User:Londonjackbooks/Housekeeping

To Do
Our Poets of Today

Shelley

check1

revert?/ask?||ra2

check2
 * 
 * Phab ticket Chopin Nocturne Op 9 No 2
 * Fix titling for More songs by the fighting men. Soldiers poets: second series


 * Portuguese Wikisource
 * Bulhão Pato
 * Paquita; poema em XVI cantos (Index at ptws)
 * Paquita file at Commons
 * Paquita; seis cantos (1866) at IA
 * Paquita; poema em XVI cantos (1894) at IA
 * Autores portugueses com obras em domínio público
 * pt:Autor:João de Deus
 * pt:Autor:Almeida Garrett


 * Teixeira de Pascoaes (create page)
 * Marános (1920) (2nd ed.)


 * w:User:Londonjackbooks/sandbox
 * Novalis—Blue Flower—The Ideal


 * Thomas Traherne
 * WT:MILHIST, RS/N


 * Victor/Whitman items
 * Victor vs. &c.
 * Whitman

front burner

 * 
 * Index:Lisbon and Cintra, Inchbold, 1907.djvu


 * Add first lines to disambiguation pages. Progress: @ "G"
 * Wikidata statements for Coates items. Progress: @ "I" (The Ideal)

SELECT ?item ?itemLabel ?firstline WHERE { ?item wdt:P50 wd:Q5460603. OPTIONAL { ?item wdt:P1922 ?firstline } SERVICE wikibase:label { bd:serviceParam wikibase:language "[AUTO_LANGUAGE],en". } } order by ?itemLabel
 * 1) Poems by Florence Earle Coates

pending

 * Rupert Brooke
 * Image centering Phab
 * line break removal guidance wording
 * FTC nom of Kipling's "If—"
 * WS favorites for Twitter
 * Template talk:Portal by year

back burner

 * Index:Culture and Anarchy, Third edition, 1882, Matthew Arnold.djvu
 * Index:Os Lusíadas (Camões, tr. Burton, 1880), Volume 1.djvu
 * Shakespeare's Sonnets
 * Index:Rewards and Fairies (Kipling, 1910).djvu
 * Index:Vision of Giorgione, Bottomley, 1910.djvu
 * Index:Complete Works of James Whitcomb Riley (Bobbs-Merrill, 1916) Volume 1.djvu
 * Index:The poems of Robert W. Sterling, 1916.djvu
 * (1922)
 * Stevenson index
 *  (1906) by Mrs. Wilfrid Ward
 *  (1872)
 * Images for Round-about Rambles
 * , Men of Letters
 * Astrophel and Stella
 * S. Thomæ Aquinatis, Doctoris Angelici, Ord. Præd.:Opuscula Selecta, Ad Fidem Optimarum Editonum, Diligenter Rescua, Opem Ferente Quodam Sacræ Theologiæ Professore (1881)

1
1. Poems (1898) 1st ed. inscribed by FEC to Mrs. Charles F. Weber April 29, 1898 with "Poetry" ("To the Muse") MS. 2. Poems (1898) 1st ed. 3. Poems (1898) 1905 reprinting inscribed by FEC to John H. Wisner, Jr. January 22, 1909 with portrait of author pasted into pages 4. Mine and Thine (1904) 1st ed. inscribed by FEC to Miss Susanna Stern December 7, 1904 with "Alms" MS. 5. Mine and Thine (1904) 1st ed. inscribed by FEC to Lady Macdonell December 2, 1904; inscribed 2nd by Margaret Bruce Alder to M__ Yarnall Garrison December 1927 6. Mine and Thine (1904) 1905 reprinting Letters & mss., Edward H. Coates Memorial Collection booklets X2

2
7. Lyrics of Life (1909) 1st ed. with prospectus; ex libris Frank A. Vanderlip, Asst. Secretary of the Treasury (1909-1919) 8. Lyrics of Life (1909) 1st ed. inscribed by FEC to Florence Hopkins March 17, 1910 9. Lyrics of Life (1909) 2nd impression inscribed by FEC to Lady Macdonell June 24, 1910; inscribed 2nd by Margaret Bruce Alder to M__ Yarnall Garrison (December 1927) 10. Lyrics of Life (1909) 2nd impression (1910) with FEC MS. of "Israfel" (partial) 11. Lyrics of Life (1909) 2nd impression (1910) with dust wrapper inscribed by FEC to John S. Mayfield March 22, 1924 with letter pasted into front board dated June 26, 1925 12. Lyrics of Life (1909) 1st ed. (alt cover)

3
13. The Unconquered Air (1912) 1st ed. inscribed by FEC to her brother George H. Earle, Jr. December 25, 1912 14. The Unconquered Air (1912) 2nd impression inscribed by FEC to Henry La Barre Jayne Easter 1913 with portrait of author pasted into front matter 15. The Unconquered Air (1912) 1st ed. Letter to Katherine Brégy pasted onto back board September 24, 1912 16. The Unconquered Air (1912) 1st ed. with Easter greeting signed and inscribed by FEC 17. The Unconquered Air (1912) 1st ed. 17. Poems (1916) Volume I (only) inscribed by FEC to Mrs. H. H. A. Beach (Amy Beach) February 3, 1917 18. Poems (1916) Volume II (only) inscribed to Mrs. Dick, a friend of Coates, with handwritten poem (The Poetry of Earth), platinum print photo of author and other items

4
19. Poems (1916) Volume I (only) inscribed by FEC to Amos Wilder August 30, 1923 20. Poems (1916) Volume II (only) 21-22. Poems (1916) Volumes I & II inscribed (V1) by Emilie Krider Norris to unknown recipient Wilder-Coates correspondence/book

5
War by John Luther Long signed/inscribed to FEC

FEC inscriptions at IA

 * 18980322 in Poems (1898) to daughter Alice
 * 18980329 in Poems (1898) to Henry Mills Alden
 * [n.d.] in Poems (1905 reprint ed. of 1898) to Paul Elmer More
 * 19070214 in Mine and Thine (1905 reprint ed. of 1904) to Mrs. Gelman
 * 19130530 in The Unconquered Air (1912, 2nd impr.) to Talcott Williams

other

 * Nocturne at IA
 * 
 * Template:Index transcluded
 * Needs work:
 * The Princess of Cleves
 * Koroway-Metelicki, Michal. Poezye. Petersburg: Księgarnia Polska br. Rymowicz, 1893. Print.
 * FTC @ Page:My Bondage and My Freedom (1855).djvu/99




 * Kipling works at Wikidata
 * Coates Guide-book on WB. Progress: @ "D"
 * Repplier bibliography at WP.
 * Thoreau project
 * Met Open Access
 * Met Images


 * Searchability


 * Wikiproject proposal


 * The Source of Matthew Arnold's Poem, The Sick King in Bokhara
 * "brevity is the soul of song, no less than the soul of wit" ~Agnes Repplier
 * Old English alphabet
 * Index searches
 * Category:Transclusion check required
 * Chopin op 9 no 2 at IA


 * Special:AncientPages
 * oldwikisource:Special:AncientPages
 * s:mul:User:Angela

Repplier RGPL
 * Henry La Barre Jayne, 1857-1920: In memoriam 75pp. by Repplier, Coates, et al.
 * Agnes Repplier Papers
 * 1890-1899
 * 1905-1909
 * 1910-1914
 * 1915-1918
 * 1919-1921
 * 1922
 * Catholic World
 * Commonweal

Kipling's verse activity

Author:Alice Meynell/Index of first lines


 * Index:Canadian poems of the great war.djvu
 * The Hundred Best Poems (lyrical) in the English language - second series

Images:
 * The Yellow Book (Literary and art magazine) Index:The_Yellow_Book_-_04.djvu


 * The Works of Lord Byron (ed. Coleridge, Prothero).
 * Commons Cat (for images)


 * Recent activity:
 * Poetry, Vol. 1 ✅
 * Poetry, Vol. 2 ✅
 * Poetry, Vol. 3
 * Poetry, Vol. 4 Page:The Works of Lord Byron (ed. Coleridge, Prothero) - Volume 4.djvu/119
 * Poetry, Vol. 5
 * Poetry, Vol. 6
 * Poetry, Vol. 7
 * Letters & Journals, Vol. 8


 * Footnotes w/in footnotes notes
 * Index:Mine and Thine, Coates, 1905.djvu


 * Pro Patria

PotM

 * PotM
 * Wikisource talk:Proofread of the Month
 * Collaboration

Commons

 * Commons:Commons:Email templates/Consent
 * Commons:Commons:OTRS
 * Commons:Template:User page image

validation

 * Index:A happy half-century and other essays.djvu
 * Page:The autobiography of a Pennsylvanian.djvu/464
 * Index:Sartor resartus; and, On heroes, hero-worship and the heroic in history.djvu
 * Page:The Novels of Ivan Turgenev (volume X).djvu/255

distractions

 * Anything on My watchlist or in Recent changes that catches my eye.

" . . . alone in mid-ocean we contended for mastery, and a line in the log-book is the only record of the peril we confronted. . . ."

"Byron was at first placed in the house of Mr. Henry Drury, but in 1803 [age 15] was removed to that of Mr. Evans. 'The reason why Lord Byron wishes for the change, arises from the repeated complaints of Mr. Henry Drury respecting his inattention to business, and his propensity to make others laugh and disregard their employment as much as himself.'—Dr. Joseph Drury to Mr. John Hanson."

Spirit of place! It is for this we travel, to surprise its subtlety; and where it is a strong and dominant angel, that place, seen once, abides entire in the memory with all its own accidents, its habits, its breath, its name. It is recalled all a lifetime, having been perceived a week, and is not scattered but abides, one living body of remembrance. The untravelled spirit of place—not to be pursued, for it never flies, but always to be discovered...

"If it is obscure do not bother yourself with the meaning but pay attention to the best and most intelligible stanzas..."— to Robert Bridges.

"There are not many things in this world that we absolutely know. The borderland between knowledge and ignorance is hazy with uncertainties..." — in "Eight Decades."

"A fadis the exaltation of something which, even if true, is secondary or temporary in its nature against those things which are essential and eternal, those things which always prove themselves true in the long run." — in William Blake

"To all general assertions there must be exceptions." —

"Your conception of [Shakespeare's] characters must be formed, as in real life, by their words and their deeds. And, mark this: you must have sympathy with them all;—ay, to a certain degree, even with Iago, and with Richard the Third; so only will you find the key to their character, so only can you look out upon life through their eyes, and thereby give them a corner of your cloak of charity."

"There is strong ground for belief that [ Mr. Earle ] has an idea of doctoring the country's ills in the same manner as he would a sick corporation.

There are little lakes at Broadacres, which he has made by damming a brook, and groups of bathers can be seen there almost any day in the summer.

"The place is wide open," [Earle] said in explanation. "I have always had a profound sympathy for the man who from the day of his birth has had no foot of land that he could call his own. The least I can do is to give every one free use of mine."

When told that Mr. Rockefeller, on his estate at Pocantico Hills, had gone in for high iron fences everywhere, he shook his head gravely and said:

"That is the sort of thing we shall have to do away with some day."

"It is hard to make any biography illustrate a theme, or prove an argument; and the process by which such results are obtained is so artificial as to be open to the charge of untruth." —Agnes Repplier

"...on finding myself one of a group of Philadelphia women, I have been stunned into silence, in my ignorance reduced to shame and confusion by their encyclopedic, Baedeker-Murray information and their volubility in imparting it. It is wonderful to know so much, but, as the philosopher says, what a comfort, to be sure, a dull person may be at times..." —Elizabeth Robins Pennell in Our Philadelphia (1914)

Icarus
 * From A Book of Myths
 * Poor Icarus

Coates poems of Spring (not necessarily exhaustive)
 * An Adieu
 * April
 * Brook-Song: To the Spring
 * Cora
 * A Descant
 * Divination
 * Eurydice
 * Every Heart
 * I know not how to find the Spring
 * In April
 * In the Offing
 * Kindred
 * Longing
 * Near and Far
 * O Giorno Felice!
 * Persephone
 * The Return of Proserpine
 * Reveille
 * She Will Not Hear
 * "So War has Begun"
 * Song ("The new-born leaves")
 * Vita Nuova
 * With Breath of Spring

Mentions:
 * Before the Hour
 * Beyond
 * The Chrysanthemum
 * Deathless Death
 * Echo Consolatrix
 * Fairer than Violets Are
 * A Lover's 'Litany to Pan
 * The Mourner
 * Where Harold Sleeps
 * Winter-Song

Coates' bird poems (incomplete)

Main subject

 * The Hermit (hermit thrush)
 * In the Wood (hermit thrush)
 * Interchange (oriole)
 * The White-throated Sparrow

Mentions

 * An Adieu (''Not a bird upon the bough/﻿Can repress its rapture)
 * Adonis (Can it be that birds will sing,/Though Adonis die?)
 * After the Paintings by George F. Watts (At thy approach the birds have ceased to sing)
 * Amor Creator (All forms of beauty unto him belong,—/The rose, the avalanche, the wild bird's song)
 * Autumn (Far from the faded fields the robin flies)


 * Economic Sophisms
 * WikiProject Homeschooling
 * De Regimine Principum, Ad Regem Cypri, by Thomas Aquinas
 * Index:In Spite of Epilepsy, Woods, 1913.djvu
 * Index:London - Son of the Wolf, 1900.djvu

huh? EHC FEC   
 * contextpoofimagenot stanza breakformatting differences

  


 * EP's explanation of "Victi Resurgunt": The Latin translates as "[those who] had been defeated, are rising again". It is a partial quotation from Ovid's Amores 1.9.29–30 : "Victi resurgunt, quosque neges umquam posse iacere, cadunt." (and the conquered rise again, / And those whom you say never could be brought down, fall.)

Other
 
 * Men I Have Painted
 * Rupert Brooke
 * All but forgotten (photo retouch)
 * TWP watch
 * EB1911 Recent changes

Notes to self

 * Usu. place smallrefs below block center/e in footers for poetry, for otherwise, the last line of poetry might have an added half-space between itself and the line preceding it.

&apossomething there,'

Block center vs. poem tag
From an explanation by Beeswaxcandle: "I find the poem tag problematic in most uses. In fact the only time I use it is to set long lists where I don't want to use a table or html lists. I've had problems with alignment at page breaks when using the tag; line wrap is awkward on long lines (remembering that we don't know what screen width a reader will be using); because block center uses tables, the margins behave consistently; it's easier to wrap block center around other templates; block center with explicit breaks gives a better line height than the bare poem tag; using a double line break between stanzas in a block center gives a more pleasing inter-stanza space than does two br tags in a poem tag when transcluding; and when I use block center I know that it will behave consistently for all readers at whatever screen resolution and size they have. However, all that said, the main reason is that I don't have to think how to set a poem regardless of its length when I use the block center technique (or block left/right if that was needed); whereas doing it with poem tags and colon indents requires a lot more thought on how it will look when transcluded—which might be days later for long articles or chapters. In terms of the technical reasons block center is table based, the poem tags simply surround text that is then constrained to look like a poem."

Spam etc.
From an explanation by Billinghurst: "The WMF CU policy indicates that the "community" indicates for a check to be undertaken; and for spam it would be sufficient to make a note at WS:AN that you are going to request it, or are requesting it [I would do it with a permalink to a request at SRCU.] If it was a request for a real user, we probably want some agreement of fellow admins that we want it done. On a request you would ask for a common IP address or IP range to be blocked if possible. Note about spam from spambots, while they can be the same spam, they can be from various IP ranges, though we won't know until a check has been done; nothing wrong with requesting and find that different."

Rollbacks
Re: B: Go to the history, then either
 * select the first and last of your choice, and press "compare select revisions" and once there, you can just undo; OR
 * click on the date and time of the edit to which you wish to return, and it will give you the Permalink view, and clicking edit will edit that version; so click and save (notice the warning); OR
 * click on one of the prev links (last best edit, bad edit) and you should have an edit link in the diff to the good version to which you want to return
 * As a note, the reason you don't get a rollback for all is there are two different IP editors, though on the same /24.

Span/p/div
but we decided that smaller block has a lessened line height (awareness that a span cannot have a line height, only p and div), so if we have a long length smaller span (multiple lines within the parent p) the mix of span and div templates is crap (technical description) at this stage we haven't gone to div templates with span equivalent line-height when we randomly fix pages within a work, as you know there may be or will be similar templating to fix, or in use that doesn't need fixing, however, can change the look. Let me know what I have missed or overly abbreviated, or needs extending.
 * span =< p =< div
 * spans are directly joinable (on a page and between pages); to join split divs we bridge with /s and /e templates, otherwise we get a new p
 * template:smaller is span (only usable up to a p in length), template:smaller_block is div (usable p and beyond)

Background: (known points though worth stating up front) www is html in its presentation; mediawiki is not html, so it has a renderer to output in html. Current renderer is to html4, mediawiki needing to move to html5 renderer; upgrade is occurring by WMF across wikis, and they are doing stepwise as wikis get their errors under control (see the wikitech announcements in WS:S) Current mediawiki renderer is able to interpret our misuse of span/p/div (hierarchy described above) and currently fixes our miscoding and renders things how it thinks we are wanting; so with your cited example where we (mis)write our templates to

""

the current renderer gently and quietly sighs, and codes it to

""

The recently introduced linter error system is now providing the audible sigh, and saying "here, here, and ... here" are miscoded. WMF is providing the advanced warning that the new renderer (for up to html5) isn't so tolerant or amenable.

I am guessing that if we coded as per the first example that it will say something like "yeah nah", take this

""

so only get the span format code in the first &lt;p>.

So back to the cited example, the edit where we converted to the block templates does

"" so the format code is sitting outside the paragraphs. [Noting that while enWS could write paragraph level coded templates, we don't as divs can be paragraphs]

This div coding still allows us to insert span code inside the paragraphs, eg. float templates, and still allows us to determine whether the p or span code inherits or doesn't inherit the code of their parent tag. [html also insert divs inside other divs for coding; save that for another day]

Outside the apparent weirdness of html, and css. The important thing to remember is that the hierarchy of the tags, and that they have to be nested to work reliably. This is no different to how word processing apps work, or the visual editor of mediawiki, it just manages the nesting and coding for you (is more idiot-proof).

... The best current example of "fail" is with use of ''' (which is span) with an end of line (EOL). Similarly author links with a EOL split fail. If you look at a page's source, you will see that the rendered has put in two spans inside the paragraphs and coded properly. — billinghurst  sDrewth  01:28, 26 January 2018 (UTC)

Anything inline, or in the flow of a paragraph, is span. If a template affects the whole paragraph or more, then it is div, a block. So center has to be div, as you cannot centre a couple of words within a sentence, you have to do the block. The only way to truly know whether one of our templates is a div or span is to check the guts of the template, though I think that we need to start explicitly stating what type of template something may be inline or block, though some of the new descriptive bits for TemplateData does this. ... As I am only partially educated in html and css, my go to site is https://www.w3schools.com/ — billinghurst  sDrewth  03:33, 26 January 2018 (UTC)

Helpful links (for me, at least)

 * Online OCR
 * PetScan
 * Reader's Guide to Periodical Literature at Hathi Trust
 * Google Translate
 * Stanford Search
 * LOCC
 * Double redirects
 * Broken redirects
 * Greek Word Study Tool (Perseus Digital Library)
 * Copyright Term and the Public Domain in the United States
 * Deletion log
 * user:wikisource-bot


 * Wikidata It is basically a store of the metadata of our pages, and the same for other sites. So there is one page at wikidata that collects information on Coates. At this stage it is provides us interwiki links and image data, so if someone uploads an image about Coates then it will display here. due to how we set things up. If we move a (linked) page here, it updates the link so any site using wikidata to maintain links would get the updated url automatically, etc. Ultimately much of the metadata can be stored there in the one place, and we leverage that source.  — billinghurst

Search engines

 * PetScan
 * Special:IndexPages

Other stuff
Meta global.js


 * Image size policy at Wikipedia

from=10 to=22 exclude=13-14

¼ ½ ¾ ⅓ ⅔ ⅕ ⅖ ⅗ ⅘ ⅙ ⅚ ⅛ ⅜ ⅝ ⅞

11/16

Lycidas is dead, and hath not left his peer!

Shift left template by T. Mazzei:

Hesperian's Italic block:

Sidebox and Inset heading

TOC formatting

 * Page:Indian Medicinal Plants (Text Part 1).djvu/19

Text editing instructions

 * 1) My preferences; Gadgets; click on "Add a sidebar menu of user-defined regex tools, with a dynamic form for instant one-use regex"; save.
 * 2) Click the button that appears in the sidebar (Scripts), click on Custom regex, a form opens, add  to search for all numbers, and replace it with   (being careful not to change numbers that are not pages;). Preview it to make sure its workin', save it. (Cygnis Insignis, paraphrased)


 * User:Londonjackbooks/test

Poems that every child should know (ed. Burt, 1904)/

A treasury of war poetry, British and American poems of the world war, 1914-1919/

px v. em
"The value px will render according to the resolution, limited by the user's device, an em is relative to font height, honouring the user's preference." (Cygnis)

References within footnotes

 * BWC's suggestion: my rendering
 * EncycloPetey's suggestion
 * MODCHK's direction: Embedding references within footnotes (Wikipedia)

ref name & ref follow
For references that continue on to next page.

Cygnis' ref "revert" solution
reference (see pages 80-81)

page 1 (at body begin)

 * 1) "text" ##

page 1 (at body end)
footnote text footnote text footnote text footnote text
 * 1) "overflow" ##

page 2 (at reference insert point)
{{#tag:ref| {{#section:Page:Text Title.jpg|overflow}} footnote text footnote text

Page transclusion notation in Main
(where page "80" below = "page 1" above)

Mpaa's ref revert solution
see 42 and 43

"ref group"

 * Help:Footnotes_and_endnotes
 * w:Help:Cite link labels

Table creation notes
(info from Scriptorium)


 * You don't need block center with a table, the  will cover that.  Note that there is a template, table style, that simplifies some formatting.  In this case   will reproduce the margin style.  It can also centre all of the text:  . - AdamBMorgan (talk) 20:47, 8 November 2011 (UTC)


 * ...remember that on the left hand margin starts a row, and   on the left hand margin starts a cell and w:Help:Tables is a good guide... — billinghurst  sDrewth  22:50, 8 November 2011 (UTC)


 * As AdamBMorgan said, for formatting, have a look at table style it has been designed to be plug and play, and as needed we can look to add components, though for rarely used formatting, it can still be added using that template, such as my struggles with 137, 139, 140 over the last couple of days (I had to get them to evolve). For sortable, the issue is often how you want to sort, though have a look at the couple of Portal pages that I have done recently lectures, like Portal:Rede Lecture and Portal:Romanes Lecture. — billinghurst  sDrewth  22:55, 8 November 2011 (UTC)


 * Multi-column/row tables example
 * Another example:

Match & Split
RE: Peteforsyth:


 * put the following text on the page:  (where, obviously, the "Page: ... 123" gets replaced with the first page you want the text to match.)
 * After you save the page, click the blue "__MATCH__" link that will show up on the page. Wait a few minutes, and refresh the page.
 * Click the "split" tab at the top of the page. Wait a few minutes...a bot will do all the magic. And that's it! Now you'll have individual pages to proofread.
 * Help:Match and split has some worthwhile cautionary words, some of which are relevant here. -Pete (talk) 22:11, 24 January 2018 (UTC)

No thanks direction from BWC
[nothanks-inapt and nothanks-drm] are useful for putting on user talk pages when deleting pages that don't meet WWI or our copyright rules respectively. If the edit was a test then use test. For the two nothanks templates, you should put the name of the page as the second parameter and the signature goes outside the template. For test, the pagename isn't put in, but the signature is as |sig=4tildes

& B—
For anyone legitimately operating from a logged-in account, I would always add a message (hope!), and a toss-up whether to add a. If someone re-adds a deleted off-topic page, then a little extra emphasis is never astray if you think that it is outside of good faith.

s

 * Dhr
 * fqm
 * Dated soft redirect

January

 * Deathless Death (1 January 1910)
 * Saint Theresa (5 January 1907)
 * Art and War (9 January 1915)


 * To the Tsar (January 1890)
 * To France (January 1895)
 * Ma Belle (January 1896)
 * Winter the Nursery for Spring Flowers (January 1896)
 * Longing (January 1898)
 * Kenilworth (January 1900)
 * Rouen: In the Prison of Joan of Arc (January 1902)
 * When Christ was Born (January 1902)
 * To William Butler Yeats (January 1904)
 * Poems: After George F. Watts (same as "After the Paintings by George F. Watts") (January 1907)
 * The House of Pain (January 1908)
 * The Hermit (January 1909)
 * Immortal (How living are the dead) (January 1911)
 * To R. R. (January 1912)
 * Live Thy Life (January 1914)
 * The Nest (January 1915)
 * Self-confident Youth (January 1915)
 * I Too Have Loved (January 1919)

November

 * Frederick (24 November 1888)
 * Courage (28 November 1908)


 * Morning (November 1885)
 * In Darkness (November 1888)
 * India (November 1891)
 * Combatants (November 1893)
 * Song (If Love Were Not) (November 1896)
 * Nansen (November 1897)
 * Autumn (In her arms unconscious lying) (November 1901)
 * Song of Life (November 1901)
 * Interchange (November 1902)
 * The Dream Beautiful (same as "My Dream") (November 1902)
 * James McNeill Whistler (November 1903)
 * As from Afar (same as "Nature":To see thee, hear thee, wistful watch I keep) (November 1904)
 * Jean-François Millet (November 1904)
 * Love that Faltered (November 1904)
 * I Looked on Sorrow (same as "Earth's Mystery") (November 1905)
 * Thanksgiving (November 1905)
 * An American at Lincoln (November? 1907)
 * Nocturne (November 1907)
 * Echo Consolatrix (November 1908)
 * The Empty House (November 1908)
 * Kindred (November 1908)
 * Eagles (November 1911)
 * Reproach not Death (November 1911)
 * Dawn (November 1912)
 * A Secret (November 1913)
 * Requiem for a Young Soldier (November 1915)

December

 * A Love-Song (1 December 1917)
 * Mother Mary (7 December 1912)
 * The Infantry that Would Not Yield (14 December 1918)
 * Christmas Eve (25 December 1915)
 * A Russian's Prayer for his Horse, before going into Battle (25 December 1915)
 * Privilege (30 December 1909)


 * Perdita (December 1889)
 * Veiled (December 1889)
 * Be Thou my Guide (December 1892)
 * Victory (December 1894)
 * "Poor Love!" said Life (December 1902)
 * Crippled (December? 1903)
 * "Go Not Too Far" (December 1903)
 * Renewal (December 1903)
 * The Ballad of a Drum (December 1904)
 * Onward (same as "Per Aspera") (December 1906)
 * Vestal (December 1907)
 * The Sun-Dial (December 1908)
 * Mother-Love (December 1909)
 * Against the Gate of Life (December 1910)
 * Yesterday (December 1910)
 * Love is Passing (December 1911)
 * A Lover's "Litany to Pan" (December 1911)
 * The Unconquered Air (December 1911)
 * Sleep (26 December 1914)
 * Their Victory Won (December 1918)

Commons info

 * basic upload form

LibriVox sound file Upload steps

 * 1) Save Ogg file from IA to computer for upload.
 * 2) Upload Ogg file.
 * 3) Create Creator page, if necessary.
 * 4) Create LibriVox Poem category page.
 * 5) Create Author category page, if necessary.
 * 6) Create Librivox volunteer page, if necessary.


 * Mine and Thine at LV

Examples:
 * LibriVox recordings by Jannie Meisberger
 * Silver Filigree
 * The Past
 * An Apology for Sadness

WS promotion

 * 
 * 

Charinsert code
/** * Copied from User:Ineuw/Charinsert.js who copied from mw:User:Alex Smotrov/edittools.js, &c. * * Configuration (to be set from Special:MyPage/common.js): *  window.charinsertCustom – Object. Merged into the default charinsert list. For example, setting *      this to { Symbols: '‽' } will add the interrobang to the end of the Symbols section. *  window.editToolsRecall – Boolean. Set true to create a recall switch. *  window.charinsertDontMove – Boolean. Set true to leave the box in its default position, rather *      than moving it above the edit summary. *  window.updateEditTools – Function. Call after updating window.charinsertCustom to regenerate the *      EditTools window. */ /* global jQuery, mw, charinsertCustom */

// Had I known the solution that Andrew provided, I could have saved time two ways. By including // jshint maxerr:100 // as the first line I could have prevented it from erroring out in my code. By including // jshint maxerr:1

window.updateEditTools = function { };

jQuery( document ).ready( function ( $ ) {	var $currentFocused,		editTools;

function getSelectedSection { var selectedSection = mw.storage.get( editTools.storageKey ) || mw.storage.session.get( editTools.storageKey ); return selectedSection; }   function saveSelectedSection( newIndex ) { mw.storage.set( editTools.storageKey, newIndex ) || mw.storage.session.set( editTools.storageKey, newIndex ); }   editTools = { // Entries prefixed with ␥ (U+2425 SYMBOL FOR DELETE FORM TWO) will not appear in the article namespace (namespace 0). // Please make any changes to MediaWiki:Edittools as well, however, instead of using the ␥ symbol, use. charinsert: { 'User': ' ', 'Insert': ' –  —  {\{+}}  {\{\{+|}}}  |  [+]  [\[+|]]  "+"  =  [\[Category:+]]  #REDIRECT.[\[+]]  &nb'+'sp;  +  ␥Sign_your_posts: ␥\ ', 'Wiki markup': ' –  —  {\{+}}  {\{\{+|}}}  |  [+]  [\[+|]]  "+"  =  [\[Category:+]]  #REDIRECT.[\[+]]  &nb'+'sp;  &#1'+'60;  +  ␥\  +  +  +  +     {\{smallrefs}}  {\{reflist}}     +     {\{DEFAULTSORT:+}}    {\{sc|+}}  {\{center|+}}  [\[Author:+|]]  {\{fs90/s}}+{\{fs90/e}}  {\{gap}}  {\{nop}}  {\{hws|+|}}  {\{hwe|+|}}    ', 'Symbols': ' ~ | ¡ ¿ † ‡ ♀ ♂ ← ↔ → ↑ ↕ ↓ ¶ § # ‽ ∞ ″ ′ ‘+’ “+” ‹+› «+» 〈+〉 – — … ∴ ‿ · • ¤ ☀ ʘ ◌ ₳ ฿ ₵ ¢ ₡ ₢ $ ₫ ₯ £ € ₠ ₣ ƒ ₴ ₭ ₤ ℳ ₥ ₦ № ₧ ₰ ៛ ₨ ₪ ৳ ₮ ₩ ¥ ♠ ♣ ♥ ♦ ♭ ♯ ♮ © ® ™ {\{Unicode|+}}', 'Math & logic': ' ≤ ≥ ≈ ﴾+﴿ ± − × ÷ = ≠ √ ≡ ° ′ ″ ¹ ² ³ ¼ ½ ¾ ⅓ ⅔ ⅛ ⅜ ⅝ ⅞ ∞ ฿ ¢ $ € ₭ £ ₦ ¥ ₩ ₪ ∞ ← ↔ → ↑ ↕ ↓ m² m³ ∩ ∑ ∏ ∐ ′ ∫ ⟨+⟩ ∬ ∭ ∮ ∇ ∂ ∆ ⋅ ∗ ∘ ∓ ≅ ≜ ≝ ≐ ≃ ⊕ ⊗ ⇐ ⇔ ⇒ ≪ ≫ ∝ ∤ ≀ ◅ ▻ ⋉ ⋊ ⋈ ∴ ∵ ↦ ∧ ∨ ⊻ ∀ ∃ ∈ ∉ ∋ ⊆ ⊈ ⊊ ⊂ ⊄ ⊇ ⊉ ⊋ ⊃ ⊅ ∪ ∅ ℂ ℍ ℕ ℙ ℚ ℝ ℤ ℵ ¬ ⌊ ⌋ ⌈ ⌉ ⊤ ⊥ ⊢ ⊣ ⊧ □ ∠ ⟨ ⟩ {\{frac|+|}} &nb'+'sp; &minus; $$+$$', 'Ligatures': ' Æ æ Œ œ Ỻ ỻ ᵫ', 'Accents': 'acute: á Á ấ Ấ ắ Ắ ć Ć é É ế Ế ǵ Ǵ í Í ḱ Ḱ ĺ Ĺ ḿ Ḿ ń Ń ó Ó ố Ố ớ Ớ ṕ Ṕ ŕ Ŕ ś Ś ú Ú ứ Ứ ẃ Ẃ ý Ý ź Ź ǻ Ǻ ǽ Ǽ ǿ Ǿ grave: à À è È ì Ì ǹ Ǹ ò Ò ờ Ờ ù Ù ǜ Ǜ ừ Ừ ẁ Ẁ ỳ Ỳ', 'Tildes': ' Ã ã  Ẽ  ẽ  M̃  m̃  Ñ  ñ  Õ  õ  Ỡ  ỡ  Ữ  ữ  Ṽ  ṽ  Ỹ  ỹ', 'Cedillas': ' Ç ç  Ḑ  ḑ  Ȩ  ȩ  Ģ  ģ  Ḩ  ḩ  Ķ  ķ  Ļ  ļ  Ņ  ņ  Ŗ  ŗ  Ş  ş  Ţ  ţ', 'Diereses': ' Ä ä  Ë  ë  Ḧ  ḧ  Ï  ï  Ö  ö  ẗ  Ü  ü  Ẅ  ẅ  Ẍ  ẍ  Ÿ  ÿ', 'Circumflexes': ' Â â  Ĉ  ĉ  Ê  ê  Ĝ  ĝ  Ĥ  ĥ  Î  î  Ĵ  ĵ  Ô  ô  Ŝ  ŝ  Û  û  Ŵ  ŵ  Ŷ  ŷ  Ẑ  ẑ', 'Macrons': ' Ā ā  Ǣ  ǣ  Ē  ē  Ḕ  ḕ  Ḗ  ḗ  Ī  ī  Ō  ō  Ṑ  ṑ  Ṓ  ṓ  Ǭ  ǭ  Ū  ū  Ǖ  ǖ  Ȳ  ȳ', 'Dots': 'below: Ạ ạ Ḅ ḅ Ḍ ḍ Ẹ ẹ Ḥ ḥ Ị ị Ḳ ḳ Ḷ ḷ Ṃ ṃ Ṇ ṇ Ọ ọ Ṛ ṛ Ṣ ṣ Ṭ ṭ Ụ ụ Ṿ ṿ Ẉ ẉ Ỵ ỵ Ẓ ẓ above: Ȧ ȧ Ḃ ḃ Ċ ċ Ḋ ḋ Ė ė Ḟ ḟ Ġ ġ Ḣ ḣ İ Ṁ ṁ Ṅ ṅ Ȯ ȯ Ṗ ṗ Ṙ ṙ Ṡ ṡ Ṫ ṫ Ẇ ẇ Ẋ ẋ Ẏ ẏ Ż ż', 'Other_diacritics': 'breve: ă Ă ắ Ắ ằ Ằ ẳ Ẳ ẵ Ẵ ặ Ặ ĕ Ĕ ğ Ğ ĭ Ĭ ŏ Ŏ ŭ Ŭ caron: ǎ Ǎ č Č Ď ě Ě ǧ Ǧ ǐ Ǐ ň Ň ǒ Ǒ ř Ř š Š ť Ť ǔ Ǔ ž Ž  ogonek: ą Ą ę Ę į Į ų Ų  rings: ʿ ʾ  other: ǡ ȱ ď Ľ ľ å Å ů Ů ł Ł ŀ Ŀ ő Ő ű Ű', 'Super- & Sub-scripts': ' ᴬ ᵃ ᴮ ᵇ ᶜ ᴰ ᵈ ᴱ ᵉ ᶠ ᴳ ᵍ ᴴ ʰ ᴵ ⁱ ᴶ ʲ ᴷ ᵏ ᴸ ˡ ᴹ ᵐ ᴺ ⁿ ᴼ ᵒ ᴾ ᵖ ᴿ ʳ ˢ ᵀ ᵗ ᵁ ᵘ ⱽ ᵛ ᵂ ʷ ˣ ʸ ᶻ ⁰ ¹ ² ³ ⁴ ⁵ ⁶ ⁷ ⁸ ⁹ ⁺ ⁻ ⁼ ⁽ ⁾ ₐ ₑ ₕ ᵢ ⱼ ₖ ₗ ₗ ₙ ₒ ₚ ᵣ ₛ ₜ ᵤ ᵥ ₓ ₀ ₁ ₂ ₃ ₄ ₅ ₆ ₇ ₈ ₉ ₊ ₋ ₌ ₍ ₎', 'Latin': ' A a Á á À à Â â Ä ä Ǎ ǎ Ă ă Ā ā Ã ã Å å Ą ą Æ æ Ǣ ǣ B b  C c Ć ć Ċ ċ Ĉ ĉ Č č Ç ç  D d Ď ď Đ đ Ḍ ḍ Ð ð  E e É é È è Ė ė Ê ê Ë ë Ě ě Ĕ ĕ Ē ē Ẽ ẽ Ę ę Ẹ ẹ Ɛ ɛ Ə ə Ǝ ǝ  F f  G g Ġ ġ Ĝ ĝ Ğ ğ Ģ ģ  H h Ĥ ĥ Ħ ħ Ḥ ḥ  I i İ ı Í í Ì ì Î î Ï ï Ǐ ǐ Ĭ ĭ Ī ī Ĩ ĩ Į į Ị ị  J j Ĵ ĵ  K k Ķ ķ  L l Ĺ ĺ Ŀ ŀ Ľ ľ Ļ ļ Ł ł Ḷ ḷ Ḹ ḹ  M m Ṃ ṃ  N n Ń ń Ň ň Ñ ñ Ņ ņ Ṇ ṇ Ŋ ŋ  O o Ó ó Ò ò Ô ô Ö ö Ǒ ǒ Ŏ ŏ Ō ō Õ õ Ǫ ǫ Ọ ọ Ő ő Ø ø Œ œ  Ɔ ɔ  P p  Q q  R r Ŕ ŕ Ř ř Ŗ ŗ Ṛ ṛ Ṝ ṝ  S s Ś ś Ŝ ŝ Š š Ş ş Ș ș Ṣ ṣ ẞ ß {\{ls}}  T t Ť ť Ţ ţ Ț ț Ṭ ṭ Þ þ  U u Ú ú Ù ù Û û Ü ü Ǔ ǔ Ŭ ŭ Ū ū Ũ ũ Ů ů Ų ų Ụ ụ Ű ű Ǘ ǘ Ǜ ǜ Ǚ ǚ Ǖ ǖ  V v  W w Ŵ ŵ  X x  Y y Ý ý Ŷ ŷ Ÿ ÿ Ỹ ỹ Ȳ ȳ  Z z Ź ź Ż ż Ž ž  {\{Unicode|+}}', 'Greek': ' ΆάΈέΉήΊίΌόΎύΏώ ΑαΒβΓγΔδ  ΕεΖζΗηΘθ  ΙιΚκΛλΜμ  ΝνΞξΟοΠπ  ΡρΣσςΤτΥυ  ΦφΧχΨψΩω  ᾼᾳᾴᾺὰᾲᾶᾷἈἀᾈᾀἉἁᾉᾁἌἄᾌᾄἊἂᾊᾂἎἆᾎᾆἍἅᾍᾅἋἃᾋᾃἏἇᾏᾇ  ῈὲἘἐἙἑἜἔἚἒἝἕἛἓ  ῌῃῄῊὴῂῆῇἨἠᾘᾐἩἡᾙᾑἬἤᾜᾔἪἢᾚᾒἮἦᾞᾖἭἥᾝᾕἫἣᾛᾓἯἧᾟᾗ  ῚὶῖἸἰἹἱἼἴἺἲἾἶἽἵἻἳἿἷ  ῸὸὈὀὉὁὌὄὊὂὍὅὋὃ  ῤῬῥ  ῪὺῦὐὙὑὔὒὖὝὕὛὓὟὗ  ῼῳῴῺὼῲῶῷὨὠᾨᾠὩὡᾩᾡὬὤᾬᾤὪὢᾪᾢὮὦᾮᾦὭὥᾭᾥὫὣᾫᾣὯὧᾯᾧ', 'Cyrillic': ' АаБбВвГг ҐґЃѓДдЂђ  ЕеЁёЄєЖж  ЗзЅѕИиІі  ЇїЙйЈјКк  ЌќЛлЉљМм  НнЊњОоПп  РрСсТтЋћ  УуЎўФфХх  ЦцЧчЏџШш  ЩщЪъЫыЬь  ЭэЮюЯя ӘәӨөҒғҖҗ ҚқҜҝҢңҮү ҰұҲҳҸҹҺһ  ҔҕӢӣӮӯҘҙ  ҠҡҤҥҪҫӐӑ  ӒӓӔӕӖӗӰӱ  ӲӳӸӹӀ  ҞҟҦҧҨҩҬҭ  ҴҵҶҷҼҽҾҿ  ӁӂӃӄӇӈӋӌ  ӚӛӜӝӞӟӠӡ  ӤӥӦӧӪӫӴӵ  ́', 'Hebrew': ' א ב ג ד ה ו ז ח ט י כ ך ל מ ם נ ן ס ע פ ף צ ץ ק ר ש ת ׳ ״ ײַ', 'Arabic': 'Transliteration: ʾ ṯ ḥ ḫ ẖ ḏ š ṣ ḍ ṭ ẓ ʿ ġ ẗ ا ﺁ ب ت ث ج ح خ د ذ ر ز س ش ص ض ط ظ ع غ ف ق ك ل م ن ه ة و ي ى ء أ إ ؤ ئ', 'Bengali': ' ঀ অ আ ই ঈ উ ঊ ঋ ঌ এ ঐ ও ঔ া ি ী ু ূ ৃ ে ৈ ো ৌ ্য ৗ ক খ গ ঘ ঙ চ ছ জ ঝ ঞ ট ঠ ড ঢ ণ ত থ দ ধ ন প ফ ব ভ ম য র ল শ ষ স হ ড় ঢ় য় ৎ ং ঃ ঁ ্ ৷ ॥ ১ ২ ৩ ৪ ৫ ৬ ৭ ৮ ৯ ০ ঽ ় ৰ ৱ ৲ ৻ ৳ ৴ ৵ ৶ ৷ ৸ ৹ ৺ ৠ ৡ ৄ ৢ ৣ &zw'+'nj; ', 'IPA (English)': ' ˈ ˌ ŋ ɡ tʃ dʒ ʃ ʒ θ ð ʔ iː ɪ uː ʊ ʌ ɜr eɪ ɛ æ oʊ ɒ ɔː ɔɪ ɔr ɑː ɑr aɪ aʊ  ə ər ɨ ɵ ʉ ⟨+⟩  {\{IPAc-en|+}} {\{IPA-en|+}} {\{IPA|/+/}}', 'IPA': ' t̪ d̪ ʈɖɟɡɢʡʔ ɸβθðʃʒɕʑʂʐçʝɣχʁħʕʜʢɦ  ɱɳɲŋɴ  ʋɹɻɰ  ʙⱱʀɾɽ  ɫɬɮɺɭʎʟ  ʍɥɧ  ʼ ɓɗʄɠʛ  ʘǀǃǂǁ  ɨʉɯ ɪʏʊ øɘɵɤ ə ɚ ɛœɜɝɞʌɔ æ ɐɶɑɒ  ʰʱʷᶣʲˠˤˀ ᵊ k̚ ⁿˡ  ˈˌːˑ t̪ d̪ s̺ s̻ θ̼ s̬ n̥ ŋ̊ a̤ a̰  β̞ ˕ r̝ ˔ o˞ ɚ ɝ e̘ e̙ u̟ i̠ ɪ̈ e̽ ɔ̹ ɔ̜ n̩ ə̆ ə̯ ə̃ ȷ̃ ɫ z̴ ə̋ ə́ ə̄ ə̀ ə̏ ə̌ ə̂ ə᷄ ə᷅ ə᷇ ə᷆ ə᷈ ə᷉ t͡ʃ d͡ʒ t͜ɬ ‿  ˥ ˦ ˧ ˨ ˩ ꜛ ꜜ | ‖ ↗ ↘  k͈ s͎ {\{IPA|+}}', },

charinsertDivider: "\240",

storageKey: 'edittoolscharsubset',

createEditTools: function ( placeholder ) { var sel, id; var box = document.createElement( 'div' ); var prevSubset = 0, curSubset = 0; box.id = 'editpage-specialchars'; box.title = 'Click on the character or tag to insert it into the edit window';

// append user-defined sets if ( window.charinsertCustom ) { for ( id in charinsertCustom ) { if ( !editTools.charinsert[id] ) { editTools.charinsert[id] = ''; }               }            }

// create drop-down select sel = document.createElement( 'select' ); for ( id in editTools.charinsert ) { sel.options[sel.options.length] = new Option( id, id ); }           sel.selectedIndex = 0; sel.style.marginRight = '.3em'; sel.title = 'Choose character subset'; sel.onchange = sel.onkeyup = selectSubset; box.appendChild( sel );

// create "recall" switch if ( window.editToolsRecall ) { var recall = document.createElement( 'span' ); recall.appendChild( document.createTextNode( '↕' ) ); // ↔ recall.onclick = function { sel.selectedIndex = prevSubset; selectSubset; };               recall.style.cssFloat = 'left'; recall.style.marginRight = '5px'; recall.style.cursor = 'pointer'; box.appendChild( recall ); }

if ( getSelectedSection ) { sel.selectedIndex = getSelectedSection; }

placeholder.parentNode.replaceChild( box, placeholder ); selectSubset; return;

function selectSubset { // remember previous (for "recall" button) prevSubset = curSubset; curSubset = sel.selectedIndex; //save into web storage for persistence saveSelectedSection( curSubset ); //hide other subsets var pp = box.getElementsByTagName( 'p' ) ; for ( var i = 0; i < pp.length; i++ ) { pp[i].style.display = 'none'; }               //show/create current subset var id = sel.options[curSubset].value; var p = document.getElementById( id ); if ( !p ) { p = document.createElement( 'p' ); p.className = 'nowraplinks'; p.id = id; if ( id == 'Arabic' || id == 'Hebrew' ) { p.style.fontSize = '120%'; p.dir = 'rtl'; }                   var tokens = editTools.charinsert[id]; if ( window.charinsertCustom && charinsertCustom[id] ) { if ( tokens.length > 0 ) { tokens += ' '; }                       tokens += charinsertCustom[id]; }                   editTools.createTokens( p, tokens ); box.appendChild( p ); }               p.style.display = 'inline'; }       },

createTokens: function ( paragraph, str ) { var tokens = str.split( ' ' ), token, i, n;           for ( i = 0; i < tokens.length; i++ ) { token = tokens[i]; n = token.indexOf( '+' ); if ( token.charAt( 0 ) === '␥' ) { if ( token.length > 1 && mw.config.get( 'wgNamespaceNumber' ) === 0 ) { continue; } else { token = token.substring( 1 ); }               }                if ( token === '' || token === '_' ) { addText( editTools.charinsertDivider + ' ' ); } else if ( token === '\n' ) { paragraph.appendChild( document.createElement( 'br' ) ); } else if ( token === '___' ) { paragraph.appendChild( document.createElement( 'hr' ) ); } else if ( token.charAt( token.length-1 ) === ':' ) { // : at the end means just text addBold( token ); } else if ( n === 0 ) { // + ->   + addLink( token.substring( 1 ), ' 0 ) { // + addLink( token.substring( 0, n ), token.substring( n+1 ) ); } else if ( token.length > 2 && token.charCodeAt( 0 ) > 127 ) { // a string of insertable characters for ( var j = 0; j < token.length; j++ ) { addLink( token.charAt( j ), '' ); }               } else { addLink( token, '' ); }           }            return;

function addLink( tagOpen, tagClose, name ) { var handler; var dle = tagOpen.indexOf( '\x10' ); var a = document.createElement( 'a' ); if ( dle > 0 ) { var path = tagOpen.substring( dle + 1 ).split( '.' ); tagOpen = tagOpen.substring( 0, dle ); handler = window; for ( var i = 0; i < path.length; i++ ) { handler = handler[path[i]]; }	               $( a ).on( 'click', handler ); } else { tagOpen = tagOpen.replace( /\./g,' ' ); tagClose = tagClose ? tagClose.replace( /_/g,' ' ) : ''; $( a ).on( 'click', {                   	tagOpen: tagOpen,                    	sampleText: '',                    	tagClose: tagClose                    }, insertTags ); }

name = name || tagOpen + tagClose; name = name.replace( /\\n/g,'' ); a.appendChild( document.createTextNode( name ) ); a.href = ''; paragraph.appendChild( a ); addText( ' ' ); }

function addBold( text ) { var b = document.createElement( 'b' ); b.appendChild( document.createTextNode( text.replace( /_/g,' ' ) ) ); paragraph.appendChild( b ); addText( ' ' ); }           function addText( txt ) { paragraph.appendChild( document.createTextNode( txt ) ); }           function insertTags( e ) { e.preventDefault; if ( $currentFocused && $currentFocused.length ) { $currentFocused.textSelection(						'encapsulateSelection', {							pre: e.data.tagOpen,							peri: e.data.sampleText,							post: e.data.tagClose						}					); }           }        },

setup: function { var placeholder; if ( $( '#editpage-specialchars' ).length ) { placeholder = $( '#editpage-specialchars' )[0]; } else { placeholder = $( ' ' ).prependTo( '.mw-editTools' )[0]; }           if ( !placeholder ) { return; }           if ( !window.charinsertDontMove ) { $( '.editOptions' ).before( placeholder ); }           // Find the element that is focused $currentFocused = $( '#wpTextbox1' ); // Apply to dynamically created textboxes as well as normal ones $( document ).on( 'focus', 'textarea, input:text', function {				$currentFocused = $( this );			} );

// Used to determine where to insert tags editTools.createEditTools( placeholder ); window.updateEditTools = function { editTools.createEditTools( $( '#editpage-specialchars' )[0] ); };       }

}; // end editTools

editTools.setup; } ); <\pre>