after drawings by Thomas Hosmer Shepherd. John Summerson described the book as "a useful and nearly complete, guide to the new buildings of George IV's London", while regretting that it was written "in the style of a facetious cicerone".
 * A Practical Treatise on Architectural Jurisprudence (1827).
 * A Practical Treatise on Ecclesiastical and Civil Dilapidations, Reinstatements, Waste, &c
 * London Bridge; from its Original Formation of Wood to the Present Times with a Particular Account of the new London Bridge (1831).
 * A Topographical Dictionary of London and its Environs (1831).
 * A Guide to the Port of London (1832).
 * Horas Taciva. A Thought-Book of the Wise Spirits of all Ages and all Countries, fit for all Men and all Hours (1852).
 * Sir Christopher Wren and his Times (1852).
 * Thomas Clarkson, a Monograph (1854).

title: James Elmes


text:
Talk:Ala ud din Khilji

User:Siddiqui vandalism?
please don't deleted or blank text and references without giving reasons in the edit summary or talk page.

title: Talk:Ala ud din Khilji


text:
Namsan (Gyeongju)

Namsan (남산, "South Mountain") is a 494-meter peak in the heart of Gyeongju National Park, just south of Gyeongju, South Korea. The mountain is within easy reach from the city and attracts a large number of domestic tourists. Namsan covers an area of about 8 km (north-south) by 12 km (east-west). Some 180 peaks are counted, of which Geumobong (468 m) and Gouibong (495 m) are the best-known. There are about 40 valleys.

Cultural remains
Namsan is home to many historic and cultural remains, and is now part of the historic area around Gyeongju that was added to the UNESCO list of World Heritage in 2000.

Namsan is home to many remains from the Silla period, including some tombs of Silla rulers. There are hundreds of remains scattered around the mountain. Poseokjeong is one of the most famous of these sites, lying at the foot of Namsan. Other remains include Korean Buddhist art, sculptures, about 80 carved reliefs, about 60 stone pagodas and remains of about 100 temples and palaces mostly built between the 7th and 10th century. 12 of these relicts are designated national treasures.

The concentration of remains is particularly high at the foothills west of Namsan. The remains are thought to reflect the rise and fall of the Silla kingdom. Najeong Well is the mystic birthplace of King Park Hyeokgeose, founder of the Silla dynasty. Only a small stone with inscriptions remains of this site. According to legend, one day in 69 BC Seobeol—chieftain of Goheo village—spotted a white horse kneeling by Najeong well. When approaching the site to take a closer look, the horse disappeared, but he found an egg. From the egg hatched a boy who was chosen to become king at the age of 13.

The Yangsanjae shrine was built in honour of a founder who lived in Seorabeol before the Silla kingdom was established. A famous site is the three stone Buddha statue of Bae-ri. The site features three Buddha figures carved into stone. More recently, a roof was erected to protect the statues.

The sitting stone statue of Buddha in the Mireuk valley, the sitting image of Bodhisattva carved into a stone wall at Sinseonam are two of the designated national treasures. In addition, there are sites of local significance, such as the sitting figure of Sakyamuni carved on a rock in Samneung Valley. This figure is about 7 metres high and about 5 metres wide. It is the biggest sitting statue at Namsam.

Cheongwansa is a historic temple.

Nature
Namsan is not only known for the Silla remains, but also appreciated by visitors for its natural environment.

title: Namsan (Gyeongju)


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Sister Ray

"Sister Ray" is a song by the Velvet Underground that closes side two of their 1968 album White Light/White Heat. The lyrics are by Lou Reed, with music composed by John Cale, Sterling Morrison, Maureen Tucker and Reed.

The song concerns drug use, violence, homosexuality, and transvestism. Reed said of the lyrics: "'Sister Ray' was done as a joke—no, not as a joke, but it has eight characters in it and this guy gets killed and nobody does anything. It was built around this story that I wrote about this scene of total debauchery and decay. I like to think of 'Sister Ray' as a transvestite smack dealer. The situation is a bunch of drag queens taking some sailors home with them, shooting up on smack and having this orgy when the police appear." Lou Reed also stated "'Sister Ray' was about a gay dealer".

At 17 minutes and 29 seconds, it is the longest song on White Light/White Heat, taking up most of the second side of the record, as well as the longest song in the Velvet Underground's studio discography.

Rock critic Lester Bangs wrote in 1970, "The early Velvets had the good sense to realize that whatever your capabilities, music with a simple base structure was the best. Thus, 'Sister Ray' evolved from a most basic funk riff seventeen minutes into stark sound structures of incredible complexity."

Recording
"Sister Ray" was recorded in one take. The band agreed to accept whatever faults occurred during recording, resulting in over 17 minutes of improvised material. The song was recorded with Reed on lead vocals and guitar, Morrison on guitar, Tucker on drums, and Cale on organ routed through a distorted guitar amplifier. Morrison remarked that he was amazed at the volume of Cale's organ during the recording and that he had switched the guitar pickup on his Fender Stratocaster from the bridge position to the neck position to get "more oomph". The song features no bass guitar because Cale, who usually played bass or viola, played organ on the take. The band had a sponsorship from Vox amplifiers, which allowed use of top-of-the-line amps and distortion pedals to create a distorted, noisy sound.

Reed wrote the song on a train going to New York from Connecticut. After the opening sequence, which is a modally flavored I-♭VII-IV G-F-C chord progression, much of the song is led by Cale and Reed exchanging percussive chords and noise for over ten minutes, similar to avant-jazz. Reed recalled that recording engineer Gary Kellgren walked out while recording the song: "The engineer said, 'I don't have to listen to this. I'll put it in record, and then I'm leaving. When you're done, come get me.'"

Personnel

 * Lou Reed – vocals, electric guitar
 * John Cale – Vox Continental organ
 * Sterling Morrison – Fender Stratocaster electric guitar
 * Maureen Tucker – drums

Live versions
"Sister Ray" was a concert favorite of the band, who regularly closed their set with the song. The studio recording of the song was recorded in one single take that lasts over 17 minutes. The triple live album Bootleg Series Volume 1: The Quine Tapes, released in 2001, features three live performances of "Sister Ray" from 1969, with approximate running times of 24, 38 and 29 minutes. The band also had an intro entitled "Sweet Sister Ray" that they would perform occasionally. On the single known recording of this intro (recorded during the April 30, 1968 show, without the complete subsequent performance of "Sister Ray"), "Sweet Sister Ray" alone lasts for over 38 minutes.

Cover versions

 * Jonathan Richman plays a portion of "Sister Ray" on his song "Velvet Underground." It has been argued that Richman's 1976 song "Roadrunner" (produced by Velvet Underground co-founder John Cale and Jerry Harrison) is, considering its distorted organ solo and chordal similarities, largely a reworking of "Sister Ray" in musical terms, although Richman's lyrics about the joys of driving around suburban Boston are in marked contrast to Reed's detached saga of debauchery and decay.
 * Joy Division played a shortened version of the song at the Moonlight Club in London on April 2, 1980. A recording of this song is on their rarities album Still.

title: Sister Ray


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Poseokjeong

The Poseokjeong site near Namsan in Gyeongju, North Gyeongsang Province, South Korea, was built in the Unified Silla period. The site once featured a royal pavilion which was said to have been the most beautiful royal villa of the time. Today, the only surviving remnant of the pavilion is a granite water feature.

It was designated a Historic Site of South Korea in 1963.

The water feature consists of several hand-carved stone pieces. These pieces create a smoothed shape that slopes slightly, which allows for the flow of water.

During banquets in the last days of the Unified Silla kingdom, the king's official and noble guests would engage in winding stream parties. These involved sitting along the watercourse, chatting, reciting poetry and engaging in drinking games. In one particular game, one of the guests would enunciate a line of poetry, challenge one of the other guests to compose an appropriate second line while the first floated a cup of wine in the water. Should the cup of wine reach the guest before he submitted a suitable verse, he would consume the entire cup of wine. He would then try to compose the poetry before receiving a glass again— should he fail again, he would continue repeating the process until a verse was produced. Due to the variety of curves in the channel, the speed at which the wine cups transversed the course would vary based on the shape of the cup, rate of the water flow and amount of wine in the cup.

The site has an area of 7,432 m2/4.6 mi2. There are no records of when Poseokjeong was built, but the stone channel is known to have been created in the time of Unified Silla. It was designated as historic site No.1 in 1963. Poseokjeong is named after the abalone-shaped water feature. The feature itself is about 10.3 m/11.2 yd in length and 5 m/5.4 yd in width, and consists of 63 blocks of granite. These blocks are on average 26 cm/10.2 in deep and 35 cm/13.8 in wide. Zelkova, pine and bamboo trees preserve a calm atmosphere at Poseokjeong today, but the garden was tended differently at the time. Some of the trees are several hundred years old.

When in use, the watercourse was thought to have used water from the nearby stream in the Namsan valley. The water of the Namsan valley was appreciated by the Silla people for its purity and cleanliness. A stone statue of a turtle once spewed water into the channel, but this feature is no longer present.

A legend is linked to Poseokjeong. According to this legend, the spirit of Namsan attended a party of king Heong-gang Wang. The king danced after the god, which according to the legend started a Silla dance known as (King Dances, God Dances).

King Gyeongae of Silla (r. 924-927) was killed at Poseokjeong, while indulging in his pleasures here, by King Kyŏn Hwŏn of Later Baekje. For that reason Poseokjeong stands symbolically for the demise of the Silla kingdom.

title: Poseokjeong


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The Song of the Western Men

"The Song of the Western Men", also known as "Trelawny", is a Cornish patriotic song, composed by Louisa T. Clare for lyrics by Robert Stephen Hawker. The poem was first published anonymously in The Royal Devonport Telegraph and Plymouth Chronicle in September 1826, over 100 years after the events.

Background
Hawker, a churchman, claimed authorship for the words except for the chorus. He assumed that the Trelawny mentioned in those three lines was Sir Jonathan Trelawny, the Bishop of Bristol, who had been imprisoned in the Tower of London by King James II in 1688. However it is more likely that it referred to his grandfather, Sir John Trelawny, a Cornish Royalist leader who had been imprisoned by parliament in 1628. The people of Cornwall did not actually march to rescue Trelawny, as told in the song. He was imprisoned in the Tower of London for three weeks, then tried and acquitted.

Hawker's poem was set to music by Louisa T. Clare in 1861. Hawker was so pleased with Clare's setting, that he sent her another poem of his in hopes of a further success.

According to Cornish historian Robert Morton Nance, "The Song of the Western Men" was possibly inspired by the song "Come, all ye jolly tinner boys" which was written more than ten years earlier in about 1807, when Napoleon Bonaparte made threats that would affect trade in Cornwall at the time of the invasion of Poland. "Ye jolly tinner boys" contains the line "Why forty thousand Cornish boys shall know the reason why."

In 1881, at the laying of the foundation stone of the Cathedral at Truro, the song was described by Canon Harvey as "... the national anthem of our dear Cornwall." The song is a regular favourite sung at Cornish rugby union matches and other Cornish gatherings. In some schools in Cornwall, the children are taught the first verse and chorus, and sing it at events such as Murdoch Day and St Piran's Day (5 March). Since 2016 the latter occasion has also seen the "Trelawny Shout" – the song being sung in pubs across Cornwall for charity.

"Trelawny"
A good sword and a trusty hand! A merry heart and true! King James's men shall understand What Cornish lads can do! And have they fixed the where and when? And shall Trelawny die? Here's twenty thousand Cornish men Will know the reason why!

And shall Trelawny live? Or shall Trelawny die? Here's twenty thousand Cornish men Will know the reason why!

Out spake their Captain brave and bold: A merry wight was he: Though London Tower were Michael's hold, We'll set Trelawny free! We'll cross the Tamar, land to land: The Severn is no stay: With "one and all," and hand in hand; And who shall bid us nay?

And shall Trelawny live? Or shall Trelawny die? Here's twenty thousand Cornish men Will know the reason why!

And when we come to London Wall, A pleasant sight to view, Come forth! come forth! ye cowards all: Here's men as good as you. Trelawny he's in keep and hold; Trelawny he may die: Here's twenty thousand Cornish bold Will know the reason why

And shall Trelawny live? Or shall Trelawny die? Here's twenty thousand Cornish men Will know the reason why!

Translation into Cornish
There are two versions of the song in Cornish. The first was written by Henry Jenner in 1905:

title: The Song of the Western Men


text:
Harvey Manning

Harvey Manning (July 16, 1925 in Ballard, Seattle, Washington - November 12, 2006 in Bellevue, Washington) was a noted author of hiking guides and climbing textbooks, and a tireless hiking advocate. Manning lived on Cougar Mountain, within the city limits of Bellevue, Washington, calling his home the "200-meter hut". His book Walking the Beach to Bellingham is an autobiography and manifesto fleshing out his journal of a hike along the shore of Puget Sound over a two-year span.

From 1954 to 1956, Harvey Manning managed Seattle radio station KISW.

Harvey Manning died November 12, 2006, in Bellevue.

Books
Manning is most famous for being the editorial committee chair for the first edition of Mountaineering: The Freedom of the Hills, a textbook for climbing and scrambling. The first edition was so successful that it created Mountaineers Books, the publishing outlet of The Mountaineers.

Manning is also noted for writing the "100 Hikes" series of hiking guidebooks, along with Ira Spring: These guidebooks are the standard books for hiking throughout western Washington.
 * 50 Hikes in Mount Rainier National Park (1969) ISBN 0-89886-572-7
 * 101 Hikes in the North Cascades (1970) ISBN 0-916890-82-1
 * 102 Hikes in the Alpine Lakes, South Cascades, and Olympics (1971) ISBN 0-89886-067-9
 * 100 Hikes in the South Cascades and Olympics (1985) ISBN
 * 100 Hikes in the Glacier Peak Region (1988) ISBN 0-89886-868-8
 * 55 Hikes in Central Washington (1990) ISBN 0-89886-510-7
 * 100 Classic Hikes in Washington (1998) ISBN 0-89886-586-7 (Winner National Outdoor Book Award, Design and Artistic Merit, 1998)
 * 55 Hikes around Snoqualmie Pass (2001) ISBN 0-89886-777-0

Manning also wrote many other books on outdoor activities, including:
 * Backpacking: One Step at a Time (1972) ISBN 0-394-74290-7
 * Footsore, Vols 1-4 (1977) ISBN 0-89886-065-2 (a series of guidebooks to hiking near Issaquah, Washington).
 * Walking the Beach to Bellingham (1986) ISBN 0-87071-547-X

Advocacy
Manning advocated trail protection and maintenance for much of his life, based on his extensive experience in the Washington outdoors (having backpacked since the 1930s). He was the bane of mountain bikers in the Seattle area. Manning believed foot traffic (both the boots and the horseshoe variety) cannot coexist with the greater speeds of bicycle enthusiasts and disdained local politicians beholden to wheeled-recreation advocates for "spouting pure Lycra". Largely as a result of his efforts, Cougar Mountain is off-limits to bikes and even Tiger Mountain has very limited single-track mileage where bikes are permitted.

Manning was a member of the North Cascades Conservation Council (NCCC) since its founding in 1957, serving as an editor of the NCCC journal "The Wild Cascades." Back issues are available on the NCCC website, see link below. A DVD of images of the North Cascades with his writing as the script is released by Crest Pictures as "The Irate Birdwatcher," which was a moniker he used in his early writings. His final book, published by NCCC, is "Wilderness Alps: Conservation and Conflict in the North Cascades," and details the history of the preservation movement there. It is available at the NCCC website.

Many of the names for peaks, creeks, wetlands, and trails on Cougar Mountain were invented by Harvey Manning. He discovered Coal Creek Falls and beat a trail to it, and discovered the foundation for the steam hoist in Red Town. With the goal of preserving wildlands within urban King County, Manning designated (in the pages of Footsore 1) the odd twenty mile-long (32.2 km) spur of Cascade Mountain foothills along Interstate 90 near Seattle as the "Issaquah Alps" and founded the Issaquah Alps Trails Club in 1979. The club serves to improve and publicize hiking around Issaquah, Washington. A bronze statue of Manning stands in an Issaquah park.

Today, many of his conservation goals are carried on by the American Alps Legacy Project, an initiative of NCCC and the Mountaineers.

title: Harvey Manning


text:
User talk:Veeta rox

Thanks for experimenting with Wikipedia. Your test worked, and has been removed. Please use Sandbox for any other tests you want to do, since testing in articles will be removed quickly. Please see the welcome page if you would like to learn more about contributing to our encyclopedia. Thanks.-gadfium 09:02, 21 July 2005 (UTC)

anytime :)

is there a page i can see to help me add photos to wikipedia?

title: User talk:Veeta rox


text:
Talk:Villingen-Schwenningen

MPS Records
I think it is fair to say that, certainly outside Germany, anybody who has ever heard of or knows of Villingen is because of the MPS record label being based there. How this has escaped the article to this point is rather amazing.

title: Talk:Villingen-Schwenningen


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Talk:Apfelwein

Brandy
Is this the same as apple brandy ? Morwen - Talk 09:05, 21 July 2005 (UTC)

 * I'm not sure; I was working from de: --User:Merovingian (t) (c) 21:12, July 21, 2005 (UTC)

 * Brandy contains 40-60% alcohol by volume, cider is more comparable to beer's alcohol content, and schnapps is usually around 40%.  In Germany at least all three cannot contain any grain alcohol, only a fermented fruit (in the US we use the term schnapps much more loosely).  --Laura Scudder | Talk 19:25, 24 July 2005 (UTC)

Viez route
Is this Viez route really called rue de cidre? Why? The correct French would be route du cidre, but why does it have a French name at all? Andrew Dalby 18:02, 27 June 2006 (UTC)

Copy edit
I fixed some basic typos and some tone that struck me as off. I also changed wording where, as far as myself and a dictionary were aware, the wrong word (presumably something lost in translation from German?) was used. This is why I re-wrote (see a diff) the bit about a serrated glass being used -- "examination" didn't seem to fit. I've left alone some points I'm unclear with, as admittedly neither Apfelwein nor the stuff of Germany is my forte. Particularly, the bit about the stoneware and glasses -- "blue sample", et al. It's a good article, but someone who knows more about the subject should definately take a look. Zelse81 00:07, 10 July 2006 (UTC)

I have changed some more of the article to make it a bit more readable and there is not much more a copy-editor can do, so I have removed the tag. If you want more help on the article you need to do what Zelse81 suggests and put an expert tag on it. JenLouise 01:49, 18 July 2006 (UTC)

Isn't This Another Name For Cider?
why is this article separate from cider? there is nothing in the article to indicate a pressing need for it to be different. in fact, the opening line seems to indicate that they are two different words for the same thing. Whateley23 04:21, 24 February 2007 (UTC)

Isn't Champagne just another name for sparkling wine (foam wine)? Why does champagne (wine) have it's own article then, if it's only a goddamn trademark? And well, not every cider can be considered Apfelwein, because Apfelwein indicates certain requirements for the beverage

Indeed Äbbelwoi ain´t just ordinary Cider ! The comparison with the Champagne is right on the money. In addition Äbbelwoi is the most important liquid nourishment in Hessen ! 85.180.164.111 19:57, 12 August 2007 (UTC)

No, Apfelwein tastes different to cider, and the process is different as well. Applewine is NOT sparkling/fizzy, as one would expect from cidre. --91.2.72.162 (talk) 21:17, 20 May 2012 (UTC)
 * Cider is not usually fizzy. Real cider is not. The French produce a cider by a method which includes a natural carbonation. Most commercial ciders have forced carbonation - that is the fizz is added after the cider is made. Cider has a variety of tastes. I have tasted some German ciders and they are similar to English real cider.  SilkTork   ✔Tea time  18:23, 6 June 2012 (UTC)

How Apfelwein is made
The article only says "a German variant of cider made out of apples" (that last part is actually implied, isn't it). The only recipe mentioned - and labelled "typical" - is that of an American homebrewer who adds dextrose and wine yeast. Traditional Apfelwein making doesn't involve either of these (and takes three to four months, not one). This basically comes down to the article not really saying what Apfelwein is - which I would have thought to be its main purpose. I think that's why especially the non-German/non-Hessian readers keep asking how it's different to cider. Danny.adair (talk) 00:08, 9 April 2011 (UTC)

Apfelwein/Cider in Germany
I strongly oppose the recent move to "Cider in Germany" and suggest to move the article back to "Apfelwein". The current title is almost OR as Apfelwein is not merely the German name for cider, as anyone who has tasted both can confirm.--Coatilex (talk) 16:23, 9 August 2011 (UTC)

I second this. Apfelwein tastes nothing like cider. It is as is typical for Germany, exactly what's on the label, it's apple wine, whereas cider is more along the lines of an apple beer. tangentially —Preceding undated comment added 08:48, 28 January 2012 (UTC).

 * Apfelwein is the German word for cider. I have put in two sources for that statement to reassure people.  SilkTork   ✔Tea time  17:55, 6 June 2012 (UTC)

 * As regards the taste, I have tasted some German ciders and they are similar to English real cider, though some are similar to Basque cider, and others are similar to sweet commercial ciders.  SilkTork   ✔Tea time  18:25, 6 June 2012 (UTC)

 * Are you aware that stuff sold in Germany as cider is called cider specifically to distinguish it from Apfelwein??--Coatilex (talk) 15:54, 9 July 2012 (UTC)

 * As a German from Frankfurt who's been making Ebbelwoi for years (btw no need to add yeast or sugar) I second this whole-heartedly. In Germany "Cider" (more often the French term "Cidre" is used) refers to a related beverage that usually has much more carbonic acid. Maybe you bought something in Germany that was sold to you as "Cider"? I have tasted English and New Zealand "Cider" and to me it does not taste similar. I believe that the majority of Germans would disagree that Apfelwein is the German word for Cider. I note SilkTork's sources are not German. Danny.adair (talk) 11:25, 18 September 2012 (UTC)

 * Also please compare http://de.wikipedia.org/wiki/Apfelwein with http://de.wikipedia.org/wiki/Cidre - don't you find it odd that they are both relatively long articles in their own right? The German speaking editors seem to agree they are different things... Danny.adair (talk) 11:30, 18 September 2012 (UTC)

 * Both the german wikipedia and the Duden distinguish Apfelwein and Cider/Cidre, so this american source from 1903 may not be that reliable. Apfelwine is never sparkling and has a distinct sour taste while most ciders are sparkling (according to both Merriam-Webster and the english wikipedia, even if SilkTork does not agree with this) and would be Apfelsekt, Apfelschaumwein or Apfelperlwein in German, although they are usually sold as cidre or cider, even when produced in germany. 82.113.106.46 (talk) 23:25, 6 November 2012 (UTC)

 * Cider is a fermented alcoholic beverage made from fruit juice, most commonly and traditionally apple juice. Apfelwein is a fermented alcoholic beverage made from apple juice. That doesn't make them the same. The Federal Ministry of Food, Agriculture and Consumer Protection publishes a set of guidelines regarding "wine-like and sparkling wine-like beverages" (http://www.bmelv.de/SharedDocs/Downloads/Ernaehrung/Lebensmittelbuch/LeitsaetzeWeinaehnlicheGetraenke.pdf?__blob=publicationFile) which distinguishes between Apfelwein, Most, Apfel-Cidre, Apfeltischwein, Apfeldessertwein, Apfelperlwein and Apfelschaumwein, with respect to the use vs. omission of sugar, water, partial vs. full fermentation, alcohol level and pressure of carbonic acid. The English wikipedia article for Cider says: "If the cider is to be bottled, usually some extra sugar is added for sparkle." Never ever ever would this be done to Apfelwein. This wikipedia article "Cider in Germany" says "It has an alcohol content of 5.5%–7% and a tart, sour taste." (btw note the official specs just saying "at least 5%", the 7% just happens to be a natural boundary when no sugar is added). Why is there no Apfelwein with 2% alcohol? Why does the English article on Cider not mention Cider as having a "tart, sour taste", why does only the "German name for Cider" taste like this and not sweet? In short, why would Germans call Cider Apfelwein when it is "the same just... not"? Danny.adair (talk) 04:19, 18 January 2013 (UTC)

Route du Cidre
please compare: http://de.wikipedia.org/wiki/Viezstraße — Preceding unsigned comment added by Uktoytoy (talk • contribs) 17:05, 7 October 2011 (UTC) --Uktoytoy (talk) 17:07, 7 October 2011 (UTC)

Suggested move

 * The following discussion is an archived discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review. No further edits should be made to this section.

The result of the move request was: Page moved. The discussion had gone on for nearly a month with no oppose votes. J I P | Talk 04:27, 13 February 2013 (UTC)  J I P  | Talk 04:27, 13 February 2013 (UTC)

Cider in Germany → Apfelwein – Apfelwein is not the German word for Cider - see discussion above which admin SilkTork seemingly abandoned in June 2012. Danny.adair (talk) 01:30, 18 January 2013 (UTC)

Survey

 * Feel free to state your position on the renaming proposal by beginning a new line in this section with  or  , then sign your comment with  . Since polling is not a substitute for discussion, please explain your reasons, taking into account Wikipedia's policy on article titles.

 * Comment is this supposed to only cover Germany, or other German-speaking regions as well? As the introduction can be construed to include Switzerland and Austria... -- 76.65.128.43 (talk) 08:21, 20 January 2013 (UTC)

 * Support. The article refers to the drink as Apfelwein pretty much everywhere. It seems silly to name the article "the German drink that would be called cider were Germany an English-speaking country". J I P  | Talk 15:03, 10 February 2013 (UTC)

 * Support per JIP above (plus the "...in German-speaking countries..." currently in the opening sentence). Would italic title or DISPLAYTITLE then be in order? CsDix (talk) 17:59, 12 February 2013 (UTC)
 * No, I don't think the title needs to be italicised just because it's a non-English word. J I P  | Talk 18:44, 12 February 2013 (UTC)
 * Comment non-admin closure, requested G7 page delete on target page to make room for move. Tiggerjay (talk) 22:55, 12 February 2013 (UTC)

Discussion

 * Any additional comments:

 * That discussion is about carbonation, not all ciders are sparkling or carbonated. -- 76.65.128.43 (talk) 08:18, 20 January 2013 (UTC)
 * The above discussion is preserved as an archive of a requested move. Please do not modify it. Subsequent comments should be made in a new section on this talk page or in a move review. No further edits should be made to this section.

Commercial Varieties
As noted by User:FerrousCathode, "The examples are from a variety of producers, so it clearly does not fall under WP:PROMOTION but instead provides illustrative examples". I think the IP who has blanked this section four times is guilty of disruptive editing. jmcw (talk) 21:10, 24 March 2014 (UTC)

 * I don't really see the point in these "illustrative examples" to be honest, and would tend to agree with the IP that a section of "commercial varieties" adds little to the article. --Six words (talk) 08:58, 7 April 2014 (UTC)

Nutrition
The apple belongs to the genus of pome fruit plants of the family Rosaceae. Worldwide there are about 200,000 different varieties of apples, of which approximately 1000 are growing in Germany. It is considered a true vitamin bomb, it contains vitamins such as provitamin A, vitamins B1, B2, B6, E and C, as well as niacin and folic acid. It also contains many minerals and trace elements. — Preceding unsigned comment added by Marteen86 (talk • contribs) 19:44, 27 May 2014 (UTC)

Template:Apples
Dear All, please see here a discussion on the inclusion of the "Apples" template on food products. Rui ''Gabriel'' Correia (talk) 12:29, 28 May 2015 (UTC)

External links modified
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External links modified
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Speierling - also wrong
"Apfelwein [...] are German words for cider. It is made from a mix of sour tasting apples, such as "Bohnapfel" or "Speierling", respectively."

The very first sentence has already been discussed (and is still wrong).

The second sentence is highly misleading - Apfelwein is not made "from" Speierling. Speierling is more like a berry addon. Yes it is technically a pome, but only 1-3% of Speierling is added to a handful of Apfelwein varieties around Frankfurt, which gives them a distinct bitterness. And of course Apfelwein is made from a gazillion of varieties, incl. sweet ones - traditionally a mix but in modern times also single variety Apfelwein.

I'm sorry I realise this is far less constructive than editing the article but this page still hurts so much, I feel sorry for people coming here for facts. Danny.adair (talk) 08:02, 2 July 2024 (UTC)

 * Actually the third paragraph mentions this (and calls the Speierling fruit "berries") so is already in direct contradiction to the second sentence. Danny.adair (talk) 08:08, 2 July 2024 (UTC)

title: Talk:Apfelwein


text:
Inipi

The inípi ceremony (Lakota: iní- from inyan, rock + -pi, makes the term plural, 'rocks'), a type of sweat lodge, is a purification ceremony of the Lakota people. It is one of the Seven Sacred Ceremonies of the Lakota people, which has been passed down through the generations of Lakota.

Those who have inherited and maintained these traditions have issued statements about the standards to be observed in the inípi. In the March 2003 meeting it was agreed among the spiritual leaders and Bundle Keepers of the Lakota, Dakota, Nakota, Cheyenne and Arapaho Nations that:

"I-ni-pi (Purification Ceremony): Those that run this sacred rite should be able to communicate with Tun-ca-s'i-la (our Sacred Grandfathers) in their Native Plains tongue. They should also have earned this rite by completing Han-ble-c'i-ya and the four days and four years of the Wi-wanyang wa-c'i-pi."

This also follows upon the decisions made at the Lakota Summit V, an international gathering of US and Canadian Lakota, Dakota and Nakota Nations, where about 500 representatives from 40 different tribes and bands of the Lakota unanimously passed a "Declaration of War Against Exploiters of Lakota Spirituality". The declaration was unanimously passed on June 10, 1993. Among other things, it specifies that these ceremonies are only for those of the Lakota, Dakota and Nakota Nations.

One concern about outsiders trying to perform these ceremonies is not only does it go against the express wishes of the traditional healers who have inherited these ceremonies, but also that those who do not know how to do them properly have in some cases caused dehydration and heat stroke, resulting in injury and even deaths.

title: Inipi


text:
Namsan (Sangju)

Namsan (남산, "South Mountain") is an 821-meter peak in Sangju City, North Gyeongsang, South Korea.

title: Namsan (Sangju)


text:
Uamsan

U-am san (우암산, 牛岩山) is a 353.2meter peak in Chungju City, Chungcheongbuk-do, South Korea. It belongs to the Hannam Geumbuk jeongmaek(한남 금북정맥) mountain range that extends northwest from the Cheonhwangbong(천황봉) Peak of Songnisan(속리산) Mountain. It splits west from the stem of Nangseongsan(낭성산) Mountain leading to the east of Chungju.

title: Uamsan


text:
General Chinese

General Chinese is a diaphonemic orthography invented by Yuen Ren Chao to represent the pronunciations of all major varieties of Chinese simultaneously. It is "the most complete genuine Chinese diasystem yet published". It can also be used for the Korean, Japanese, and Vietnamese pronunciations of Chinese characters, and challenges the claim that Chinese characters are required for interdialectal communication in written Chinese.

General Chinese is not specifically a romanization system, but two alternative systems: one (Tung-dzih Xonn-dzih) uses Chinese characters phonetically, as a syllabary of 2082 glyphs, and the other (Tung-dzih Lo-maa-dzih) is an alphabetic romanization system with similar sound values and tone spellings to Gwoyeu Romatzyh.

Character-based General Chinese
The character version of General Chinese (General Chinese Characters, GCC, 通字汉字) uses distinct characters for any traditional characters that are distinguished phonemically in any of the control varieties of Chinese, which consist of several dialects of Mandarin, Wu, Min, Hakka, and Yue. That is, a single syllabic character will correspond to more than one logographic character only when these are homonyms in all control dialects. In effect, General Chinese is a syllabic reconstruction of the pronunciation of Middle Chinese, less distinctions which have been dropped nearly everywhere.

The result is a syllabary of 2082 syllables, about 80% of which are single morphemes—that is, in 80% of cases there is no difference between GC and standard written Chinese, and in running text, that figure rises to 90–95%, as the most common morphemes tend to be uniquely identified. For example, kai can only mean 開 'open', and sam can only mean 三 'three'. Chao notes, "These syllables then are morphemes, or words with definite meanings, or clusters of meanings related by extensions. About 20 percent of the syllables are homophones under each of which there will be more than one morpheme, [which are traditionally] usually written with different characters [...] The degree of homophony is so low that it will be possible to write text either in literary or colloquial Chinese with the same character for each syllable [...] as has been tested in texts of various styles." Chao compares General Chinese to how Chinese was written when the writing system was still productive: "This amounts to a 100 percent use of writing Chinese by 'phonetic loan' [...] The situation is that when the ancients wrote a character by sound regardless of meaning, it was a 'loan character', whereas if a modern schoolboy writes one, he is punished for writing the wrong character!"

Taking a telegraphic code-book of about 10,000 characters as a representative list of characters in modern use, Chao notes that General Chinese results in a reduction of 80% in the number of characters needing to be learned.

In the 20% of cases where a syllable corresponded to more than one word, Chao generally selected the graphically most basic traditional character for General Chinese, as long as it wasn't unduly rare. However, when that character had strong semantic connotations that would have interfered with a phonetic reading, he selected a more neutral character. This phenomenon is familiar from Chinese transcriptions of foreign names.

Romanized General Chinese
Romanized General Chinese has distinct symbols for the onsets (many of them digraphs, and a few trigraphs) and the rimes distinguished by any of the control dialects. For example, it retains the final consonants p, t, k, and the distinction between final m and n, as these are found in several modern dialects, such as Cantonese. General Chinese also maintains the "round-sharp" distinction, such as sia vs. hia, though those are both xia in Beijing Mandarin. It also indicates the "muddy" (voiced) stops of Shanghainese. Indeed, Chao characterized GC as having "the initial consonants of the Wu dialects [...], the vowels of Mandarin, and the endings of Cantonese. It can, however, be pronounced in any dialect, and it is meant to be, by a relatively short list of rules of pronunciation."

Like Chao's other invention, Gwoyeu Romatzyh, romanized General Chinese uses tone spelling. However, the system is somewhat different. The difference between the yin and yang tones is indicated by the voicing of the initial consonant, which is possible because the original voicing distinctions are retained. Given that some tones are indicated by changing rather than adding letters, writing tone requires on average only one additional letter for every three syllables of text.

The digraphs are not reliably featural; for example, the digraphs for the voiced stops do not all follow the same pattern. This is because Chao ran frequency tests, and used single letters for the most common consonants and vowels, while restricting digraphs and trigraphs to the more infrequent ones. Overall, syllables in the texts he transliterated averaged under 3$1/2$ letters apiece.

An example of Romanized General Chinese can be illustrated with Chao's name:

*  is reduced to  in downtown accents.

All the General Chinese initials here are voiced: The h in dh shows that this is a "muddy" consonant, and the q in qiuan represents an initial ng- (becoming g in Japanese). This voicing shows up in the Cantonese yang tones, which are represented by h in Yale romanization. "Heavy" codas, such as remm, indicate the "departing" tone, as in Gwoyeu Romatzyh. Similarly, the spelling ao in dhyao indicates the "rising" tone, but because of the voiced initial, it merges with "departing" in Mandarin and literary Cantonese (though not in colloquial Cantonese). The y in dhyao indicates that the initial is a stop in Min, Japanese, and Vietnamese, but otherwise an affricate. Cantonese and Korean retain the final m of remm. These pronunciations are all predictable given the General Chinese transcription, though it was not designed with the Sinospheric languages specifically in mind. Both the pre-war and post-war Japanese orthographies are recoverable.

In every control dialect, some syllables with different spellings will be pronounced the same. However, which these are differs from dialect to dialect. There are some irregular correlations: Often a particular variety will have a pronunciation for a syllable that is not what one would expect from other syllables with similar spellings, due to irregular developments in that variety. This is especially true with the voicing of Japanese consonants, which has evolved idiosyncratically in different compound words. However, except for Japanese voicing, the system is phonetic about 90% of the time.

Onsets and rhymes
Character GC has a separate character for each syllable. However, romanized GC has distinct onsets and rhymes. The onsets are as follows:

Onsets
泥 and 娘 are both transcribed $⟨b⟩$, as these are not distinct in modern dialects. 喻, a conflation of two older initials, 云 hy~hw and 以 y~w, is transcribed $⟨p⟩$ or ∅ according to modern rather than ancient forms; when palatalization is lost, it is transcribed $⟨bh⟩$. The palatal and retroflex fricatives 照穿牀審禪 fell together early on in the rime tables of Classical Chinese, but are still distinguished in some modern dialects, and so are distinguished here. The convention $⟨m⟩$ for nasal 疑, which drops in many dialects, is repeated in the finals, where it represents with a departing tone.

Although to some extent systematic—the retroflex series are digraphs ending in $⟨f⟩$, for example—this is overridden in many cases by the principle of using short transcriptions for common sounds. Thus $⟨fv⟩$ is used for 精 rather than for the less common 邪, where it might also be expected; $⟨v⟩$ is used for frequent 微 rather than for 奉; and $⟨d⟩$ and $⟨t⟩$, for the high-frequency 見 and 羣, have the additional benefit of being familiar in their palatalized forms (Peking ~ Beijing for example is -$⟨dh⟩$) from English words like cello and gem.

Dialectal correspondences
The voiced obstruents (the 濁 "muddy" column) are only distinct in Wu dialects. In Min, they are collapsed with the consonants of the tenuis column. Elsewhere they are generally collapsed with the aspirated column in the even tone, and with the tenuis column in other tones. An exception is Cantonese, where in the rising tone they are aspirated in colloquial speech, but tenuis in reading pronunciations. The sonorants do not vary much apart from $⟨n⟩$, $⟨l⟩$, which in Wu are nasals colloquially but fricatives  when read.

Velars $⟨z⟩$, $⟨ts⟩$, $⟨dz⟩$ are palatalized to affricates before $⟨s⟩$, $⟨sz⟩$ (the high-front vowels ) apart from Min and Yue, where they remain stops before all vowels; $⟨dr⟩$, $⟨tr⟩$ also palatalize, but remain fricatives. For instance in Mandarin, they are g, k, h before non-palatalizing vowels and j, q, x before palatalizing vowels, whereas in Cantonese they remain g, k, h everywhere. (Compare the alternate spellings of Beijing and Peking; see ) The alveolar sibilants $⟨jr⟩$, $⟨sr⟩$, $⟨zr⟩$, $⟨r⟩$, $⟨dy⟩$ (Mandarin z, c, s) are also generally palatalized before $⟨ty⟩$, $⟨dhy⟩$ (to Mandarin j, q, x), collapsing with the palatalized velars $⟨j⟩$, $⟨ch⟩$, $⟨dj⟩$, $⟨sh⟩$, $⟨zh⟩$ in dialects which have lost the "round-sharp" distinction so important to Peking opera.

The palatal stops $⟨c⟩$, $⟨k⟩$, $⟨g⟩$ remain stops only in Min among the Chinese topolects (though also in Japanese and Vietnamese loan words); elsewhere they are conflated with the affricates. The palatal and retroflex sibilants are generally conflated; in Yue and Min, as well as in much of Wu and Mandarin, they are further conflated with the alveolar sibilants. This contrast remains in Beijing, where 'three' is distinct from  'mountain'; both are  in Sichuanese and Taiwanese Mandarin.

There are numerous more sporadic correlations. For instance, the alveolar affricates $⟨x⟩$, $⟨h⟩$, $⟨q⟩$ become stops in Taishan Yue, whereas the alveolar stops are debuccalized to, as in Hoisaan for Cantonese Toisaan (Taishan). In Yüchi, Yunnan, it is the velars $⟨y, w, h⟩$, $⟨n⟩$, $⟨h⟩$ which are debuccalized, to. In the Min dialects, $⟨w⟩$, $⟨q⟩$ become or. In Xi'an Mandarin, the fricatives $⟨r⟩$, $⟨z⟩$, $⟨v⟩$, $⟨c⟩$ are rounded to before rounded vowels, as in  'water' (Beijing shuǐ ).

Medials
The categories of the Late Middle Chinese rime tables are reduced to the four medials of modern Chinese, plus an intermediate type $⟨g⟩$: ⟨i⟩ and ⟨iu⟩ are omitted after labiodental initials.

Dialectal correspondences
The medial $⟨cieng⟩$ is used for syllables which have a palatalizing medial in Mandarin, but no medial in Yue. That is, in Mandarin $⟨v⟩$ should be read as $⟨r⟩$, with the same effect on consonants as $⟨c⟩$ has, whereas in Cantonese it is silent. In Shanghainese both situations occur: $⟨k⟩$ is equivalent to $⟨g⟩$ in reading pronunciations, as or, but is not found in colloquial speech.

In Cantonese, medial $⟨i⟩$ can be ignored after sibilants, as palatalization has been lost in these series. That is, siao, shao are read the same.

Rimes
Chao uses the following rimes. They do not always correspond to the Middle Chinese rimes.

Rimes consist of a nucleus (the main vowel) and optionally a coda. They need to be considered as a unit because of a strong historical interaction between vowel and coda in Chinese dialects. The following combinations occur (note that the vowel $⟨iu⟩$ is treated as medial $⟨x⟩$ plus nucleus $⟨h⟩$):

Dialectal correspondences
The most salient dialectal difference in rimes is perhaps the lack of the obstruent codas $⟨z⟩$, $⟨ts⟩$, $⟨dz⟩$ in most dialects of Mandarin and independently in the Wencheng dialect of Oujiang, though this has traditionally been seen as a loss of tone (see below). In Wu, Min (generally), New Xiang (Hunanese), Jin, and in the Lower Yangtze and Minjiang dialects of Mandarin, these codas conflate to glottal stop. In others, such as Gan, they are reduced to, while Yue dialects, Hakka, and Old Xiang maintain the original system.

Nasal codas are also reduced in many dialects. Mandarin and Wu do not distinguish between $⟨s⟩$ and $⟨sz⟩$, with them being reduced to or nasal vowels, or in some cases dropped altogether. In Shanghainese many instances of $⟨i⟩$ have conflated as well, or been dropped, but a phonemic distinction is maintained.

In Mandarin, an additional coda is found, -er, from GC $⟨iu⟩$.

In Cantonese, the simple vowels i u iu o a e are, apart from $⟨c⟩$ and $⟨k⟩$ after velars, which open to diphthongs, as in ci and ciu. Diphthongs may vary markedly depending on initial and medial, as in cau, ceau , ciau , though both ceu ~ cieu are , following the general pattern of $⟨g⟩$ before a coda (cf. cen vs can ). Cantonese does not have medials, apart from gw, kw, though sometimes it is the nuclear vowel which drops: giung, xiong , but giuan.

Combinations of medials and rimes
The following combinations of orthographic medials and rimes occur, taking -iu to be medial i + rime u :

 * * In entering tone, ang (eang, iang, uang) changes to oc (eoc, ioc, uoc), and ong (iong) changes to ouc (iouc)
 * ‡ -eaeng is generally shortened to -aeng
 * § In entering tone, iuan changes to iuet

Double cells show discrepancies between analysis and orthography. For instance, Chao analyzes ieng, iueng as part of the aeng series rather than the eng series, and ien as part of the an series. Though not apparent from the chart, eng-ing-ueng-iuing, ung-ong-iung-iong, and en-in-un-iun are similar series. The discrepancies are due to an effort to keep frequent syllables short: en-in-un-iun rather than *en-ien-uen-iuen, for example; as well as a reflection of some of the more widespread phonological changes in the rimes.

The Classical correspondences, with many archaic distinctions lost, are as follows: These all occur in the velar-initial series, but not all in the others.

Dialectal correspondences
In Cantonese, after coronal stops and sibilants, rounded finals such as -on and -uan produce front rounded vowels, as in don, and after velars, iung and iong lose their $⟨x⟩$. Min dialects are similar, but in certain tones $⟨h⟩$ and $⟨dy⟩$ become diphthongs rather that their usual. For example, in Fuzhou, even-tone 星 sieng is but departing-tone 性 sieq is.

In Yunnan Mandarin, $⟨ty⟩$ is pronounced as $⟨dhy⟩$, so that the name of the province, yunnom, is rather than  as in Beijing.

In Nanking, $⟨z⟩$ metathesizes to after alveolars, as in 天  for Beijing tian.

Tones
The basic spelling is used for the even 平 tone(s). For the rising 上 tone(s), the nucleus is doubled (with the vowel $⟨ts⟩$ → $⟨dz⟩$, as that is treated as medial $⟨c⟩$ + nucleus $⟨k⟩$), or the coda is changed to a 'lighter' letter. For the departing 去 tone(s), the coda is made 'heavier'; if there is no coda, add $⟨g⟩$. For the entering 入 tone(s), a stop coda is used.

'Lighter' means that a vowel coda is made more open ($⟨f⟩$ → $⟨fv⟩$, $⟨sh⟩$ → $⟨sr⟩$); 'heavier' means that a vowel coda is made more close ($⟨zh⟩$ → $⟨zr⟩$, $⟨e⟩$ → $⟨e⟩$) and a nasal coda ($⟨i⟩$, $⟨u⟩$) is doubled. The nasal $⟨iu⟩$ is 'lightened' to $⟨e⟩$ (as in many Polynesian languages) and made heavier as $⟨e⟩$ (as in the GC initial):

One consequence of this is that the rimes -e and -ei in the even tone conflate to $⟨i⟩$ in the rising tone. However, since there are no such syllables which begin with the same consonant and medial, no syllables are actually conflated.

The difference between yin and yang tones is indicated by the voicing of the consonant. A zero consonant is treated as voiceless (it is sometimes reconstructed as a glottal stop), so i, iem, uon, iuan are ping yin (Mandarin yī, yān, wān, yuān), whereas yi, yem, won, yuan are ping yang (Mandarin yí, yán, wán, yuán). In a few cases, the effect that voiced $⟨i⟩$, $⟨e⟩$, $⟨i⟩$, $⟨i⟩$ have on tone needs to be negated to achieve a ping yin tone. This is accomplished by spelling them $⟨iu⟩$, $⟨i⟩$, $⟨u⟩$, $⟨p⟩$.

To mark the toneless Mandarin syllable ma, a centered dot is used: $⟨t⟩$. The dot is omitted for toneless $⟨c⟩$, as tonic me, de, te, ne, le do not exist.

Dialectal correspondences
The realization of the tones in the various varieties of Chinese is generally predictable; see Four tones for details. In Beijing Mandarin, for example, even tone is split according to voicing, with muddy consonants becoming aspirates: ba, pa, ma, bha → bā, pā, má, pá (and mha → mā). Departing tone is not split, and muddy consonants become tenuis: bah, pah, mah, bhah → bà, pà, mà, bà. Rising tone splits, not along voicing, but with muddy-consonant syllables conflating with departing tone: baa, paa, maa, bhaa → bǎ, pǎ, mǎ, bà. That is, bhaa and bhah are homonyms in Beijing, as indeed they are in all of Mandarin, in Wu apart from Wenzhounese, in Hakka, and in reading pronunciations of Cantonese. Entering tone is likewise split in Beijing: mat, bhat → mà, bá.

However, the realization of entering tones in Beijing dialect, and thus in Standard Chinese, is not predictable when a syllable has a voiceless initial such as bat or pat. In such cases even syllables with the same GC spelling may have different tones in Beijing, though they remain homonyms in other Mandarin dialects, such as Xi'an and Sichuanese. This is due to historical dialect-mixing in the Chinese capital that resulted in unavoidably idiosyncratic correspondences.

In Yue, there is a straightforward split according to consonant voicing, with a postvocalic $⟨m⟩$ in Yale romanization for the latter. Muddy onsets become aspirates in even and rising tones, but tenuis in departing and entering tones: ba, pa, ma, bha → bā, pā, māh, pāh; baa, paa, maa, bhaa → bá, pá, máh, páh; bah, pah, mah, bhah → ba, pa, mah, bah; bat, pat, mat, bhat → baat, paat, maht, baht. In addition, there is a split in entering tone according to vowel length, with Cantonese mid-entering tone for short vowels like bāt, pāt. In reading pronunciations, however, rising tone syllables with muddy onsets are treated as departing tone: bhaa → bah rather than → páh. There is also an unpredictable split in the even ping yin tone which indicates diminutives or a change in part of speech, but this is not written in all Cantonese romanizations (it is written in Yale, but not in Jyutping).

Sample text
Chao provided this poem as an example. The character text is no different in GC and standard Chinese, apart from 裏 lǐ, which in any case has now been substituted with Chao's choice of 里 on the Mainland. Note that simplified characters like this would affect all of Chao's proposal, so that 對 below would become 对, etc. The only other difference is 他 tā for 'her', which may differ from contemporary written Chinese 她, but which follows Classical usage.

!Romanized GC !!Character GC !!Pinyin!!English Si Zuucuec Yee (Hu Shiec) 思祖國也 （胡適） Sī Zǔguó Yě (Hú Shì) Thinking of One's Own Country (Hu Shih) Moc shot but ay ta. 莫說不愛他. Mò shuō bù ài tā. Don't say you don't love her. Tsiee deg ren hay ta. 且等人害他. Qiě děng rén hài tā. Yet you let one hurt her. Nii ruho duey ta? 你如何對他？ Nǐ rúhé duì tā? How will you meet her? Caeq ruho dhay ta? 更如何待他？ Gèng rúhé dài tā? How will you treat her?
 * -align=center
 * Ta
 * 他
 * Tā
 * Her
 * Nii sim-lii ay ta,
 * Nii sim-lii ay ta,
 * 你心里愛他，
 * Nǐ xīnlǐ ài tā,
 * In your heart you love her,
 * Iaw konn nii ay ta,
 * Iaw konn nii ay ta,
 * 要看你愛他，
 * Yào kàn nǐ ài tā,
 * Seeing that you love her,
 * Tag yeo ren hay ta,
 * Tag yeo ren hay ta,
 * 倘有人害他，
 * Tǎng yǒu rén hài tā,
 * If someone hurts her,
 * Tag yeo ren ay ta,
 * Tag yeo ren ay ta,
 * 倘有人愛他，
 * Tǎng yǒu rén ài tā,
 * If someone loves her,
 * }

title: General Chinese