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Rh *Vein, precaval, 53.
 * pulmonary, 51.
 * renal, 84, 97.
 * subclavian, 53.
 * superficial temporal, 54.
 * superior mesenteric, 66.
 * supraorbital, 54.
 * suprarenal, 98.
 * transverse facial, 54.
 * Vena cava, inferior, 97.
 * superior, 53.
 * Ventricles of brain, 109, 110, 111.
 * of heart, 59.
 * Ventricular septum, 62.
 * Vermis of cerebellum, 104.
 * Vertebrae, 25, 26, 27, 28.
 * Vertebral arch, 25.
 * column, 24.
 * foramen, 25.
 * Vertebrarterial canal, 27, 56.
 * Vestibule, 69.
 * Vibrissae, 4.
 * Visceral skeleton, 7.
 * Vocal cords, 64.

 * Zygomatic arch, 8.

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122 *Rectum, 77, 93.
 * Rhombencephalon, 103.
 * Ribs, 28, 29.
 * Rodentia, 1.
 * Rostrum, 109.

 * Sacrum, 28.
 * Scapula, 30.
 * Scapular spine, 30.
 * Scrotum, 5, 85.
 * Semilunar notch, 32.
 * Seminiferous tubules, 87.
 * Septum pellucidum, 111.
 * scroti, 86.
 * Skull, 6.
 * Spinal cord, 25, 112, 114.
 * Spinous process, 25.
 * Spleen, 81.
 * Splenium, 109.
 * Sternum, 28.
 * Stomach, 73.
 * Styloid process, 32.
 * Sulci, 110.
 * Sympathetic trunks, 112.
 * Systole, 60.

 * Talus, 36.
 * Tarsus, 36.
 * Teeth, incisor, 10, 69.
 * molar, 10, 69.
 * Telencephalon, 103.
 * Temporal line, 8, 19.
 * Tendon, 39.
 * Tentorium, 13.
 * Testes, 5, 85.
 * Thalamencephalon, 109.
 * Thorax, 29, 59.
 * Thyroid cartilage, 65.
 * Tibia, 35.
 * Tongue, 70, 71.
 * Tonsil, 71.
 * Trabeculae carneae, 61.
 * Trachea, 63.
 * Transverse process, 25.
 * Trochanters, 35.
 * Tunica albuginea, 87.
 * vaginalis, 87.
 * Tympanic bulla; 9, 18.
 * membrane, 9.

 * Ulna, 31, 32.
 * Umbilical cord, 95.
 * Ureter, 84, 89, 93.
 * Urethra, 88, 89, 90.
 * female, 92.
 * Urethral orifice, external, 91.
 * Urinary bladder, 89.
 * Uterine tube, 94.
 * Uterus, 93.

 * Vagina, 90, 93.
 * Vaginal orifice, 5, 92.
 * Valve, tricuspid, 61.
 * Vein, angular, 54.
 * anterior auricular, 54.
 * facial, 54.
 * jugular, 54.
 * azygos, 53.
 * cephalic, 53.
 * common iliac, 98.
 * external iliac, 98.
 * jugular, 53.
 * femoral, 98.
 * gastro-epiploic, 66.
 * gastrosplenic, 66.
 * hepatic, 80, 97.
 * hypogastric, 98.
 * iliolumbar, 98.
 * inferior mesenteric, 67.
 * internal iliac, 98.
 * jugular, 53.
 * internal mammary, 53.
 * maxillary, 54, 55.
 * lumbar, 99.
 * ovarian, 98.
 * pancreatico-duodenal, 66.
 * portal, 66, 80.
 * postcaval, 97.
 * posterior facial, 54.


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Rh *Nasal labyrinth, 14.
 * septum, 14, 20.
 * Nasopharynx, 71.
 * Nerve, abducens, 107.
 * accessory, 12, 108.
 * acoustic, 108.
 * axillary, 113.
 * caudal, 114.
 * cervical spinal, 112.
 * cranial, 12.
 * eighth cranial, 108.
 * eleventh cranial, 108.
 * facial, 108.
 * femoral, 113.
 * fifth cranial, 107.
 * first cranial, 106.
 * fourth cranial, 107.
 * glossopharyngeal, 12, 108.
 * hypoglossal, 109.
 * lumbar, 113.
 * ninth cranial, 108.
 * oculomotor, 106.
 * olfactory, 13, 106.
 * optic, 105, 106.
 * pneumogastric, 108.
 * sacral, 114.
 * sciatic, 114.
 * second cranial, 106.
 * seventh cranial, 108.
 * sixth cranial, 107.
 * spinal, 112.
 * tenth cranial, 108.
 * third cranial, 106.
 * thoracic spinal, 113.
 * trigeminal, 107.
 * trochlear, 107.
 * twelfth cranial, 109.
 * vagus, 12, 108.
 * Neural arch, 25.
 * spine, 25.
 * Nuchal surface, 8.

 * Occipital condyle, 9, 11.
 * Odontoid process, 25.
 * Olecranon, 32.
 * Olfactory bulb, 105.
 * lobes, 104.
 * tract, 105.
 * Optic chiasma, 105.
 * lobes, 103, 104.
 * tracts, 106.
 * Os uterus, 93.
 * Ostium abdominale, 95.
 * Ovary, 94.
 * Ovulation, 95.

 * Palate, 11, 69, 71.
 * Palatine arch, 70.
 * Pancreas, 83.
 * Patella, 36.
 * Pedicle, 25.
 * Peduncles of cerebellum, 110.
 * Pelvic girdle, 33.
 * Penis, 5, 90, 93.
 * Pericardium, 52, 59.
 * Phalanges, 32, 37.
 * Pharynx, 72.
 * Pia mater, 104.
 * Pillar of the fauces, 70.
 * Pineal body, 104.
 * Pituitary body, 106.
 * Pleura, 63.
 * Plexus, sacral, 114.
 * sciatic, 115.
 * Pollex, 4.
 * Pons, 103, 106.
 * Posttympanic hook, 9, 17.
 * Postzygapophysis, 25.
 * Prepuce, 5, 90.
 * Prezygapophysis, 25.
 * Prosencephalon, 103.
 * Pterygoid process, 9, 11.
 * Pubis, 33, 34.
 * Pulmonary orifice, 61.
 * valve, 61.
 * Pylorus, 73, 74.
 * Pyramids, 106.

 * Radius, 31.
 * Rat, 2, 3,


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120 *Jejunum, 76.
 * Jugular process, 9.

 * Kidney, 84, 85, 93.

 * Lambdoidal ridge, 8.
 * Lamina, 25.
 * terminalis, 109.
 * Larynx, 63, 64.
 * Lateral malleolus, 36.
 * Lesser tuberosity, 31.
 * Ligament, broad, of uterus, 93.
 * falciform, 79.
 * gastrosplenic, 81.
 * round, 35, 77, 80, 94.
 * suspensory, 93.
 * triangular, 80.
 * Linea alba, 47.
 * Liver, 77.
 * Lumbar plexus, 113.
 * Lung, 64.
 * Lymph, 50.
 * vessels, 51.

Myelencephalon, 103.
 * Mandible, 23.
 * Mandibular symphysis, 23.
 * Medial malleolus, 36.
 * Mediastinal septum, 52, 63.
 * Medulla oblongata, 103, 104, 106.
 * Meninges, 104, 114.
 * Mesencephalon, 103, 110.
 * Mesenteries, 80.
 * Mesocolon, 80, 81.
 * Mesoduodenum, 82.
 * Mesogastrium, 80.
 * Metacromion process, 30.
 * Metencephalon, 103.
 * Middle commissure, 109.
 * Mitral orifice, 62.
 * valve, 62.
 * Mouse, 2.
 * Mouth cavity, 69.
 * Muridae, 2.
 * Mus, 2, 3.
 * Muscle, abductor, 40.
 * Muscle, acromiodeltoideus, 43.
 * acromiotrapezius, 42.
 * adductor, 40.
 * biceps femoris, 45.
 * clavotrapezius, 42.
 * cremaster, 85.
 * eutaneous maximus, 41.
 * depressor, 40.
 * digastricus, 45.
 * dilator, 40.
 * extensor, 40.
 * external oblique, 44.
 * rectus, 108.
 * flexor, 40.
 * glutaeus maximus, 45.
 * inferior oblique, 107.
 * insertion, 39.
 * latissimus dorsi, 43.
 * levator, 40.
 * auris longus, 42.
 * masseter, 41.
 * omohyoideus, 46.
 * origin, 39.
 * papillary, 61.
 * pectoralis major, 46.
 * minor, 46.
 * platysma, 41.
 * quadratus labii superioris, 42.
 * rectus abdominis, 46.
 * rotator, 40.
 * semitendinosus, 45.
 * of skin, 41.
 * sphincter, 40.
 * spinodeltoideus, 43.
 * spinotrapezius, 43.
 * sternohyoideus, 46.
 * sternomastoideus, 43.
 * superior oblique, 107.
 * temporal, 42.
 * tensor fasciae latae, 45.
 * triceps brachii, 44.

 * Nares, 8, 11.
 * Nasal cavity, 12.


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Rh *Erythrocytes, 50.
 * Esophagus, 63, 72.
 * Eustachian tubes, 71.
 * Exoskeleton, 6.

 * Fallopian tube, 94.
 * Feces, 5, 77.
 * Femur, 33, 35.
 * Fetus, 94, 95.
 * Fibula, 35.
 * Filum terminale, 115.
 * Foramen, anterior lacerated, 10, 107.
 * atlantal, 26, 56.
 * carotid, 12.
 * interventricular, 111.
 * intervertebral, 27, 113.
 * jugular, 12.
 * magnum, 11, 108.
 * mandibular, 24.
 * mental, 24.
 * of Munro, 111.
 * obturator, 33.
 * optic, 10.
 * ovale, 9.
 * posterior lacerated, 11, 108.
 * postpalatine, 10, 12.
 * prepalatine, 12, 14.
 * transversarium, 26.
 * Fornix, 109.
 * Fossa, cerebellar, 12.
 * cerebral, 12.
 * floccular, 13, 105.
 * jugular, 9.
 * mandibular, 18.
 * nasal, 14.
 * olecranon, 31.
 * olfactory, 12.
 * orbito-temporal, 8.
 * Fovea dentis, 25.

 * Gastric juice, 74.
 * Genu, 109.
 * Gland (s), ampullary, 89.
 * bulbo-urethral, 90, 91.
 * Gland (s), cardial, 74.
 * Cowper's, 90.
 * endocrine, 53.
 * lacrimal, 48.
 * parotid, 48.
 * preputial, 90.
 * prostate, 89.
 * pyloric, 74.
 * rennet, 74.
 * salivary, 48.
 * submaxillary, 48.
 * suprarenal, 84.
 * thymus, 53.
 * thyroid, 63.
 * vesicular, 88.
 * Glans, 5.
 * elitoridis, 92.
 * of penis, 90.
 * Glenoid cavity, 30, 31.
 * Glottis, 64, 72.
 * Greater omentum, 81.
 * Greater tuberosity of humerus, 31.
 * Gyri, 110.

 * Hallux, 4, 37.
 * Heart, 51, 59.
 * Hepatic portal system, 66.
 * Hilum, 84.
 * Hippocampus, 111.
 * Humerus, 31.
 * Hypoglossal canal, 11, 109.
 * Hypophysis, 106.

 * Ileocolic valve, 76.
 * Ileum, 76.
 * Ilium, 33.
 * Infraorbital fissure, 8, 107.
 * Infundibulum, 106.
 * recess of, 110.
 * Inguinal canal, 85.
 * Intestine, 75.
 * Ischium, 33, 34.
 * Isthmus, 110.
 * faucium, 69.


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118 *Bone, chevron, 28.
 * coxal, 33.
 * ethmoid, 20.
 * frontal, 9, 19.
 * hyoid, 24.
 * innominate, 33.
 * interparietal, 9, 18.
 * jugal, 22.
 * malar, 22.
 * maxillary, 9, 10, 20.
 * membrane, 7.
 * metacarpal, 32.
 * metatarsal, 36.
 * nasal, 9, 22.
 * occipital, 9, 10, 15.
 * palatine, 10, 23.
 * parietal, 9, 19.
 * petrosal, 9, 10, 18.
 * premaxillary, 9, 10.
 * presphenoid, 10.
 * sphenoid, 16.
 * squamosal, 9, 10, 17.
 * turbinal, 14.
 * tympanie, 18.
 * vomer, 22.
 * zygomatic, 9, 22.
 * Brachial plexus, 113, 115.
 * Brachium conjunctivum, 110.
 * pontis, 110.
 * Brain, 103.
 * Bronchi, 63, 64.

 * Caecum, 76.
 * Calcaneus, 36.
 * Capillaries, 51.
 * Caput epididymidis, 86.
 * Cardia, 73.
 * Cardiac sac, 73.
 * Cauda epididymidis, 87.
 * equina, 115.
 * Cerebellum, 12, 103, 104.
 * Cerebral aqueduct, 110.
 * Cerebrum, 13, 104.
 * Cervical ganglia, 112.
 * Choana, 11.
 * Chordae tendineae, 61.
 * Clavicle, 30.
 * Clitoris, 92.
 * Coelom, 59.
 * Colliculi, 104.
 * Colon, 76.
 * Condyloid process, 24.
 * Coracoid process, 30.
 * Coronoid process, 24.
 * Corpora cavernosa penis, 91.
 * lutea, 94.
 * quadrigemina, 103, 104, 110.
 * Corpus callosum, 104, 109, 111.
 * cavernosum urethrae, 91.
 * epididymidis, 86.
 * striatum, 111.
 * Cranial cavity, 12.
 * Cranium, 7.
 * Cribriform plate, 13.
 * Cricoid cartilage, 65.
 * Crura penis, 91.

 * Diaphragm, 97.
 * Diastema, 10, 23, 69.
 * Diastole, 60.
 * Diencephalon, 103, 109.
 * Digestive system, 68.
 * Digit, 4, 37.
 * Diverticula of Nuck, 94.
 * Dorsal ganglia, 114.
 * Duct, bile, 80, 83.
 * hepatic, 80.
 * naso-pharyngeal, 13.
 * parotid, 48.
 * submaxillary, 49.
 * Ductus deferens, 87.
 * Duodenocolic omentum, 81.
 * Duodenum, 75.
 * Dura mater, 104.

 * Endoskeleton, 6.
 * Epididymis, 86.
 * Epiglottis, 64, 72.
 * Epiphysis, 104.
 * Epistropheus, 25.


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 * Abdominal cavity, 59, 66.
 * Acetabulum, 33, 35.
 * Acoustic meatus, 9, 18.
 * Acromion process, 30.
 * Alveolus, 10.
 * Angular process, 24.
 * Anterior commissure, 109.
 * Anus, 5, 77, 92.
 * Aorta, 55, 99.
 * Aponeurosis, 39.
 * Appendicular skeleton, 6.
 * Aqueduct of Sylvius, 110.
 * "Arbor vitae," 110.
 * Artery, axillary, 56.
 * brachial, 57.
 * carotid, external and internal, 57.
 * left common, 55, 57.
 * right common, 58.
 * coeliac, 99.
 * common iliac, 101.
 * costo-cervical, 56.
 * deep, of arm, 57.
 * external maxillary, 58.
 * facial, 58.
 * femoral, 101.
 * gastro-duodenal, 100.
 * hepatic, 80, 99.
 * hypogastric, 101.
 * iliac, external, 101.
 * internal, 101.
 * iliolumbar, 101.
 * innominate, 55, 58.
 * intercostal, 99.
 * internal mammary, 55, 56, 59.
 * lateral thoracic, 56.
 * left gastric, 99.
 * Artery, lingual, 58.
 * lumbar, 101.
 * mesenteric, 100, 101.
 * ovarian, 100.
 * pancreatico-duodenal, 99.
 * posterior auricular, 58.
 * pulmonary, 51.
 * renal, 84, 100.
 * right axillary, 59.
 * gastric, 99.
 * gastro-epiploic, 99.
 * saphenous, 101.
 * spermatic, 100.
 * splenic, 99.
 * subclavian, 55, 58.
 * subscapular, 56.
 * suprarenal, 100.
 * thyrocervical, 56.
 * uterine, 100.
 * vertebral, 56.
 * Arytenoid cartilage, 65.
 * Astragalus, 36.
 * Atlas, 25.
 * Atrial septum, 62.
 * Atrium, 59.
 * Auditory tubes, 71.
 * Auricle, 59.
 * Auricular surface, 28, 34.
 * Axial skeleton, 6.
 * Axis, 25.

 * Bicuspid valve, 62.
 * Blood, 50, 51.
 * Bone, alisphenoid, 10.
 * basisphenoid, 10.
 * carpal, 32.
 * cartilage, 7.


text:
Author:Hiraga Gennai

Works

 * The Miracle at the Ferry of Yaguchi

title: Author:Hiraga Gennai


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Rh former is the source of the nerves entering the brachial plexus, the latter of the fibers going to the sciatic plexus.

Remove the cord from the neural canal, strip off the meninges, and note that the cord rapidly diminishes in size in the posterior lumbar region, finally terminating in the slender thread-like filum termmale. The posterior spinal nerve roots proceed caudally, accompanied by the filum terminale, for a considerable distance from their attachment to the cord. These roots constitute the cauda equina, so called from its resemblance to a horse's tail.

Exercise XXXI. Draw a cross section of the spinal cord to show the origins of the spinal nerves, the spinal ganglia, etc.


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114 tor foramen of the coxal bone to the adjacent muscles. The sciatic nerve may be traced from the lumbar plexus to the deeper posterior muscles of the thigh.

The remainder of the fifth lumbar nerve, and the sixth lumbar nerve, together with part of the first and second sacral nerves, form the sacral plexus. There are four pairs of sacral nerves. Locate the caudal nerve in the tail and trace it forward to its connections with the sacral nerves.

Exercise XXX. Sketch the spinal and sympathetic nerves of one side of the body.

Clear away the muscles surrounding the backbone and sever the head from the body at the articulations between the cranium and the atlas. Carefully expose the spinal cord throughout its length by removing the roof of each neural arch. The cord is surrounded by tough membranes, the meninges.

Observe the connections of several of the spinal nerves with the cord. Each nerve proceeds from the cord as a pair of roots, a dorsal and ventral. The former bears a swelling, or ganglion. Trace a pair of roots from their origin to the point where they unite to form the spinal nerve. The dorsal ganglia in mammals contain the cell bodies of sensory neurons which send some of their fibers through the dorsal root to the spinal cord, and other fibers distally to the spinal nerve. The dorsal root is, therefore, sensory in function. The ventral root carries motor fibers from nerve cells located in the cord itself. Thus each spinal nerve carries nervous impulses both to and from the spinal cord.

Observe the cervical and lumbar enlargements of the cord in the neck and lumbar regions, respectively. The


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Rh men in the neural arch of the atlas. The other seven pairs escape through the intervertebral foramina. The first, second, third, and part of the fourth pairs of nerves go to the neck muscles. The phrenic nerve leaves the fourth cervical nerve. Trace it caudad to the diaphragm.

Dissect the brachial plexus, the conspicuous bundle of intercommunicating nerve trunks in the axillary region. It is formed by the fourth, fifth, sixth, seventh, and eighth cervical, and the first dorsal nerves. Note the size of these nerves. The brachial plexus sends the following branches to the arm, (1) The ulnar nerve goes to the posterior region of the forearm. (2) The median nerve runs across the anterior surface of the elbow joint, supplying the muscles of the inner side of the arm. (3) The axillary nerve passes around the posterior side of the humerus, crosses the elbow joint, and as the radial nerve proceeds to the outer side of the arm. Locate, also, the branches going from the plexus to the thorax.

There are thirteen pairs of thoracic spinal nerves. The first enters the brachial plexus. The second to the twelfth inclusive run in the muscle tissue between the ribs. The thoracic nerves leave the spinal canal through the inter-vertebral foramina. Except for the first, they innervate the walls of the thorax and anterior part of the abdomen.

The six pairs of lumbar nerves are associated with the thick muscle masses in the lumbar and sacral regions. Carefully remove these muscles without severing the nerves or their connections. The first two pairs of lumbar nerves innervate the abdominal walls, by way of the lumbar plexus. Find the lumbar plexus, which is formed on each side by part of the first, second, third, fourth, and fifth lumbar nerves. The three following nerves arise from it. The femoral nerve proceeds caudally to the inner aspect of the hind limb. The obturator nerve passes through the obtura-


text:
Page:Korean Romanization.pdf/28

 (h) Write a simple inflection of the verb form together with the single syllable noun it modifies.

5. Adverbs (부사)

Guidelines

(a) Separate an adverb from other parts of speech.

(b) Insofar as possible, write compound adverbs as binary elements without doing harm to the original meaning. but:

title: Page:Korean Romanization.pdf/28


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Rh pack it. A Russian millionaire expects me at the end of my journey. Don't breathe a word of it to any of Simkins's people, or the whole game will be up. Keep it dark!"

I was so charmed at being, as it were, behind the scenes, that I crept about the office all day in a sort of cloak-and-bloody-dagger style, with responsibility and brooding care marked upon every feature; and when at night I stepped out and stole down to the station, the unprejudiced observer would certainly have guessed, from my general behavior, that I had emptied the contents of the strong-box, before starting, into that little valise of Gregory's. It was imprudent of him, by the way, to leave English labels pasted all over it. However, I could only hope that the "Londons" and "Birminghams" would attract no attention, or at least that no rival corn merchant might deduce from them who I was and what my errand might be.

Having paid the necessary roubles and got my ticket, I ensconced myself in the corner of a snug Russian car, and pondered over my extraordinary good fortune. Dickson was growing old now, and if I could make my mark in this matter it might be a great thing for me. Dreams arose of a partnership in the firm. The noisy wheels seemed to clank out "Bailey, Robinson & Co.," "Bailey, Robinson & Co.," in a monotonous refrain, which gradually sunk into a hum, and finally ceased as I dropped into a deep sleep. Had I known the experience which awaited me at the


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112 The sympathetic system of mammals is centralized in a pair of ganglion-bearing, longitudinal sympathetic trunks, one on each side of the vertebral column. This trunk connects with the spinal cord through the spinal nerves, and also sends fibers to sympathetic plexuses in various parts of the body. These plexuses in turn send nerves to the viscera. Locate the two longitudinal sympathetic trunks in the rat, one on each side of the vertebral column. Trace one of these anteriorly to the head and posteriorly to the pelvic region. The superior cervical ganglion is a spindle-shaped enlargement near the bifurcation of the common carotid artery. The cervical portion of the trunk is dorsal to the tenth cranial nerve. The inferior cervical ganglion is the swelling of the trunk at the base of the neck. The thoracic section lies ventral to the ribs and presents ganglionic enlargements. The lumbar portion is median to the dorsal muscle mass in the lumbar region. Locate if possible the splanchnic nerves, which leave the thoracic ganglia in the vicinity of the eleventh and twelfth ribs, enter the abdomen, and go to the solar plexus. Find other rami of the sympathetic trunk.

The study of the spinal cord and the spinal nerves leading from it should be postponed until dissections and drawings of all other parts of the body, including the sympathetic system, have been completed. Expose the spinal nerves by carefully dissecting away the muscles ventral and lateral to the backbone, from the occipital region of the head to the base of the tail. The spinal nerves are designated according to the region in which they are found, cervical, thoracic, lumbar, sacral, and coccygeal.

The cervical spinal nerves, eight pairs in all, are in the neck. The first pair leaves the spinal canal through a fora-


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Rh if they be severed at their union with the cerebellum by a horizontal stroke with a sharp razor.

Clear away the tissue on the dorsal and lateral side of the cerebral hemisphere, exposing the corpus callosum. Trace it into the hemisphere. Cut through the corpus callosum, expose the cavity of the hemisphere (lateral ventricle), and open this ventricle throughout its extent. The anterior horn of the ventricle runs ventrally, bounded medially by the septum pellucidum, and laterally by the convex corpus striatum. The remainder of the cavity follows a curvilinear course, at first posteriorly and laterally, and finally ventrally, terminating near the infundibulum. From the corpus striatum backward the hippocampus forms the median wall of the ventricle. The lateral surface of the hippocampus is convex. Viewed from above it forms an angle of about forty-five degrees with the long axis of the brain; from the side it is approximately U-shaped. The lateral and third ventricles communicate through the interventricular foramina (foramina of Munro).

Exercise XXIX. Sketch a sagittal section of the brain.

The sympathetic nervous system regulates the distribution of blood in the body through its control over the nonstriated muscle tissue in the walls of the blood vessels. This regulation is accomplished through variation in the calibre of the vessels, brought about by the contraction and relaxation of these muscles. Sympathetic fibers innervate also the respiratory, reproductive, digestive, and other organs, together with their glands. The motor activities of the system are beyond the control of the will, and the stimulation of its sensory structures does not necessarily induce conscious states.


text: Index:A commentary upon the first book of Moses, called Genesis (IA comfi00patr).pdf


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110 fundibular recess is the extension of the ventricle into the infundibulum. Posteriorly the ventricle opens into the cerebral aqueduct (aqueduct of Sylvius), which leads back through the mesencephalon to the fourth ventricle, the cavity under the cerebellum and in the medulla oblongata. The aqueduct may be seen best in a transverse section through the corpora quadrigemina, where it will be seen as a narrow vertical slit.

The corpora quadrigemina will be seen above the aqueduct. (Compare them with the optic lobes of the dog-fish.) Observe that the superior coUiculi are longer than the inferior. The isthmus is the deep dorsal fissure that separates the corpora quadrigemina from the cerebellum.

In the sectioned cerebellum note the deep fissures (sulci) which separate the prominent folds (gyri). The gray matter of the cerebellum is on the surface of the gyri, and so completely penetrates the white matter that the latter resembles the branches of a tree, and is therefore called the "arbor vitae."

The fourth ventricle is covered dorsally by the anterior, and the posterior medullary velum, both thin membranes underlying the cerebellum. The former extends from the base of the arbor vitae forward to the inferior colliculus, while the latter spreads backward.

The cerebellum is strongly attached by the peduncles to the medulla on each side. Locate these attachments by dissecting away the peripheral tissue on the under side of the cerebellum. The lateral fibrous tract (brachium pontis or middle peduncle), which runs anteroventrally along the lateral surface of the medulla, enters the pons. The median tract (brachium conjunctivum or anterior peduncle) goes forward toward the corpora quadrigemina. The posterior peduncle appears as a ridge passing back to the dorsal side of the medulla. These tracts may be seen more clearly


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236 end of my journey it would hardly have been so peaceable.

I awoke with an uneasy feeling that some one was watching me closely; nor was I mistaken. A tall dark man had taken up his position on the seat opposite, and his black, sinister eyes seemed to look through me and beyond me, as if he wished to read my very soul. Then I saw him glance down at my little trunk.

"Good heavens!" thought I, "here's Simkins's agent, I suppose. It was careless of Gregory to leave those confounded labels on the valise."

I closed my eyes for a time, but on reopening them I again caught the stranger's earnest gaze.

"From England, I see," he said in Russian, showing a row of white teeth in what was meant to be an amiable smile.

"Yes," I replied, trying to look unconcerned, but painfully aware of my failure.

"Traveling for pleasure, perhaps?" said he.

"Yes," I answered, eagerly. "Certainly for pleasure; nothing else."

"Of course not," said he, with a shade of irony in his voice. "Englishmen always travel for pleasure, don't they? Oh, no; nothing else."

His conduct was mysterious, to say the least of it. It was only explainable upon two hypotheses—he was either a madman, or he was the agent of some firm bound upon the same errand as myself, and determined to show me that he guessed my little game.


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Rh nerves, and with them escape through the posterior lacerated foramen. Trace them to the muscles of the neck.

The twelfth nerves (hypoglossal) leave the medulla behind the first ten cranial nerves, escape from the skull through the hypoglossal canals, and may be traced easily to the ventral part of the tongue.

Exercise XXVIII. Draw a ventral view of the brain, showing the origins of the cranial nerves.

Using a very sharp razor cut the brain in two along a plane parallel to, and a millimeter or two at the left of, the longitudinal fissure. Place the larger piece in water and cautiously dissect away the remnants of the left half of the brain, exposing the structures described below.

The corpus callosum is the thick commissure connecting the cerebral hemispheres. Posteriorly it takes the form of an oval mass (splenium); anteriorly it bends downward (genu), forming the rostrum. This section exposes a region of the brain not observed on the dorsal side of the organ—the thalamencephalon, or diencephalon. The diencephalon of the dogfish, frog and other lower vertebrates is visible dorsally, but in mammals the backward extension of the cerebral hemispheres, which is in general coincident with the development of higher intelligence, conceals the diencephalon.

The third ventricle is the cavity within the diencephalon. The fornix is dorsal to this ventricle. From its union, posteriorly, with the corpus callosum, the fornix runs forward and downward anterior to the third ventricle. Observe the anterior commissure at the lower end of the fornix. The lamina terminalis is the anterior boundary of the third ventricle. The conspicuous intermediate mass, or middle commissure, extends from one lateral wall to the diencephalon to the other through the third ventricle. The in-


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108 through the anterior lacerated foramen and innervate the external rectus muscles of the eyes.

The seventh cranial nerves (facial) emerge from the side of the medulla behind the fifth, and leave the cranium through the facial canals just behind the external auditory meatuses. They send branches to the lateral surfaces of the muscles of mastication, where they may easily be seen when the skin is removed from the head.

The eighth nerves (acoustic) arise from the medulla oblongata behind the seventh, penetrate the auditory capsules, and reach the inner ears.

The ninth nerves (glossopharyngeal) arise from the medulla oblongata close to the tenth. Leaving the skull by the posterior lacerated foramen, they send branches to the pharynx and tongue. They are anterior to, and deeper than, the twelfth nerves, and lie close to the skull.

The tenth nerves (vagus or pneumogastric) arise from the side of the medulla oblongata posterior to the eighth, and leave the cranium through the posterior lacerated foramen. Shortly after emerging they give off the superior laryngeal nerves to the larynx, then proceed back to the thoracic cavity along the common carotid artery. The recurrent laryngeal nerve is given off near the entrance of the vagus into the thorax. Trace it forward, on both sides, along the esophagus to the larynx. On the right it turns forward from the vagus dorsal to the subclavian artery, on the left side dorsal to the aortic arch. The tenth nerves in the thorax lie dorsal to the heart and lungs, which they are said to innervate. Passing backward along the esophagus, they penetrate the diaphragm, then innervate the stomach.

The eleventh nerves (accessory) arise from the anterior region of the spinal cord, and from the medulla enter the skull through the foramen magnum, unite with the vagus


text:
Page:Korean Romanization.pdf/29

 (c) Insofar as possible, write repetitive or rhythmic compound adverbs as binary elements without doing harm to the original meaning.
 * 반짝 반짝, 출렁 출렁, 산들 산들, 옹기 종기, 덩실 덩실,

가만 가만히, 곤드레 만드레, 들락 날락, 울긋 불긋,

차례 차례, 예쁘디 예쁜, 하루 하루, 흐느적 흐느적

6. Particles (조사)

Guidelines

(a) Separate a particle from other parts of speech.

(b) Attempt to create binaries for coordinated or multi-syllabic particles when possible.

title: Page:Korean Romanization.pdf/29


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Rh on the under side of the brain. They enter the orbits through the anterior lacerated foramina and innervate the superior, inferior, and internal rectus muscles, and the inferior obliques. These muscles move the eye.

The fourth nerves (trochlear) emerge from the dorsal side of the brain behind the posterior coLLiculus, run forward along the under surface of the cerebral hemispheres lateral to the second and sixth nerves, and enter the orbits through the anterior lacerated foramina. They innervate the superior oblique muscles of the eye.

Each of the fifth nerves (trigeminal) leaves the pons as two closely connected roots. It then divides into three branches. (1) The ophthalmic branch passes through the anterior lacerated foramen into the orbito-temporal fossa, where it sends branches to the adjacent integument, and a small nerve back into the cranium through a foramen which is anterodorsal to the optic foramen. (2) The superior maxillary is a large branch which also enters the orbito-temporal fossa through the anterior lacerated foramen, runs along the dorsal side of the alveolar process of the maxillary bone, traverses the infraorbital fissure, and terminates at the roots of the vibrissae and in the skin of the face. (3) The inferior maxillary nerve passes from the cranial cavity through the foramen ovale. Immediately after emerging from the cranium it gives off several branches to the jaw muscles, a lingual ramus to the tongue, while a large trunk enters the mandibular foramen of the mandible. This trunk traverses the dental canal, emerging by the mental foramen to pass to the skin of the lower jaw and the chin. If time permits, trace the nerve through the mandible.

The sixth nerves (abducens) start from the anterior region of the medulla oblongata, course along under the brain beside the third cranial nerves, emerge into the orbits


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106 and continue on into the brain as the optic tracts. Thus light stimuli received by the right eye may pass to the left side of the brain, and vice versa. The two white and conspicuous optic nerves run forward a short distance from the chiasma before turning outward to enter the orbits. Observe that the optic tracts diverge behind the chiasma, and are there connected with each other by a whitish band.

The infundibulum is the prominence just behind the optic chiasma. It is in contact with the pinkish hypophysis or pituitary body, which is covered by a meningeal fold, so that the hypophysis remains in the cranium when the brain is removed. The pedunculi cerebri flank the posterior part of the infundibulum, joining the cerebrum to the medulla oblongata.

The medulla is wedge-shaped, the expanded anterior end running forward beneath the cerebellum. Just behind the infundibulum a band of nervous tissue, the pons, crosses the ventral surface of the medulla, connecting the cerebellar hemispheres. Two pyramids run back from the pons along the midventral surface of the medulla.

The distribution of many of the cranial nerves can be worked out on that side of the head from which the mus- cles have not been removed. There are twelve pairs of these nerves, as follows.

The first cranial nerves (olfactory) consist of a number of filaments proceeding from the anterior ends of the olfactory lobes, through the cribriform plate of the ethmoid bone, to the mucous membrane of the nasal cavity. They will probably not be seen.

The second cranial nerves (optic) have already been described.

The third nerves (oculomotor) arise from the cerebral peduncles and extend anteriorly beneath the dura mater


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Rh They were about equally unpleasant, and, on the whole, I was relieved when the train pulled up in the tumble-down shed which does duty for a station in the rising town of Solteff—Solteff, whose resources I was about to open out, and whose commerce I was to direct into the great world's channels. I almost expected to see a triumphal arch as I stepped on to the platform.

I was to be expected at the end of my journey, so Mr. Dickson had informed me. I looked about among the motley crowd, but saw no Mr. Dimidoff. Suddenly a slovenly, unshaven man passed me rapidly, and glanced first at me and then at my trunk—that wretched trunk, the cause of all my woes. He disappeared in the crowd, but in a little time came strolling past me again, and contrived to whisper as he did so:

"Follow me, but at some distance," immediately setting off out of the station and down the street at a rapid pace. Here was mystery with a vengeance! I trotted along in his rear with my valise, and on turning the corner found a rough drosky waiting for me. My unshaven friend opened the door, and I stepped in.

"Is Mr. Dim—" I was beginning.

"Hush!" he cried. "No names, no names; the very walls have ears. You will hear all to-night;" and with that assurance he closed the door, and, seizing the reins, we drove off at a rapid pace—so rapid that I saw my black-eyed acquaintance of the rail-


text:
Page:Myths of the Hindus & Buddhists.djvu/58

 The Scheming of Kaikeyī

All this time Bharata's mother, Kaikeyī, had not heard a word of Rāja Dasharatha's intention. Kaikeyī was young and passionate and very beautiful; by nature she was generous, but not so kind or wise that she might not be swayed by the crooked promptings of her own desires or another's instigation. She had a faithful old hump-backed nurse of an evil disposition; Mantharā was her name. Now Mantharā, hearing the rejoicings and learning that Rāma was to be installed as heir-apparent, hurried to inform her mistress of this misfortune to Bharata, as Rāma's honour seemed to her narrow view.

"O senseless one," she said, "why art thou idle and content when such misfortune is thine?" Kaikeyī asked her what evil had befallen. Mantharā answered with words of anger: "O my lady, a terrible destruction awaits thy bliss, so that I am sunk in fear immeasurable and afflicted with heaviness and grief; burning like a fire, I have sought thee hurriedly. Thou art verily a Queen of Earth; but though thy Lord speaks blandly, he is crafty and crooked-hearted within, and wills thee harm. It is Kaushalyā's welfare that he seeks, not thine, whatever sweet words he may have for thee. Bharata is sent away, and Rāma is to be set upon the throne! Indeed, my girl, thou hast nursed for thy husband a poisonous snake! Now quickly act, and find a way to save thyself and Bharata and me." But Mantharā's words made Kaikeyī glad: she rejoiced that Rāma should be heir, and giving a jewel to the humpbacked maid, she said: "What boon can I give thee for this news? I am glad indeed to heart this tale. Rāma and Bharata are very dear to me, and I find no difference between them. It is well that Rāma

34


text:
Author:Chikamatsu Monzaemon

Works

 * The Battles of Kokusenya

title: Author:Chikamatsu Monzaemon


text:
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238 way carriage gazing after us in surprise until we were out of sight.

I thought over the whole matter as we jogged along in that abominable springless conveyance.

"They say the nobles are tyrants in Russia," I mused; "but it seems to me to be the other way about, for here's this poor Mr. Dimidoff, who evidently thinks his ex-serfs will rise and murder him if he raises the price of grain in the district by exporting some out of it. Fancy being obliged to have recourse to all this mystery and deception in order to sell one's own property! Why, it's worse than an Irish landlord. It is monstrous! Well, he doesn't seem to live in a very aristocratic quarter either," I soliloquized, as I gazed out at the narrow, crooked streets and the unkempt, dirty Muscovites whom we passed. "I wish Gregory or some one was with me, for it's a cut-throat-looking shop! By Jove! he's pulling up; we must be there!"

We were there, to all appearance; for the drosky stopped, and my driver's shaggy head appeared through the aperture.

"It is here, most honored master," he said, as he helped me to alight.

"Is Mr. Dimi—" I commenced; but he interrupted me again.

"Anything but names," he whispered; "anything but that. You are too used to a land that is free. Caution, oh, sacred one!" and he ushered me down a stone-flagged passage, and up a stair at the end of


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Rh it. "Sit for a few minutes in this room" he said, opening a door, "and a repast will be served for you;" and with that he left me to my own reflections.

"Well," thought I, "whatever Mr. Dimidoff's house may be like, his servants are undoubtedly well trained. 'Oh, sacred one!' and 'revered master!' I wonder what he'd call old Dickson himself, if he is so polite to the clerk! I suppose it wouldn't be the thing to smoke in this little crib; but I could do a pipe nicely. By the way, how confoundedly like a cell it looks!"

It certainly did look like a cell. The door was an iron one, and enormously strong, while the single window was closely barred. The floor was of wood, and sounded hollow and insecure as I strolled across it. Both floor and walls were thickly splashed with coffee or some other dark liquid. On the whole, it was far from being a place where one would be likely to become unreasonably festive.

I had hardly concluded my survey when I heard steps approaching down the corridor, and the door was opened by my old friend of the drosky. He announced that my dinner was ready, and, with many bows and apologies for leaving me in what he called the "dismissal room," he led me down the passage, and into a large and beautifully furnished apartment. A table was spread for two in the centre of it, and by the fire was standing a man very little older than myself. He turned as I came in, and


text: Once a Week (magazine)/Series 1/Volume 10/Winter


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240 stepped forward to meet me with every symptom of profound respect.

"So young and yet so honored!" he exclaimed; and then seeming to recollect himself, he continued, "Pray sit at the head of the table. You must be fatigued by your long and arduous journey. We dine tete-a-tete, but the others assemble afterward."

"Mr. Dimidoff, I presume?" said I.

"No, sir," said he, turning his keen gray eyes upon me. "My name is Petrokine; you mistake me perhaps for one of the others. But now, not a word of business until the council meets. Try our chef's soup, you will find it excellent, I think."

Who Mr. Petrokine or the others might be I could not conceive. Land stewards of Dimidoff's, perhaps; though the name did not seem familiar to my companion. However, as he appeared to shun any business questions at present, I gave in to his humor, and we conversed on social life in England—a subject in which he displayed considerable knowledge and acuteness. His remarks, too, on Malthus and the laws of population were wonderfully good, though savoring somewhat of Radicalism.

"By the way," he remarked, as we smoked a cigar over our wine, "we should never have known you but for the English labels on your luggage; it was the luckiest thing in the world that Alexander noticed them. We had no personal description of you; indeed, we were prepared to expect a somewhat older


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Rh man. You are young indeed, sir, to be intrusted with such a mission."

"My employer trusts me," I replied; "and we have learned in our trade that youth and shrewdness are not incompatible."

"Your remark is true, sir," returned my newly made friend; "but I am surprised to hear you call our glorious association a trade. Such a term is gross indeed to apply to a body of men banded together to supply the world with that which it is yearning for, but which, without our exertions, it can never hope to attain. A spiritual brotherhood would be a more fitting term."

"By Jove!" thought I, "how pleased the boss would be to hear him! He must have been in the business himself, whoever he is."

"Now, sir," said Mr. Petrokine, "the clock points to eight, and the council must be already sitting. Let us go up together, and I will introduce you. I need hardly say that the greatest secrecy is observed, and that your appearance is anxiously awaited."

I turned over in my mind as I followed him how I might best fulfil my mission and secure the most advantageous terms. They seemed as anxious as I was in the matter, and there appeared to be no opposition, so perhaps the best thing would be to wait and see what they would propose.

I had hardly come to this conclusion when my guide swung open a large door at the end of a


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242 passage, and I found myself in a room larger and even more gorgeously fitted up than the one in which I had dined. A long table, covered with green baize and strewn with papers, ran down the middle, and round it were sitting fourteen or fifteen men conversing earnestly. The whole scene reminded me forcibly of a gambling hell I had visited some time before.

Upon our entrance the company rose and bowed. I could not but remark that my companion attracted no attention, while every eye was turned upon me with a strange mixture of surprise and almost servile respect. A man at the head of the table, who was remarkable for the extreme pallor of his face as contrasted with his blue-black hair and moustache, waved his hand to a seat beside him, and I sat down.

"I need hardly say," said Mr. Petrokine, "that Gustave Berger, the English agent, is now honoring us with his presence. He is young indeed, Alexis," he continued to my pale-faced neighbor, "and yet he is of European reputation."

"Come, draw it mild!" thought I, adding aloud: "If you refer to me, sir, though I am indeed acting as English agent, my name is not Berger, but Robinson—Mr. Tom Robinson, at your service."

A laugh ran round the table.

"So be it, so be it," said the man they called Alexis. "I commend your discretion, most honored sir. One can not be too careful. Preserve your English sobriquet by all means. I regret that any


text: Once a Week (magazine)/Series 1/Volume 10/Curiosities of cats


text:
Author:E. L. Scott

Works

 * Yet Another "Mona Lisa" Adds to Mystery of Louvre Picture (1914)

title: Author:E. L. Scott


text: Page:A commentary upon the first book of Moses, called Genesis (IA comfi00patr).pdf/653


text: Index:A commentary upon the first book of Moses called Genesis (IA cuponfi00patr).pdf


text: Page:A commentary upon the first book of Moses called Genesis (IA cuponfi00patr).pdf/667


text: Page:A commentary upon the first book of Moses called Genesis (IA cuponfi00patr).pdf/668


text: Page:A commentary upon the first book of Moses called Genesis (IA cuponfi00patr).pdf/669


text: Page:A commentary upon the first book of Moses called Genesis (IA cuponfi00patr).pdf/666


text: Page:A commentary upon the first book of Moses called Genesis (IA cuponfi00patr).pdf/5


text: Page:A commentary upon the first book of Moses called Genesis (IA cuponfi00patr).pdf/13


text: Page:A commentary upon the first book of Moses called Genesis (IA cuponfi00patr).pdf/3


text: Page:A commentary upon the first book of Moses called Genesis (IA cuponfi00patr).pdf/2


text: Page:A commentary upon the first book of Moses called Genesis (IA cuponfi00patr).pdf/1


text: Once a Week (magazine)/Series 1/Volume 10/Exploded Superstitions


text:
Author:Jeremiah Donovan

Works

 * The Catechism of the Council of Trent (1829, translator)
 * Rome, Ancient and Modern (1842-1844)

title: Author:Jeremiah Donovan


text:
Page:Tolstoy on Shakespeare.djvu/67

Rh found the opposite. In reading any of Shakespeare's dramas whatever, I was, from the very first, instantly convinced that he was lacking in the most important, if not the only, means of portraying characters: individuality of language, i.e., the style of speech of every person being natural to his character. This is absent from Shakespeare. All his characters speak, not their own, but always one and the same Shakespearian, pretentious, and unnatural language, in which not only they could not speak, but in which no living man ever has spoken or does speak.

No living men could or can say, as Lear says, that he would divorce his wife in the grave should Regan not receive him, or that the heavens would crack with shouting, or that the winds would burst, or that the wind wishes to blow the land into the sea, or that the curled waters wish to flood the shore, as the gentleman describes the storm, or that it is easier to bear one's grief and the soul leaps over many sufferings when grief finds fellowship, or that Lear has become childless while I am fatherless, as Edgar says, or use similar unnatural expressions with which the speeches of all the

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Rh characters in all Shakespeare's dramas overflow.

Again, it is not enough that all the characters speak in a way in which no living men ever did or could speak—they all suffer from a common intemperance of language. Those who are in love, who are preparing for death, who are fighting, who are dying, all alike speak much and unexpectedly about subjects utterly inappropriate to the occasion, being evidently guided rather by consonances and play of words than by thoughts. They speak all alike. Lear raves exactly as does Edgar when feigning madness. Both Kent and the fool speak alike. The words of one of the personages might be placed in the mouth of another, and by the character of the speech it would be impossible to distinguish who speaks. If there is a difference in the speech of Shakespeare's various characters, it lies merely in the different dialogs which are pronounced for these characters—again by Shakespeare and not by themselves. Thus Shakespeare always speaks for kings in one and the same inflated, empty language. Also in one and the same Shakespearian, artificially sentimental

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Rh language speak all the women who are intended to be poetic: Juliet, Desdemona, Cordelia, Imogen, Marina. In the same way, also, it is Shakespeare alone who speaks for his villains: Richard, Edmund, Iago, Macbeth, expressing for them those vicious feelings which villains never express. Yet more similar are the speeches of the madmen with their horrible words, and those of fools with their mirthless puns. So that in Shakespeare there is no language of living individuals—that language which in the drama is the chief means of setting forth character. If gesticulation be also a means of expressing character, as in ballets, this is only a secondary means. Moreover, if the characters speak at random and in a random way, and all in one and the same diction, as is the case in Shakespeare's work, then even the action of gesticulation is wasted. Therefore, whatever the blind panegyrists of Shakespeare may say, in Shakespeare there is no expression of character. Those personages who, in his dramas, stand out as characters, are characters borrowed by him from former works which have served as the foundation of his dramas, and they are mostly depicted,

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Rh not by the dramatic method which consists in making each person speak with his own diction, but in the epic method of one person describing the features of another.

The perfection with which Shakespeare expresses character is asserted chiefly on the ground of the characters of Lear, Cordelia, Othello, Desdemona, Falstaff, and Hamlet. But all these characters, as well as all the others, insteading of belonging to Shakespeare, are taken by him from dramas, chronicles, and romances anterior to him. All these characters not only are not rendered more powerful by him, but, in most cases, they are weakened and spoilt. This is very striking in this drama of "King Lear," which we are examining, taken by him from the drama "King Leir," by an unknown author. The characters of this drama, that of King Lear, and especially of Cordelia, not only were not created by Shakespeare, but have been strikingly weakened and deprived of force by him, as compared with their appearance in the older drama. In the older drama, Leir abdicates because, having become a widower, he thinks only of saving his soul. He asks his daughters as to

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Rh their love for him—that, by means of a certain device he has invented, he may retain his favorite daughter on his island. The elder daughters are betrothed, while the youngest does not wish to contract a loveless union with any of the neighboring suitors whom Leir proposes to her, and he is afraid that she may marry some distant potentate.

The device which he has invented, as he informs his courtier, Perillus (Shakespeare's Kent), is this, that when Cordelia tells him that she loves him more than any one or as much as her elder sisters do, he will tell her that she must, in proof of her love, marry the prince he will indicate on his island. All these motives for Lear's conduct are absent in Shakespeare's play. Then, when, according to the old drama, Leir asks his daughters about their love for him, Cordelia does not say, as Shakespeare has it, that she will not give her father all her love, but will love her husband, too, should she marry—which is quite unnatural—but simply says that she can not express her love in words, but hopes that her actions will prove it. Goneril and Regan remark that Cordelia's answer is not an an

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Rh swer, and that the father can not meekly accept such indifference, so that what is wanting in Shakespeare—i.e., the explanation of Lear's anger which caused him to disinherit his youngest daughter,—exists in the old drama. Leir is annoyed by the failure of his scheme, and the poisonous words of his eldest daughters irritate him still more. After the division of the kingdom between the elder daughters, there follows in the older drama a scene between Cordelia and the King of Gaul, setting forth, instead of the colorless Cordelia of Shakespeare, a very definite and attractive character of the truthful, tender, and self-sacrificing youngest daughter. While Cordelia, without grieving that she has been deprived of a portion of the heritage, sits sorrowing at having lost her father's love, and looking forward to earn her bread by her labor, there comes the King of Gaul, who, in the disguise of a pilgrim, desires to choose a bride from among Leir's daughters. He asks Cordelia why she is sad. She tells him the cause of her grief. The King of Gaul, still in the guise of a pilgrim, falls in love with her, and offers to arrange a marriage for her with the King of

title: Page:Tolstoy on Shakespeare.djvu/72


text: Translation:Likutei Moharan/II7

title: Translation:Likutei Moharan/II7


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Rh Gaul, but she says she will marry only a man whom she loves. Then the pilgrim, still disguised, offers her his hand and heart and Cordelia confesses she loves the pilgrim and consents to marry him, notwithstanding the poverty that awaits her. Then the pilgrim discloses to her that he it is who is the King of Gaul, and Cordelia marries him. Instead of this scene, Lear, according to Shakespeare, offers Cordelia's two suitors to take her without dowry, and one cynically refuses, while the other, one does not know why, accepts her. After this, in the old drama, as in Shakepeare's, Leir undergoes the insults of Goneril, into whose house he has removed, but he bears these insults in a very different way from that represented by Shakespeare: he feels that by his conduct toward Cordelia, he has deserved this, and humbly submits. As in Shakespeare's drama, so also in the older drama, the courtiers, Perillus—Kent—who had interceded for Cordelia and was therefore banished—comes to Leir and assures him of his love, but under no disguise, but simply as a faithful old servant who does not abandon his king in a moment of need. Leir tells him what,

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Rh according to Shakespeare, he tells Cordelia in the last scene, that, if the daughters whom he has benefited hate him, a retainer to whom he has done no good can not love him. But Perillus—Kent—assures the King of his love toward him, and Leir, pacified, goes on to Regan. In the older drama there are no tempests nor tearing out of gray hairs, but there is the weakened and humbled old man, Leir, overpowered with grief, and banished by his other daughter also, who even wishes to kill him. Turned out by his elder daughters, Leir, according to the older drama, as a last resource, goes with Perillus to Cordelia. Instead of the unnatural banishment of Lear during the tempest, and his roaming about the heath, Leir, with Perillus, in the older drama, during their journey to France, very naturally reach the last degree of destitution, sell their clothes in order to pay for their crossing over the sea, and, in the attire of fishermen, exhausted by cold and hunger, approach Cordelia's house. Here, again, instead of the unnatural combined ravings of the fool, Lear, and Edgar, as represented by Shakespeare, there follows in the older drama a natural

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Rh scene of reunion between the daughter and the father. Cordelia—who, notwithstanding her happiness, has all the time been grieving about her father and praying to God to forgive her sisters who had done him so much wrong—meets her father in his extreme want, and wishes immediately to disclose herself to him, but her husband advises her not to do this, in order not to agitate her weak father. She accepts the counsel and takes Leir into her house without disclosing herself to him, and nurses him. Leir gradually revives, and then the daughter asks him who he is and how he lived formerly:

"If from the first," says Leir, "I should relate the cause, I would make a heart of adamant to weep. And thou, poor soul, kind-hearted as thou art, Dost weep already, ere I do begin." Cordelia: "For God's love tell it, and when you have done I'll tell the reason why I weep so soon."

And Leir relates all he has suffered from his elder daughters, and says that now he wishes to find shelter with the child who would be in the right even were she to condemn him to

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Author talk:Jeremiah Donovan

Biography
"DR JEREMIAH DONOVAN was a native of Macroom, in the county Cork. Of his early education we know little, except that Jeremiah Donovan, of the diocese of Cloyne, matriculated for the Logic Class in September, 1811, and read a fairly distinguished course. From 1816 to 1820, he was Professor of Classics in Carlow College. Professor Donovan was honoured with the close and intimate friendship of Dr. Doyle, by whom he was strongly recommended for the Chair of Rhetoric in Maynooth, to which he was transferred on the 4th February, 1820.

In 1829, Dr Donovan published his Translation of the Catechism of the Council of Trent. It is a very important and a very useful work, not only for the Clergy, but also for all intelligent English speaking Catholics who desire to have at hand a full, accurate, and authentic exposition of the moral and dogmatic teaching of the Catholic Church. Dr. Doyle, to whom the manuscript was submitted before its publication, declared that the original is written 'in a style unexampled for purity and precision;' and that Dr. Donovan's rendering of it is 'the best translation into English of a Latin work that I have ever read.'

At a later period, Professor Donovan went to Rome, and spent some time in a careful study of the monuments of the Eternal City. The results of his studies he published in the well known work Rome, Ancient and Modern. Dr. Donovan's intimate acquaintance with classical literature and Roman history, and his easy flowing English style, gave him special qualifications for the composition of this valuable work. It was, at the time, universally welcomed by scholars in these kingdoms, and has enjoyed a very wide circulation.

After some months spent at Milton Mowbray, for the benefit of his health, Dr. Donovan retired to St Joseph's Seminary, Clondalkin, and subsequently went to Paris to consult some eminent physicians. He died, however, whilst undergoing a painful operation, and was buried in Paris. He left the principal portion of his money to Clonliffe College, and his books are, I believe, still at Clondalkin.

— John Healy, Maynooth College: Its Centenary History (1895)" Beleg Âlt (talk) 20:16, 12 October 2023 (UTC)

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Rh death. "If, however," he says, "she will receive me with love, it will be God's and her work, but not my merit." To this Cordelia says: "Oh, I know for certain that thy daughter will lovingly receive thee."—"How canst thou know this without knowing her?" says Leir. "I know," says Cordelia, "because not far from here, I had a father who acted toward me as badly as thou hast acted toward her, yet, if I were only to see his white head, I would creep to meet him on my knees."—"No, this can not be," says Leir, "for there are no children in the world so cruel as mine."—"Do not condemn all for the sins of some," says Cordelia, and falls on her knees. "Look here, dear father," she says, "look on me: I am thy loving daughter." The father recognizes her and says: "It is not for thee, but for me, to beg thy pardon on my knees for all my sins toward thee."

Is there anything approaching this exquisite scene in Shakespeare's drama ?

However strange this opinion may seem to worshipers of Shakespeare, yet the whole of this old drama is incomparably and in every respect superior to Shakespeare's adaptation.

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 been perwaded to put together ome cattered Notes, which I long ago made upon everal Places of Holy Scripture, I began the lat Year to conider ome Texts in the Book of. Where I oon found there would be a neceity of making an entire Commentary, upon a good part of it: And therefore I reolved to go through the whole, in the ame manner as I had done the three firt Chapters.

After I had finihed the better of my Work, I was informed that Monieur l'Clerk had publihed a Critical Commentary upon Rh


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Rh It is so, first, because it has not got the utterly superfluous characters of the villain Edmund and unlifelike Gloucester and Edgar, who only distract one's attention; secondly because it has not got the completely false "effects" of Lear running about the heath, his conversations with the fool, and all these impossible disguises, failures to recognize, and accumulated deaths; and, above all, because in this drama there is the simple, natural, and deeply touching character of Leir and the yet more touching and clearly defined character of Cordelia, both absent in Shakespeare. Therefore, there is in the older drama, instead of Shakespeare's long-drawn scene of Lear's interview with Cordelia and of Cordelia's unnecessary murder, the exquisite scene of the interview between Leir and Cordelia, unequaled by any in all Shakespeare's dramas.

The old drama also terminates more naturally and more in accordance with the moral demands of the spectator than does Shakespeare's, namely, by the King of the Gauls conquering the husbands of the elder sisters, and Cordelia, instead of being killed, restoring Leir to his former position.

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Rh Thus it is in the drama we are examining, which Shakespeare has borrowed from the drama "King Leir." So it is also with Othello, taken from an Italian romance, the same also with the famous Hamlet. The same with Antony, Brutus, Cleopatra, Shylock, Richard, and all Shakespeare's characters, all taken from some antecedent work. Shakespeare, while profiting by characters already given in preceding dramas, or romances, chronicles, or, Plutarch's "Lives," not only fails to render them more truthful and vivid, as his eulogists affirm, but, on the contrary, always weakens them and often completely destroys them, as with Lear, compelling his characters to commit actions unnatural to them, and, above all, to utter speeches natural neither to them nor to any one whatever. Thus, in "Othello," altho that is, perhaps, I will not say the best, but the least bad and the least encumbered by pompous volubility, the characters of Othello, Iago, Cassio, Emilia, according to Shakespeare, are much less natural and lifelike than in the Italian romance. Shakespeare's Othello suffers from epilepsy, of which he has an attack on the stage; moreover, in Shakespeare's

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Rh version, Desdemona's murder is preceded by the strange vow of the kneeling Othello. Othello, according to Shakespeare, is a negro and not a Moor. All this is erratic, inflated, unnatural, and violates the unity of the character. All this is absent in the romance. In that romance the reasons for Othello's jealousy are represented more naturally than in Shakespeare. In the romance, Cassio, knowing whose the handkerchief is, goes to Desdemona to return it, but, approaching the back-door of Desdemona's house, sees Othello and flies from him. Othello perceives the escaping Cassio, and this, more than anything, confirms his suspicions. Shakespeare has not got this, and yet this casual incident explains Othello's jealousy more than anything else. With Shakespeare, this jealousy is founded entirely on Iago's persistent, successful machinations and treacherous words, which Othello blindly believes. Othello's monolog over the sleeping Desdemona, about his desiring her when killed to look as she is alive, about his going to love her even dead, and now wishing to smell her "balmy breath," etc., is utterly impossible. A man who is preparing for the

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Rh murder of a beloved being, does not utter such phrases, still less after committing the murder would he speak about the necessity of an eclipse of sun and moon, and of the globe yawning; nor can he, negro tho he may be, address devils, inviting them to burn him in hot sulphur and so forth. Lastly, however effective may be the suicide, absent in the romance, it completely destroys the conception of his clearly defined character. If he indeed suffered from grief and remorse, he would not, intending to kill himself, pronounce phrases about his own services, about the pearl, and about his eyes dropping tears "as fast as the Arabian trees their medicinal gum"; and yet less about the Turk's beating an Italian and how he, Othello, smote him—thus! So that notwithstanding the powerful expression of emotion in Othello when, under the influence of lago's hints, jealousy rises in him, and again in his scenes with Desdemona, one's conception of Othello's character is constantly infringed by his false pathos and the unnatural speeches he pronounces.

So it is with the chief character, Othello, but notwithstanding its alteration and the dis

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Rh advantageous features which it is made thereby to present in comparison with the character from which it was taken in the romance, this character still remains a character, but all the other personages are completely spoiled by Shakespeare.

Iago, according to Shakespeare, is an unmitigated villain, deceiver, and thief, a robber who robs Roderigo and always succeeds even in his most impossible designs, and therefore is a person quite apart from real life. In Shakespeare, the motive of his villainy is, first, that Othello did not give him the post he desired; secondly, that he suspects Othello of an intrigue with his wife and, thirdly, that, as he says, he feels a strange kind of love for Desdemona. There are many motives, but they are all vague. Whereas in the romance there is but one simple and clear motive, Iago's passionate love for Desdemona, transmitted into hatred toward her and Othello after she had preferred the Moor to him and resolutely repulsed him. Yet more unnatural is the utterly unnecessary Roderigo whom Iago deceives and robs, promising him Desdemona's love, and whom he forces to fulfil all he com

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Author talk:E. L. Scott

Identity
I tried, but there are too many "E. L. Scott"s and too many "Saturday News"es out there -- Beleg Âlt (talk) 20:44, 12 October 2023 (UTC)

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Rh mands: to intoxicate Cassio, provoke and then kill Cassio. Emilia, who says anything it may occur to the author to put into her mouth, has not even the slightest semblance of a live character.

"But Falstaff, the wonderful Falstaff," Shakespeare's eulogists will say, "of him, at all events, one can not say that he is not a living character, or that, having been taken from the comedy of an unknown author, it has been weakened."

Falstaff, like all Shakespeare's characters, was taken from a drama or comedy by an unknown author, written on a really living person, Sir John Oldcastle, who had been the friend of some duke. This Oldcastle had once been convicted of heresy, but had been saved by his friend the duke. But afterward he was condemned and burned at the stake for his religious beliefs, which did not conform with Catholicism. It was on this same Oldcastle that an anonymous author, in order to please the Catholic public, wrote a comedy or drama, ridiculing this martyr for his faith and representing him as a good-for-nothing man, the boon companion of the duke, and it

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Rh is from this comedy that Shakespeare borrowed, not only the character of Falstaff, but also his own ironical attitude toward it. In Shakespeare's first works, when this character appeared, it was frankly called "Oldcastle," but later, in Elizabeth's time, when Protestantism again triumphed, it was awkward to bring out with mockery a martyr in the strife with Catholicism, and, besides, Oldcastle's relatives had protested, and Shakespeare accordingly altered the name of Oldcastle to that of Falstaff, also a historical figure, known for having fled from the field of battle at Agincourt.

Falstaff is, indeed, quite a natural and typical character; but then it is perhaps the only natural and typical character depicted by Shakespeare. And this character is natural and typical because, of all Shakespeare's characters, it alone speaks a language proper to itself. And it speaks thus because it speaks in that same Shakespearian language, full of mirthless jokes and unamusing puns which, being unnatural to all Shakespeare's other characters, is quite in harmony with the boastful, distorted, and depraved character of the

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Rh drunken Falstaff. For this reason alone does this figure truly represent a definite character. Unfortunately, the artistic effect of this character is spoilt by the fact that it is so repulsive by its gluttony, drunkenness, debauchery, rascality, deceit, and cowardice, that it is difficult to share the feeling of gay humor with which the author treats it. Thus it is with Falstaff.

But in none of Shakespeare's figures is his, I will not say incapacity to give, but utter indifference to giving, his personages a typical character so strikingly manifest as in Hamlet; and in connection with none of Shakespeare's works do we see so strikingly displayed that blind worship of Shakespeare, that unreasoning state of hypnotism owing to which the mere thought even is not admitted that any of Shakespeare's productions can be wanting in genius, or that any of the principal personages in his dramas can fail to be the expression of a new and deeply conceived character.

Shakespeare takes an old story, not bad in its way, relating:

"Avec quelle ruse Amlette qui depuis fut

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Rh Roy de Dannemarch, vengea la mort de son père Horwendille, occis par Fengon son frère, et autre occurrence de son histoire," or a drama which was written on this theme fifteen years before him. On this subject he writes his own drama, introducing quite inappropriately (as indeed he always does) into the mouth of the principal person all those thoughts of his own which appeared to him worthy of attention. And putting into the mouth of his hero these thoughts: about life (the grave-digger), about death (To be or not to be)—the same which are expressed in his sixty-sixth sonnet — about the theater, about women. He is utterly unconcerned as to the circumstances under which these words are said, and it naturally turns out that the person expressing all these thoughts is a mere phonograph of Shakespeare, without character, whose actions and words do not agree.

In the old legend, Hamlet's personality is quite comprehensible: he is indignant at his mother's and his uncle's deeds, and wishes to revenge himself upon them, but is afraid his uncle may kill him as he had killed his father. Therefore he simulates insanity,

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 [No. 25.]

JOURNAL

of the

of the

JANUARY, 1894.

SINGAPORE:

London and America ...

Paris ...

Germany ..., Leipzig.


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 [No. 26.]

JOURNAL

of the

of the

JANUARY, 1894.

Agents of the Society:

London and America ...

Paris ...

Germany ..., Leipzig.

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Rh desiring to bide his time and observe all that goes on in the palace. Meanwhile, his uncle and mother, being afraid of him, wish to test whether he is feigning or is really mad, and send to him a girl whom he loves. He persists, then sees his mother in private, kills a courtier who was eavesdropping, and convicts his mother of her sin. Afterward he is sent to England, but intercepts letters and, returning from England, takes revenge of his enemies, burning them all.

All this is comprehensible and flows from Hamlet's character and position. But Shakespeare, putting into Hamlet's mouth speeches which he himself wishes to express, and making him commit actions which are necessary to the author in order to produce scenic effects, destroys all that constitutes the character of Hamlet and of the legend. During the whole of the drama, Hamlet is doing, not what he would really wish to do, but what is necessary for the author's plan. One moment he is awestruck at his father's ghost, another moment be begins to chaff it, calling it "old mole"; one moment he loves Ophelia, another moment he teases her, and so forth. There is no pos

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JOURNAL

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Rh sibility of finding any explanation whatever of Hamlet's actions or words, and therefore no possibility of attributing any character to him.

But as it is recognized that Shakespeare the genius can not write anything bad, therefore learned people use all the powers of their minds to find extraordinary beauties in what is an obvious and crying failure, demonstrated with especial vividness in "Hamlet," where the principal figure has no character whatever. And lo! profound critics declare that in this drama, in the person of Hamlet, is expressed singularly powerful, perfectly novel, and deep personality, existing in this person having no character; and that precisely in this absence of character consists the genius of creating a deeply conceived character. Having decided this, learned critics write volumes upon volumes, so that the praise and explanation of the greatness and importance of the representation of the character of a man who has no character form in volume a library. It is true that some of the critics timidly express the idea that there is something strange in this figure, that Hamlet is an unsolved riddle, but

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 Reprinted at the

1904.


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 the ame Book: But whether I have concurred in any thing with him, or contradicted him, I am not able to ay; having wanted leiure to perue his Work, by reaon of the Publick Buines, which came upon me in the end of the Year when I likewie undertood that a very Learned Friend and Brother had put into the Pres, Annotations upon all the Five Books of Moes. But by communicating ome of our Papers to each other, we found there would be no reaon, that either of us hould lay aide our Deign; but go on, in our everal ways, to make the Scriptures better undertood, by all orts of Perons: For all helps are little enough in this Age, which eems to take pleaure in being ignorant of the mot important Truths.

In which we are o particularly intructed by Moes, ''as by no other Author, not by all the Authors that are, or have known to be, extant in the World. For to him we owe the Knowledge of the beginning of the World; of the firt Parents of Mankind; the Inventers of Arts; the Original of Nations; the Founders of Kingdoms and Empires; the Intitution of Laws; the Fountain of Religious Rites; Yea, of all the ancient Mythology; and, which is mot coniderable, the'' means


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Rh no one has the courage to say (as in Hans Andersen's story) that the King is naked— i.e., that it is as clear as day that Shakespeare did not succeed and did not even wish to give any character to Hamlet, did not even understand that this was necessary. And learned critics continue to investigate and extol this puzzling production, which reminds one of the famous stone with an inscription which Pickwick found near a cottage doorstep, and which divided the scientific world into two hostile camps.

So that neither do the characters of Lear nor Othello nor Falstaff nor yet Hamlet in any way confirm the existing opinion that Shakespeare's power consists in the delineation of character.

If in Shakespeare's dramas one does meet figures having certain characteristic features, for the most part secondary figures, such as Polonius in "Hamlet" and Portia in "The Merchant of Venice," these few lifelike characters among five hundred or more other secondary figures, with the complete absence of character in the principal figures, do not at all prove that the merit of Shakespeare's

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Rh dramas consists in the expression of character.

That a great talent for depicting character is attributed to Shakespeare arises from his actually possessing a peculiarity which, for superficial observers and in the play of good actors, may appear to be the capacity of depicting character. This peculiarity consists in the capacity of representative scenes ex- pressing the play of emotion. However unnatural the positions may be in which he places his characters, however improper to them the language which he makes them speak, however featureless they are, the very play of emotion, its increase, and alteration, and the combination of many contrary feelings, as expressed correctly and powerfully in some of Shakespeare's scenes, and in the play of good actors, evokes even, if only for a time, sympathy with the persons represented. Shakespeare, himself an actor, and an intelligent man, knew how to express by the means not only of speech, but of exclamation, gesture, and the repetition of words, states of mind and developments or changes of feeling taking place in the persons represented. So that, in many instances,

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Rh Shakespeare's characters, instead of speaking, merely make an exclamation, or weep, or in the middle of a monolog, by means of gestures, demonstrate the pain of their position (just as Lear asks some one to unbutton him), or, in moments of great agitation, repeat a question several times, or several times demand the repetition of a word which has particularly struck them, as do Othello, Macduff, Cleopatra, and others. Such clever methods of expressing the development of feeling, giving good actors the possibility of demonstrating their powers, were, and are, often mistaken by many critics for the expression of character. But however strongly the play of feeling may be expressed in one scene, a single scene can not give the character of a figure when this figure, after a correct exclamation or gesture, begins in a language not its own, at the author's arbitrary will, to volubly utter words which are neither necessary nor in harmony with its character.

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 TABLE OF CONTENTS.


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 TABLE OF CONTENTS.


text: Journal of the Straits Branch of the Royal Asiatic Society/Volume 25


text: Journal of the Straits Branch of the Royal Asiatic Society/Volume 26


text: Journal of the Straits Branch of the Royal Asiatic Society/Volume 27


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The following may be of interest as representing the "Baby Baby Bunting" style of rhyme of the Malay.

This one is sung when putting children to sleep, and is generally used in Naning and also in the Negri Sembilan.

It is hence called "Lagu Buai." The tune is pretty though monotonous and suits the words well from what might be termed an onomatopoeic view, as it is evident that the words of the lines have no actual meaning, and I cannot discover any special origin for them.

 * "Chapah menggulai chapah lah sayang."
 * "Chapah menggulai chapah lah sayang."
 * "Chapah didalam kélong."
 * "Chapah didalam kélong."
 * "Má mana bapa di mana lah sayang."
 * "Má mana bapa di mana lah sayang."
 * "Má ada di pintu kélong."
 * "Má ada di pintu kélong."

M. L.


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 I could add a great deal more to this purpoe; but the Reader, I hope, will find enough to atisfie him in the Commentary ''it elf. And therefore I hall only make this one Requet to him, That he would take his Bible and read every Vere intirely along with this Commentary : For I have not et down every Word of the Text, for fear of welling this Work unto too great a Bulk.''

April 10, 1694.


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 The Camphor Tree and Camphor Language of Johore.

The Bornean Camphor, Kapur Barus, is an important product of the islands of Borneo and Sumatra and although for some time time it has been known that the tree producing it (Dryobalanops aromatica, Gaertn) is a native of the Indau district of Johore, the fact has not been recorded in any botanical work. During the recent expedition across Johore, the account of which is also published in this Journal, Messrs. Lake and Kelsall not only obtained specimens of the tree, but collected also as much as possible of the Camphor language used by the Jakuns while on the search for the camphor. The following notes on the history of the product may be of interest to, and may serve as an introduction to, the list of vocabulary.

Dryobalanops aromatica, Gaertn, D. camphora Colebr is a lofty tree belonging to the order Dipterocarpeæ, an order well known as producing most of the resins known as Damars. The stem is about 3 1/2 feet in diameter at the base, and from 100 to 150 feet in height, straight and unbranched till near the top, where it forms a large crown of branches; at the base it often throws out large buttresses. The bark is rough and of a dark brown colour, and is used for making walls of huts, etc. The wood is dark brown, very resinous and strongly aromatic. It is much used in Borneo for building. Like most Dipterocarps it appears to be a tree of very slow growth.

The tree is a native of North Borneo, Labuan, North-West Sumatra, and on the Madek and Kahang rivers in Johore, but there is no record of it from any other part of the Malay Peninsula. It yields two distinct products. Borneo camphor (Kapur barus), and Camphor oil (S'mp'loh kapur in the camphor language.) Minyak Kapur, in Malay Barus, is the name of a locality in Sumatra where for many centuries the camphor has been obtained.


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212 there would be plenty of time to overtake the king and Marie-Marevna."

Away rode the skeleton on his horse, and very soon overtook the fugitives.

"I have already told you, King Vladimir," said the skeleton, "that this will be the last time that I shall forgive you. If you run away with Marie-Marevna a third time, you are a dead man!"

He took the unfortunate queen away from her husband, and off he rode.

When left alone, King Vladimir again began to weep bitterly. This time he did not know what to do—he wanted to have Marie-Marevna back again, but, on the other hand, he had no particular wish to be turned into minced meat. However, nothing was to be done; he had to chance it. So he took courage, and returned to the horrible palace, where he found Marie-Marevna, looking as miserable as she could possibly look, and in tears. The skelelon had, as usual, gone hunting.

"Come, Marie-Marevna, let us try and get away from here before the skeleton returns!" the king said.

"I am afraid he will overtake us again, King Vladimir, and you know that if he catches us this time he will cut you up—he told you so."

"I know he did; but never mind, we may be able to escape him this time. Come!"

The horse again began stumbling as the skeleton turned homewards.

"What is it?" asked the skeleton. "Is there any more misfortune in the air, you brute?"


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Rh "King Vladimir has again carried off Marie-Marevna, the beautiful queen."

The skeleton at once galloped off, and as soon as he reached King Vladimir, he seized him, cut him into several small pieces, which he carefully put into a little black box, fastened it with iron hoops, and threw it into the blue sea, and then rode away with Marie-Marevna, who was weeping bitterly.

Just at that time the silver spoon, fork, and snuff-box, which King Vladimir had given to his brothers-in-law as a remembrance of him, suddenly became black.

"Something very dreadful must have happened to our dear brother," said the falcon, the eagle, and the crow. "Let us all three go and see what it is."

So saying, they flew away together, and as they went the eagle noticed the little black box floating on the sea. He at once flew down and brought the box to the shore, where, with the help of the falcon and the crow, it was opened, and the remains of their brother-in-law, King Vladimir, were seen. The falcon at once went off in search of the water of life, while the crow went to fetch the water of death, leaving the eagle to keep watch. They soon, however, returned, and taking the pieces out of the box, they put them all properly together, and sprinkled the water of death over them. The pieces immediately became joined, and King Vladimir's body became whole again; then the birds sprinkled it over with the water of life, and up jumped King Vladimir, alive and well again!

"How long I have slept!" he cried, rubbing his eyes.


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 The earliest mention of camphor known occurs in the poems of Imru-l-kais, an Arabian prince who lived in Hadramaut, by the Gulf of Aden, in the sixth century. It was then evidently very rare, and highly prized as a perfume. It seems quite clear. that the Bornean camphor was known before the Chinese camphor, the product of the camphor Laurel (Cinnamomum camphora). The Medieval Arabian writers state that the best camphor came from Fausur, also called Kansúr or Kaisúr, a place visited by Marco Polo. Yule believes this to be the same as Barus in Western Sumatra. Garcia in the Historia Aromatum (1593) gives a long and interesting account of it, of a portion of which the following is a translation. "Camphor is truly a noble medicine, of which there are two kinds, viz., camphor of Borneo and that which is brought from China. Borneo camphor has never yet penetrated to our regions, at least if it is here I have not happened to see it, nor is that strange, since a pound of it is worth as much as a hundred pounds of that which is brought from China. Of the Borneo camphor, which is as big as a millet seed or a little larger, the greater part is worthless. The Gentiles, Baneanes (Hindus), and Arabs who sell it say it consists of four kinds; for they classify it into head, breast, legs and feet. That of the head is worth 80 pardans a pound. (A pardan is an Indian gold coin worth 10 Castilian Rials), that of the breast in worth 20, of the legs 12; of the feet, 4 or, at most, 5. Some, more particular, have four copper instruments perforated with holes of different sizes, (like those which pearldealers [sic] have) and pass the camphor through them. Those pieces which pass through the instrument with the larger holes have a certain value; those which are passed through the one with medium holes another; and those which pass through smaller holes another value. But the Baneanes are so clever at distinguishing them, that when mixed they can tell one camphor from another, nor can any one be found who can easily deceive them. Much of this camphor is produced in Borneo, Bairres, Sumatra, and Pacen. But the names of the places in which Serapion and Avicenna say it is produced for the most part are corrupt. For what Serapion calls Pansar, is Pacen in Sumatra; what Avicenna calls Alcuz may be Sunda, which is an island near Malacca."


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 (Clusius appends a note to this saying, "Copies of the last edition do not give Alcuz, but Alkansuri and Ariagie, then Alezeid and Alescek." Alkansuri is evidently the kansur alluded to above. And what Serapion says came from the region of Calca is corrupt, and he should have said from Malacca, since it is produced in Bairros, near Malacca.)

"Camphor is a gum (not the pith or heart of wood, as Avicenna and some others think) which falling into the pithchamber [sic] of the wood is extracted thence or exudes from the cracks. This I saw in a table of Camphor wood at a certain Apothecary's, and in a piece of wood as thick as the thigh presented to me by Governor John Crasto, and again in a tablet a span broad at a Merchant's. I would not, however, deny that it may sometimes be deposited in the hollow of a tree. It is told me as a fact that it is the custom that when any one who goes out to collect it has filled his gourd, if any other stronger person sees him with the gourd, he can kill him with impunity and take away the gourd, fortune assisting him in this. That which is brought from Borneo is usually mixed with small bits of stone or some kind of gum called Chamderros, much like raw sugar or saw-dust. But this defect is easily detected; I know no other method of adulteration. For if sometimes it is seen to be spotted with red or blackish dots, that is due to treatment with dirty or impure hands or they may be caused by moisture. But this defect is easily remedied by the Indians. If it is tied up in a cloth and dipped in warm water to which soap and lime-juice has been added and then carefully dried in the shade it becomes very white, the weight not being altered. I saw this done by a Hindu friend who intrusted me with the secret. * * * * What they say as to all kinds of animals flying together to its shade to escape the fiercer beasts is fabulous. Nor is it what some, following Serapion, write less so, namely, that it is an omen of larger yields when the sky glitters with frequent lightning or echoes with constant thunder. For as the island of Sumatra, which some think to be Taprobane, and the adjacent regions are near the equinoctial line, it follows that they are subject to constant thunderstorms and for the same cause have storms or slight showers every day; so camphor ought to be abundant every year. From which it is clear that the thunder is neither the cause nor indication of a larger supply of camphor.


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 "Andreas of Belluma in his Dictionary writes that the Arabs distill camphor water from the camphor tree. About this liquid I inquired much among doctors and merchants but could find no one who had seen it, whence I easily conjecture that he in describing it made a mistake.

"Ruellin and Mathiolus following him and both after Serapion write that this camphor excelled all others in goodness which was called Riachina after a certain king Rihah (who first discovered the method of whitening it). But I cannot see how that since the Indian kings were very powerful, they should have any need to turn their attention to the showing off of their trade products."

Garcia then proceeds to discuss whether it is hot or cold. He imagined at first that it was hot, but finding that it was cooling when used for opthalmia and inflammation of the eyes, concludes that it is of a cold nature. Avicenna states that camphor makes people wakeful, but how can that be since Avicenna himself says it is of a cold nature, and cold things usually send one to sleep! But he concludes that by taking a little sleep may be produced. At the same time, however, if anyone smells it often enough and applies it to his nostrils it dries up the brain and keeps him awake. Such are the quaint ideas as to drugs of exactly three centuries ago.

Borneo camphor was evidently known long before that of the Chinese Camphor Laurel, and was always very highly prized and to this day if is too expensive for the European market. It is eagerly bought by the Chinese, Siamese, and Japanese for incense, embalming, and medicine.

According to the account given by the Jakuns the camphor occurs in cracks in the interior of the tree, which has to be split in pieces and the wood carefully scraped. The camphor thus obtained is washed free from fragments of wood and sap, and sold to the Chinese at Kwala Indau. The price varies according to quality from fifteen to forty dollars a katti.

Camphor oil is a different product, obtained by making a hole in the side of a tree and burning it in the same manner as is adopted for obtaining Minyak Kruing and other wood oils. It is also, in Borneo and Sumatra at least, found in hollows and splits in the wood.


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 A very small percentage of camphor trees contain any camphor. The hunters first test the tree by making a deep cut in the bark if there is a faint odour of camphor the tree is cut down and thoroughly examined but not otherwise. H. N. R.

The chief interest attaching to the Kapur Barus in Johor lies in the superstitions connected with the collection of the camphor by the natives or orang Hulu (Jakuns of the Malays).

Amongst these superstitions the most important is the use of a special language, the subject of the present paper, which has been the means of preserving some remnants of the aboriginal dialects of this part of the Malay Peninsula. This language is called by the orang Hulu "Pantang Kapur," "Pantang" means forbidden or tabooed, and in this case refers to the fact that in searching for the camphor the use of the ordinary Malay language is "pantang," or forbidden. In addition to this there are restriction as to food, etc., [sic]

This Camphor language is first referred to by Mr. Logan in his account of the aboriginal tribes of the Malay Peninsula (I. A. Journal, vol. 1, p. 293) and he gives a list of eighty words, thirty-three of which are Malay or derived from Malay.

In No 1 of this journal will be found some notes on the same subject by Miklucho-Macklay, and in No 3 Mr. Hervey, in an account of his trip to Gunong Blumut, refers to the same subject and gives a list of words collected by him which he compares with Mr. Logan's list. In No 8 of this journal Mr. Hervey, in his account of a trip up the Indau and its tributaries, again refers to the camphor language and discusses its connection with the aboriginal dialects of the Malay Peninsula.


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 The Jakuns believe that there is a "bisan," or spirit, which presides over the camphor trees and without propitiating this spirit it is impossible to obtain the camphor. This "bisan" makes at night a shrill noise, and when this sound is heard it is a sure sign that there are camphor troes near at hand. (This "bisan" is really one of the Cicadas which are so numerous in the Malayan jungles).

When hunting for camphor the natives always throw a portion of their food out into the jungle before eating as an offering to the "bisan"

No prayers are offered up, but all food must be eaten dry, i. e., without sumbul, or stewed fish, or vegetables. Salt must not be pounded fine; if it is eaten fine the camphor when found will in fine grains; but if eaten coarse the grains of camphor will be large. In rainy weather the cry of the 'bisan' is not heard. At certain seasons regular parties of Jakuns, and sometimes Malays. go into the jungle to search for camphor and they remain there as long as three or four months at a time. Not only must the men who go into the jungle to search for the camphor speak the "Pantang Kapur," but also the men and women left at home in the Kampongs.

The camphor occurs in the form of small grains deposited in the cracks in the interior of the trunk of the tree. Camphor is only found in the older trees, and not in all of these, and to obtain it the tree must be cut down and split up. There are certain signs which indicate when a tree contains camphor, one of which is the smell emitted from the wood when chipped. A man who is skilled in detecting the presence of camphor is called Penghulu Kapur. The camphor when taken away from the tree is washed and all chips of wood and dirt carefully removed and it is then sold to Chinese traders at Kwala Indau at prices varying according to the quality from $15 to $10 per katti.

The Camphor language consists in great part of words which are either Malay or of Malay origin, but contains, as above mentioned, a large number of words which are not Malay but which are presumably remnants of the original Jakun dialects which are apparently almost obsolete otherwise in the Indau and Sembrong districts of Johor.

H. L. and H. J. K.