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Page:Journal of the Straits Branch of the Royal Asiatic Society (IA journalofstra25271894roya).pdf/261

 Pantang Kapur Vocabulary.


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Page:Tales and Legends from the Land of the Tzar.djvu/230

214 "Yes, dear brother," ansnrered the birds, "and you would have slept still longer had it not been for us. But now let us return to our different homes, and you must come back with us, King Vladimir, and make a short stay, or a long one, as you like, with each of us!"

"Many thanks, dear friends, but I must go in search of my wife, Marie-Marevna."

Then King Vladimir arrived at the skeleton's palace, and after finding his beloved wife—who was greatly astonished at seeing him alive again—he said to her,—

"I see it is perfectly useless to try and get out of the skeleton's hands, unless we can find a horse as good or better than his. Now I have no idea where to find one; so I want you to ask the skeleton how he came by his, and all about it; then you can tell me.

When the skeleton came home, and King Vladimir had left, to return again on the following day, Marie-Marevna found an opportunity of asking the necessary questions about the horse.

"I found him in the twenty-seventh kingdom, on the other side of the fiery river, where a dreadful old fairy lives, who has any amount of these wonderful horses. I served her for three days as a herdsman, and because I did my work properly, and did not lose any of the horses, she gave me one as a reward."

"But how did you cross the fiery river?"

"I have a magic handkerchief in my possession. When I waved it three times to the right, a very high bridge appeared, so high that the flames could not reach it."

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


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Page talk:The European Magazine and London Review - Vol. 87.djvu/273

Column 2, paragraph 1, lines 1–2: should "counter-/acting" be "counter-acting" or "counteracting"? -- Yodin T 21:41, 12 October 2023 (UTC)

 * "counteracting" per next paragraph and pages 75 & 270. -- Yodin T 21:43, 12 October 2023 (UTC)


text: Journal of the Straits Branch of the Royal Asiatic Society/Volume 26/The Camphor tree and Camphor language of Johore


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Page:Tales and Legends from the Land of the Tzar.djvu/231

Rh On the following day, when the skeleton had gone out, King Vladimir came back, and asked Marie-Marevna whether she had done what he had told her. She at once repeated everything, and gave her husband the magic handkerchief, which she had found.

Away went the king. He crossed over the fiery river, and walked on and on for many a day without a drop to drink or a morsel to eat. Suddenly he saw, on some bushes in front of him, a beautiful foreign bird with her young.

"I think I will eat one of those little ones!" said the king aloud, "for I am very hungry, and they look tempting."

"Please don't, King Vladimir," begged the foreign bird, "for I may be of use to you shortly."

King Vladimir obeyed, and continued his journey, when he found himself in a dark forest, where he saw a beehive.

"I suppose there will be plenty of honey here," he said; "I can at least satisfy my hunger with some, for a short time."

But the queen bee flew out and cried,—

"Do not touch my honey, King Vladimir! I may soon be of use to you, if you leave it alone."

The king went on farther, and met a lioness with her cub.

"I think I shall eat that little cub, if the mother does not eat me!" said the king, "for I am dreadfully hungry, and don't mind what I eat just now."

"No! leave my cub alone, King Vladimir," the lioness answered; "do not touch it; I may be of great use to you soon."


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Page:Tales and Legends from the Land of the Tzar.djvu/232

216 "All right, don't be afraid!" replied the king, and went on, hardly knowing what to do for hunger.

At last he came to a curious-looking little hut, round which stood twelve poles, on eleven of which were human skulls.

"Good-day, old lady!" said King Vladimir, entering the hut, in which sat an old fairy.

"Good-day, King Vladimir! Why have you come?" Is it of your own free will, or on business?"

"I have come to serve you, and earn one of your good horses."

"Very well, King Vladimir; but you need not serve me longer than three days."

"All right, old lady; but now give me something to eat and drink. I am dying!"

The old fairy did as she was told, and then showed King Vladimir what he was to do.

Early next morning the king went to the stables, and let all the horses out; but he had hardly done so when the animals whisked their tails, and made off as hard as ever they could, into the meadows and far away. Before King Vladimir knew what had happened, they were out of sight. The king sat down on a stone, wondering what he had better do; he thought and thought, until he fell fast sleep. The sun was just setting when the king awoke, and found the beautiful foreign bird sitting on his shoulder.

"Get up, King Vladimir!" she said; "the horses are all at home and safe."

The king returned to the old fairy's hut, and heard her scolding the horses.


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Page:A commentary upon the first book of Moses called Genesis (IA cuponfi00patr).pdf/14

1

Hat wrote this and the Four following Books hath been  contantly believed, both by Jews, Chritians, and Heathens, that none, I think, denied it, till Aben Ezra (a Jewih Doctor, who lived not much above five hundred Years ago) raied ome Doubts about it, in his Notes upon the Firt of Deuteronomy, out of XII Paages in thee Books themelves: Which he pretended could not be his, but the Words of a later Author. But when I meet with thoe places, I hall make it appear, that all uch Exceptions are very frivolous, and ought not to hake our belief of this Truth, That thee Five Books were penned by and no Body ele.

The firt is called, becaue it contains the Hitory of the Creation of the World, with  Rh


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Page:The China Review, Or, Notes and Queries on the Far East, Volume 22 1RZBAQAAMAAJ.pdf/105

 ꜂ngo. Yau꜄ ꜂mín ꜂ngo-tí꜄ ko꜄ hím꜄-hú꜄, ꜂ho-꜂ts'í ꜂ngo-tí꜄ ꜂mín-꜀háú ꜁yan hím꜄-hú꜄ ꜂ngo ko꜄. Môí꜄ (bet. moí and muí) ꜂yan ꜂ngo-ti꜄ yap꜇ eí꜄-wák꜇, ꜂ts'ang kaú꜄ ꜂ngo ts'at꜆ tsôí꜄ (bet. tsoí and tsuí) ok꜆. ꜀Yan-waí꜄, kok꜆ á꜄, ꜁k'ün á꜄, ꜁ang áá꜄ [sic], ꜀káí haí꜄ ꜂ni ꜂yau tsi꜄ to꜄ saí꜄ saí꜄. ꜁Sang ꜀sam ꜂so ngún꜄.

In this specimen will be noticed the change of the initial to h which happens before the vowel u; the initial y changed to ng; the dropping of the h in sh and of w in kw; the y introduced after the initial k which happens in a few instances; the substitution of short a for í a very marked and universal trait of the dialect; the peculiar pronunciation of the ôí, between oí and uí—neither the one nor the other, but about midway between both; the employment of í instead of z as the use of long í (double ee) for éí, in Cantonese a final, and the use of au instead of íú in the sign of the past tense, híú which becomes háú; the change of ai in ꜃moú into the peculiar môí (between oí and uí) noticed above; the short u sound represented in Williams' system of orthography by short a, which short u (a) is used instead of the longer u in the word ch'ut in Cantonese; the repugnance to the w was shown already in k alone for kw, but even more marked when it is omitted entirely from the word ꜁wing, the further transposing of the vowel in this word already noticed almost puts the word beyond recognition when first heard; the sharper sound of ts for ch; and finally the employment of ko꜄ for the possessive.—All make up a sum total of changes not to be despised by any means, and when the tones come into play as well, the peculiarity and individuality of the dialect becomes most pronounced.

The Lord's prayer, as given above, contains ninety-three words and there are nearly half of the words pronounced differently from what they are in pure Cantonese, viz. forty-five. Again counting the same word only once (not counting it when it reappears), there are fifty-nine separate words and the words that are differently pronounced and used from what they are in Canton are twenty-five. A comparison like this may probably give a better idea of the great amount of the difference there is in some of these dialects from Cantonese, than a mere counting of the number of words which are represented by a different spelling from lists compiled for the purpose would show; for, if one only thinks about it, it is the whole body of the speech that differs, and this whole body of the speech is made up of many words; and a large proportion of the words which differ happen to be common words which occur over and over again in everyday speech, while some of the words that do not differ may be less used; ergo a comparison of the language as it is used is more likely to give a better idea of the differences.

Comparative syllabary of Cantonese and Höng Shán sounds.


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Page:The China Review, Or, Notes and Queries on the Far East, Volume 22 1RZBAQAAMAAJ.pdf/104

 ton or amongst the rest of the Höng Shán people, being a rising tone, lower than the Cantonese 上上 shöng shöng, an upper rising tone and higher in its inception and rise than the Cantonese 下上 há shöng, lower rising tone. Its duration of utterance is perhaps about the same as that of the Cantonese 下上.

The 上上 shöng shöng, upper rising tone, is not a descending tone, but a very slightly high, rising tone—much higher in its start than the Cantonese 上上 shöng shöng, which latter tone is not so high in musical pitch at its start, nor does its final stage reach the height that even the Káí꜄ ꜀Chung 上上 shöng shöng commences at. In short the whole tone from beginning to end is on a much higher scale than the Cantonese tone. Its duration is about the same as the Cantonese 上上 shöng shöng.

The 上去 shöng höü, upper retiring tone, is the same as in the Macao dialect and Cantonese.

The 上入 shöng yap, is the same as in the Macao and Cantonese.

The 下平 há p'íng, lower even tone, is different from both the Cantonese and Macao 下平 há p'íng. It is lower than the Cantonese 下平 há p'íng.

The 下上 há shöng, lower rising tone, is different from the same tone in Cantonese and Macao; but is the same as their own 上上 shöng shöng, upper rising tone. In fact there is no need to distinguish between the tones in Káí Chung, but they may be classed together as one tone, in this following the rest of the Höng Shán people whose two 上聲 shöng shing, rising tones, are the same.

The 下去 há höü lower retiring tone, is in common with the Macao 下去há höü, nearly the same as the Cantonese 上去 shöng höü, upper retiring tone.

The 下入 há yap, lower retiring tone, is the same as the Macao 下入 há yap.

The 中入 chung yap, medial retiring tone, is a trifle higher than the Káí Chung 下入 há yap, lower retiring tone, and there is quite a difference between it and the Macao 中入 chung yap, the latter being much higher in tone.

The third rising tone, the colloquial rising tone, is a very high one—much higher than either the Macao or Cantonese. It ends on the pitch of the Cantonese 上平 shöng p'íng, upper even tone. This is exemplified in the pronunciation of the word 來 ꜁lôi, to come; but for 吃 yak꜆, to eat, it is a much lower tone.

The colloquial highest even tone, as used in the word 孫 sün in Cantonese, is wanting in the Káí Chung series of tones.

The people of 前山 ꜁Ts'ín ꜀Shán, 沙尾 ꜀Shá ꜃Méí, 翠薇 Ts'öü꜄ ꜀méí꜀Méí [sic], 古鶴 Kwú꜂Kwú [sic] Hok꜇, 北山 Pak꜆ ꜀shán꜀Shán [sic], 那洲 ꜁Nò ꜀Chaú 白石 Pák꜆ Sek꜇, containing it is said approximately about 400 or 500 families, and all situated within a short distance from Macao (a few hours by road), have in common with Káí Chung this same sub-dialect, but each place has its own local peculiarities, having some slight variations in the tones, the pronunciation of the words, as represented by an English spelling, being the same.

The following version of the Lord's Prayer in the Höng Shán dialect will give an idea of the pronunciation in vogue in that district. There is perhaps no use in marking the tones in, as it needs the living voice to illustrate perfectly what these are; but as they may give some little guide they are inserted. It must, however, be remembered that it is the tones that serve largely to give their peculiar distinctiveness to these dialects.

The Lord's Prayer.

꜂Ngo-tí꜄ ko꜄ Fú꜄ tsôí꜄ (bet. tsoí and tsúitsuí [sic]) ꜀t'ín, Ngún꜄ ꜂ní ko꜄ ꜁meng haí꜄ sáng꜄. ꜂Ní ko꜄ kok꜆ k'ong꜄ (or kong꜄) ꜁lam. ꜂Ní ko꜄ ꜂chí-í꜄ tak꜆ ꜁sang tsau꜄, tsôí꜄ (bet. tsoí and tsuí) ti꜄, ꜂ho-꜂ts'í tsôí꜄ (bet. tsoí and tsuí) ꜀t'ín yat꜆ yông꜄. ꜂Ngo-tí꜆ ꜀aü-yung꜄ ko꜄ ꜁löng ꜀kyam yat꜇ ts꜀í꜄


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Page:The China Review, Or, Notes and Queries on the Far East, Volume 22 1RZBAQAAMAAJ.pdf/106

{|class="wikitable BallSyllabary"
 * át||壓||át
 * aú||毆||aú
 * áú||拗||áú
 * chá||揸||tsá
 * ch'á||茶||ts'á
 * chaí||制||tsaí
 * cháí||齋||tsáí
 * ch'áí||差||ts'áí
 * chak||仄||tsak
 * ch'ak||測||ts'ak
 * chák||碃磧 [sic]||tsák
 * ch'ák||册||ts'ák
 * cham||枕||tsam
 * ch'am||沉||ts'am
 * chám||斬||tsám
 * ch'ám||杉||ts'ám
 * chan||眞||tsan
 * ch'an||塵||ts'an
 * chán||盞||tsán
 * ch'án||產||ts'án
 * chang||箏||tsang
 * cháng||爭||tsáng
 * ch'áng||撐||ts'áng
 * chap||汁||tsap
 * cháp||閘||tsáp
 * ch'áp||插||ts'áp
 * chat||質||tsat
 * chát||札||tsát
 * ch'át||察||ts'át
 * chaú||周||tsaú
 * ch'aú||綢||ts'aú
 * cháú||找||tsáú
 * ch'áú||抄||ts'áú
 * che||遮||che
 * ch'e||車||ch'e
 * ch'ek||尺||ch'ek
 * cheng||正||tsang
 * chí||之||chí
 * ch'í||始||ch'í
 * chik||織||tsak
 * ch'ik||斥||ts'ak
 * chím||占||chím
 * ch'ím||諂||ch'ím
 * chín||氈||chín
 * ch'ín||纏||ch'ín
 * ching||正||tsang
 * ch'ing||秤||ts'ang
 * chíp||摺||chíp
 * chít||折||chít
 * ch'ít||設||ch'ít
 * chíú||朝||
 * ch'íú||朝||ch'íú
 * cho||助||tso
 * ch'o||初||ts'o
 * chok||濯||tsok
 * chök||着||chök
 * ch'ök||綽||ch'ök
 * chong||狀||tsong
 * chöng||章||chöng
 * ch'öng||昌||ch'öng
 * chöü||追||tsúöü
 * ch'öü||吹||ts'úöü
 * chü||朱||chü
 * ch'ü||處||ch'ü
 * chuk||竹||tsuk
 * ch'uk||畜||ts'uk
 * chun||準||tsan
 * ch'un||春||ts'an
 * chün||甎||chün
 * ch'ün||穿||ch'ün
 * chung||中||tsung
 * ch'ung||充||ts'ung
 * }
 * cheng||正||tsang
 * chí||之||chí
 * ch'í||始||ch'í
 * chik||織||tsak
 * ch'ik||斥||ts'ak
 * chím||占||chím
 * ch'ím||諂||ch'ím
 * chín||氈||chín
 * ch'ín||纏||ch'ín
 * ching||正||tsang
 * ch'ing||秤||ts'ang
 * chíp||摺||chíp
 * chít||折||chít
 * ch'ít||設||ch'ít
 * chíú||朝||
 * ch'íú||朝||ch'íú
 * cho||助||tso
 * ch'o||初||ts'o
 * chok||濯||tsok
 * chök||着||chök
 * ch'ök||綽||ch'ök
 * chong||狀||tsong
 * chöng||章||chöng
 * ch'öng||昌||ch'öng
 * chöü||追||tsúöü
 * ch'öü||吹||ts'úöü
 * chü||朱||chü
 * ch'ü||處||ch'ü
 * chuk||竹||tsuk
 * ch'uk||畜||ts'uk
 * chun||準||tsan
 * ch'un||春||ts'an
 * chün||甎||chün
 * ch'ün||穿||ch'ün
 * chung||中||tsung
 * ch'ung||充||ts'ung
 * }
 * chök||着||chök
 * ch'ök||綽||ch'ök
 * chong||狀||tsong
 * chöng||章||chöng
 * ch'öng||昌||ch'öng
 * chöü||追||tsúöü
 * ch'öü||吹||ts'úöü
 * chü||朱||chü
 * ch'ü||處||ch'ü
 * chuk||竹||tsuk
 * ch'uk||畜||ts'uk
 * chun||準||tsan
 * ch'un||春||ts'an
 * chün||甎||chün
 * ch'ün||穿||ch'ün
 * chung||中||tsung
 * ch'ung||充||ts'ung
 * }
 * chuk||竹||tsuk
 * ch'uk||畜||ts'uk
 * chun||準||tsan
 * ch'un||春||ts'an
 * chün||甎||chün
 * ch'ün||穿||ch'ün
 * chung||中||tsung
 * ch'ung||充||ts'ung
 * }
 * chün||甎||chün
 * ch'ün||穿||ch'ün
 * chung||中||tsung
 * ch'ung||充||ts'ung
 * }
 * ch'ung||充||ts'ung
 * }
 * }


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Page:Tales and Legends from the Land of the Tzar.djvu/233

Rh "Why did you come home?" she cried.

"What else were we to do?" the horses replied; "we ran off to the meadows, when down flew a number of birds of various colours, and nearly pecked our eyes out."

"Well then; you must not go to the meadows to-morrow, but go and disperse in the dark forests."

On the following morning the old fairy woke King Vladimir, and told him to go and look after the horses.

"Take care, King Vladimir!" she said; "if you lose one of my horses, your head shall be put on the twelfth pole."

But the moment King Vladimir drove the horses into the fields, the animals galloped away in all directions into the surrounding forests.

The king again sat down on a stone, and began thinking what he had better do, until he fell fast asleep.

The sun had disappeared behind a forest, when the lioness came running up to the sleeping king.

"Get up, King Vladimir!" she said; "the horses are all safe in their stables."

The king arose, and went back to the fairy's hut, where he heard her scolding the horses as before.

"What made you come back, you good-for-nothings?"

"We could not help ourselves; the moment we got into the forests, a number of wild beasts came rushing out from all sides, and nearly tore us to pieces."


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Page:The China Review, Or, Notes and Queries on the Far East, Volume 22 1RZBAQAAMAAJ.pdf/118

{|class="wikitable BallSyllabary" |wú||烏||ú
 * wuí||噲||waí
 * wún||援||ún
 * wút||活||út
 * yá||吔||yá
 * yaí||𠯋||yaí
 * yák||喫||yíek
 * yam||音||yam
 * yan||因||yan
 * yap||邑||yap
 * yáp||𫼸||yáp
 * yat||一||yat
 * yaú||有||yaú
 * yáú||拞||ngáú
 * ye||夜||ye
 * yí||伊||í
 * yik||億||ak
 * yím||鹽||ím
 * yín||煙||ín
 * ying||嬰||ang
 * yíp||葉||íp
 * yít||𤍠||ngít
 * yíú||夭||íú
 * yök||約||yök
 * yöng||洋||yöng
 * yöü||蕊||yôí
 * yü||于||ü
 * yuk||欲||yuk
 * yun||潤||yan
 * yün||冤||ün
 * yung||用||yung
 * yüt||穴||üt
 * }
 * yím||鹽||ím
 * yín||煙||ín
 * ying||嬰||ang
 * yíp||葉||íp
 * yít||𤍠||ngít
 * yíú||夭||íú
 * yök||約||yök
 * yöng||洋||yöng
 * yöü||蕊||yôí
 * yü||于||ü
 * yuk||欲||yuk
 * yun||潤||yan
 * yün||冤||ün
 * yung||用||yung
 * yüt||穴||üt
 * }
 * yöü||蕊||yôí
 * yü||于||ü
 * yuk||欲||yuk
 * yun||潤||yan
 * yün||冤||ün
 * yung||用||yung
 * yüt||穴||üt
 * }
 * yün||冤||ün
 * yung||用||yung
 * yüt||穴||üt
 * }
 * yüt||穴||üt
 * }
 * }

J. DYER BALL.


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218 "Well, then, you must go into the blue sea to-morrow."

In the morning the bad fairy sent King Vladimir to look after the horses.

"Mind you don't lose any of them, or your head shall be stuck on the twelfth pole."

But as soon as the king opened the stable doors, and let the horses out, the creatures at once galloped off before King Vladimir knew what had happened, and ran straight into the blue sea, and were covered up to their necks with water. King Vladimir could do nothing, so he seated himself on a stone to think, where he very soon fell asleep.

"Get up, King Vladimir," said a voice, and on waking up the young king saw the old bee, whose acquaintance he had made in the forest three days ago.

"Get up; the horses are all safe. Go back; but do not enter the hut, or let the fairy see you. Go into the very last stable, where you will find a mangy pony, lying on some hay in a corner; take it, and at midnight ride away on it as hard as you can."

King Vladimir thanked the bee, and went into the stable, where he hid himself behind some hay until midnight. He had hardly done so, when he heard the old fairy begin scolding the horses in the other stables.

"What made you return, you brutes?"

"We could not help ourselves, for when we had got into the sea a number of bees flew down upon us, and began stinging us so severely that we had to get out of the water, and run home as hard as we could."


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Page:Scott's Last Expedition, Volume 1.djvu/759

1911] their stops, but this proved altogether too much for us, so I forged ahead and camped at 1, as the others were far astern. During lunch I decided to try the 10-feet runners under the crossbars and we spent three hours in securing them. There was no delay on account of the slow progress of the other parties. Evans passed us, and for some time went forward fairly well up a decided slope. The sun was shining on the surface by this time, and the temperature high. Bowers started after Evans, and it was easy to see the really terrible state of affairs with them. They made desperate efforts to get along, but ever got more and more bogged—evidently the glide had vanished. When we got away we soon discovered how awful the surface had become; added to the forenoon difficulties the snow had become wet and sticky. We got our load along, soon passing Bowers, but the toil was simply awful. We were soaked with perspiration and thoroughly breathless with our efforts. Again and again the sledge got one runner on harder snow than the other, canted on its side, and refused to move. At the top of the rise I found Evans reduced to relay work, and Bowers followed his example soon after. We got our whole load through till 7, camping time, but only with repeated halts and labour which was altogether too strenuous. The other parties certainly cannot get a full load along on the surface, and I much doubt if we could continue to do so, but we must try again to-morrow.

I suppose we have advanced a bare 4 miles to-day and the aspect of things is very little changed. Our height is now about 1,500 feet; I had pinned my faith on getting


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 make them contemptible: it might almost be said that he makes them absurd in order to make them dignified. For example, the greatest creation of Bret Harte, greater even than Colonel Starbottle (and how terrible it is to speak of anyone greater than Colonel Starbottle!) is that unutterable being who goes by the name of Yuba Bill. He is, of course, the coach-driver in the Bret Harte district. Some ingenious person, whose remarks I read the other day, had compared him on this ground with old Mr. Weller. It would be difficult to find a comparison indicating a more completely futile instinct for literature. Tony Weller and Yuba Bill were both coach-drivers, and this fact establishes a resemblance just about as much as the fact that Jobson in “Rob Roy” and George Warrington in “Pendennis” were both lawyers; or that Antonio and Mr. Pickwick were both merchants; or that Sir Galahad and Sir Willoughby Patten were both knights. Tony Weller is a magnificent grotesque. He is a gargoyle, and his mouth, like the mouths of so many gargoyles, is always open. He is

title: Page:Varied Types (1903).djvu/201


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Page:Scott's Last Expedition, Volume 1.djvu/534

350 cloud in the middle heights. A watery moon shining through a filmy cirro-stratus—the outlook wonderfully desolate with its ghostly illumination and patchy clouds of flying snow drift. It would be hardly possible for a tearing, raging wind to make itself more visible. At Wind Vane Hill the anemometer has registered 68 miles between 9 and 10 —a record. The gusts at the hut frequently exceed 70 m.p.h.—luckily the temperature is up to +5°, so that there is no hardship for the workers outside.

Thursday, July 13.—The wind continued to blow throughout the night, with squalls of even greater violence than before; a new record was created by a gust of 77 m.p.h. shown by the anemometer.

The snow is so hard blown that only the fiercest gusts raise the drifting particles—it is interesting to note the balance of nature whereby one evil is eliminated by the excess of another.

For an hour after lunch yesterday the gale showed signs of moderation and the ponies had a short walk over the floe. Out for exercise at this time I was obliged to lean against the wind, my light overall clothes flapping wildly and almost dragged from me; later when the wind rose again it was quite an effort to stagger back to the hut against it.

This morning the gale still rages, but the sky is much clearer; the only definite clouds are those which hang to the southward of Erebus summit, but the moon, though bright, still exhibits a watery appearance, showing that there is still a thin stratus above us.


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 Rh


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 incline, but these served to form a heel-catch to those who did remain erect. Local antiquaries pronounce this to be a fortified cave, unique of its kind, devised to protect the road to Lussac, at the strategical point where it could best be defended. I have myself no manner of doubt that it was a so-called demi-dolmen, a tribal ossuary of neolithic man. Not only is it quite in character with his megalithic remains scattered over the country, but treasure-seekers who in digging displaced and brought down one of the side slabs found two diorite axes, one of which I was fortunate enough to secure. Persons in Gaulish or post-Roman times would not have dreamed of going to the enormous labour and attempting the difficult task of forming the sides with stone slabs, but would have closed the recess with a wall. The cave goes by the name of La Grotte de Jioux (of Jove) which in itselt hints its remote antiquity.

But, although I do not believe that this cave was constructed as a military vidette and guard-house, I have no doubt whatever that it may have been so used, and it is very probable that at this point took place the first brush of Clovis and his Franks with the enemy, for the valley bears the name of Le Vallon des Goths. Alaric knew, what Clovis did not, that there was a ford at Lussac, and if he had any military foresight, he would plant a body of men across the road in the throat of the valley to intercept the Franks on their way. As it was, the Franks pushed on, and seeing a deer wade across the river at Lussac, raised exultant shouts, plunged into the Vienne, and crossed. The result was the battle of Voulon, in which the Arian Goths were defeated, and their empire broken down. The Grotto of Jioux was but an accidental outpost, but those I


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 am about to describe were artificially contrived for that purpose.

In the broad valley of Le Loir below Vendôme, the great elevated chalk plateau of Beauce has been cut through, leaving precipitous white sides. At one point a buttress of rock has been thrown forward that dominates the road and also the ford over the river. Its importance was so obvious that it was seized upon in the Middle Ages and converted into a fortress. The place is called Le Gué du Loir. Not far off is the Château of Bonnaventure, where Antoine de Bourbon idled away his time drinking Surène wine, and carrying on an intrigue with a wench at le Gué, whilst his wife, Jeanne d'Albret, was sending gangs of bandits throughout her own and his territories to plunder, burn, and murder in the name of religion. But Antoine cared for none of these things. At Bonnaventure he composed the song:—

Molière introduced a couplet of this lay into his Alceste.

The rock has been excavated throughout, and in places built into, and on to. Two flights of steps cut in the cliff give access to the main portion of the castle. That on the right leads first of all to the Governor's room, hewn out ot a projecting portion of the rock floored with tiles, with a good fireplace and a broad window, commanding the Loir and allowing the sun to flood the room. The opening for


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 the window formerly contained a casement. There is a recess for a bed, and there are in the sides numerous cupboards and other excavations for various purposes. This chamber is entered through that of the sentinel, which was also furnished with a fireplace. The stair leads further up to a large hall artificially carved out of the chalk, but not wholly, for there had been originally a natural cavern of small dimensions, which had a gaping opening. This opening had been walled up with battlements and loopholes, but the old woman to whom the rock or this portion of the rock belongs, and who is a cave-dweller at its foot, has demolished the wall to breast-height, so as to let the sun and air pour in, for she uses the cave as a drying place for her wash. From this hall or guard-room two staircases cut in the rock lead to other chambers also rock-hewn higher up.

The second main stair outside gives access to a second series of chambers.

Unfortunately, some rather lofty modern buildings have been erected in front of this cliff castle, so as to render it impossible to make of it an effective sketch or to take a satisfactory photograph.

Still more interesting is La Roche Corail below Angoulême on the river Charente, opposite Nersac and the confluence of the Boeme with the Charente. Where is now a bridge was formerly a ford. The castle of Nersac commanded one side of the valley, and La Roche Corail the other. This cliff castle was at one time very extensive. The rock rises from a terrace partly natural and partly artificial, on which a comparatively modern chateau has been erected that masks the rock-face. But on entering the court behind the château the bare cliff is seen with a yawning opening half-way up, and indentations in the wall of rock show that at one time there were hanging barbacans and chambers suspended before the rock as well as others hewn out of it.


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 To reach the interior it is necessary to enter a grange that has been built at right angles to the rock, and in it to mount a ladder to another granary that occupies a floor of solid rock. Thence a second ladder leads into the caves. Formerly, however, the ascent was made by steps cut in the side of the cliff, and openings from within enabled the garrison with pikes to precipitate below any who were daring enough to venture up the steps uninvited.

The ladder gives admission through a broken door cut in the rock into a long vaulted hall, that was formerly floored across so as to convert it into two storeys. The lower storey or basement opens on the left-hand side into a second cave, and the upper by a passage cut in the rock communicated with another range of chambers looking out of the face of the crag by artificial windows. Immediately in front of one entering the hall is the portal of admission to another very large hall that had originally well-shaped windows, and a door leading on to the wooden balcony, but this has all been broken away forming the ragged opening seen from below.

In 1534 Calvin was staying in the adjoining parish of S. Saturnin with a canon of the cathedral of Angoulême, who had a good library, and was disposed to favour him. The house is pointed out, but it has been rebuilt or altered. A cavern there is also shown to which Calvin retired to meditate on his Reform. It is now a cellar full of casks, wheelbarrows, and rubbish. It was never a very pleasing resort, and he preferred to come to La Roche Corail where, in the cavern just described, he had more space, and less likelihood of being disturbed. And here it was that he wrote his "Institute of the Christian Religion." One is disposed to rest here for awhile and muse, and consider


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 what a manufactory of explosives this cavern was. From this vaulted chamber was launched that doctrine which was to wreck nearly every church in France and drench the soil in blood. I do not in the least suppose that Calvin saw any beauty in the view through the gap in the rock—not in the island below with its poplars and willows whose branches trail in the bottle-green waters of the Charente—not in the lush meadows with the yellow flags fluttering by the waterside—not in the grey towers of Nersac castle and church rising above dark woods, flushed orange in the setting sun against a purple sky. I do not suppose that he noticed the scent of the wallflowers growing out of every fissure wafted in on the summer air. There was logic thought in his head, but no poetry in his heart, no sweetness in his soul. He looked across in the direction of Angoulême, and wished he had a ladder and a hammer that he might smash the serene face of the Saviour looking down on the city from the western gable of the cathedral. Five and twenty years must elapse before that wondrous domed pile was to be wrecked by the Huguenots, his disciples. But here it was, in this cavern, that he elaborated his system of reform, treating Christianity as a French peasant treats an oak tree, pollarding it, and lopping off every lateral, natural outgrowth. Assuredly, many a volatile superstition had lodged in its branches, and many a gross abuse couched under its shadow. But these might have been scared away without mutilating the tree till it was reduced to a stump. He desired, doubtless, to bring back the Church to the condition in which he supposed it had been when born. But one cannot reduce an adult to the simpHcity and innocence of childhood by stripping off all his clothes, and denying him the conventional fig-leaf.

Having shattered the Catholic faith by the crowbar of his logic, he sought to build up a grotto out of its fragments,


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67 thickened, the channel is narrowed, and on section the vessels remain patent, while they assume a compact, translucent, shining appearance, so that they come to resemble silvery cords or threads. After a time the material extends to the cells and intercellular tissues, enlarging the former and making them more spherical, at the same time displacing- their normal contents, the nucleus being ultimately destroyed. The cells then coalesce; and the whole structure presents finally the peculiar glistening appear, ance mentioned above. It is supposed by some that the substance makes its way directly through the walls of the vessels, and afterwards extends into the tissues around.

2. Organs and tissues involved.—Albuminoid disease is particularly liable to affect small arteries and capillaries, cells, and involuntary muscular fibres. Any organ or tissue in the body may be implicated, and usually several organs are involved at the same time. The liver, spleen, kidneys, and absorbent glands are most frequently affected, but other structures are also attacked sometimes, namely, the stomach and intestines, supra-renal capsules, bones, voluntary muscles, brain and spinal cord and their membranes, tonsils, serous membranes, heart, lungs, pancreas, uterus, and bladder; morbid deposits, such as inflammatory exudations, tubercle, or cancer, may also present the albuminoid change. In some cases, when it follows disease of bones, it begins in the neighbouring lymphatic glands. In many of the organs above-mentioned the disease seems to be limited to the minute vessels.

—Various theories have been held as to the nature and origin of the morbid material characteristic of albuminoid degeneration. Virchow, on account of its chemical reactions, formerly considered the substance to be allied to starch or cellulose—hence the term amyloid; others believed it to be a form of cholesterin. These views have, however, been entirely disproved, and that commonly adopted at present is, that the material is of an albuminoid nature, being allied to albumen and other protein elements. The results of chemical analysis show that at any rate it is a nitrogenous compound. Dr. Dickinson affirms that organs in which it exists are deficient in alkaline salts, and this observer has advanced the view that the substance consists of de-alkalized fibrin. Marcet found that the affected structures were deficient in potash and phosphoric acid, but contained excess of soda and chlorine. With regard to the origin of the albuminoid material, two distinct theories are held, viz., that it is the product of some local degeneration or metamorphosis of albuminous tissues; or that there is a direct deposit from the blood, in consequence of some alteration in this fluid, which deposit infiltrates the tissues. Nothing of the nature of this albuminoid substance has, however, been detected in the blood, and therefore the presumption is that it is modified after it escapes from the vessels. Dickinson thinks that the blood is deprived of its alkali, as the result of prolonged suppuration, and that the material is then deposited. Dr. Grainger Stewart strongly advocates the degeneration theory, and calls


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title: User:Brad606/TUB06


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Page:The Atlantic Monthly Volume 1.djvu/455

1858.] very hardy, not being injured even by snow, yet the weather has great influence on the quality of the leaves, and many directions are given by Chinese authors with regard to the proper care to be observed in the culture of the plant. Leaves are first gathered from it when it is three years old, but it does not attain its greatest size for six or seven,—thriving, according to care and situation, from ten to twenty years.

The famous Bohea Hills are said to derive their name from two brothers, Woo and E, the sons of a prince in ancient times, who refused to succeed him, and came to reside among these mountains, where to this day the people burn incense to their memory. Another legend states that the people of this district were first taught the use of tea as a beverage by a venerable man who suddenly appeared among them, holding a sprig in his hand, from which he proposed that they should make a decoction and drink it On their doing so and approving the drink, he instantly vanished.

There is very great choice in the teas; connoisseurs being much more particular in their taste than even the most fastidious wine-drinkers. Purchasers inquire the position of the gardens from which the samples were taken; teas from the summit of a hill, from the middle, and from the base bearing different values. Some of the individual shrubs are greatly prized; one being called the "egg-plant," growing in a deep gully between two hills, and nourished by water which trickles from the precipice. Another is appropriated exclusively to the imperial use, and an officer is appointed every year to superintend the gathering and curing. The produce of such plants is never sent to Canton, being reserved entirely for the emperor and the grandees of the court, and commanding enormous prices; the most valuable being said to be worth one hundred and fifty dollars a pound, and the cheapest not less than twenty-five dollars. There is said to be a very fine kind called "monkey tea," from the fact that it grows upon heights inaccessible to man, and that monkeys are therefore trained to pick it. For the truth of this story I cannot vouch, and of course ask no one to believe it.

The picking of the leaf is frequently performed by a different class of laborers from those who cultivate it; but the customs vary in different places. There are four pickings in the course of the year,—the last one, however, being considered a mere gleaning. The first is made as early as the 15th of April, and sometimes sooner, when the delicate buds appear and the foliage is just opening, being covered with a whitish down. From this picking the finest kinds of tea are made, although the quantity is small. The next gathering is technically called "second spring," and takes place in the early part of June, when the branches are well covered, producing the greatest quantity of leaves. The third gathering, or "third spring," follows in about one month, when the branches are again searched, the most common kinds of tea being the result. The fourth gleaning is styled the "autumn dew"; but this is not universally observed, as the leaves are now old and of very inferior quality. These poorest sorts are sometimes clipped off with shears; but the general mode of gathering is by hand, the leaves being laid lightly on bamboo trays.

The curing of the leaf is of the utmost importance,—some kinds of tea depending almost entirely for their value on the mode of preparation. When the leaves are brought to the curing-houses, they are thinly spread upon bamboo trays, and placed in the wind to dry until they become somewhat soft; then, while lying on the trays, they are gently rubbed and rolled many times. From the labor attending this process the tea is called kung foocha, or "worked tea"; hence the English name of Congou. When the leaves have been sufficiently worked they are ready for the firing, and operation requiring the exercise of the greatest care. The iron pan used in the process is made red hot, and the workman sprinkles a handful of leaves upon


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448 it and waits until each leaf pops with a slight noise, when he at once sweeps all out of the pan, lest they should be burned, and then fires another handful. The leaves are then put into dry baskets over a pan of coals. Care is taken, by laying ashes over the fire, that no smoke shall ascend among the leaves, which are slowly stirred with the hand until perfectly dry. The tea is then poured into chests, and, when transported, placed in boxes enclosing leaden canisters, and papered to keep out the dampness. In curing the finest kinds of tea, such as Powchong, Pekoe, etc., not more than ten to twenty leaves are fired in the pan at one time, and only a few pounds rolled at once in the trays. As soon as cured, these fine teas are packed in papers, two or three pounds in each, and stamped with the name of the plantation and the date of curing.

Beside the hongs in Canton, which I shall presently speak of, there are large buildings, styled "pack-houses," containing all the apparatus for curing. Into these establishments foreigners are not readily admitted. Two or three rows of furnaces are built in a large, airy apartment, having a number of hemispherical iron pans inserted into the brick-work, two pans being heated by one fire. Into these pans the rolled leaves are thrown and stirred with the arm until too hot for the flesh to bear, when they are swept out and laid on a table covered with matting, where they are again rolled. The firing and rolling are sometimes repeated three or four times, according to the state of the leaves. The rolling is attended with some pain, as an acrid juice exudes from the leaves, which acts upon the hands; and the whole operation of tea-curing and packing is somewhat unpleasant, from the fine dust arising, and entering the nose and mouth,—to prevent which, the workmen often cover the lower part of the face with a cloth. The leaves are frequently tested, during the process of curing, by pouring boiling water upon them; and their strength and quality are judged of by the number of infusions that can be made from the same leaves, as many as fifteen drawings being obtained from the richest kinds.

Many persons have imagined that the peculiar effects of green tea upon the nerves after drinking it, as well as its color, are owing to its having been fired in copper pans, which is not the case, as no copper instruments are used in its manufacture; but these effects are probably due to the partial curing of the leaf, and its consequent retention of many of the peculiar properties of the growing plant. The bloom upon the cheaper kinds of green tea is produced by gypsum or Prussian blue; and perhaps the effects alluded to are in some degree caused by these minerals. Such teas are prepared entirely for exportation, the Chinese themselves never drinking them.

Each foreign house employs an inspector or taster, whose business it is to examine samples of all the teas submitted to the firm for purchase. When a taster has a lot of teas to examine, several samples, selected from various chests, being placed before him, he first of all takes up a large handful and smells it repeatedly, then chews some of it, and records his opinion in a huge folio, wherein are chronicled the merits of every lot examined by him; and lastly, he puts small portions of the various kinds into a great many little cups into which boiling water is poured, and when the tea is drawn he takes a sip of the infusion. With all due deference to his art, sometimes, when the taster does not know exactly what to say of a sample, the book will bear witness that the parcel has "a decided tea flavor." But the accuracy of good tasters is really wonderful; they will classify and fix the true value of a chop of teas beyond dispute, and the East India Company's tasters were occasionally of eminent service in detecting frauds. A first-rate tea-taster may make a fortune in a few years; but, from constantly inhaling minute particles of the herb, the health is frequently ruined.


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Page:Supplement to the fourth, fifth, and sixth editions of the Encyclopaedia Britannica - with preliminary dissertations on the history of the sciences - illustrated by engravings (IA gri 33125011196181).pdf/849

 ASIA. Under this head in the Encyclopædia, there is a general survey of Asia and its Divisions, and of the prevailing manners, religions, and institutions of its chief Communities. We have, in this volume, already treated in a general way of those grand Divisions of our Globe, and , and notwithstanding the extent of the space devoted to in the body of the work, the recent acquisitions to our knowledge of that Continent might also, without impropriety, have been made the subject of a supplemental article in this place; but as these additions are more susceptible, than in the case either of or, of being separately introduced under the names of particular Countries and Islands, we shall, in order to save room for other matters, adopt that course in regard to the recent improvements in Asiatic geography.

it is proper to mention, that the best of the later Geographers have separated a vast number of Islands formerly described as Asiatic Islands, from that Continent, and arranged them with a multitude of other Countries and Islands to the south of Asia, and in the Pacific Ocean, under the two new divisions of and. The grounds of this arrangement, which was first suggested by the learned President des Brosses, are stated with sufficient clearness by Mr Pinkerton, in his introductory observations on the Islands; and the reader of this work will also find them explained under our articles on and.

We may here observe generally, that a great deal yet remains to be done in order to complete the geography of Asia. Its central mountains, perhaps the most stupendous masses on the Globe, present a wholly unexplored field of inquiry; the origin, the course, and progressive increase of some of its greatest rivers, remain still to be ascertained; and scarce any of its internal seas, except the Caspian, has been the subject of actual survey. The interior regions of Siberia require much illustration. The same may be said, and perhaps in a still stronger degree, of the central parts of Tartary, of the northern parts of China, and of those of India. As to the probable population of this Continent, it is enough to say, that differences of a hundred millions exist in regard to that of China alone. From all this it appears how very defective our knowledge is of this important Division of the Globe, and what a vast and varied field it still presents to incite the inquiries, and reward the enterprise of future Explorers. ASPHALTITES, a Lake of Judea, near Jerusalem, so called from the Bitumen which floats upon its surface; and equally well known under the name of the Dead Sea;—a name associated with many fables, and derived from a long standing belief, that no creature could live in its waters, or within the reach of its pestiferous exhalations.

The reader will find the substance of the ancient accounts, and those of the earlier Travellers in regard to this famous Lake, in the article under its name in the Encyclopædia; we shall therefore confine ourselves in this place, to such authentic particulars, as have been furnished by the observations and inquiries of those who have recently visited the Holy Land.

This Lake is supposed to be from sixty to seventy miles in length, and from ten to twenty in breadth. It is curved like a bow, and placed between two ranges of mountains, of lofty and majestic appearance. But the grandeur of its features is blended with an air of sadness and desolation, which seems to accord well with the marvellous stories associated with its name.

Some of these fables have an obvious foundation in its physical properties. Its taste is remarkably bitter, saline, and pungent; and hence has arisen the notion of its pestiferous vapours and deadly influence. We are told even by Volney, that its waters are destructive both of animal and vegetable life; but he denies that its vapours have any deadly quality, for swallows, he says, are often seen to skim its surface without injury. M. De Chateaubriand, who visited its shores in 1807, with an imagination abundantly disposed to the marvellous, has given the first decided testimony that it abounds with fish. He reached the Lake when it was already dark, and passed the night among some Arab tents. “About midnight,” says he, “I heard a noise upon the Lake, and was told by the Bethlehemites who accompanied me, that it proceeded from legions of small fish which come out and leap about on the shore.” This interesting Traveller speaks in the following terms of its saline properties: “The first thing I did on alighting was to walk into the Lake up to my knees, and to taste the water. I found it impossible to keep it in my mouth. It far exceeds that of the sea in saltness, and produces upon the lips the effect of a strong solution of alum. Before my boots were completely dry, they were covered with salt: our clothes, our hats, our hands, were in less than three hours impregnated with this mineral.”

The common story, that nothing will sink in it, is to be ascribed to the extraordinary density of its waters. Bodies follow the general law, and sink or swim, according to the proportion of their gravity to the gravity of the water of the Lake; but its specific gravity is such, that a man may lie upon its surface motionless, without danger of sinking. This effect was experienced by Pococke, and by a Scottish traveller, Mr Gordon of Clunie, who also bathed in it. This gentleman brought home a phial of its water, and Dr Marcet found its specific gravity to be 1.211; a degree of density, says he, “not to be met with in any other natural water.” Dr Marcet was employed to analyse Mr Gordon’s specimen, which that gentleman had presented to Sir Joseph Banks in 1807; and the whole process, with its results, is detailed in the Philosophical Transactions for that year. It was found that 100 grains of the water contains the following substances, in the under-mentioned proportions:


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512 of Giotto was employed by Benedict XII. in the year 1340"; but he does not tell us how the pencil answered the purpose for which it was employed in a hand other than its master's. Giotto died in 1336.

Such are specimens of errors of statement. We can give but a very few examples of the numerous mistranslations we have marked,—mistranslations of such a nature as to throw a doubt over the statements in every portion of the book. In a letter to Luca Martini, thanking him for a copy of Varchi's commentary on one of his own sonnets, Michel Angelo says: "Since I perceive by his words and praises that I am esteemed by the author to be that which I am not, I pray you to offer such words to him from me as befit such love, affection, and courtesy." This Mr. Harford translates as follows: "And since I am almost persuaded by the praises and commendations of its author to imagine myself to be that which I am not, I must entreat you to convey to him some expressions from me appropriate to such love, affection, and courtesy." Again, writing to Benvenuto Cellini, to express his pleasure in a portrait bust of his execution, which he had just seen, he says: "Bindo Altoviti took me to see it. I had great pleasure in it, but it vexed me much that it was put in a bad light." Mr. Harford renders: "Bindo Altoviti recently showed me his own portrait, which delighted me, but he little understood me, for he had placed it in a very bad light." Again, in another letter, Michel Angelo says: "Teaching him that which I know that his father wished he should learn," which Mr. Harford transforms into, "I will teach him all that I know, and all that his father wished him to learn." Rather a considerable promise!—In another letter, Mr. Harford makes Michel Angelo say, "I thank you for everything you say on the subject, as far as I can foresee the future." Michel Angelo did say: "For which news I thank you heartily," or, to translate literally and to show the origin of Mr. Harfbrd's error, "I thank you as much as I know how I can,"—quanta so e posso.

One would have supposed that a consciousness of an imperfect acquaintance with the Italian language might at least have deterred Mr. Harford from attempting poetical translations from it. But he has notwithstanding rendered many of Michel Angelo's poems into English verse. Of these poems Wordsworth said, "So much meaning has been put by Michel Angelo into so little room, and that meaning sometimes so excellent in itself, that I found the difficulty of translating him insurmountable. I attempted at least fifteen of the sonnets, but could not anywhere succeed." How Mr. Harford has succeeded where Wordsworth failed, we will leave our readers to infer.

We wish that dissatisfaction with Mr. Harford's volumes might lead some better qualified person to attempt the biography of Michel Angelo.

∵The continuation of the story, "Akin by Marriage," is unavoidably deferred, owing to the severe illness of the author. It will be resumed as soon as his health shall permit.


text: Index:The Scattering of Electrons by a Single Crystal of Nickel.pdf


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User:Cirosantilli2

Here: https://en.wikipedia.org/wiki/User:Cirosantilli2

title: User:Cirosantilli2


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Page:Tolstoy on Shakespeare.djvu/110

Rh in what the beauties of Shakespeare consisted, but were merely vaguely and exaggeratedly enraptured with the whole of Shakespeare, extolling some favorite passages: the unbuttoning of Lear's button, Falstaff's lying, Lady Macbeth's ineffaceable spots, Hamlet's exhortation to his father's ghost, "forty thousand brothers," etc.

"Open Shakespeare," I used to say to these admirers, "wherever you like, or wherever it may chance, you will see that you will never find ten consecutive lines which are comprehensible, unartificial, natural to the character that says them, and which produce an artistic impression. (This experiment may be made by any one. And either at random, or according to their own choice.) Shakespeare's admirers opened pages in Shakespeare's dramas, and without paying any attention to my criticisms as to why the selected ten lines did not satisfy the most elementary demands of esthetic and common sense, they were enchanted with the very thing which to me appeared absurd, incomprehensible, and inartistic. So that, in general, when I endeavored to get from Shakespeare's worshipers an explanation of his great

title: Page:Tolstoy on Shakespeare.djvu/110


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Page:CTRL0000034605 - Transcribed Interview of Angela McCallum, (December 8, 2021).pdf/81

81 script that's in this text chain we're looking at behind tab 6?

No.

Okay. What would you have—is there a different script you would've used?

It would be the document behind tab 7.

Okay. And so let's turn to tab 7. And, for the record, it's Bates 1570.

So this here, it's called a "Basic Script." Why don't you walk us through what it is that we're looking at?

Can I have a moment to review this document?

Oh, yes, of course. Absolutely.

Thank you.

Okay.

So this appears to be a script to use with elected officials—is that right?—when you're calling them.

Correct.

Okay. How did you use, if at all, this script when you contacted elected officials in Georgia?

I would've read it.

Read it—

Read it. I mean, called them, read the script.

Do you recall who sent you this script?

This seems to be a variation of the original script I received via text message from Michael Brown. I would assume that this script also came from Michael Brown with edits specific to Georgia.

 * BY


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Rh ness, I met in them exactly the same attitude which I have met, and which is usually met, in the defenders of any dogmas accepted not through reason, but through faith. It is this attitude of Shakespeare's admirers toward their object—an attitude which may be seen also in all the mistily indefinite essays and conversations about Shakespeare—which gave me the key to the understanding of the cause of Shakespeare's fame. There is but one explanation of this wonderful fame: it is one of those epidemic "suggestions" to which men constantly have been and are subject. Such "suggestion" always has existed and does exist in the most varied spheres of life. As glaring instances, considerable in scope and in deceitful influence, one may cite the medieval Crusades which afflicted, not only adults, but even children, and the individual "suggestions," startling in their senselessness, such as faith in witches, in the utility of torture for the discovery of the truth, the search for the elixir of life, the philosopher's stone, or the passion for tulips valued at several thousand guldens a bulb which took hold of Holland. Such irrational "suggestions" always have been ex

title: Page:Tolstoy on Shakespeare.djvu/111


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Page:CTRL0000034605 - Transcribed Interview of Angela McCallum, (December 8, 2021).pdf/82

82 Ms. McCallum, just to tie this back to the conversation that we were having before our last break, is this connected with that meeting that you recalled you had with a couple of your colleagues as well as Mr. Brown in a hotel when you were in Philadelphia in late November?

Yes. There may have been more than one of those same types of meeting with the script being presented to us and us being assigned, you know, which representatives or senators to call, based on what State it was.

Okay. And that first meeting that we had just started to talk about before our break, do you remember, was that specific to one State?

I don't remember what State was called into first.

How many of those meetings with accompanying scripts and phone lists do you recall participating in with Mr. Brown?

I can recall a few States. I'm not sure how many different meetings there were, you know, to go over a specific State. Some of those States were Michigan, as you know; Georgia; Arizona. And Nevada and Pennsylvania come to my mind. I don't know if there were calls performed into both of those States.

Okay.

And so I asked you some questions about the first meeting, but perhaps I should've been a bit more broad.

Uh-huh.

In all of the meetings that you had with Mr. Brown related to calls into particular States—and I take your point that it may have been a couple of States that were discussed at the same meeting. But, in all of those meetings, do you remember in any of those meetings Mr. Brown telling you what the purpose was of making these calls?

No, I don't remember any particular purpose that he mentioned in any


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Rh isting, and still exist, in all spheres of human life—religious, philosophical, political, economical, scientific, artistic, and, in general, literary—and people clearly see the insanity of these suggestions only when they free themselves from them. But, as long as they are under their influence, the suggestions appear to them so certain, so true, that to argue about them is regarded as neither necessary nor possible. With the development of the printing press, these epidemics became especially striking.

With the development of the press, it has now come to pass that so soon as any event, owing to casual circumstances, receives an especially prominent significance, immediately the organs of the press announce this significance. As soon as the press has brought forward the significance of the event, the public devotes more and more attention to it. The attention of the public prompts the press to examine the event with greater attention and in greater detail. The interest of the public further increases, and the organs of the press, competing with one another, satisfy the public demand. The public is still more

title: Page:Tolstoy on Shakespeare.djvu/112


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Rh interested; the press attributes yet more significance to the event. So that the importance of the event, continually growing, like a lump of snow, receives an appreciation utterly inappropriate to its real significance, and this appreciation, often exaggerated to insanity, is retained so long as the conception of life of the leaders of the press and of the public remains the same. There are innumerable examples of such an inappropriate estimation which, in our time, owing to the mutual influence of press and public on one another, is attached to the most insignificant subjects. A striking example of such mutual influence of the public and the press was the excitement in the case of Dreyfus, which lately caught hold of the whole world.

The suspicion arose that some captain of the French staff was guilty of treason. Whether because this particular captain was a Jew, or because of some special internal party disagreements in French society, the press attached a somewhat prominent interest to this event, whose like is continually occurring without attracting any one's attention, and without being able to interest even the French military, still less the whole world. The public turned

title: Page:Tolstoy on Shakespeare.djvu/113


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Rh its attention to this incident, the organs of the press, mutually competing, began to describe, examine, discuss the event; the public was yet more interested; the press answered to the demand of the public, and the lump of snow began to grow and grow, till before our eyes it attained such a bulk that there was not a family where controversies did not rage about "l'affaire." The caricature by Caran d'Ache representing at first a peaceful family resolved to talk no more about Dreyfus, and then, like exasperated furies, members of the same family fighting with each other, quite correctly expressed the attitude of the whole of the reading world to the question about Dreyfus. People of foreign nationalities, who could not be interested in the question whether a French officer was a traitor or no —people, moreover, who could know nothing of the development of the case—all divided themselves for and against Dreyfus, and the moment they met they talked and argued about Dreyfus, some asserting his guilt with assurance, others denying it with equal assurance. Only after the lapse of some years did people begin to awake from the "suggestion" and to understand that they

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83 meeting for any State.

Okay.

Whether it was Mr. Brown or someone else who participated in the meeting, did anyone ever tell you or give you an idea of how these calls fit into the overall strategy for the Trump campaign?

No. Like I said, I wasn't involved in any conversations about strategy, being a low-level campaign employee. This was my first job out of college. No one would've ever talked to me about strategy.

Well, in those meetings, when you're talking to Mr. Brown about making these calls, did he ever give you any background information at all about the project, other than the script and the numbers to call?

In one text message—I don't know what exhibit number it would be—I believe that Michael Brown said something along the lines of "I spoke with Roman," referring to Mike Roman. But that's really all that comes to mind in regards to background on the calls.

Okay. Did you ever learn what the relevance was to Mr. Brown of speaking to Roman?

Well, like I stated earlier, Michael Brown reported to Mike Roman, so a conversation between, you know, my boss and his boss would make sense.

Understood. So was it your understanding at the time that Mr. Brown was giving you an assignment that Mr. Roman had either given to him or had directed him to give to you?

I would assume that that would be the case, but that would be something you'd have to, you know, confirm with Michael Brown.

Understood.


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Rh could not possibly know whether Dreyfus was guilty or not, and that each one had thousands of subjects much more near to him and interesting than the case of Dreyfus.

Such infatuations take place in all spheres, but they are especially noticeable in the sphere of literature, as the press naturally occupies itself the more keenly with the affairs of the press, and they are particularly powerful in our time when the press has received such an unnatural development. It continually happens that people suddenly begin to extol some most insignificant works, in exaggerated language, and then, if these works do not correspond to the prevailing view of life, they suddenly become utterly indifferent to them, and forget both the works themselves and their former attitude toward them.

So within my recollection, in the forties, there was in the sphere of art the laudation and glorification of Eugène Sue, and Georges Sand; and in the social sphere Fourier; in the philosophical sphere, Comte and Hegel; in the scientific sphere, Darwin.

Sue is quite forgotten, Georges Sand is being forgotten and replaced by the writings of

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Rh Zola and the Decadents, Beaudelaire, Verlaine, Maeterlinck, and others. Fourier with his phalansteries is quite forgotten, his place being taken by Marx. Hegel, who justified the existing order, and Comte, who denied the necessity of religious activity in mankind, and Darwin with his law of struggle, still hold on, but are beginning to be forgotten, being replaced by the teaching of Nietzsche, which, altho utterly extravagant, unconsidered, misty, and vicious in its bearing, yet corresponds better with existing tendencies. Thus sometimes artistic, philosophic, and, in general, literary crazes suddenly arise and are as quickly forgotten. But it also happens that such crazes, having arisen in consequence of special reasons accidentally favoring to their establishment, correspond in such a degree to the views of life spread in society, and especially in literary circles, that they are maintained for a long time. As far back as in the time of Rome, it was remarked that often books have their own very strange fates: consisting in failure notwithstanding their high merits, and in enormous undeserved success notwithstanding their triviality. The saying arose: "pro

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 just at that time, had started the Advice to the Lovelorn department a few months before, and had put Ann in charge of it because she had done so well writing sob stories. It was beginning to "pull" quite surprisingly as a circulation feature, especially since her smiling little picture, vignetted in a cut with a border of tiny hearts, had been put at the head of the column. Under the cut was the legend: "Cynthia, a Sympathetic Adviser in Matters of the Heart." Ann didn't know whether to be pleased or not at the growing popularity of her feature. This was not quite the kind of thing she had hoped for when she entered the newspaper world. But—the more letters there were from the lovelorn, the sooner she might get that needed raise.

With a little sigh she got out her penknife, began slitting the envelopes, ceased to be Ann Austin and became Cynthia, the sage and gentle arbiter over her troubled parliament of love.

It was a task that required no small discretion and tact, because Cynthia, whatever her private misgivings, tried to perform it with some honest idealism. In the first place, the letters that were obviously merely humorous, or were amorous attempts to inveigle her into private correspondence, were discarded. Then the letters to be


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Rh captu lectoris habent sua fata libelli"—i.e., that the fate of books depends on the understanding of those who read them. There was harmony between Shakespeare's writings and the view of life of those amongst whom his fame arose. And this fame has been, and still is, maintained owing to Shakespeare's works continuing to correspond to the life concept of those who support this fame.

Until the end of the eighteenth century Shakespeare not only failed to gain any special fame in England, but was valued less than his contemporary dramatists: Ben Jonson, Fletcher, Beaumont, and others. His fame originated in Germany, and thence was transferred to England. This happened for the following reason:

Art, especially dramatic art, demanding for its realization great preparations, outlays, and labor, was always religious, i.e., its object was to stimulate in men a clearer conception of that relation of man to God which had, at that time, been attained by the leading men of the circles interested in art.

So it was bound to be from its own nature, and so, as a matter of fact, has it always

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84 And I asked you a couple questions earlier about that first meeting, but for all of these meetings or any other communications that you had with Mr. Brown about calls to State and local officials, did anyone, you or any of your colleagues, ever raise any concerns about making the calls?

I had concerns after the, you know, Michigan voicemail was publicized. My concerns were related to the fact that my personal cell phone number had been published on the internet, and, you know, that was my full name. So my concerns were mostly about, you know, how that would affect me personally.

Understood. And I'm sorry that that happened.

Yes.

Okay. That's all I had.

 * BY

Do you recall who received this script related to Georgia?

Are you asking who received the scripts or who received the calls?

Who received the actual—the script?

The actual copy of the script?

Right, what we're looking at behind tab 7.

That would be the same group of people I mentioned earlier with the calls: myself, Madison Crawley, Chelsea Barnett, and Kerrick Kuder.

And what was your understanding as to what you were supposed to do with this script?

This is a script to make the same calls that we've been talking about to the State representatives and State senators.

And did you have any sort of ability to edit the script or revise the script?

As a low-level campaign staffer, you know, I never really altered from the


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Rh been among all nations—Egyptians, Hindus, Chinese, Greeks—commencing in some remote period of human life. And it has always happened that, with the coarsening of religious forms, art has more and more diverged from its original object (according to which it could be regarded as an important function—almost an act of worship), and, instead of serving religious objects, it strove for worldly aims, seeking to satisfy the demands of the crowd or of the powerful, i.e., the aims of recreation and amusement. This deviation of art from its true and high vocation took place everywhere, and even in connection with Christianity.

The first manifestations of Christian art were services in churches: in the administration of the sacraments and the ordinary liturgy. When, in course of time, the forms of art as used in worship became insufficient, there appeared the Mysteries, describing those events which were regarded as the most important in the Christian religious view of life. When, in the thirteenth and fourteenth centuries, the center of gravity of Christian teaching was more and more transferred, the worship

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Rh of Christ as God, and the interpretation and following of His teaching, the form of Mysteries describing external Christian events became insufficient, and new forms were demanded. As the expression of the aspirations which gave rise to these changes, there appeared the Moralities, dramatic representations in which the characters were personifications of Christian virtues and their opposite vices.

But allegories, owing to the very fact of their being works of art of a lower order, could not replace the former religious dramas, and yet no new forms of dramatic art corresponding to the conception now entertained of Christianity, according to which it was regarded as a teaching of life, had yet been found. Hence, dramatic art, having no foundation, came in all Christian countries to swerve farther and farther from its proper use and object, and, instead of serving God, it took to serving the crowd (by crowd, I mean, not simply the masses of common people, but the majority of immoral or unmoral men, indifferent to the higher problems of human life). This deviation was, moreover, encouraged by the circumstance

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These blank pages are for the convenience of the owner of the book, wherein he may record further collations and newly discovered material.


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Rh that, at this very time, the Greek thinkers, poets, and dramatists, hitherto unknown in the Christian world, were discovered and brought back into favor. From all this it followed that, not having yet had time to work out their own form of dramatic art corresponding to the new conception entertained of Christianity as being a teaching of life, and, at the same time, recognizing the previous form of Mysteries and Moralities as insufficient, the writers of the fifteenth and sixteenth centuries, in their search for a new form, began to imitate the newly discovered Greek models, attracted by their elegance and novelty.

Since those who could principally avail themselves of dramatic representations were the powerful of this world: kings, princes, courtiers, the least religious people, not only utterly indifferent to the questions of religion, but in most cases completely depraved—therefore, in satisfying the demands of its audience, the drama of the fifteenth and sixteenth and seventeenth centuries entirely gave up all religious aim. It came to pass that the drama, which formerly had such a lofty and religious significance, and which can, on this

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85 script. Like I said, it was a job assignment to me, and that's how I took it. So, no, I don't recall any particular edits that I would've made to it.

I mean, potentially, you know, not using their choice of wards, you know, but very basic. I'm trying to think of an example. Yeah, just rewording things, you know, in my own terms. For example, maybe, you know, not saying my name first and saying that at the end of that sentence. Something just—you know, sentence structure.

Are there any other, looking at this, any other statements that stick out to you that you think you might have revised when making a phone call to an elected official?

No. Nothing more than sentence structure.

Okay.

Was it your understanding that you and Madison, Chelsea, and Kerrick were to call the elected officials all around the same time using this script?

I believe, in the meetings that we've been talking about about making the calls, that after those meetings is when we all went to separate rooms and made the calls. So I would assume it would be, you know, all around the same time.

And I did also want to point out that I believe the script was revised, as well, in an email format, which Kerrick would've been sending.

And when you say "revised in an email format," do you mean so it would be structured—

Structured as an email versus as a call script.

Understood.

Which is also—I think that email is public record as well.

For the State of Georgia or for a different State?

I believe that Kerrick's email is in this article that's cited somewhere in the


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Rh condition alone, occupy an important place in human life, became, as in the time of Rome, a spectacle, an amusement, a recreation—only with this difference, that in Rome the spectacles existed for the whole people, whereas in the Christian world of the fifteenth, sixteenth, and seventeenth centuries they were principally meant for depraved kings and the higher classes. Such was the case with the Spanish, English, Italian, and French drama.

The dramas of that time, principally composed, in all these countries, according to ancient Greek models, or taken from poems, legends, or biographies, naturally reflected the characteristics of their respective nationalities: in Italy comedies were chiefly elaborated, with humorous positions and persons. In Spain there flourished the worldly drama, with complicated plots and historical heroes. The peculiarities of the English drama were the coarse incidents of murders, executions, and battles taking place on the stage, and popular, humorous interludes. Neither the Italian nor the Spanish nor the English drama had European fame, but they all enjoyed success in their own countries. General fame, owing to

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Rh the elegance of its language and the talent of its writers, was possessed only by the French drama, distinguished by its strict adherence to the Greek models, and especially to the law of the three Unities.

So it continued till the end of the eighteenth century, at which time this happened: In Germany, which had not produced even passable dramatic writers (there was a weak and little known writer, Hans Sachs), all educated people, together with Frederick the Great, bowed down before the French pseudo-classical drama. Yet at this very time there appeared in Germany a group of educated and talented writers and poets, who, feeling the falsity and coldness of the French drama, endeavored to find a new and freer dramatic form. The members of this group, like all the upper classes of the Christian world at that time, were under the charm and influence of the Greek classics, and, being utterly indifferent to religious questions, they thought that if the Greek drama, describing the calamities and sufferings and strife of its heroes, represented the highest dramatic ideal, then such a description of the sufferings and the struggles of heroes would be

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Rh a sufficient subject in the Christian world, too, if only the narrow demands of pseudo-classicalism were rejected. These men, not understanding that, for the Greeks, the strife and sufferings of their heroes had a religious significance, imagined that they needed only to reject the inconvenient law of the three Unities, without introducing into the drama any religious element corresponding to their time, in order that the drama should have sufficient scope in the representation of various moments in the lives of historical personages and, in general, of strong human passions. Exactly this kind of drama existed at that time among the kindred English people, and, becoming acquainted with it, the Germans decided that precisely such should be the drama of the new period.

Thereupon, because of the clever development of scenes which constituted Shakespeare's peculiarity, they chose Shakespeare's dramas in preference to all other English dramas, excluding those which were not in the least inferior, but were even superior, to Shakespeare. At the head of the group stood Goethe, who was then the dictator of public opinion in

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 9& DREAM-LIFE.

The same old man is in his chamber: he cannot leave his chair now. Madge is be side him: Nelly is there too, with her eldest-born. Madge has been reading to the old man : it was a passage of promise of the Bible promise.

"A glorious promise," says the old

man feebly. " A promise to me, a

promise to her poor Madge!"

" Is her picture there, Maggie ? "

Madge brings it to him : he turns his head ; but the light is not strong. They wheel his chair to the window. The sun is shining brightly : still the old man cannot see.

" It is getting dark, Maggie."

Madge looks at Nelly wistfully sadly.

The old man murmurs something; and

Madge stoops : " Coming," he says

"coming ! "

Nelly brings the little child to take his hand. Perhaps it will revive him. She lifts her boy to kiss his cheek.

The old man does not stir : his eyes do not move : they seem fixed above. The child cries as his lips touch the cold cheek :

It is a tender SPRING flower, upon the

bosom of the dying WINTER !

The old man is gone : his dream

fife is ended.

THE END.