1) Create a table MainMenu with at least 3 fields: ID, caption, and form or report to run
2) Your code (for the button) will dynamically read the caption from the table and assign it to the button
HINT: Variables (table name) in other areas of the code should not be “hard-coded”. If for example a Table name changes in the database it should be reflected in the menu. I do not need to go into the code and look for all entries for the hard-coded name of the table. Dynamic caption means should the name of any table change – the caption on the button for that table must change as well. Test it out …
3) Your code (for the button) will dynamically read the form/report name and will run when you press the button.
Dario is more keen on words than in the communicated importance. Dario’s graceful language procures power and imagery; he shines a different light on straightforward words and structures his one of a kind expository vocabulary that mirrors the soul of Hellenism and Versailles. Applying to different wonderful investigations, Dario expands the measure of metrical structures, either changing old style frames or making new ones. Dario’s first scholarly work Azul (1888) uncovers musicality and sexiness of his pieces. It was a genuine break in Spanish-American verse because of the way that Dario figured out how to substitute a muddled graceful refrain of Spanish artists for an improved and expressive structure. In this gathering Ruben Dario unbelievably consolidates the images taken from old scholarly sources with his very own images. A portion of Dario’s images are the swan that symbolizes suggestion and virtue or centaur that typifies both human and creature highlights. In such manner, modernismo relies upon different impacts and scholarly patterns; it figures out how to consolidate indecency and delicacy, reality and fantasy, magnificence and brutality, limits and straightforwardness. Ruben Dario’s modernista verse brings numerous components into Spanish-American verse of the twentieth century. Specifically, in numerous ballads of Blue Dario applies to the topic of idealism, that is, he escapes reality and includes his perusers into the fantasy world. Dario’s idealism is refined and loaded with traditional figments. In light of different logical developments and reason, Dario makes ballads that are firmly associated with nature and interests. Despite the fact that the writer normally portrays such negative sentiments as trouble, disillusionment, apathy and dejection, they are expressive to the point that they bring out amazing feelings. In the sonnet Melancholy Ruben Dario states, “Sibling, you that have light, if it’s not too much trouble give me light/I resemble a visually impaired man. I grab about in obscurity. /I am lost among the whirlwinds, lost among torments, blinded/by dreams, and made distraught my music. /That is my revile. To dream”23. Another component of Dario’s verse that is broadly embraced by all modernista artists is the strain among affection and sexuality. In his later gathering of verse Songs of Life and Hope (1905), Dario raises increasingly significant issues of a man and universe, life and passing, using incongruity and harshness. This is particularly evident in such lyrics as The Fatal Thing and Youth, Divine Treasure. In such manner, Dario and other modernista artists are regularly blamed for moving turmoil in the nation, however as a general rule Dario adds to the production of a specific ideological structure in Spanish-American verse that is firmly associated with culture. Applying to old style implications and social pictures, Dario certainly exhibits his social tastes. In this manner, Jean Franco proposes that “modernismo comes to infer not just an abstract recharging affected by France however a specific commendation of taste”24. In a portion of his idyllic accumulations, including Songs of Life and Hope, Ruben Dario shows his fixation on old style images and the pictures made by Dante in his epic sonnet. Dario is in steady pursuit of consolidating these pictures with the tasteful estimations of modernismo, the verse with the entire universe. In different lyrics Dario, like Lugones, draws a parallel between normal marvels and people’s feelings; for example, in the sonnet Nightfall in the Tropics Dario depicts nature through feelings: “Unpleasant and vibrant ascents/The protest from out the deeps,/And the wave the breeze shocks/Weeps. /Viols there in the midst of the gloaming/Hail the sun that bites the dust,/And the white splash in its frothing/’Misere’ sighs”25. This section uncovers Dario’s investigations with language and structure; and, as indicated by Kirkpatrick, it is in these “tests, incongruities, harshness, and ambiguities, later writers will discover the heritage from which they will develop new wonderful languages”26. In such manner, Leopoldo Lugones gets some modernista components from the verse of Dario, yet he likewise executes numerous new components of modernismo. 5.3. The impact of Leopoldo Lugones on Spanish-American verse In spite of the fact that Leopoldo Lugones’ previous beautiful works are portrayed by the adherence to sentimental beliefs, he bit by bit rejects these components, raising the issues and qualities that are firmly associated with modernismo. Notwithstanding the way that Lugones’ devoted tunes and brief rhyme are not the express highlights of modernismo, his adjustments in topics and the portrayal of specific belief systems through verse exhibit the artist’s significant job in the change of Spanish-American verse of the twentieth century27. As indicated by Kirkpatrick, all the while joining a few sorts and moving starting with one extraordinary then onto the next in his lovely works, “Lugones performs the contention between modernismo’s formalism and the move into the twentieth century’s progressively private feeling of idyllic language”28. Like Dario, Lugones keeps up the possibility of language flawlessness, yet he views language as an instrument that ought to be refined. Lugones thinks about that wonderful language ought to be however much expressive as could reasonably be expected, yet “by guiding thoughtfulness regarding language as a specialized instrument, Lugones starts a cacophonous pattern in present day Spanish-American poetry”29. With the assistance of expressive language Lugones figures out how to join different components in his sonnets, for example, amusing suggestion and the depiction of scene, conversational discourse and unromantic scenes. Lugones takes his pictures from outward things, delineating the changed urban and country view of Spain. At the same time, Lugones’ modernista components mirror his fixation on French artistic idyllic conventions; nonetheless, “Lugones limits the Am>