Klingon follows a strict syllable structure. A syllable must start with a consonant (which includes the glottal stop) followed by one vowel. In prefixes and other rare syllables, this is enough. More commonly, this consonant-vowel pair is followed by one consonant or one of three biconsonantal codas: /- w’ - y’ - rgh /. Thus, ta "record", tar "poison" and targh "targ" (a type of animal) are all legal syllable forms, but * tarD and * ar are not. Despite this, one suffix takes the shape vowel+consonant: the endearment suffix - oy .
Rifle green was the official uniform color of the Canadian Forces (CF) after unification; it was thereafter generally referred to as "CF green"; indeed, the service dress uniform of the day was referred to as "CF greens". After the introduction of the distinct environmental uniform (DEU), rifle green remained as the uniform color of the winter land environment DEU; a short-lived tan uniform was worn in summer. After the demise of the tans, the rifle green DEU was worn year-round. Rifle green was also the color of the uniform worn by the Northern Irish Royal Ulster Constabulary (RUC) until 2001 where the RUC was renamed the PSNI and while the uniform color remained the same, terminology changed to "bottle green". 
It wasn’t only in her childhood that Wright experienced isolation, frustration and hopelessness. Hers was not to be a fairy-tale ending. After graduating from the girls’ school, Wright studied philosophy, English, Psychology and history at the University of Sydney. Noteworthy here is that, in 1933, it was not customary for country girls to attend the University of Sydney. University was, traditionally, very much a male domain. At the beginning of World War II, she returned to her father’s station to help during the shortage of labour caused by the war. This return to her family may have been difficult for Wright. She may have harboured her own post-graduate ambitions which were now stymied by family and social obligations. On her return to New England, she would have experienced the “coal face” of a changing rural economy which was impacting on a fragile landscape to which she was intimately attached. She would have observed the loss of the old stories and unique identity of the people and the landscape. She would have observed the increasingly sharp divisions between the pastoralists and the original inhabitants of the land. Her poetry resonates with the stories of an English colonial culture becoming increasingly irrelevant in the distinctive Australian landscape.