text:
Module:Monthly Challenge category stats/data/2024-01

--[=[ Automatically generated data for indexes in Community collaboration/Monthly Challenge/January 2024 ]=] return { total = { count = 27498, q0 = 1278, q1 = 3043, q2 = 57, q3 = 9728, q4 = 2245, },	indexes = { ["The New Yorker 0001 1925-02-21.pdf"] = { count = 36, q0 = 0, q1 = 1, q2 = 1, q3 = 2, q4 = 32, },		["The Atlantic Monthly Volume 1.djvu"] = { count = 902, q0 = 8, q1 = 1, q2 = 1, q3 = 444, q4 = 101, },		["The Economist 1843-08- Vol 1 Preliminary Number (IA sim economist 1843-08 1 preliminary-number).pdf"] = { count = 16, q0 = 1, q1 = 8, q2 = 0, q3 = 2, q4 = 0, },		["Nature - Volume 1.pdf"] = { count = 688, q0 = 12, q1 = 23, q2 = 4, q3 = 21, q4 = 4, },		["Philosophical Transactions - Volume 003.djvu"] = { count = 278, q0 = 0, q1 = 69, q2 = 2, q3 = 187, q4 = 20, },		["The National geographic magazine, volume 1.djvu"] = { count = 432, q0 = 72, q1 = 0, q2 = 1, q3 = 12, q4 = 4, },		["Tristan and Iseult (Belloc 1914).djvu"] = { count = 200, q0 = 16, q1 = 0, q2 = 0, q3 = 173, q4 = 11, },		["Sunset Gun.pdf"] = { count = 86, q0 = 15, q1 = 0, q2 = 0, q3 = 0, q4 = 71, },		["Works of Jules Verne - Parke - Vol 8.djvu"] = { count = 432, q0 = 27, q1 = 100, q2 = 0, q3 = 297, q4 = 8, },		["The life and opinions of Tristram Shandy (Volume 8).pdf"] = { count = 166, q0 = 9, q1 = 1, q2 = 0, q3 = 34, q4 = 0, },		["West African Studies.djvu"] = { count = 758, q0 = 40, q1 = 3, q2 = 26, q3 = 12, q4 = 7, },		["The Mystery of the Blue Train.pdf"] = { count = 326, q0 = 12, q1 = 0, q2 = 0, q3 = 25, q4 = 22, },		["Satyagraha in South Africa.pdf"] = { count = 374, q0 = 12, q1 = 2, q2 = 2, q3 = 33, q4 = 0, },		["Margaret Mead - Coming of age in Samoa; a psychological study of primitive youth for western civilisation.pdf"] = { count = 344, q0 = 27, q1 = 38, q2 = 1, q3 = 22, q4 = 5, },		["How and what to grow in a kitchen garden of one acre (IA howwhattogrowin00darl).pdf"] = { count = 212, q0 = 13, q1 = 0, q2 = 0, q3 = 199, q4 = 0, },		["Lady Chatterley's Lover by DH Lawrence.djvu"] = { count = 329, q0 = 12, q1 = 0, q2 = 1, q3 = 16, q4 = 2, },		["Kalevala (Kirby 1907) v2.djvu"] = { count = 304, q0 = 11, q1 = 0, q2 = 0, q3 = 81, q4 = 6, },		["Kalevala (Kirby 1907) v1.djvu"] = { count = 352, q0 = 9, q1 = 0, q2 = 0, q3 = 321, q4 = 22, },		["John Brown's body by Stephen Vincent Benét.djvu"] = { count = 392, q0 = 24, q1 = 0, q2 = 0, q3 = 12, q4 = 12, },		["Poems for Workers - ed. Manuel Gomez (1925).djvu"] = { count = 60, q0 = 2, q1 = 2, q2 = 0, q3 = 22, q4 = 6, },		["The Reshaping of British Railways (Beeching Report).pdf"] = { count = 148, q0 = 0, q1 = 4, q2 = 1, q3 = 12, q4 = 2, },		["Scc-reedley-report-11.15.pdf"] = { count = 42, q0 = 0, q1 = 0, q2 = 1, q3 = 0, q4 = 3, },		["Johnsonian Miscellanies I.djvu"] = { count = 508, q0 = 12, q1 = 480, q2 = 0, q3 = 10, q4 = 6, },		["Copyright, Its History And Its Law (1912).djvu"] = { count = 748, q0 = 17, q1 = 335, q2 = 0, q3 = 381, q4 = 15, },		["Self-help with illustrations of conduct and perseverance (IA selfhelpwithillu00smiliala).pdf"] = { count = 536, q0 = 19, q1 = 136, q2 = 1, q3 = 1, q4 = 0, },		["CTRL0000034609 - Transcribed Interview of Kashyap Pramod Patel, (December 9, 2021).pdf"] = { count = 157, q0 = 0, q1 = 0, q2 = 0, q3 = 0, q4 = 0, },		["Peter Pan (1928).pdf"] = { count = 206, q0 = 17, q1 = 1, q2 = 0, q3 = 9, q4 = 2, },		["The House at Pooh Corner (1961).pdf"] = { count = 200, q0 = 10, q1 = 1, q2 = 0, q3 = 0, q4 = 190, },		["Cicero (Collins 1871).djvu"] = { count = 220, q0 = 12, q1 = 2, q2 = 0, q3 = 29, q4 = 8, },		["Brinkley - China - Volume 1.djvu"] = { count = 470, q0 = 26, q1 = 1, q2 = 9, q3 = 6, q4 = 1, },		["CTRL0000034608 - Deposition of John Eastman, (Dec. 9, 2021).pdf"] = { count = 48, q0 = 0, q1 = 0, q2 = 0, q3 = 40, q4 = 8, },		["The Grey Fairy Book.djvu"] = { count = 406, q0 = 40, q1 = 0, q2 = 0, q3 = 9, q4 = 237, },		["Ten Days in a Mad-House (1887).djvu"] = { count = 130, q0 = 2, q1 = 0, q2 = 0, q3 = 0, q4 = 120, },		["The Works of H G Wells Volume 10.pdf"] = { count = 750, q0 = 19, q1 = 1, q2 = 1, q3 = 21, q4 = 11, },		["The Count of Monte-Cristo (1887 Volume 3).djvu"] = { count = 362, q0 = 30, q1 = 0, q2 = 0, q3 = 315, q4 = 17, },		["The Count of Monte-Cristo (1887 Volume 4).djvu"] = { count = 306, q0 = 27, q1 = 0, q2 = 0, q3 = 231, q4 = 48, },		["The Count of Monte-Cristo (1887 Volume 5).djvu"] = { count = 304, q0 = 29, q1 = 151, q2 = 0, q3 = 124, q4 = 0, },		["Tristram.djvu"] = { count = 233, q0 = 25, q1 = 0, q2 = 0, q3 = 177, q4 = 31, },		["The return of the soldier (IA returnofsoldier00west2).pdf"] = { count = 206, q0 = 15, q1 = 0, q2 = 0, q3 = 127, q4 = 64, },		["The New Centurion - Eastwick - 1895.pdf"] = { count = 98, q0 = 7, q1 = 0, q2 = 0, q3 = 3, q4 = 0, },		["The Next Naval War - Eardley-Wilmot - 1894.djvu"] = { count = 86, q0 = 10, q1 = 0, q2 = 0, q3 = 66, q4 = 10, },		["Vivian Grey, Volume 2.djvu"] = { count = 252, q0 = 16, q1 = 0, q2 = 0, q3 = 15, q4 = 4, },		["The records of the Virginia company of London - Volume 1.djvu"] = { count = 666, q0 = 22, q1 = 0, q2 = 0, q3 = 9, q4 = 0, },		["Horrid Mysteries Volume 3.djvu"] = { count = 242, q0 = 9, q1 = 0, q2 = 0, q3 = 10, q4 = 12, },		["The Celtic twilight. Men and women (IA celtictwilightme00yeat).pdf"] = { count = 228, q0 = 17, q1 = 0, q2 = 0, q3 = 55, q4 = 2, },		["Following the Equator (Mark Twain).djvu"] = { count = 726, q0 = 59, q1 = 537, q2 = 0, q3 = 121, q4 = 9, },		["The Black Moth.pdf"] = { count = 344, q0 = 12, q1 = 7, q2 = 0, q3 = 67, q4 = 17, },		["Illustrations of the history of medieval thought and learning.djvu"] = { count = 350, q0 = 12, q1 = 271, q2 = 2, q3 = 64, q4 = 1, },		["Unclos e.djvu"] = { count = 202, q0 = 0, q1 = 0, q2 = 0, q3 = 60, q4 = 2, },		["A chambermaid's diary.djvu"] = { count = 470, q0 = 13, q1 = 37, q2 = 0, q3 = 269, q4 = 151, },		["A history of Hungarian literature.djvu"] = { count = 312, q0 = 12, q1 = 188, q2 = 0, q3 = 37, q4 = 75, },		["Henryk Sienkiewicz - Quo Vadis (1897 Curtin translation).djvu"] = { count = 562, q0 = 15, q1 = 3, q2 = 0, q3 = 55, q4 = 24, },		["ISC-China.pdf"] = { count = 222, q0 = 17, q1 = 0, q2 = 0, q3 = 118, q4 = 87, },		["History of Woman Suffrage Volume 4.djvu"] = { count = 1226, q0 = 24, q1 = 278, q2 = 0, q3 = 917, q4 = 7, },		["Works of Jules Verne - Parke - Vol 2.djvu"] = { count = 406, q0 = 27, q1 = 0, q2 = 0, q3 = 113, q4 = 14, },		["The life and opinions of Tristram Shandy (Volume 6).pdf"] = { count = 168, q0 = 11, q1 = 0, q2 = 0, q3 = 154, q4 = 3, },		["The life and opinions of Tristram Shandy (Volume 7).pdf"] = { count = 170, q0 = 8, q1 = 0, q2 = 0, q3 = 162, q4 = 0, },		["The Wreck of a World - Grove - 1890.djvu"] = { count = 180, q0 = 9, q1 = 8, q2 = 0, q3 = 95, q4 = 68, },		["The Bard of the Dales.djvu"] = { count = 188, q0 = 8, q1 = 4, q2 = 0, q3 = 0, q4 = 0, },		["Treaty of Peace - Versailles (1919) Ottawa.djvu"] = { count = 172, q0 = 3, q1 = 0, q2 = 0, q3 = 155, q4 = 14, },		["Mosquitos (Faulkner).pdf"] = { count = 360, q0 = 8, q1 = 2, q2 = 1, q3 = 55, q4 = 10, },		["Religion and the rise of capitalism.pdf"] = { count = 368, q0 = 23, q1 = 3, q2 = 0, q3 = 2, q4 = 0, },		["The Moon Maid.pdf"] = { count = 442, q0 = 12, q1 = 1, q2 = 0, q3 = 26, q4 = 4, },		["The Painted Veil - Maugham - 1925.djvu"] = { count = 296, q0 = 9, q1 = 0, q2 = 0, q3 = 275, q4 = 12, },		["The lay of the Nibelungs; (IA nibelungslay00hortrich).pdf"] = { count = 526, q0 = 12, q1 = 0, q2 = 0, q3 = 466, q4 = 22, },		["The Count of Monte-Cristo (1887 Volume 1).djvu"] = { count = 360, q0 = 35, q1 = 0, q2 = 0, q3 = 133, q4 = 192, },		["The Count of Monte-Cristo (1887 Volume 2).djvu"] = { count = 366, q0 = 33, q1 = 0, q2 = 0, q3 = 311, q4 = 22, },		["Little Lord Fauntleroy.djvu"] = { count = 248, q0 = 26, q1 = 1, q2 = 0, q3 = 58, q4 = 97, },		["Chapters on Jewish literature (IA chaptersonjewish00abra).pdf"] = { count = 296, q0 = 18, q1 = 0, q2 = 0, q3 = 204, q4 = 20, },		["The Innocents Abroad (1869).djvu"] = { count = 706, q0 = 35, q1 = 4, q2 = 0, q3 = 494, q4 = 32, },		["Principlesofpoli00malt.djvu"] = { count = 514, q0 = 15, q1 = 47, q2 = 1, q3 = 69, q4 = 5, },		["Rudyard Kipling's verse - Inclusive Edition 1885-1918.djvu"] = { count = 808, q0 = 11, q1 = 284, q2 = 0, q3 = 419, q4 = 94, },		["The life of Charlotte Brontë (IA lifeofcharlotteb01gaskrich).pdf"] = { count = 380, q0 = 20, q1 = 0, q2 = 0, q3 = 320, q4 = 40, },		["The life of Charlotte Brontë (IA lifeofcharlotteb02gaskrich).pdf"] = { count = 354, q0 = 20, q1 = 0, q2 = 1, q3 = 2, q4 = 1, },		["The last of the Mohicans (1826 Volume 3).djvu"] = { count = 304, q0 = 7, q1 = 0, q2 = 0, q3 = 242, q4 = 12, },		["Following darkness (IA followingdarknes00reid).pdf"] = { count = 340, q0 = 10, q1 = 0, q2 = 0, q3 = 57, q4 = 17, },		["Lucian (IA lucianlucas00collrich).pdf"] = { count = 196, q0 = 14, q1 = 0, q2 = 0, q3 = 148, q4 = 34, },		["The Music of the Spheres.djvu"] = { count = 351, q0 = 10, q1 = 8, q2 = 0, q3 = 187, q4 = 24, },		["The Philippine Islands, 1493-1803 (Volume 09).pdf"] = { count = 346, q0 = 27, q1 = 0, q2 = 0, q3 = 308, q4 = 11, },	}, }


text:
Module:Monthly Challenge daily stats/data/2024-01

--[=[ Automatically generated daily data for indexes in Community collaboration/Monthly Challenge/January 2024 ]=] return { days = { [0] = {			count = 27498, q0 = 1020, q1 = 2936, q2 = 62, q3 = 6594, q4 = 1563, },		[1] = {			count = 27498, q0 = 1099, q1 = 2931, q2 = 76, q3 = 6691, q4 = 1572, },		[2] = {			count = 27498, q0 = 1099, q1 = 2929, q2 = 76, q3 = 6717, q4 = 1587, },		[3] = {			count = 27498, q0 = 1143, q1 = 3002, q2 = 72, q3 = 6799, q4 = 1613, },		[4] = {			count = 27498, q0 = 1147, q1 = 3060, q2 = 71, q3 = 6849, q4 = 1620, },		[5] = {			count = 27498, q0 = 1162, q1 = 3228, q2 = 110, q3 = 6921, q4 = 1631, },		[6] = {			count = 27498, q0 = 1189, q1 = 3555, q2 = 207, q3 = 6999, q4 = 1647, },		[7] = {			count = 27498, q0 = 1194, q1 = 3550, q2 = 163, q3 = 7115, q4 = 1647, },		[8] = {			count = 27498, q0 = 1196, q1 = 3565, q2 = 126, q3 = 7240, q4 = 1651, },		[9] = {			count = 27498, q0 = 1203, q1 = 3564, q2 = 125, q3 = 7299, q4 = 1659, },		[10] = {			count = 27498, q0 = 1211, q1 = 3562, q2 = 131, q3 = 7440, q4 = 1675, },		[11] = {			count = 27498, q0 = 1237, q1 = 3568, q2 = 131, q3 = 7495, q4 = 1690, },		[12] = {			count = 27498, q0 = 1253, q1 = 3627, q2 = 129, q3 = 7564, q4 = 1700, },		[13] = {			count = 27498, q0 = 1253, q1 = 3644, q2 = 129, q3 = 7603, q4 = 1723, },		[14] = {			count = 27498, q0 = 1253, q1 = 3626, q2 = 147, q3 = 7703, q4 = 1734, },		[15] = {			count = 27498, q0 = 1253, q1 = 3607, q2 = 157, q3 = 7781, q4 = 1736, },		[16] = {			count = 27498, q0 = 1253, q1 = 3593, q2 = 159, q3 = 7847, q4 = 1770, },		[17] = {			count = 27498, q0 = 1255, q1 = 3566, q2 = 170, q3 = 7915, q4 = 1800, },		[18] = {			count = 27498, q0 = 1255, q1 = 3583, q2 = 172, q3 = 8015, q4 = 1813, },		[19] = {			count = 27498, q0 = 1256, q1 = 3541, q2 = 178, q3 = 8110, q4 = 1831, },		[20] = {			count = 27498, q0 = 1274, q1 = 3507, q2 = 195, q3 = 8219, q4 = 1840, },		[21] = {			count = 27498, q0 = 1274, q1 = 3512, q2 = 194, q3 = 8253, q4 = 1896, },		[22] = {			count = 27498, q0 = 1274, q1 = 3505, q2 = 194, q3 = 8431, q4 = 1927, },		[23] = {			count = 27498, q0 = 1274, q1 = 3482, q2 = 183, q3 = 8558, q4 = 1955, },		[24] = {			count = 27498, q0 = 1274, q1 = 3468, q2 = 183, q3 = 8644, q4 = 1984, },		[25] = {			count = 27498, q0 = 1274, q1 = 3458, q2 = 170, q3 = 8702, q4 = 2078, },		[26] = {			count = 27498, q0 = 1274, q1 = 3403, q2 = 157, q3 = 8794, q4 = 2137, },		[27] = {			count = 27498, q0 = 1274, q1 = 3288, q2 = 146, q3 = 9035, q4 = 2154, },		[28] = {			count = 27498, q0 = 1274, q1 = 3280, q2 = 138, q3 = 9147, q4 = 2178, },		[29] = {			count = 27498, q0 = 1277, q1 = 3215, q2 = 110, q3 = 9304, q4 = 2219, },		[30] = {			count = 27498, q0 = 1277, q1 = 3057, q2 = 75, q3 = 9596, q4 = 2241, },		[31] = {			count = 27498, q0 = 1278, q1 = 3043, q2 = 57, q3 = 9728, q4 = 2245, },	}, }

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


text:
Page:The spirit of the Hebrew poetry 1861.djvu/52

 medium of an ancient people, that are liable to the ordinary conditions of written language; for further than this it must be granted, that, as the metrical structure of the Ode is highly artificial, those rules of construction to which it conforms itself may be said to over-ride the pure conveyance of the thought;—metre ruling words and syllables. It was by these artificial adaptations to the ear and memory of the people to whom, at the first, the composition was confided, it was rendered available, in the best manner, for the purposes of the religious life. Yet this is not all that needs to be said in taking this view of the instance before us. Every phrase and allusion in this ode is metaphoric—nothing is literal; the Lord is—the Shepherd of souls;—and there are the green pastures—the still waters—the paths of righteousness—the valley of the shadow of death—the rod and the staff—the table prepared—the anointing oil—the overfull cup—and that House of the Lord which is an everlasting abode. But figures and symbols are incidents of the human mind—they are adaptations to its limits—they are the best that can be done, in regard to the things of the spiritual life. Let us speak with reverence— is not conditioned in any manner; certainly not by metaphor or symbol.

There is yet a step further that should be taken in considering this Psalm as a human composition—and it is so with other Psalms, still more decisively than with this, for it gives expression to religious


text:
Category:Authors in DNB00

Author pages in this category have an entry in the Dictionary of National Biography, 1885-1900

title: Category:Authors in DNB00


text:
Page:The spirit of the Hebrew poetry 1861.djvu/53

 sentiments which belong to the earlier stage of a progressive development of the spiritual life. The bright idea of earthly well-being pervades the Old Testament Scriptures; and this worldly sunshine is their distinction, as compared with the New Testament; but then there are many cognate ideas which properly come into their places, around the terrestrial idea. If earthly weal—if an overrunning cup—if security and continuance, belong to the centre-thought, then, by necessity, the antithetic ideas—not only of want and pain, but of whatever ill an enemy may do, or may intend—must come in, to encircle, or beleaguer the tabernacle of those whom God has blessed. Thus, therefore, does the Psalmist here give expression to feelings which were proper, indeed, to that time, but are less proper to this time: "Thou preparest a table before me in the presence of my enemies." A feeling is here indicated which was of that age, and which was approvable then, although it has been superseded since by sentiments of a higher order, and which draw their reason from the substitution of future for present good.

This separableness of the Divine element from the human element throughout the Inspired writings, the understanding of which is highly important, will make itself perspicuous in giving attention to two or three instances of different kinds.

Turn to the two astronomic Psalms—the eighth, and the nineteenth (its exordium). Quite unmatched are these Odes as human compositions:—the soul of


text:
Category:Authors in DNB01

Author pages in this category have an entry in the Dictionary of National Biography, 1901 supplement

title: Category:Authors in DNB01


text:
Category:Authors in DNB12

Author pages in this category have an entry in the Dictionary of National Biography, 1912 supplement

title: Category:Authors in DNB12


text:
Category:Authors in DNB27

Author pages in this category have an entry in the Dictionary of National Biography, 1927 supplement

title: Category:Authors in DNB27


text: Education and Art in Soviet Russia/Document 16


text: Education and Art in Soviet Russia/Document 17


text:
Page:The spirit of the Hebrew poetry 1861.djvu/54

 the loftiest poetry is in them. Figurative they are in every phrase; and they are so manifestly figurative in what is affirmed concerning the celestial framework that they stand exempt, in the judgment of reasonable criticism, on the one hand from the childish literal renderings of superstition; and on the other hand from the nugatory captiousness of rationalism. A magnificent image is that of the sun coming forth refreshed each morning anew from his pavilion, and rejoicing as a strong man to run a race! Frivolous is the superstition which supposes that an astronomic verity is couched in these figures, and that thus the warranty of Inspiration is pledged to what is untrue in nature. Equally frivolous is the criticism which catches at this superstition, and on the ground of it labours to prove that the Bible takes part with the Ptolemaic theory, and rejects the modern astronomy! Be it so that David's own conception of the celestial system might be of the former sort, and that he would have marvelled at the latter; but, as an inspired writer, he no more affirms the Ptolemaic astronomy, than he affirms that the sun—a giant—comes forth from a tent every morning.

Look to the Eighth Psalm, and estimate its theologic value—its inspired import—by reading it as a bold contradiction of errors all around it—the dreams of Buddhism—the fables of Brahminism—the Atheism of the Greek Philosophy, and the malign Atheism of our modern metaphysics. Within the


text:
Page:The spirit of the Hebrew poetry 1861.djvu/55

 compass of these nine verses the celestial and the terrestrial systems, and the human economy are not only poetically set forth; but they are truly reported of, as the three stand related to Religious Belief, and to Religious Feeling. Grant it, that when David the Poet brings into conjunction "the moon and the stars," he thought of them, as to their respective bulks and importance, not according to the teaching of Galileo; and yet, notwithstanding this misconception, which itself has no bearing whatever upon his function as an inspired writer, he so writes concerning the Universe—material and immaterial, as none but Hebrew prophets have ever written of either. What are the facts? The astronomies of Oriental sages and of Grecian philosophers are well-nigh forgotten; but David's astronomy lives, and it will ever live; for it is true to all eternity.

A sample of another kind is presented in the Fiftieth Psalm. This Ode, sublime in its imagery and its scenic breadth of conception, is a canon of the relationship of men, as the professed worshippers of God, toward Him who spurns from His altar the hypocrite and the profligate and the malignant, but invites the sincere and the humble to His presence, on terms of favour. This Psalm is sternly moral in its tone:—it is anti-ritualistic—if rites are thought of as substitutes for virtue; and moreover, by the singularity of its phrases in three instances, it makes its way with anatomic keenness through the surface to the conscience of those who are easily content with


text:
Portal talk:Japanese literature

Structure

 * EncycloPetey: Do you think the works should be organized/sorted by age? Should some separation be made between translations of Japanese works and works by Japanese authors originally in English? Do you know of a public-domain translation of “Rashōmon”? TE(æ)A,ea. (talk) 00:24, 24 December 2023 (UTC)
 * So far, I've arranged them first by form, then alphabetically under each heading. If we have long lists that would benefit from additional kinds of sorting, we can do that too, or even have child portals for self-contained groupings.  Or multiple listings, such as sections by form and sections by period, or any other sort of arrangements.  I did not initially start with a chronological arrangement because (a) there weren't a lot from each period, but also (b) such arrangement presupposes a certain familiarity on the part of the reader, which is an assumption I did not want to make for the length of list I started with. --EncycloPetey (talk) 00:29, 24 December 2023 (UTC)
 * That sounds good. I see a good number of my works listed here, and I definitely think that this is a good start for a list. I plan to start proofreading more of the Anthology once I finish up A Wreath of Cloud, and then upload Nachod’s volumes once the new year comes. TE(æ)A,ea. (talk) 00:41, 24 December 2023 (UTC)
 * I understand that the list is short, but even if it were, I feel a strong discomfort with works from completely different periods being listed out of order. In particular, the Tosa Nikki and the Tale of Genji (the Japanese versions of which I have inputted) contributed greatly to the formation of the Japanese language, so it seems unnatural to place them below works from the Meiji period onwards. CES1596 (talk) 19:59, 9 January 2024 (UTC)
 * The dates of translation into English and the dates of original composition are very different. And as mentioned, we have very few works.  Once we have a sufficient number of works from various periods in Japanese history, then we can create a section for chronological arrangement, with subsections for various periods (Heian, Edo, Meiji, etc.).  As it is, we have such huge gaps, and so few works, that a chronological listing will not be meaningful except to people who already know the literature.  The average reader will gain nothing, and will find it harder to locate works. --EncycloPetey (talk) 20:37, 9 January 2024 (UTC)
 * I think that, within each category, items should be sorted by the date of the original work. This is especially because that is a major method of categorizing works for people being introduced to the literature. I don’t think separate categories (by which I mean headings on this list) should be applied for ages unless and until we have enough works for that to be of practical use. TE(æ)A,ea. (talk) 20:44, 9 January 2024 (UTC)
 * I would prefer not to conflate the two. That is: One portion of the page listing works by form (novel, poetry, etc) and a separate section listing the same works by date.  Rather than having a combination of first-by-form-then-by-date mashup. --EncycloPetey (talk) 22:09, 9 January 2024 (UTC)
 * I agree that separate lists might be a good idea, but I’m still not sure about alphabetical listings: chronological listings just seem more natural to me. I agree (if that is what you saying) that there should not be era/date divisions within the form headings. TE(æ)A,ea. (talk) 00:15, 10 January 2024 (UTC)
 * That, and the additional confusion chronological listing would create. Do we really need to put A History of Japanese Literature between the two volumes of the Bibliography because its publication date is between them? If we have a recently published anthology of Heian poetry, do we date it by the contents or by the publication date?  What if its an anthology mixing Edo and Meiji works?  Chronological listing is not as straightforward as alphabetical listing. --EncycloPetey (talk) 00:46, 10 January 2024 (UTC)
 * Well, most works are not anthologies (especially if we omit period anthologies, like the Hyaku-nin-Isshu), so I don’t think that that concern will come to play too often. Works sufficiently new in arrangement (like the anthologies) can either be dated to a rough “period of original works” or more generally to the date of actual publication. I also feel that in some cases combined works can be separated into constituent pieces when doing so is not cumbersome: the Omori–Doi diaries could be so (although I don’t think that that is necessary) and some of the works in Keene’s anthologies can be put up at disambiguation pages. Another question that just came to me: should Noguchi’s Valley poems be here? They were written in the U.S. about the U.S., so they don’t feel so much like Japanese literature. (I suppose they would fall under v. Wenckstern’s category of “Works written by Japanese in European languages on subjects not relating to Japan in particular,” but I feel it’s always better to ask questions in such cases. TE(æ)A,ea. (talk) 01:05, 10 January 2024 (UTC)
 * This Portal aligns with the LoC designation of "works originally in Japanese" (and works about such works). So if Noguchi’s Valley poems were written originally in Japanese, then they would be here, regardless of the country of origin. --EncycloPetey (talk) 01:55, 10 January 2024 (UTC)
 * I agree with the arrangement based on the period in which the original works were written. The creation of alphabetical lists could be automated by categorisation. Also, the links to the Tosa Nikki and the Tale of Genji are not to individual translations, but to pages that list them. For these works, it should be possible to determine their positions independently of when they were translated. I hope that more such pages will be added in the future. CES1596 (talk) 11:14, 11 January 2024 (UTC)
 * P.S.: No, I do not know a PD translation of Rashōmon. That item was carried over from existing lists. --EncycloPetey (talk) 01:13, 24 December 2023 (UTC)

title: Portal talk:Japanese literature


text: Education and Art in Soviet Russia/Document 18


text: Education and Art in Soviet Russia/Document 19


text: The Scots Magazine/Volume 94/November 1824/The Twelve Nights


text: Education and Art in Soviet Russia/Document 20


text: Education and Art in Soviet Russia/Part 4


text:
Page:Peterson Magazine 1869B.pdf/478

KATE'S WINTER IN WASHINGTON. 435 the oppression in her throat ceased, and she could speak.

She heard Harry say again. “I love you, Kate, more than ever! Tell me everything; trust me—I shall only love you the more,”

That was impossible, he could not. Even if he believed her innocent, he could not bear the exposure and disgrace to come near his name— no man could; but she would tell him, she could not endure her agony alone.

“Tell me, Kate—tell me!”

She covered her face, and told the whole story more clearly and connectedly than could have been expected.

“Now go,” she said, “leave me to the fate I have brought on myself, What you warned me of has come; if I ever wronged you, surely you are avenged.”

He had listened im perfect silence. As she spoke those words, she felt bim lift her head ‘upon his shoulder, felt his arms fold themselves close about her. He made no scene, wasted no breath in cursing the wretches; he only said, very quietly.

“This is your place, Kate, you are safe here. Don’t shake and tremble so, you are in no dan- ger; these people can’t injure you.”

“She will tell my uncle; she wants a divorce.”

“Listen to me, Kate! This was all a plot to extort money; they have done it before, but they can't succeed now. A friend of Matthews told me what was going on, and I came back last night. I can force them both to be silent; they will only be too glad. I'll go to them at ‘once, and within an hour bring you back assur- ances that everything is settled, and that they will never trouble you again.”

She sat up looking in his face with incredu lous wonder, unable to believe that the storm could pass and leave her unharmed.

Before he could speak again the door-bell rang; there were eager voices audible, then a quick step om the stairs.

«She has come,” groaned Kate; “she will find my uncle.”

«Hush! She is coming here; your uncle is in his library, he sent me here to wait for you, Let her come in; lie still and don't speak.”

The door opened, and Lily came in, exclaiming.

“I know she is at home; I want to see Mr. Wallingford.” Everett stepped forward. “Mr. Wallingford is engaged,” said he; ‘Kate is ill. What do you wish, Mrs. Marsden?”

He closed the door behind her. She was so taken aback by his appearance that her theatri cal powers quite deserted her for the moment, and she sunk submissively into the chair he  placed for her. Only for a moment; she re- covered herself, and began,

‘There she lies! The destroyer of my peace! The wretch—the smiling-faced fiend! What am I doing here? Take her out of my sight! I want Mr. Wallingford. I will see him, I say.”

“That will do,” said Everett, coolly; “don’t waste your talents on an unappreciative audience.”’

“I'll have my revenge! I'll make this girl as infamous as she deserves——”

‘Don’t you dare open your lips again!” in terrupted Everett, sternly. ‘Look at this.”

He drew a paper from his pocket, and held it before her eyes—she recognized it at once. Only the year before she and her husband had got a

sum of money from a young fellow under similar circumstances, where Marsden did the  jealous, and it so happened that Harry had been  able to get at all the proofs.

The actress stopped short—the words died in her throat with a low gurgle that was very real. Kate lay perfectly still, with her face buried in her shawl. Once more the door opened, this  time to admit Mr. Wallingford.

‘ Who was calling me? What is the matter?” he asked; then seeing Kate, his voice changed  to one of alarm. ‘Is she ill? Has she fainted?”

“She is better,” Everett said; ‘‘Mrs. Marsden  was frightened and called out.” Mr. Wallingford went up to Kate; the ner vous convulsion returned, but she set her teeth hard together, and neither spoke or moaned.

‘It is a nervous attack,” her uncle said, “Ring the bell, Everett, and send some one for a doctor, and tell Mrs. Fairfield to come here—  the poor child is completely worn out with all   this party-going and dissipation.”

Mrs. Marsden made an effort to speak; be hind the Senator’s back Everett shook the fatal paper at her, and she was cowed instantly. ‘Lie still, Kate,” her uncle said; “don’t try  to speak, you’ll be better soon.”

The servant came. Mrs. Fairfield arrived, armed with camphor, and salts, and brandy; and Everett coolly turned to the fair Lily.

“We had better go, Mrs. Marsden,” he said, politely; ‘Miss Wallingford will be better with just her own family.”

There was nothing else for it. Lily saw the paper in his hand; she just uttered a few com-  monplaces, and got out of the room, passed  Everett in silence, and was glad to find herself in her carriage. �

title: Page:Peterson Magazine 1869B.pdf/478


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 Nizazaki is a large market town of 10-13,000 souls, situated at the entrance of the rich plain of Kōfu. On leaving this point, yon quit the mountainous region properly so called, and survey the vast plain of Kōfu, rich in agricultural products and silks.

The road as fur as Kōfu, 3 ri, 18 cho, is very good, and has been repaired anew in 1874 April. This distance is traversable by jinriksha. Kōfu was in olden times a Tycoonal town; its castle still exists. It is situated in the basin of an affluent of the Fujikawa, at the foot of the huge buttresses of Fuji-yama and of the central mountains of Shinawa, in the midst of a country rich by nature. The population is about 19 or 20,000 souls.

There is a considerable silk-trade, and a silk-manufactory on the European plan has been started by the care of the Government. There is also a small trade in rock-crystals which come from the mountains of Shinawa, and in the autumn a large trade in grapes and fruits; in fact nearly all the grapes eaten in Tokio and Yokohama come from this place.

The wretched state of the roads and the absence of vehicles make themselves greatly felt here. Thus, for instance, a basket of grapes which is sold for 25 sen in Kōfu costs more than a riyo delivered in Yedo. There is, however, a direct road from Kōfu to Yedo, called the Kōfukaido, but it is especially bad at the passes (of the mountains.) The Fuji-kawa, on one of whose affluents the town of Kōfu is situated, is a small though rather important stream, whose fertile basin lies to the eastward of Fujiyama. It empties itself into the Pacific, Eastward of * *

The navigation is very dangerous, being in the midst of steep and jagged rocks which form numerous rapids. It is impossible to descend the river except in very narrow canoes, and without great danger of capsizing. On the right band of the river is to be found the celebrated pilgrim-resort of Minobu.

From Kōfu to Kawoguchi.—If however you wish to go straight towards Fusi-Yama, it is necessary to leave the basin of the Fuji-Kawa, and to take the road from Kōfu

title: Page:TASJ-1-3.djvu/239


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 to Numazu. This latter is a small seaport of the Pacific situated on the bay of Suruga, from which fish is sent to Kōfu and the adjoining country.

The first part of this road is through the plain, from Kōfu to Izawa (1 ri 18). From this point it enters the mountains by ascents which are rather easy as far as the pass called “Dyurozake,” which leads to the village of Tonaki (4 ri).

On leaving this place you climb very streepsteep [sic] ascents without interruption, called the pass of Mizakatôge, from the summit of which you enjoy a magnificent view of Fusi-Yama and of the little lake of Kawaguchi at the foot of the pass. You redescend by gradual slopes to the little village of Kawaguchi situated at the border of the lake of the same name.

The pass of Mizaka is one of the most difficult to climb, but one of the most interesting, in the centre of the island of Nippon.

Lake Kawaguchi is about 1 or 2 ri (in length), and stellar in form. It is sustained by a torrent coming from the pass of Mizaka; has no visible outlet, and does not seem to discharge its waters anywhere. Here is found however the masu, an excellent kind of salmon, which is generally found only in rivers communicating with the sea. There are eight lakes of the same kind aronnd Fuji-Yama, the greater part of which have no visible outlet.

From Kawaguchi to Subashiri.—On leaving Kawaguchi the route follows the bank of the lake; this is also traversable in a boat. All this passage is charming.

Hence to Kamijoshda, a large market town at the foot of Fuji-Yama. Thence to Yamanaka, on the border of a little lake Mikkazuki which latter resembles, in shape, as its Japanese name indicates, a crescent of the moon. At length, one ri from Subashiri, one descends a rather steep pass, and finds oneself at the foot of Fuji-Yama and the point.

The huge wastelands which stretch between Kawaguchi and Subashiri are generally rather montonousmonotonous [sic]. One

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Page:TASJ-1-3.djvu/241

 finds a poor vegetation and occasionally volcanic plots of ground.

From Subashiri to Kiga.—The ordinary route from Subashiri to the coast is by Mishima; but you may proceed direct to Kiga (Valley of Miyanoshita) by Gotenba and pass of Senko Kubara which is very high and one of the worst roads possible to be seen.

From Kiga to Tokio.—The rest of the return journey to Yokohama and Tokio is well-known; therefore we limit ourselves to the account given above.

title: Page:TASJ-1-3.djvu/241


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Page:Peterson Magazine 1869B.pdf/479

 436 KATE'S WINTER IN WASHINGTON.

She dared not go home yet and confront Philip, so she drove toward the Avenue. Eve- rett watched her off, took time to go up stairs and see Kate, whisper in her ear a warning to be silent, that everything was settled, to expect to see him in the course of the day or evening; then he started for Marsden’s house.

He met the Texan bound for the same des- tination, boiling with rage, and determined on having some sort of satisfaction. Everett knew him very well, and without entering into any explanation as to the cause, informed his friend that he was bent on the same errand.

They hailed a carriage and drove to the house. Marsden was anxiously expecting his wife’s re- turn; and when he heard the carriage stop, supposed that she had arrived, and went out into the hall and opened the door himself, as both servants chanced to be out.

Before he could make any effort to oppose them the men were in the passage. He was frightened, but too much accustomed to finding himself in unpleasant positions to show it.

‘Hollo!”’ said he, with an attempt at jocularity. ‘Glad to see you both! Come into? the dining-room and take a drink. I was just bound that way.”

They followed him in.

«Never mind the decanters,” said Everett. ‘You can’t be such a fool as not to know what brought us.”

“What did?” cried he, with an oath, seeing that the game was up, and turning like a rat in a corner.

“This,” said Harry, slapping him in the face.

“Good!” pronounced the Texan.

Marsden sprung forward, drew a pistol, and Everett knocked him down.

“Good!” came the Texan’s verdict again; and he picked up the revolver, and stepped into the hall, lest somebody should try to enter and interfere with the little amusement.

Everett had a stout, little bamboo cane in his hand, and he belabored the prostrate bully with it till he fairly shrieked for mercy.

The Texan stood aloof, and regarded the scene with tranquil satisfaction, and heard a pass-key turn in the door. It was Lily come back. She closed the door, heard the groans and curses, saw the Texan, and took in the scene at a glance.

She stood perfectly still, coolly untying her bonnet-strings; and the Texan, prepared to stop her if she attempted to rush forward, looked at her in silent wonder; for she began to smile, and finally to laugh silently, but with evident heartfelt enjoyment. “I think that’s enough for you!” exclaimed Everett, at last, as the bamboo broke over the prostrate man’s shoulders. ‘Now, you rascal, make out from this before you are three days older, or I’ll have you thoroughly exposed.”

He walked out into the hall; Marsden lay still and groaned—and small wonder. Lily stood still till the two men reached her, then she held out her hand to Everett, and said, in a low voice,

“I forgive you everything for this! No man ever did any woman so great a favor as you have me.’

Everett motioned the Texan to precede him out of the house, then he said to the woman.

‘We will all be silent on condition that you leave Washington. But, remember, if you ever dare to mention Miss Wallingford’s name; if the slightest breath of scandal touches her, it will be visitedeon you both.”

‘Let us alone, and we will her,” sullenly.

“All right! I will make that bargain with you; not because you deserve it, but because it, is the easiest way to settle matters. Matthews could prosecute you for swindling; but if you will take yourselves off, I promise you that he shall not.”

“Have your own way,” replied she. “I ought to hate you, but I vow I can’t. Just hear that brute groan; I never heard such sweet music.”

Everett passed her in silence, the door closed— she was alone with ber husband.

The Marsdens did leave the city; they left so many debts behind that, of course, the gossip, always rife about them, grew into absolute cer- tainty. People talked for a week, then forgot them; and Everett heard that they had made off for Europe with such spoils as were left them.

That evening Everett went back to Kate. He found her up and dressed; she had been too anxious to see him to remain in bed.

Of course, he omitted the horsewhipping de- tails, but he convinced her that she had nothing more to fear from the Marsdens. She was horribly humiliated; it was dreadful to suffer, for the first time, over the knowledge that people whom she had so loved and trusted could be so utterly treacherous and false.

Later, there was the lecture from her uncle, the knowledge that in her attempts to do the female politician, she had exposed herself to much comment and gossip; but she bore it all as well as she could; and in the tears of shame and remorse that she wept, a great deal of her arrogance and willfulness went out forever.

title: Page:Peterson Magazine 1869B.pdf/479


text:
Page:History of the Literature of the Scandinavian North.djvu/119

Rh braces the time from King Skjold to Knud VI; but, as indicated by its title, it is very brief, and merely dwells now and then on a few more important episodes, such as Vermund and Uffe, Thyra Danebod and others. Concerning Valdemar the Great and Knud VI, who reigned during Svend Aageson's lifetime, his information is strikingly scanty, and he himself alleges as a reason for this, that Saxo was then engaged on an elaborate history of his own century; and he, moreover, well knew that the latter was fully equal to a task of this kind. Svend Aageson availed himself of the Icelanders and their poetry as sources, but he also, and doubtless chiefly, relied on native authorities, "aged men whom he consulted."

, surnamed Longus, that is descended from a family Lange, also called, on account of his elegant Latin style, is described as the "contubernalis" of Svend Aageson, probably because both these clergymen had taken part in some military expedition; a circumstance of common occurrence in those days. Svend Aageson himself relates that he took part with Archbishop Absalon in an expedition against the Vends, and Saxo's description of the military events of his time is so vivid and graphic, that in many instances the reader is almost forced to assume that he describes as an eyewitness, and that like his father and grandfather, who had done military service under Valdemar the Great, Saxo also had taken a personal part in those campaigns. According to an old tradition, he is said to have been a dean (præpositus) in Roskilde, and to lie buried in the cathedral of that city. We know with certainty only that he was the private secretary of Archbishop Absalon, that he stood in a very close relation to the latter and had been encouraged by him to undertake his great work. He survived his master and dedicated his work to his successor, Anders Suneson. The year of Saxo's death is not certain, but it can hardly have been before 1208.

, "" or "" is the greatest intellectual effort of


text:
User talk:Zero3399ya

The agency that formulated the preferential treatment conditions for the Qing Dynasty
Hello. I have noticed that the edit filter caught your attempt to add a text entitled The agency that formulated the preferential treatment conditions for the Qing Dynasty. However, for texts added to Wikisource we need their source, author and date of publication, to be able to add a proper licence tag. Can you give us this information so that we can decide whether the text should be enabled to be added? Thanks very much. --Jan Kameníček (talk) 00:44, 24 December 2023 (UTC)
 * Hello. If the text you are trying to add is your own translation, then several conditions have to be fulfilled before it is added here. First of all we need a scan of some publication with the original text, which should be uploaded to Commons. Then in the appropriate language Wikisource (i.e. Chinese Wikisource in our case) the original text should be proofread using the proofreading extension. General advice how to do it can be found at Help:Proofread, but people in Chinese Wikisource might give you more specific advice as for the rules of their project. Only after the work is proofread there, you can add your own translation here. As you can see, the process is a bit complicated, so it is usually easier to add some existing published copyright-free translation if it exists. --Jan Kameníček (talk) 14:47, 24 December 2023 (UTC)

title: User talk:Zero3399ya


text:
Page:History of the Literature of the Scandinavian North.djvu/120

102 Denmark in the middle ages. It is a work which had no sooner become generally known than it became the object of an equally general admiration. It is a masterpiece in style, both on account of the exceptional elegance and tasteful use of the Latin language according to the standard of the times, the circumstance which gave the author the honorable surname Grammaticus, and also on account of the fascinating, graphic manner in which the facts are related. Svend Aageson, whose work is in all respects far inferior, cheerfully acknowledges Saxo as his master in style; and the Zealand chronicle, which belongs to the second half of the thirteenth century, praises the singular beauty and elegance of Saxo's diction. But as the culture and love of learning gradually died out in the convents and cathedral chapters, the faculty of appreciating Saxo's style was by degrees lost, and about the middle of the fifteenth century, or perhaps earlier, the monk undertook the timely, and in fact meritorious task of replacing his work, which had well-nigh ceased to be read, with a compendium more suited to the times, and of completing it by adding a continuation. He alleges as a reason for assuming this task, that "Saxo was in many places too discursive, and had said much rather for the sake of adornment than in behalf of truth," and furthermore, that "his style is obscure on account of its verbosity." and that "his inserting fragments of poetry was out of keeping with modern times;" remarks which furnish abundant evidence of the intellectual decline which had taken place in the course of a few centuries. Fortunately, however, the work of Saxo did not perish, though it cost the canon Christiern Pederson much trouble in his day to secure a single copy, according to which the first edition was printed in Paris in 1514. There scarcely ever existed many written copies of this work, which so greatly surpassed the productions of its own time and of the centuries immediately following, and at present we have only a few parchment leaves of it. The Paris edition was soon followed by two others, and as soon as


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Page:The spirit of the Hebrew poetry 1861.djvu/61

 ments unwise, sceptical, or imbecile, may all take their course—they may severally win favour for a day, or may retain it for a century:—all are harmless as toward the —the imperishable Hebrew Text, which abides—ἀπὸ τοῦ αἰῶνος καὶ ἕως τοῦ αἰῶνος—and until the human family shall have finished its term of discipline on earth.


text:
Page:Peterson Magazine 1869B.pdf/480

BEYOND. - OUR LOOKING

ROBIN.

437 Harry Everett did not do that meanest of all things for a man, under such circumstances, put her on her good behavior, and so arouse her obstinacy. He just said, like the straightforward, impulsive fellow that he was,

I love you better than ever, my darling! Whoever has been to blame, I have been most so! Only just try me once more, and I promise not to be so overbearing and disagreeable."

Of course, that melted Kate completely ; and she could not think herself half worthy of him, and for some time would not listen to any idea of making herself and him happy.

But the season came to an end, and Kate married Everett ; and they spent a quiet but delightful summer at Harry's old country- place, where the people had idolized his father, and were ready to cast the mantle of reflected glory on him.

So the husband and wife met half way ; Kate gave up ambitious dreams on her own account, and Harry developed a talent for politics, and allowed his old neighbors to run him for Congress, and was elected by a majority as tremendous as even Kate could have desired.

All these things happened several years ago; and at present the Everetts are as happy a couple as I know, and Kate is in a fair way to have her old dream of being a Senator's wife speedily realized.

LOOKING BEYOND.

BY CLARA AUGUSTA. WHAT is there in the Summer air to-night, That minds me of a sweet day long o'er past? What is there in this waning crimson light, That brings old memories to me thick and fast?

Is it the scent of purple heliotrope, That steals to me up from the garden-bed, Or the white clover on the meadow slope, Or the lush strawberries, glowing ripe and red ?

Oh, life! Oh, death ! Oh, mystic veil of sense! That stretches 'tween this life and that to come! Will that life be sufficient recompense For what we suffer here in silence dumb?

Our deepest sorrows never can be told ; The ghastliest wounds we cover up from sight; The griefs that make our youthful brows grow old, Are those we hide in silence and in night.

I wonder if the dead have hope, or thought, For us who sorrow on in mortal clay? I wonder if their Heavenly lives have brought Them so much joy, they never look away?

Away to earth, where those they loved are still Breasting the stormy waves of adverse fate ; Looking with eyes, so mutely pitiful, For the unfolding of the Golden Gate?

I am so weary, sometimes, it would be Sweet as a mother's kiss upon my brow, To know that those who've crossed the shoreless sea Those that I loved, have pity for me now.

To know that when I sorrow, they look down With tender eyes from immortality; To know that those who wear the fadeless crown In Heaven's glory, still have care for me!

ROBIN.

BY A. F. ADAMS.

WHEN borne on airy pinions by, The fleecy snow is flying; And through the dark old mountain-pines The Wintry winds are sighing;

When night with sable curtain hides The sun's last glittering rays, And our home-circle gathers round The hearth-stone's cheering blaze;

We listen to the Storm-king's voice, O'er lake and forest ringing: And wonder in what distant land Our Robin now is singing.

In pleasant Summers past and gone, Now nearly half a score, His home has been the maple-tree That stands beside our door.

Each Summer-day his matin lay, At early dawn, did waken Sweet music 'mid the branches green, Which now look so forsaken ;

And we have burned, in early Spring, To hail with joy his coming; And ask in what fair, sunny cline He has so long been roaming.

And though old Time, with ruthless hand, Has touched our maple-tree; Though withered branches now appear Where green ones used to be,

We hope and trust that it may stand, With form so trim and sturdy, And still afford, for many years, A shelter for our birdie.

title: Page:Peterson Magazine 1869B.pdf/480


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Page:The spirit of the Hebrew poetry 1861.djvu/60

 which renders it largely independent of its embodiment in this or that form of language. There is no version of the Psalms—ancient or modern (or none which comes within the cognizance of a European reader)—which does not competently convey the theology and the ethical majesty, and the juridical grandeur, of the one Psalm that has here been referred to. In no version, even the most faulty—whichever that may be—does an awakened conscience fail to catch the distant sound of that thunder which—in a day future—shall shake, not the earth only, but heaven. In no such version does the contrite spirit fail to hear in it that message which carries peace to the humble in heart.

If indeed the Hebrew text had perished ages ago—say at the time of the breaking up of the Jewish religious state—and if, consequently, we could now make an appeal to nothing more authentic than to ancient versions, believed to be, on the whole, trustworthy, then the constant tendency toward deflection and aberration, in human opinion, could have received no effective check. In each age, the rise of schemes of opinion—sometimes superstitious and fanatical, sometimes philosophical and negative—would have produced successive vitiations of those unauthentic documents, until even these had lost their cohesive principle, and would have ceased to be thought of. This is not our position; and therefore versions and commentaries, some critical and exact, some popular and paraphrastic; comments wise, and com-


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Rh the book became accessible to the world of letters, it became greatly admired. The learned Latin scholars with one accord extolled the excellence of the style. Erasmus of Rotterdam goes the farthest in his encomiums. Not long after the publication of the book, he says of Saxo: "He has written the history of his country in a style both splendid and sublime. I praise his vivid, ardent spirit, his diction, which never betrays nagging or exhaustion, no less than the wondrous richness of his style, his wealth of sound principles and remarkable variety of imagery. One constantly wonders whence a Dane in that age derived all that copious flow of grandly vigorous eloquence." And in truth Saxo has well deserved all the praise that has been bestowed on him. In point of style and in the art of historical narration, he not only surpasses all other Danish writers of the middle age, which is in fact not saying much, but he also surpasses them to such a degree that he takes high rank among the Latin writers of Europe. In the numerous translations of old poetry which are found in his work he proved himself an uncommonly gifted and able Latin poet. On the other hand, it cannot be denied that in his free, verbose and elegant paraphrases of the old songs, he strayed so far away from the spirit and character of the original, that the latter is wholly lost. But the problem could hardly be solved in any other way, and he performed his task with great ability and excellent taste. The fact is, however, that had he rendered the old poems in a strictly literal prose translation, or had he written his work in the national vernacular, it would have become a priceless treasure, the like of which few other nations would be able to boast. Still, such as it is, it is fairly entitled to the rank of a first-class work. That it was written in Latin was owing to the conditions that have been described, and which couid not well have been otherwise.

Saxo's history of Denmark consists of two parts, which derive their contents from sources essentially different, and which consequently are essentially different in character.


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 are next ensuing; and far beyond those times. Our Bibles shall come into the hands of our sons, and of our grandsons, who, reading Hebrew as correctly as the most learned of their sires have read it, shall do so in a season of religious depth, and of religious conscientiousness, and who, in such a season, shall look back with grief, and shame, and amazement, when they see how nugatory were the difficulties which are making so many among us to stumble, and to fall. Human opinion has its fashion, and it shifts its ground with each generation;—a thirty or forty years is the utmost date of any one clearly definable mood or style of religious feeling and opinion: each of such ephemeral fashions being a departure, upon a radius, from the central authority—the Canon of Scripture, accepted as from God.

But the imperishable fixedness of Holy Scripture—first, in a purely literary sense, as an ascertained ancient text, which none may now alter; and next, as the vehicle or depository of the Divine Will toward mankind, does not imply or necessitate, either a superstitious and blind regard to the letter of Scripture, as if it were not human, or an enchainment to the words, as if the Divine element therein contained, and thereby conveyed, might not have been otherwise worded, and diffused among the people in other forms of language than in this one—to which, as a fixed standard, all must in fact return. Not only is the Divine, in Scripture, greater than the human, but it has an intrinsic power and vitality


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 pretend to have authority to substitute one word for another word; or to erase a letter. Here, then, we take our hold upon a rock. Human opinion, in matters of religion, sways this way and that way, from age to age; but it is ever and anew brought back to its point of fixedness in the unalterable text of the Hebrew Scriptures. Upon this Fiftieth Psalm Esra and the Rabbis of his school commented at their best, in that age when Anaximander, Anaxagoras, Thales, and their disciples, were theorising to little purpose concerning "the Infinite;" and were in debate on the question whether it is matter or mind that is "the eternal principle," and the cause of all things:—a question unsettled as yet among our "profoundest thinkers." Upon this Psalm, with its bold, outspoken, and determinate morality, its grandeur and its power, the Rabbi of a later and sophisticated time commented also, weaving around it the fine silk of his casuistry, and labouring hard in his work of screening the then-abused conscience of his race from its force; so "making void the Word of God by his traditions." Upon this Psalm the Christian theologues, in series, from the Apostolic Fathers to Jerome and Augustine, in their comments give evidence, each in his age, at once concerning those secular variations of religious and ethical thought which mark the lapse of time; and of what we must call the restraining power of the canon of Scripture, which, from age to age, overrules these variations—calling back each digressive mood of the


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104 The former, which is purely legendary history, comprises the first nine of the sixteen books of the work. In the latter, which is mainly historical, history, pure and authentic, appears with the beginning of the twelfth book. In both the preceding ones, and especially in the tenth, legend and history wrestle with each other for the supremacy.

The entire work doubtless rests exclusively on oral tradition, which had been gathered by Saxo, and which he repeated precisely as he had heard it, for in the whole chronicle there is no trace of criticism proper. In reference to his own time, and that immediately preceding his birth, that is the period treated in the last five books of his work, his materials were so abundant that he was able to be very elaborate, and of course the more so as he gradually approached his own time. Archbishop Absalon, in his eagerness to further the work which he had himself suggested, doubtless took pains to have Saxo provided in the most complete manner with materials.

The tenth and eleventh books are the weakest part of the work, and here the traditions seem to have been particularly scanty and unsatisfactory. On the other hand, the first nine books are of invaluable importance on account of the pictures they furnish of Denmark's legendary age. Saxo's sources are here in all probability old songs, of which a great number doubtless still lived on the lips of the people. His Latin verses all seem to be translations of Danish songs or of fragments of such songs. Among these there are a number which can hardly have been known in Iceland, since no traces of them are found in that country. In many instances there is, moreover, a notable difference between the Icelandic traditions and Saxo's rendering of old Danish legends, a fact which doubtless proves that this kind of poetry and legendary lore lived an independent life in Denmark.

Saxo is guilty of a poetical exaggeration when, after stating that the ancient Danes not only composed poems on the deeds of their heroes but also risted (cut) these poems


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 themselves, so long as they keep clear of overt acts of sin. The man who is here threatened with a vengeance from which there will be no escape (v. 22) is not himself perchance the thief; but he is one whose moral consciousness is of the same order, and who would do the same—opportunity favouring. He is not himself perchance the adulterer; but he is one who, being impure in heart, is ready for guilt, and pleases himself with the thought of it. Indebted for his virtue entirely to external restraints, he thinks himself free to give vent to censorious language, and to shed the venom of his tongue upon those who are nearest to him in blood. Here, then, there is not merely a protest in behalf of virtue, but it is a deep-going commixture of spiritual and ethical truth, with a promise of grace for the condign; it is a presentation of justice and of favour:—it is a discrimination of motives and characters also:—it is such that it vindicates its own Divine origination in the court of every human conscience. In this Psalm it is the voice of God we hear; for man has never spoken in any such manner as this to his fellows.

Let it be asked, then, in what manner the Divine and the human elements, in this one instance, sustain each other throughout all time? In tens of thousands of copies we possess this literary monument; and it is an imperishable and an unalterable document: it is liable to no decay or damage; and it may yet endure ages more than can be numbered: nothing on earth's surface is more safe from destruction; none can ever


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Rh in rocks and stones, he claims to have himself investigated these runic monuments as well as all the old written records, and to have scrupulously translated them verse by verse. His own elegant and flowing verses are in spirit and style widely different from the originals which he had before him, and on this point we are not left to a general impression, but in certain passages we are able to trace his method. Thus he has, for instance, translated the poem Bjarkamal, of which a few fragments in the original old Norse text are extant, into Latin hexameters, but smooth and graceful as these are they are decidedly weak and redundant as compared with the original.

But Saxo must also undoubtedly have had Icelandic saga-men as authorities for the legendary part of his work. In his preface he himself directly asserts this fact, and his book, however much it may differ in its general style from the Icelandic sagas, still affords evidence that Saxo was familiar with the latter. On the other hand, there is not the slightest evidence to show that he ever had a written Icelandic saga before him. His method in relating the myths and heroic legends, which constitute the contents of the first nine books, evidently consisted in collecting the existing materials, in arranging and reconstructing them in the manner that best suited his vivid and creative fancy, and finally in reproducing them in as epic and graphic a style as possible. In this part of the work he betrays no effort to separate fact and fiction; on the contrary, there is good reason for the assumption that in translating the legendary lore into Latin he has, in many instances, consciously or unconsciously adorned the original materials in order that they might make a better appearance in their foreign dress. While between the first and second parts there is the difference, that the former deals more or less exclusively with mythical stories, and the latter mainly with well authenticated historical facts, still these heterogeneous elements are reduced to a sort of unity, by being subjected to a strictly uniform treatment by the author. He


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more easily, and hardly colder than before. But the effort proved useless, the air being too thick for observation. So I worked down, cut and bruised, to the others; and dressed numbly. On our way back we suffered the only casualty of this trip. Sultan had insisted on coming with us, and his Ateibi servant, who must follow him though he had no head for heights, slipped in one bad place with a fall of forty feet to the stones, and plunged down headlong.

When we got back my hands and feet were too broken to serve me longer, and I lay down and shivered for an hour or so while the others buried the dead man in a side valley. On their return they met suddenly an unknown rider on a camel, crossing their track. He fired at them. They fired back, snap-shooting through the rain, and the evening swallowed him. This was disquieting, for surprise was our main ally, and we could only hope that he would not return to warn the Turks that there were raiders in the neighbourhood.

After the heavy camels with the explosives caught us, we mounted again to get closer to the line; but we had no more than started when brazenly down the visible wind in the misted valley came the food- call of Turkish bugles. Dakhil-Allah thrust his ear forward in the direction of the sound, and understood that over there lay Madahrij, the small station below which we meant to operate. So we steered on the hateful noise, hateful because it spoke of supper and of tents, whereas we were shelterless, and on such a night could not hope to make ourselves a fire and bake bread from the flour and water in our saddle bags, and consequently must go hungry.

We did not reach the railway till after ten o’clock at night, in conditions of invisibility which made it futile to choose a machine- gun position. At random I pitched upon kilometre 1,121 from Damascus for the mine. It was a complicated mine, with a central tigger to fire simultaneous charges thirty yards apart: and we hoped

187


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106 is neither annalist nor collector of legends as are most of the other historians of the middle ages, but he selects his favorite leading character and groups around him all his materials. He depicts the life and deeds of his hero in a singularly vigorous and picturesque manner, and presents with rare force and skill the most prominent traits of character and the leading events.

In this way he succeeds in giving us a general picture of the development of the Danish people from the remote antiquity down to his own time precisely as it presented itself to his poetic mind. And for this reason his history of Denmark, despite the various elements of which it consists, became, taken as a whole, a thoroughly harmonious one. It is an inspiring and fascinating book for all time.

The other historical works written in Latin in the middle age, are scarcely worthy of mention. They consist simply of a few biographies, conventual stories, chronicles or annals, the most important and best of which belong to the second half of the twelfth and to the thirteenth centuries. The most valuable of them all is the so-called "Chronicles of Zealand," which closes with the year 1282. From this period the contents of these productions, considered from a literary point of view, grow more and more meagre, but in spite of their intrinsic poverty, they are of great importance as they are the sole sources of Danish history during the middle age. The only attempt at writing a connected history of Denmark is the above-mentioned digest of Saxo's chronicle by Thomas Gheysmer, together with his continuation of the same.

While theology and historiography constituted the chief literary occupation in the convents, some attention was also paid to medicine, natural science and other researches. Great results were, however, not attained, and the number of scientific works from that time, either preserved or known to have existed, is very limited.


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 to inquiries, see, e.g., 1975 N.Y. State Bd. of Elections Opinion # 13, 1976 N.Y. State Bd. of Elections Opinion #5. The Board also noted that it responds to “telephone requests for informal advice as to whether an entity constitutes a political committee.” Bucki letter, at 1.

In Vermont Right to Life Committee, State officials sought to preclude a pre-enforcement challenge on the ground that they had no intention of enforcing challenged regulations against the plaintiff. 221 F.3d at 383. We properly rejected the State’s claim that the plaintiff’s fear of suit was not well-founded because “there is nothing to prevent the State from changing its mind.” Id. The majority contends that the pending case “is no different from Vermont Right to Life Committee, [Op. P. 690] but that assertion overlooks a crucial difference between that case and ours. Not only does the Board of Elections stand ready to advise NOM whether it is considered to be a “political committee,” but the Board recognizes that, in the event that it advises that NOM is not a “political committee,” the Board may not change its mind without giving NOM the prior notice required by Williams v. Sclafani, 444 F.Supp. 906, 912 (S.D.N.Y.1978); aff’d sub nom. Williams v. Velez, 580 F.2d 1046 (2d Cir.1978). Furthermore, if the Board were unreasonably to delay either its response to NOM’s inquiry or its notice of a change of mind, that circumstance would surely warrant NOM’s prompt return to court. See Hirschfeld v. Board of Elections of City of New York, 984 F.2d 35, 40 (2d. Cir.1993) (prohibiting elections board to change its mind after undue delay). Thus, it is simply not so, as the majority contends, that “NOM would have no warning of imminent enforcement by the Board of Elections, beyond NOM’s own knowledge that it was violating the law.” [Op. P. 691]

Instead of obliging NOM to inquire of the Board of Elections whether it is a “political committee,” the majority returns this case to the District Court for a ruling on NOM’s constitutional claims. That course, and the inevitable appeal, will likely precipitate far-reaching constitutional rulings that would be entirely avoided if the Board of Elections determines, upon a proper inquiry, that it does not consider NOM to be a “political committee.”

No doubt NOM would be interested in knowing whether New York would violate the First Amendment if the Board of Elections, if asked, were to determine that NOM was a “political committee,” but Federal courts do not sit to satisfy litigants’ intellectual curiosity. I respectfully dissent.

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 Joshua I. Schiller (Jonathan D. Schiller, George F. Carpinello, on the brief), Boies, Schiller & Flexner LLP, New York, NY, for Defendant-Appellant Richard Prince.

Hollis Anne Gonerka Bart, Chaya Weinberg-Brodt, Dara G. Hammerman, Azmina N. Jasani, Withers Bergman LLP, New York, NY, for Defendants-Appellants Gagosian Gallery, Inc. and Lawrence Gagosian.

Daniel J. Brooks (Seth E. Spitzer, Eric A. Boden, on the brief), Schnader Harrison Segal & Lewis LLP, New York, NY, for Plaintiff-Appellee Patrick Cariou.

Anthony T. Falzone, Julie A. Ahrens, Daniel K. Nazer, Stanford Law School Center for Internet and Society, Stanford, CA; Virginia Rutledge, New York, NY; Zachary J. Alinder, John A. Polite, Bingham McCutchen LLP, San Francisco, CA,

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 for Amicus The Andy Warhol Foundation for the Visual Arts.

Joseph C. Gratz, Durie Tangri, LLP, San Francisco, CA; Oliver Metzger, Google Inc., Mountain View, CA, for Amicus Google Inc.

Clifford M. Sloan, Bradley A. Klein, Skadden, Arps, Slate, Meagher & Flom LLP, Washington, DC, for Amici The Association of Art Museum Directors, The Art Institute of Chicago, The Indianapolis Museum of Art, The Metropolitan Museum of Art, The Museum of Modern Art, Museum Associates d.b.a. Los Angeles County Museum of Art, The New Museum, The Solomon R. Guggenheim Foundation, The Walker Art Center, and The Whitney Museum of American Art.

Michael Williams, Dale M. Cendali, Claudia Ray, Kirkland & Ellis LLP, Washington, DC, for Amici American Society of Media Photographers, Inc., and Picture Archive Council of America.

Before: B.D. PARKER, HALL, and WALLACE, Circuit Judges.

B.D. PARKER, J., delivered the opinion of the Court, in which HALL, J., joined. WALLACE, J., filed concurring in part and dissenting in part.

BARRINGTON D. PARKER, Circuit Judge:

In 2000, Patrick Cariou published Yes Rasta, a book of classical portraits and landscape photographs that he took over the course of six years spent living among Rastafarians in Jamaica. Richard Prince altered and incorporated several of Cariou’s Yes Rasta photographs into a series of paintings and collages, called Canal Zone, that he exhibited in 2007 and 2008, first at the Eden Rock hotel in Saint Barthélemy (“St. Barth’s”) and later at New York’s Gagosian Gallery. In addition, Gagosian published and sold an exhibition catalog that contained reproductions of Prince’s paintings and images from Prince’s workshop.

Cariou sued Prince and Gagosian, alleging that Prince’s Canal Zone works and exhibition catalog infringed on Cariou’s copyrights in the incorporated Yes Rasta photographs. The defendants raised a fair use defense. After the parties cross-moved for summary judgment, the United States District Court for the Southern District of New York (Batts, J.) granted Cariou’s motion, denied the defendants’, and entered a permanent injunction. it compelled the defendants to deliver to Cariou all infringing works that had not yet been sold, for him to destroy, sell, or otherwise dispose of.

Prince and Gagosian principally contend on appeal that Prince’s work is transformative and constitutes fair use of Cariou’s copyrighted photographs, and that the district court imposed an incorrect legal standard when it concluded that, in order to qualify for a fair use defense, Prince’s work must “comment on Cariou, on Cariou’s Photos, or on aspects of popular culture closely associated with Cariou or the Photos.” Cariou v. Prince, 784 F.Supp.2d 337, 349 (S.D.N.Y.2011). We agree with Appellants that the law does not require that a secondary use comment on the original artist or work, or popular culture, and we conclude that twenty-five of Prince’s artworks do make fair useuse of [sic] Cariou’s

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56 however, was paid to the changes made by Appius. Q. Fabius Rullianus, one of the censors of that year, allowed landless freemen and the freedmen to remain in the tribal organization, but assigned them to the four city tribes, which were so large that individual votes were of comparatively little avail. The sons of freedmen were again treated as ineligible to the senate or to a magistracy, but in other respects they enjoyed the political rights of citizens. As a result of the whole incident the position of the senate and of the was strengthened. It had proved itself more powerful than its enemies. Two achievements of Appius of a permanent character should be mentioned, before we leave the discussion of his career, viz., the part which he played in securing the publication of the calendar and of the in 304, and the construction of the  in 312. Exactly what happened in 304 is not clear from the words of Livy,— (IX. 46. 5). The general method of procedure in civil cases and the calendar had both been given in the laws of the twelve tables. The service which Flavius rendered to the people consisted perhaps, as some writers maintain, in the publication of the pertinent contents of the laws of the twelve tables in book form, or he may have set down for general use a list of court days and a complete set of the forms which were to be employed in civil cases. Whatever the exact truth of the case may have been, information essential to everyday life, which had formerly confined to a few, became the common property of all. To Appius, Rome was also indebted for the first of those great military roads which proved such a powerful factor in extending Roman commerce and Roman ideas, and in facilitating the transfer of troops to all parts


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HE attempt to bring the Poetry of the Hebrew Scriptures into metrical analogy with that of Greece and Rome has not been successful. This would demand a better knowledge of the quantity of syllables when the language was spoken, and of the number of syllables in words, and of its rhythm, than is actually possessed by Modern Hebraists. But that a people so pre-eminently musical by constitution should have failed to perceive, or should not have brought under rule, the rhythm of words and sentences could not easily be believed; yet to what extent this was done by them, or on what principles, it would now be hopeless to inquire.

There is, however, a metrical structure, artificial and elaborate, which gives evidence of itself, even in a translation: it does not affect the cadence, or musical adjustment of words; but it does affect the choice of words and the structure of sentences. To treat the Hebrew Poetry in any technical sense does not come within the purpose of the present


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264 '''320. As a Legislative Body.'''

321. As a Judicial Body.


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 work, nor indeed the qualifications of the Author. What we are concerned with is—the spirit, not the body, the soul, not the form. Yet weighty inferences are derivable from the fact that religious principles were conveyed to the Hebrew people, and through these have reached other nations, in a mode that conforms itself to arbitrary rules of composition, which determine the choice of words, the structure of sentences, and the collocation of members of sentences, and the framework of entire Odes. Even in passages which breathe the soul of the loftiest and the most impassioned poetry, a highly artificial apposition and balancing of terms and clauses prevails;—as if the Form were, in the estimation of the writer, of so much importance that it should give law even to the thought itself.

This subject stands full in our path, and demands to be considered before we pass on: it is a subject that touches, not merely the Hebrew Poetry, but also the belief we should hold to concerning the Divine origination of Holy Scripture.

The conveyance of thought through the medium of language is a conditioned expression of a speaker's or a writer's inmost meaning—more or less so. In a strict sense the embodiment of thought at all, in words and combinations of words, and in sentences, is—a conditioned, as well as an imperfect conveyance of it; for words have only a more or less determinate value, which may be accepted by the hearer—especially when involved sentences


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 was removed, the children had brought out Miss Susannah's harp. She began, without affectation, to play and sing to the children, as was her custom of an afternoon, first in their own language, and their national melodies, then in English; but she was soon interrupted by a general call of little voices for "Ouf! di giorno." She complied with the request, and sang the ballad from Paër's Camilla: Un dì carco il mulinaro. The


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 children were very familiar with every syllable of this ballad, which had been often fully explained to them. They danced in a circle with the burden of every verse, shouting out the chorus with good articulation and joyous energy; and at the end of the second stanza, where the traveller has his nose pinched by his grandmother's ghost, every nose in the party was nipped by a pair of little fingers. Mr. Chainmail, who was not prepared for the process, came in for a very energetic tweak, from a chubby girl that sprang suddenly on his knees for the purpose, and made the roof ring with her laughter.

So passed the time till evening, when Mr. Chainmail moved to depart. But it turned out on inquiry, that he was some miles from his inn, that the way was intricate, and that he must not make any difficulty about


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 photographs. With regard to the remaining five artworks, we remand to the district court, applying the proper standard, to consider in the first instance whether Prince is entitled to a fair use defense.

The relevant facts, drawn primarily from the parties’ submissions in connection with their cross-motions for summary judgment, are undisputed. Cariou is a professional photographer who, over the course of six years in the mid-1990s, lived and worked among Rastafarians in Jamaica. The relationships that Cariou developed with them allowed him to take a series of portraits and landscape photographs that Cariou published in 2000 in a book titled Yes Rasta. As Cariou testified, Yes Rasta is “extreme classical photography [and] portraiture,” and he did not “want that book to look pop culture at all.” Cariou Dep. 187:8–15, Jan. 12, 2010.

Cariou’s publisher, PowerHouse Books, Inc., printed 7,000 copies of Yes Rasta, in a single printing. Like many, if not most, such works, the book enjoyed limited commercial success. The book is currently out of print. As of January 2010, PowerHouse had sold 5,791 copies, over sixty percent of which sold below the suggested retail price of sixty dollars. PowerHouse has paid Cariou, who holds the copyrights to the Yes Rasta photographs, just over $8,000 from sales of the book. Except for a handful of private sales to personal acquaintances, he has never sold or licensed the individual photographs.

Prince is a well-known appropriation artist. The Tate Gallery has defined appropriation art as “the more or less direct taking over into a work of art a real abject or even an existing work of art.” J.A. 446. Prince’s work, going back to the mid-1970s, has involved taking photographs and other images that others have produced and incorporating them into paintings and collages that he then presents, in a different context, as his own. He is a leading exponent of this genre and his work has been displayed in museums around the world, including New York’s Solomon R. Guggenheim Museum and Whitney Museum, San Francisco’s Museum of Modern Art, Rotterdam’s Museum Boijmans van Beuningen, and Basel’s Museum fur Gegenwartakunst. As Prince has described his work, he “completely tr[ies] to change [another artist’s work] into something that’s completely different.” Prince Dep. 338:4–8, Oct. 6, 2009.

Prince first came across a copy of Yes Rasta in a bookstore in St. Barth’s in 2005. Between December 2007 and February 2008, Prince had a show at the Eden Rock hotel in St. Barth’s that included a collage, titled Canal Zone (2007), comprising 35 photographs torn out of Yes Rasta and pinned to a piece of plywood. Prince altered those photographs significantly, by among other things painting “lozenges” over their subjects’ facial features and using only portions of some of the images. In June 2008, Prince purchased three additional copies of Yes Rasta. He went on to create thirty additional artworks in the Canal Zone series, twenty-nine of which incorporated partial or whole images from Yes Rasta. The portions of Yes Rasta

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 are uttered, in a sense varying from that of the speaker by many shades of difference. Thought, symbolised in words, is subjected, first, to those conditions that attach to language from the universal ambiguity, or the convertible import of language; and then to the indistinctness of the speaker's conceptions, and of the hearer's also. Yet when a perfectly intelligible and familiar fact is affirmed in words that are intended to be understood in their literal, or primitive sense, we may loosely say that such utterances are unconditioned; as thus—Brutus stabbed Csesar in the senate-house at Rome. Julius Caesar, with his legions, landed in Britain. William of Normandy did the like with his Normans centuries later.

It is otherwise in affirmations such as the following—The main principles of political economy, as taught by Adam Smith, rest upon a rock, and will never be overthrown. The great principle of religious liberty, as embodied in Locke's First Letter on Toleration, have hitherto, and will ever defy the utmost efforts of intolerant hierarchies to shake them. The aristocracy of England is the pillar of the British monarchy:—the throne and the aristocracy must stand or fall together. In affirmations of this kind the Thought of the speaker or writer—that is to say, his ultimate intention—is conditioned by its conveyance in terms that are wholly figurative, and which therefore must await,


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 photographs used, and the amount of each artwork that they constitute, vary significantly from piece to piece. In certain works, such as James Brown Disco Ball, Prince affixed headshots from Yes Rasta onto other appropriated images, all of which Prince placed on a canvas that he had painted. In these, Cariou’s work is almost entirely obscured. The Prince artworks also incorporate photographs that have been enlarged or tinted, and incorporate photographs appropriated from artists other than Cariou as well. Yes Rasta is a book of photographs measuring approximately 9.5″ × 12″. Prince’s artworks, in contrast, comprise inkjet printing and acrylic paint, as well as pasted-on elements, and are several times that size. For instance, Graduation measures 72 3/4″ × 52 1/2″ and James Brown Disco Ball 100 1/2″ × 104 1/2″. The smallest of the Prince artworks measures 40″ × 30″, or approximately ten times as large as each page of Yes Rasta.

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In other works, such as Graduation, Cariou’s original work is readily apparent: Prince did little more than paint blue lozenges over the subject’s eyes and mouth, and paste a picture of a guitar over the subject’s body.

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Between November 8 and December 20, 2008, the Gallery put on a show featuring twenty-two of Prince’s Canal Zone artworks, and also published and sold an exhibition catalog from the show. The catalog included all of the Canal Zone artworks (including those not in the Gagosian show) except for one, as well as, among other things, photographs showing Yes Rasta photographs in Prince’s studio. Prince never sought or received permission from Cariou to use his photographs.

Prior to the Gagosian show, in late August, 2008, a gallery owner named Cristiane Celle contacted Cariou and asked if he would be interested in discussing the possibility of an exhibit in New York City. Celle did not mention Yes Rasta, but did express interest in photographs Cariou took of surfers, which he published in 1998 in the aptly titled Surfers. Cariou responded that Surfers would be republished in 2008, and inquired whether Celle might also be interested in a book Cariou had recently completed on gypsies. The two subsequently met and discussed Cariou’s exhibiting work in Celle’s gallery, including prints from Yes Rasta. They did not select a date or photographs to exhibit, nor

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Rh of the world. None of his achievements shows more clearly the correctness with which he foresaw the future of Rome and her needs a world-power.

52. The Conquest of Central Italy. The period which is under discussion in this chapter is one of rapid external development. Rome waged war with all the peoples of central Italy. Of them all the Samnites resisted her claim to supremacy with the greatest valor and stubbornness. When the Romans and Samnites were first brought into close relations in the middle of the fourth century, they apparently agreed to a peaceful division among themselves of certain territory belonging to their weaker neighbors. This seems to be the correct explanation of the course of events in the 343-1, which one tradition exalts into a war. The ambitious spirit of expansion which Rome showed in dealing with smaller states, supported as she was now by Samnium, suggests also a sufficient explanation of the desperate struggle which the Latin communities at once made to break her power. The result of the war, which followed, and lasted from 340 to 338, was most disastrous to the Latins. Although they were assisted by the Campanians and Volscians, they were defeated and lost many of the rights which they had enjoyed since the adoption of the in 493. Rome made a separate treaty with each one of the Latin communities, with the express purpose of preventing future confederations between them. The terms adopted varied from state to state, but all the members of the old league were apparently deprived of the right to trade with one another and the right to intermarry. Both Rome and Samnium were eagerly seeking to extend their influence in Campanian and Volscian territory. A contest between the two powers was inevitable. The immediate cause of the war between them


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title: Category:Biographies of chess players


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 moment; as if with a silent, yet irresistible gravitation—a centripetal force.

"Thy word," says David, "is settled in Heaven;"—it is fixed as the constellations in the firmament; and if we would justly estimate what this undecaying force of the canon of Scripture imports, in relation to the ever-shifting variations of human thought and feeling, and in relation to the fluctuations of national manners and notions, from one fifty years to another, we should take in hand some portion of the Old Testament Scriptures—say such a portion as is this sublime Psalm—and trace its exegetical history through the long line of commentators—from the Rabbis, onward to Origen, Tertullian, Basil, Chrysostom, Jerome, Augustine, the Schoolmen, and Bernard of Clairvaux; then the pre-reformation Romanists; the Reformers, the Jesuits, the Jansenists, the Puritans of England and Scotland, the English Methodists; and so on till we reach these last times of great religious animation, and of little religious depth—times of sedulous exactitude in scholarship, and of feeble consciousness as toward the unseen future and the eternal;—times in which whatever is of boundless dimensions in Holy Scripture has passed beyond our range of vision, while our spectacled eyes are intent upon iotas.

But the Psalms of David, and of Moses, and of others, shall live on, undamaged, to the times that


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June 16, 1870]

R. LEIDY’S new work on thc extinct mammalia and fauna of Dakota and Nebraska, to which is appended a Synopsis of the Mammalian Remains of North

Amcrica, fills a wide gap in Palaxontology. It occupies

the whole of the seventh volume of the Journal of the

Academy of Natural Sciences of Philadelphia, and is ac-

companicd by a preface on the geology of the Tertiary

Strata of Dakota and Nebraska, by Dr. Hayden. Alto-

gether it forms the most important contribution to our

knowledge of fossil mammals which has been made since

Prof. Gaudry published his famous “ Animaux Fossiles

ct Geologie de I'Attique.” These two books, indeed,

stand in closc relation to one another, for in the one the chief interest centres in the Miocene fauna, which is the subject matter of the other. I propose to give an outline of Dr. Leidy’s work, and to show the relation which the

American Mammalia bore to those of Europe, from

the Miocene down to the “ Quaternary,” or Post-glacial

epoch.

At the close of the Cretaccous period, writes Prof. Hayden, the ocean which had “rolled uninterruptedly across the area now occupied by the Rocky Mountains” began to grow shallow, until at last a long barrier of land gradually rose above the waves, and separated the Atlantic from the Pacific. This elevatory movement culminated in the Rocky Mountain range in the United States, and probably has been going on from the Cretaceous period down to the present day. In the early Tertiary epoch enormous lakes occupied the basin of the Mississippi. The “ great lignite basin,” for instance, extends far south- ward, possibly even to California, westward far over the mountains to Utah, and possibly to the Pacific, and north- ward probably to the Arctic Sea, interrupted here and there by the upheaval of mountain ranges.” The strata which testify to the former existence of this great lake, consist of layers of clay and sand, and numerous beds of lignite, varying in thickness from a few inches to twelve or fifteen feet. In its lower portion an oyster is the characteristic fossil, which by its stunted growth implies a change from salt to brackishwater, while in the rest of the formation there are freshwater shells of the genera Melania and Corbicula. “ The occurrence of immense fan palms, and many other plants now growing only in tropical climates, points directly to the conclusion that along the shores of this great lake there grew most luxuriant forests, equalled only by those now existing in Central America or Brazil.” The date of this lignite formation is possibly Eocene, and certainly pre-Miocene. Some of these lakes continued to exist as late as the Pliocene epoch.

The * White River group” of rocks consists of white indurated clays, sandstones, and conglomerate marls and sands, upwards of a thousand feet thick, which occupy an area of at least 100,000 square miles on the Eastern flank of the Rocky Mountains. It is purely a fresh-water formation. In Nebraska it is eroded by pluvial and torrential action into quaint pinnacles and

Go gle

119

fantastic shapes of every sort, and into deep barren ravines that recall to mind Dr. Falconer’s description of some parts of the Sevalik Hills. From the difficulty of traversing the 5,000 square miles which are cut up in this way the district is known to the Canadian voyagers as ‘“ Mauvaises Terres,” and to the Indian hunters as the “Bad Grounds.” It has furnished the larger portion of the Mammalia described by Dr. Leidy, and is unequivocally of Miocene Age. The Loup River Strata resting on the White River group, consist of sand and a few layers of limestone, and contain the remains of land and fresh water Testacea and Mammalia. In Nebraska, the sand is so incoherent that it forms a series of ever shifting dunes, which occupy an area of not less than 20,000 square miles. The remains of Elephant and Mastodon and others show that it belongs to the Pliocene, irrespective of the stratigraphical evidence. The Post-tertiary deposits are represented in the same region by a yellow siliceous marl, most fully developed along the Missouri River, and in the valley of the Plate. It is from three to five hundred feet in thick- ness, and contains well-known Post-glacial fossils.

In treating of the Mammalia yielded by these different formations, Dr. Leidy has followed the example of Prof. Agassiz in the needless multiplication of species. Natu- ralists fall into two classes, according to the ideas which they bring to bear on their work: the one fix their attention on the variability and points of resemblance manifested by suites of organic remains, and stretch the name of species as far asit will go ; the other give specific value to minute differences of size and form, which, in a larger series of specimens, either recent or fossil, would be found value- less in classification. In this work Dr. Leidy has joined himself to the latter class, and has marked every small variation by a specific, and, in some cases, even a generic name, and by so doing has added, without any necessity, to the heavy burden of synonyms which scientific litera- ture has to put up with. He believes that the American is a ‘“ peculiar fauna,” and, that even if no difference be- tween European and American fossils can be detected, their geographical separation is evidence that they be- long to different species. For example, in the description of a new species, Lguus excelsus, he admits that ““ it is not improbable that part of the specimens looked upon as fossils may be the remains of the Mustang, or recent wild horse of our western wilderness.” Nevertheless, he holds to his own undefined specific name. This fault is carried to an extreme, in the case of the extinct family Anchi- theriidee. On the small foundation of one tooth, which, ‘“‘in general proportions and construction,” and “in size,” is “nearly the same as the teeth of Anchitherium Aurelianense,” a new genus, Anchippus, is based; while four milk molars, which “ in form, mode of insertion, and general constitution and size, bear a near resemblance to those of the same species,” constitute the basis of the second new genus Parahippus. This mode of treat- ment runs more or less throughout the work, and renders it of less value than might have been expected from the importance of the subject-matter. But, nevertheless, it is a mine of information to which Tertiary naturalists will resort for many long years to come.

I will now pass on to the consideration of the leading features of the Miocene fauna., On the borders of the ancient Miocene lake, from which the Mauvaises Terres

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 Rh was practically nothing, sir, above Times Square, and look at it now.”

I began to realize that Father Knickerbocker, old as he was, had forgotten all the earlier times with which I associated his memory. There was nothing left but the cabarets, and the Gardens, the Palm Rooms, and the ukuleles of to-day. Behind that his mind refused to travel.

“Don’t you remember,” I asked, “the apple orchards and the quiet groves of trees that used to line Broadway long ago?”

“Groves!” he said. “I’ll show you a grove, a coconut grove”—here he winked over his wineglass in a senile fashion—“that has apple-trees beaten from here to Honolulu.” Thus he babbled on.

All through our meal his talk continued: of cabarets and dances, or fox-trots and midnight suppers, of blondes and brunettes, “peaches” and “dreams,” and all the while his eye roved incessantly among the tables, resting on the women with a bold stare. At times he would indicate and point out for me some of what he called the “representative people” present.

“Notice that man at the second table,” he would whisper across to me. “He’s worth all the way to ten millions: made it in Government contracts; they tried to send him to

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 Rh the penitentiary last fall but they can’t get him—he’s too smart for them! I’ll introduce you to him presently. See the man with him? That’s his lawyer, biggest crook in America, they say; we’ll meet him after dinner.” Then he would suddenly break off and exclaim: “Egad, sir, there’s a fine bunch of them,” as another bevy of girls came trooping out upon the stage.

“I wonder,” I murmured, “if there is nothing left of him but this? Has all the fine old spirit gone? Is it all drowned out in wine and suffocated in the foul atmosphere of luxury?”

Then suddenly I looked up at my companion, and I saw to my surprise that his whole face and manner had altered. His hand was clenched tight on the edge of the table. His eyes looked before him—through and beyond the riotous crowd all about him—into vacancy, into the far past, back into memories that I thought forgotten. His face had altered. The senile, leering look was gone, and in its place the firm-set face of the Knickerbocker of a century ago.

He was speaking in a strange voice, deep and strong.

“Listen,” he said, “listen. Do you hear it—there—far out at sea—ships’ guns—listen—they’re calling for help—ships’ guns—far

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