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 with which for two years he had been so closely associated. And for a long time he could not eat, for his throat tightened when he tried to swallow.

One must remember that Saïdyah was a child.

The new buffalo got to know Saïdyah, and very soon won in the affection of the child the place of its predecessor too soon, really. For, alas, the impressions of our heart, impressions as in wax, are so easily smoothed out, to make room for other writing! However, though the new buffalo was not so strong as the former one though the old yoke was too wide for its shoulders  yet the poor animal was as docile as its predecessor which had been killed, and if Saïdyah could no longer boast of the strength of his buffalo when meeting Adinda’s little brothers on the boundary-line, he maintained that no other exceeded his in obedience; and if the furrow did not run as straight as before, or if lumps of earth were passed unbroken, he gladly remedied this deficiency with his spade as far as he could. Besides, no buffalo had a hairtwist like his. The priest himself had said that there was luck in the course of the hairy vertebræ at the back of the shoulders.

One day, in the field, Saïdyah called out in vain to his buffalo to speed up more. The animal stopped dead. Saïdyah, annoyed at an obstinacy so great and especially so unaccustomed, could not refrain from uttering an insult. He exclaimed a.s. Anyone that has been in Java will understand me, and those who do not understand can only gain by my sparing them the explanation of a coarse expression.

Saïdyah, however, meant nothing evil. He only said it because he had so often heard it from others when they were dissatisfied with their buffaloes. But he need not have said it, for it was of no avail; his buffalo took not another step forward. He shook his head as if to throw off the yoke one saw the breath coming from his nostrils  he stood panting, he trembled, he quivered  there was fear in his blue eye, and his upper lip was drawn back until the gums lay bare


text:
Talk:Forget Me Not/1827/The Three Damsels

Die Bräutigamsvorschau
This is mentioned in Betty T. Bennett's Mary Diana Dods, A Gentleman and a Scholar (1991): and listed in the bibliography as: It seems that, after being rejected by Blackwood, the title was changed to "The Three Damsels" either by Dods, or the editor of Forget Me Not. -- Yodin T 00:27, 31 October 2023 (UTC)
 * "Not hearing from Blackwood, on October 10, he sends a goblin tale; the original was very long and some parts bordered on the ludicrous, so he has altered the story accordingly. He has also changed its name to “Shade of the Bridegroom.”" (p. 55)
 * "“Shade of the Bridegroom” (“Der Bräutigam’s Vorschem”)" (p. 293)

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


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men and their organizations suffer not only from the lack of any form of representative government or freedom of press or assemblage, and not only from the persecutions of the Extraordinary Commission, but also from Soviet legislation aimed directly at Labor.

After a year of syndicalism, factory Soviets and anarchy—during which production was reduced to less than one-seventh of its previous level—the Soviet "Government" in 1919 reversed its industrial policy and began to have recourse to one form after another of labor compulsion or enslavement. Compulsion has never, throughout history, produced the same degree of efficiency as freedom, but some of the most extreme disorder was cured and the Bolshevists gave figures to prove that the output of Russian industry had now "risen," though in a few cases only, to as high as two-thirds of its pre-war level—a level which was very low indeed in comparison to that of more advanced countries.

The first completed plan of labor compulsion was that devised by the "Code of Labor Laws." Some of the principal clauses of this slave code, as it was published in the official organ of the Soviet "Embassy" in America, called Soviet Russia, on February 21, 1920, were as follows:


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 A cet effet, les HAUTES PARTIES CONTRACTANTES représentées comme il suit:

LE PRÉSIDENT DES ÉTATS-UNIS D'AMÉRIQUE, par:

L'Honorable Woodrow, agissant tant en son nom personnel que de sa propre autorité;

L'Honorable Robert, Secrétaire d'État;

L'Honorable Henry, ancien Ambassadeur extraordinaire et plénipotentiaire des États-Unis à Rome et à Paris;

L'Honorable Edward M. ;

Le General Taslier H., Représentant militaire des États-Unis au Conseil superieur de Guerre;

SA MAJESTÉ LE ROI DU ROYAUME-UNI DE GRANDE-BRETAGNE ET, D'IRLANDE ET DES TERRITOIRES BRITANNIQUES AU DELÀ DES MERS EMPEREUR DES INDES, par:

Le Très Honorable David, M. P., Premier Lord de la Trésorerie et Premier Ministre;

Le Très Honorable Andrew, M. P., Lord du Sceau privé;

Le Très Honorable Vicomte, G. C. B., G. C. M. G., Secrétaire d'Etat pour les Colonies;

Le Très Honorable Arthur James, 0. M., M. P., Secrétaire d'État pour les Afiaires étrangères;

Le Très Honorable George NicoU, M. P., Ministre sans portefeuille;

Et:

pour le DOMINION du CANADA, par:

L'Honorable Charles Joseph, Ministre de la Justice; L'Honorable Arthur Lewis, Ministre des douanes;


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 “Run, run!” suddenly cried Adinda’s brothers. “Saïdyah, run! there is a tiger.”

And all undid the ploughing-yokes from their buffaloes, throwing themselves on the broad backs, and galloping away through rice-fields, across dykes, through mud, through scrub and bush and prairie-grass, by fields and roads. And when they rode panting and sweating into the village of Badoor, Saïdyah was not with them.

For when he, having freed his buffalo from the yoke, had mounted, like the others, to flee as they, an unexpected bound of the animal had made him lose his balance and thrown him to the ground. The tiger was very near

Saïdyah’s buffalo, driven forward by its own speed, rushed a few leaps past the spot where his little master awaited death. But only through its own speed, and not through its own will, had it gone past Saïdyah. For scarcely had it overcome the force that controls all matter, when it turned back, planted its clumsy body on its clumsy feet above the child like a roof, and turned its horned head to the tiger. The brute sprang but it sprang for the last time. The buffalo caught it on his horns and only lost some flesh that the tiger tore out at the neck. The assailant lay on the ground with ripped-up belly Saïdyah was saved. It was quite true that there had been luck in the hair-twist of that buffalo!

When this buffalo had been taken from Saïdyah’s father and killed

I have told you, reader, that my story is monotonous.

when this buffalo was killed, Saïdyah was twelve years old, and Adinda wove shawls and painted them with a pointed headpiece. She had already to work into the course of her paint-shuttle, and she painted sadness on the texture of her fabric, for she had seen Saïdyah very sad.

And Saïdyah’s father also was deeply grieved, but his mother most of all. For it was she who had healed the wound in the neck of the faithful animal that had brought home her child unhurt,


text: The Life and Work of Friedrich Engels/Chapter 16


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 , by Gustav Meyrink, and the drama The Dybbuk, by the Jewish writer using the pseudonym “Ansky.” The former, widely popularised through the cinema a few years ago, treats of a legendary artificial giant made and animated by a mediæval rabbin of Prague according to a cryptic formula. The latter, lately translated and produced in America, describes with singular power the possession of a living body by the evil soul of a dead man. Both golems and dybbuks are fixed types, and serve as frequent ingredients of later Jewish tradition.

In the eighteen-thirties occurred a literary dawn directly affecting not only the history of the weird tale, but that of short fiction as a whole; and indirectly moulding the trends and fortunes of a great European æsthetic school. It is our good fortune as Americans to be able to claim that dawn as our own, for it came in the person of our illustrious and unfortunate fellow-countryman Edgar Allan Poe. Poe’s fame has been subject to curious undulations, and it is now a fashion amongst the “advanced intelligentsia” to minimise his importance both as an artist and as an influence; but it would be hard for any mature and reflective critic to deny the tremendous value of his work and the pervasive potency of his mind as an opener of artistic vistas. True, his type of outlook may have been anticipated; but it was he who first realised its possibilities and gave it supreme form and systematic expression. True also, that subsequent writers may have produced greater single tales than his; but again we must comprehend that it was only he who taught them by example and precept the art which they, having the way cleared for them and given an explicit guide, were perhaps able to carry to greater lengths. Whatever his limitations, Poe did that which no one else ever did or could have done; and to him we owe the modern horror-story in its final and perfected state.

Before Poe the bulk of weird writers had worked largely in the dark; without an understanding of the psychological basis of the horror appeal, and hampered by more or less of conformity to certain empty literary conventions such as the happy ending, virtue rewarded, and in general a hollow moral didacticism, acceptance of popular standards and values, and striving of the author to obtrude his own emotions into the story and take sides with the partisans of the majority’s artificial ideals. Poe, on the other hand, perceived the essential impersonality of the real artist; and knew that the function of creative fiction is merely to express and interpret events and sensations as they are, regardless of how they tend or what they prove—good or evil, attractive or repulsive, stimulating or depressing, with the author always acting as a vivid and detached chronicler rather than as a teacher, sympathiser, or vendor of opinion. He saw clearly that all phases of life and thought are equally eligible as subject matter for the artist, and being inclined by temperament to strangeness and gloom, decided to be the interpreter of those powerful feelings and frequent happenings which attend pain rather than pleasure, decay rather than growth, terror rather than tranquillity, and which are fundamentally either adverse or indifferent to the tastes and traditional outward sentiments of mankind, and to the health, sanity, and normal expansive welfare of the species.

Poe’s spectres thus acquired a convincing malignity possessed by none of their predecessors, and established a new standard of realism in the annals of literary horror. The impersonal and artistic intent, moreover, was aided by a scientific attitude not often found before; whereby Poe studied the human mind rather than the usages of Gothic fiction, and worked with an analytical knowledge of terror’s true sources which doubled the force of his narratives and emancipated him from all the absurdities inherent in merely conventional shudder-coining. This example having been set, later authors were naturally forced to conform to it in order to compete at all; so that in this way a definite change began to affect the main stream of macabre writing. Poe, too, set a fashion in consummate craftsmanship; and although today some of

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 when, after hearing the news told by Adinda’s little brothers, she had thought that Saïdyah had been carried off by the tiger. So often had she looked at that wound, thinking how deep the claw that entered so far into the tough thews of the buffalo would have been driven into the soft body of her child; and every time after she had laid fresh healing herbs on the wound, she had caressed the buffalo, and spoken some kindly words to it, so that the good and faithful animal might know how grateful a mother is! She now hoped with all her heart that the buffalo might have understood her, for then it would also have known the meaning of her tears when it was taken away to be killed, and it would have known that it was not Saïdyah’s mother who had ordered it to be killed.

Some time after this. Saïdyah’s father fled the country. For he greatly feared the punishment if he were not able to pay his land-rent, and he had no more heirlooms to buy a new buffalo with, as his parents had always lived in Parang Koodyang, and had therefore left him but little. And also the parents of his wife had always lived in the same district. After the loss of his last buffalo he had still kept going a few years by working with hired plough-beasts. But that is a very thankless form of labour, and especially galling to one who has been in possession of his own buffaloes. Saïdyah’s mother had died of grief; and then his father, in a despondent moment, ran away from Lebak and from Bantam, to look for work about Buitenzorg. He was flogged with the rattan cane for having left Lebak without a pass, and taken back by the police to Badoor. There he was thrown into the gaol because they took him to be mad, which would not have been altogether inexplicable, and because they feared that in a moment of half-madness he might run amuck or be guilty of some other misdeed. But he was not long in prison, for shortly after he died.

I do not know what became of the little brothers and sisters of Saïdyah. The little house where they had lived at Badoor was empty for awhile, and ere long it fell to pieces, as it was only built of bamboo and covered with palm-leaf. A little dust and dirt


text: The Life and Work of Friedrich Engels/Chapter 17


text: The Life and Work of Friedrich Engels/Chapter 18


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 evidently this road has got something against it somewhere, and is not popular, for the grass falls across it like unkempt hair. Road becomes damp and goes into a belt of trees, in the middle of which runs a broad stream with a log laid across it. Congratulating myself on absence of companions, ignominiously crawl across on to the road, which then and there turns round and goes back to the stream again higher up—evidently a joke, "thought-you-were-going-to-get-home-dry-did-you" sort of thing. Wade the stream, rejoin the road on the hither side. Then the precious thing makes a deliberate bolt for the interior of Africa, instead of keeping on going to Libreville. I lose confidence in it. The Wu-tu-tu says it's four o'clock. It's dark at 6.15 down here, and I am miles from home, so I begin to wish I had got an intelligent companion to guide me, as I walk on through the now shoulder-high grass. Suddenly another road branches off to the left. "Saved!" Down it I go, and then it ends in a manioc patch, with no path out the other end, and surrounded by impenetrable bush. Crestfallen, I retrace my steps and continue along my old tormentor, which now attempts to reassure me by doubling round to the left and setting off again for Libreville. I am not deceived, I have had my trust in it too seriously tampered with—Yes, it's up to mischief again, and it turns itself into a stream. Nothing for it but wading, so wade; but what will be its next manifestation, I wonder? for I begin to doubt whether it is a road at all, and suspect it of being only a local devil, one of the sort that sometimes appears as a road, sometimes as a tree or a stream, &c. I wonder what they will do if they find I don't get in to-night?—wish me—at Liverpool, at least. After a quarter of an hour's knee-deep wading, I suddenly meet a native lady who was at the Bible meeting. She has a grand knowledge of English, and she stands with her skirt tucked up round her, evidently in no hurry, and determined to definitely find out who I am. Recognising this, I attempt to take charge of the conversation, and divert its course. "Nice road this," I say, "but it's a little damp." "Washey, ma," she says, "but—" "Is this road here to go anywhere," I interposed, "or is it only a kind of joke?" "It no go nowhere 'ticular, ma," she says; "but—" "In a civilised


text: The Life and Work of Friedrich Engels/Chapter 19


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 covered the spot where there had been much suffering. There are many such spots in Lebak.

Saïdyah was already fifteen when his father left Buitenzorg. He did not accompany him thither, because he carried greater projects in his mind. He had been told that in Batavia there were so many gentlemen who drove in bendies, a kind of tilbury, that he might find a place there as a bendie-boy, for which someone is usually chosen who is still young and not full-grown, so that he may not upset the balance of the two-wheeler by bearing with too much weight on the back. There was, he had been assured, with good conduct, much to be earned in such service. Perhaps in this manner he might even, within three years’ time, save enough money to buy two buffaloes. This prospect lured him. With proud step, as one who has big business in mind, he entered Adinda’s house after his father’s departure, and informed her of his plan.

“Just think,” he said, “when I return we shall be old enough to get married, and we shall have two buffaloes!”

“Very well, Saïdyah! I shall be glad to be married to you when you return. I shall spin, and weave shawls and skirts, and paint, and be very industrious all the time.”

“Oh, I believe you, Adinda! But if I should find you married?”

“Saïdyah, you know very well that I shall marry no one. My father promised me to your father.”

“And you yourself?”

“I shall marry you, rest assured!”

“When I come back, I shall call from afar”

“Who will be able to hear that, when we are pounding rice in the village?”

“That is true. But, Adinda Oh, yes, this is better: wait for me near the diati-wood, under the ketapan-tree, where you gave me the melatti-flower.”

“But, Saïdyah, how shall I know when I am to go and wait for you near the ketapan?”


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 Saidyah thought a moment and said: “Count the moons. I shall stay away thrice twelve moons the present moon does not count. See, Adinda, cut a notch in your rice-block every new moon. When you shall have cut three times twelve notches, then the next following day I shall arrive under the ketapan. Promise that you will be there!”

“Yes, Saïdyah, I shall be under the ketapan near the diati-wood when you return.”

Saïdyah then tore a strip from his blue head-kerchief, which was very much worn, and he gave the little piece of linen to Adinda, that she might keep it as a pledge. And so he left her and Badoor.

He walked on for many days. He passed Rangkas-Betoong, that was not yet the chief centre of Lebak, and Waroong-Goonoong where the Assistant-Resident then lived, and the next day he saw Pandyglang, that lies there as in a garden. Yet another day and he arrived at Serang, and stood amazed at the splendour of so large a place with many houses, built of stone and roofed with red tiles. Saïdyah had never seen anything like it. He stayed there one day because he was tired, but at night in the coolness he went on, and came to Tangerang the following day, before the shadow had descended to his lips, although he wore the large straw hat which his father had left behind for him.

At Tangerang he bathed in the river near the ferry, and then rested in the house of an acquaintance of his father’s, who showed him how to plait straw hats, such as those that came from Manilla. He stayed there one day to learn this, for he thought it might afterwards enable him to earn money, in case he should not succeed in Batavia. The following day, towards nightfall, as it grew cool, he thanked his host very much, and travelled on. As soon as it was quite dark, so that no one should see it, he took out the leaf in which he kept the melatti Adinda had given him under the ketapan-tree. For he had become heavy-hearted at the thought that he would not see her for so long a time. The first day, and also the second, he had felt less deeply how very much he was alone, for


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 his soul had been wholly preoccupied with the great idea of earning money to buy two buffaloes with, as his father had never had more than one, and his thoughts had been too strongly concentrated on the return-meeting with Adinda, leaving no room for very great sadness about their parting. He had bidden her farewell with over-exalted hopes, and his thoughts had connected that farewell with the ultimate reunion under the ketapan. For so great a part the prospect of that reunion played in his heart that, passing the tree on leaving Badoor, he felt almost joyful, as though they were already over, the six-and-thirty moons which divided him from that moment. It had seemed to him as if he had only to turn round as though returning from the voyage, to see Adinda waiting for him under the tree.

But the further he went away from Badoor, and the more he felt the terrible length of only one day, the more he began to think the thirty-six moons that lay before him a time of endless duration. There was something in his soul that made him stride along less quickly. He felt sadness in his knees, and though it was no despondency that overcame him, still it was melancholy, which is not far removed from despondency. He thought of turning back, but what would Adinda say to so little courage?

So he went on, although less rapidly than the first day. He held the melatti in his hand, and often pressed it against his breast. In these three days he had grown much older, and could not now understand how formerly he had been so calm, when yet Adinda was so close to him, and he could see her every time, and as long as he liked! For he would not be calm if he could expect that presently she would stand before him. And also he did not understand how it was that after their parting he had not turned back once more to look at her just once again. Also he remembered how quite recently he had quarrelled with her about the cord she had spun for the kite of her little brothers, and which had broken because, so he held, there was a flaw in her weft, and this had lost them a bet with the children of Tjipooroot. “How had it been


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 possible,” he thought, “to get angry with Adinda about this! For even if she spun a flaw into the cord, and if the bet between Badoor and Tjipooroot had been lost through, and not through the glass splinter so naughtily and dexterously thrown by little Djameen, who was hidden behind the hedge, should I even then have been right in behaving so harshly to her, and calling her unseemly names? How will it be if I die in Batavia without having asked her forgiveness for such great rudeness? Will it not be as though I were an evil person who flings bad names at a girl? And if people hear that I died in a strange land, will not everyone in Badoor say: ‘It is a good thing that Saïdyah died, for he opened a wide mouth at Adinda’?”

So then his thoughts took a course which differed widely from the previous exaltation, and involuntarily they expressed themselves first in half-words scarce audible, but soon in a monologue, and at last in the sorrowful chant of which I here give the translation. At first it had been my intention to write it in metre and rhyme, but like Havelaar I judge it more fitting to omit that corset.


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 Cantonese are to be found in Höng Shán under the initial letters ts; and all the words which in Cantonese begin with sh have the h dropped, as the Höng Shán speakers belong to the numerous tribe of Chinese Ephraimites who cannot sh right; other changes also tend to lessen the number of syllables in the Höng Shán dialect. There are therefore about 80 fewer syllables in the Höng Shán than in the Cantonese, but this statement must be qualified, for account should be taken of other syllables represented by the exceptions in pronunciation—some of the words which follow the exceptions are almost as numerous as those which conform to the rule: in other words certain pronunciations in Cantonese are represented by two or more pronunciations in Höng Shán which occasionally pretty nearly equally divide the words represented by the original pronunciation in Cantonese between them. Allowing then for these exceptions, about twenty must be subtracted from the amount given above, leaving, say in round numbers, some sixty less syllables in the Höng Shán than in the Cantonese. That is to say, speaking again in round numbers, there are about 625 syllables in the Höng Shán dialect. This number must not, however, be taken as a definitive statement, for doubtless, were it possible to devote sufficient time to acquire a thorough knowledge of this dialect, more syllables would be found than can be discovered in an attempt merely to acquire a cursory acquaintanceship with it.

To a casual observer the differences between Cantonese and Höng Shán are sufficiently marked to strike the ear at once; somewhat like the change of the Greek η into α in the ancient Doric, the Cantonese i before ng is changed to the dull, short a and being of the special peculiarities, the attention is at once arrested by it, added to which the dropping of the w after k and h after s, besides the continual substitution of the word ko for ke, the constant use of words not so commonly employed in Cantonese, as well as the introduction of other and new words, are all noticeable, while more especially the low tones give, combined with the pronunciation, a heavier, lower, and more gruff character to the speech—the language seems pitched on a lower key and even the usual soprano of the Cantonese female voice seems to sink to a low alto or approach almost to a bass. Such changes are sufficiently distinctive to give a character of its own to the dialect spoken by the inhabitants of the Höng Shán district; and deserve at least some attention from those living in their neighbourhood and taking an interest in the spoken language of the Chinese.

Now to compare the Höng Shán in its differences from and similarities to Cantonese with some of the other dialects in its neighbourhood as regards their likeness to and differences from Cantonese:—The Höng Shán has two-thirds of its syllables the same as in Cantonese, i.e. the mere pronunciation of them is the same as in Cantonese. The San Wúi dialect has also the same proportion like the Cantonese. The Tung Kwún agrees with the Cantonese as far as regards its syllables to the extent of nine-tenths. Now with regard to the syllables in each:—Cantonese 737; Höng Shán 672, or possibly more; San Ning 708; San Wúí 600, or possible more; Tung Kwún 600, or rather more.

The figures are almost all under than above the mark; for instance in Cantonese there are said to be 780 or 798 distinct syllables. The statements given above are however near enough for the purpose of a rough comparison, especially as our knowledge of most of these dialects is not extended enough to give exact figures.

Consonants.

After these general statements we shall now proceed to a more particular account of the Höng Shán dialect. And first as to the initials. Though there are not so many changes from the Cantonese initials in the Höng Shán dialect as there are in some of


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 community like this of Gaboon," I say, "it's scandalous that roads should be allowed to wander about in this loose way." "That's so for true," she assents; "but, ma, " "You must excuse me," I answer, "I am in a great hurry to get in, hope to meet you again. Where do you live? I'll call." She gives me her address, but does not move, and the grass walls either side of the stream road are high and dense. My husband," she says, "was in H, and C.'s; he die now." "Dear me, that's very sad; you must have been very sorry," I answer, sympathetically, thinking I have turned the conversation. "We all were; he had ten wives. "But, ma ," I am damp and desperate and so pushing into the grass at the side, circumnavigate her portly form successfully, and saying a cheery "good-bye," bolt, and down wind after me comes the uninterrupted question at last; but I do not return to discuss the matter, and soon getting on to drier ground, and seeing a path that goes towards the boulevard, down I go, as quickly as my feet can carry me, and then before I know where I am I find myself in a network of little irrigating canals, running between neatly kept beds of tomatoes, salad, &c., whereon there are working busily a lot of Anamese convicts. The convicts are deported from the French Cochin China possessions and employed by the Public Works Department in various ways. Those who conduct themselves well, and survive, have grants of garden ground given them, which they cultivate in this tidy, carefully minute way, so entirely different from the slummacky African methods of doing things. The produce they sell to the residents in the town, and live very prosperously in this way: but the climate of Western Africa is almost, if not quite, as deadly to the Chinese races as to the white—a fact that has been amply demonstrated not only here; but in Congo Belge, where the railway company carried on a series of experiments with imported labour—a series of experiments that entailed an awful waste of human life—for none of the imported people stood the climate any better than the whites, and you know what that means. This labour question out here, a question that increases daily with the development of plantation enter-


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Saïdyah arrived in Batavia. He asked a gentleman to take him into his service, which this gentleman did immediately, as he did not understand Saïdyah. For in Batavia people like to have servants who have not yet learnt Malay, and who are therefore not yet so corrupted as others who have been longer in touch with European civilization. Saïdyah soon learned Malay, but he behaved in an exemplary manner, for he thought ever of the new buffaloes that he wished to buy, and of Adinda. He grew tall and strong, because he ate every day, which was not always possible at Badoor. He was liked in the stables and would certainly not have been rejected if he had asked for the coachman’s daughter in marriage. His master also liked Saïdyah so much that he soon raised him to the position of house-servant. His wages were increased, and he was continually given presents, for the people were particularly well satisfied with his services. The mistress had read the novels


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 of Sue, whose brief renown was so sensational, and she always thought of Prince Djalma when she saw Saïdyah. The young ladies also understood better than before how it was that the Javanese artist, Radhen Saleh, had created such an impression in Paris.

But they thought Saïdyah ungrateful when, after nearly three years’ service, he gave notice and asked for a certificate of good conduct. This, however, could not be refused, and Saïdyah set out for his native village with a happy heart.

He passed Pesing, where at one time Havelaar dwelt, long ago. But this Saïdyah did not know. And even if he had known, he carried in his soul other things altogether, that entirely occupied him. He counted the treasures that he brought home with him. In a bamboo roll he had his pass and the certificate of good conduct. In a small cylindrical case attached to a leather strap, something heavy seemed constantly to be tapping against his shoulder, but he liked to feel this I should think so! In it were thirty Spanish dollars, enough to buy three buffaloes with. What would Adinda say! And this was not all. On his back one saw the silvermounted sheath of a dagger which he wore in his belt. The hilt was no doubt of finely chiselled kamooning, for he had wrapped it most carefully in a silk kerchief. And he had still more treasures. In the knot of the cloth round his loins he kept a stomacher of broad silver links with a golden fastening. It is true, the stomacher was short, but she was so slender Adinda!

And attached to a cord round his neck, beneath his singlet, he carried a little silk bag containing some dried melatti.

Was it to be wondered that he did not delay at Tangerang longer than was necessary to visit the friend of his father who matted such dainty straw hats? Was it to be wondered that he had little to say to the girls he met on the road, who asked him “Whither and whence?” which is the greeting in these parts? Was it to be wondered that he no longer thought Serang so important looking, he who had come to know Batavia? That he no


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 his own work seems slightly melodramatic and unsophisticated, we can constantly trace his influence in such things as the maintenance of a single mood and achievement of a single impression in a tale, and the rigorous paring down of incidents to such as have a direct bearing on the plot and will figure prominently in the climax. Truly may it be said that Poe invented the short story in its present form. His elevation of disease, perversity, and decay to the level of artistically expressible themes was likewise infinitely far-reaching in effect; for avidly seized, sponsored, and intensified by his eminent French admirer Charles Pierre Baudelaire, it became the nucleus of the principal æsthetic movements in France, thus making Poe in a sense the father of the Decadents and the Symbolists.

Poet and critic by nature and supreme attainment, logician and philosopher by taste and mannerism, Poe was by no means immune from defects and affectations. His pretence to profound and obscure scholarship, his blundering ventures in stilted and laboured pseudo-humour and his often vitriolic outbursts of critical prejudice must all be recognised and forgiven. Beyond and above them, and dwarfing them to insignificance, was a master’s vision of the terror that stalks about and within us, and the worm that writhes and slavers in the hideously close abyss. Penetrating to every festering horror in the gaily painted mockery called existence, that vision had power to project itself in marvelous crystallisations and transmutations; till there bloomed in the sterile America of the thirties and forties such a moon-nourished garden of gorgeous poison fungi as not even the nether slope of Saturn had known in the days of the unutterable blasphemies. Verses and tales alike sustain the burthen of cosmic panic. The raven whose noisome beak pierces the heart, the ghouls that toll iron bells in pestilential steeples, the vault of Ulalume in the black October night, the shocking spires and domes under the sea, the “wild, weird clime that lieth, sublime, out of Space—out of Time”—all these things and more leer at us amidst maniacal rattlings in the seething nightmare of the poetry. And in the prose there yawn open for us the very jaws of the pit—inconceivable abnormalities slyly hinted into a horrible half-knowledge by words whose innocence we scarcely doubt till the cracked tension of the speaker’s hollow voice bids us fear their nameless implications; dæmoniac patterns and presences slumbering noxiously till waked for one phobic instant into a shrieking revelation that cackles itself to sudden madness or explodes in memorable and cataclysmic echoes. A Witches’ Sabbath of horror flinging off decorous robes is flashed before us—a sight the more monstrous because of the scientific skill with which every particular is marshalled and brought into an easy apparent relation to the known gruesomeness of material life.

Poe’s tales, of course, fall into several classes; some of which contain a purer essence of spiritual horror than others. The tales of logic and ratiocination, forerunners of the modern detective story, are not to be included at all in weird literature; whilst certain others, probably influenced considerably by Hoffmann, possess an extravagance which relegates them to the borderline of the grotesque. Still a third group deal with abnormal psychology and monomania in such a way as to express terror but not weirdness. A substantial residuum, however, represent the literature of supernatural horror in its acutest form; and give their author a permanent and unassailiableunassailable [sic] place as deity and fountain-head of all modern diabolic fiction. Who can forget the terrible swollen ship poised on the billow-chasm’s edge in MS. Found In A Bottle—the dark intimations of her unhallowed age and monstrous growth, her sinister crew of unseeing greybeards, and her frightful southward rush under full sail through the ice of the Antarctic night, sucked onward by some resistless devil-current toward a vortex of eldritch enlightenment which must end in destruction?

Then there is the unutterable M. Valdemar, kept together by hypnotism for seven months after his death, and uttering frantic sounds but a moment before the breaking of the spell leaves him “a nearly liquid mass of loathsome, of detestable putrescence.” In the Narrative Of A. Gordon Pym the voyagers reach first a strange south polar land of murderous savages where nothing is white and where vast rocky ravines have the form

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text: Max Havelaar (Siebenhaar)/Chapter 16

title: Max Havelaar (Siebenhaar)/Chapter 16


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Page:Travels in West Africa, Congo Français, Corisco and Cameroons (IA travelsinwestafr00kingrich).pdf/151

 prise, I do not think will ever be solved by importing foreign labour. Nor is it advisable that it should be, for our European Government puts a stop to the action of those causes which used to keep the native population down, intertribal wars, sacrifices, &c., &c.; and to the deportation of surplus population in the form of slaves, and so unless means of support are devised for "the indigenous ones," as Mrs. Gault calls them, Africa will have us to thank for some smart attacks of famine, for the natives, left to their own devices, will never cultivate the soil sufficiently to support a large population, and moreover a vast percentage of the West African soil is very poor, sour stuff, that will grow nothing but equally valueless vegetation. From this discourse you will argue I did get home at last.

June 2nd.—Nubia in, but she will not call at Batanga, so Mrs. Gault is stranded until some other steamer calls. Nubia has lost all her heavy anchors down south, where she reports the Calemma extra bad this year.

3rd.—Went alone for a long walk to the bend of the mangrove-swamp river to the east. It stank severely, but was most interesting, giving one the conditions of life in a mangrove-swamp in what you might call a pocket edition. Leaving this, I made my way north-west along native paths across stretches of grass growing on rolling hills and down through wooded valleys, each of which had a little stream in it, or a patch of swamp, with enormous arums and other water plants growing, and along through Fan villages, each with just one straight street, having a club-house at the alternate ends. I met in the forest a hunter, carrying home a deer he had shot; in addition to his musket, he carried a couple of long tufted spears, archaic in type. He was very chatty, and I gave him tobacco, and we talked sport, and on parting I gave him some more tobacco, because he kindly gave me a charm to enable me to see things in the forest. He was gratified, and said, "You ver nice," "Good-bye," "Good-day," "So long," "Good-night," which was very nice of him, as these phrases were evidently all the amiable greetings in English that he knew. The "So long" you often hear the natives in Gaboon say: it always sounds exceedingly quaint. They have of course


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 Germany undertakes to accept the settlement made by the Principal Allied and Associated Powers in regard to these territories, particularly in so far as concerns the nationality of the inhabitants.

  FREE CITY OF DANZIG.

Germany renounces in favour of the Principal Allied and Associated Powers all rights and title over the territory comprised within the following limits:

from the Baltic Sea southwards to the point where the principal channels of navigation of the Nogat and the Vistula (Weichsel) meet:

the boundary of East Prassia as described in Article 28 of Part II (Boundaries of Germany) of the present Treaty;

thence the principal channel of navigation of the Vistula downstream to a point about 6½ kilometres north of the bridge of Dirschau;

thence north-west to point 5, 1½ kilometres south-east of the church of Güttland:

a line to be fixed on the ground;

thence in a general westerly direction to the salient made by the boundary of the Kreis of Berent 8½ kilometres north-east of Schöneck:

a line to be fixed on the ground passing between Mühlbanz on the south and Rambeltsch on the north;

thence the boundary of the Kreis of Berent westwards to the re-entrant which it forms 6 kilometres north-north-west of Schöneck;

thence to a point on the median line of Lonkener See:

a line to be fixed on the ground passing north of Neu Fietz and Schatarpi and south of Barenhütte and Lonken;

thence the median line of Lonkener See to its northernmost point;

thence to the southern end of Pollenziner See:

a line to be fixed on the ground;

thence the median line of Pollenziner See to its northernmost point;


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504 the red in the figures in the boats,—as in a vocal trio we have the only three possible musical sounds of the human voice, the soprano, the basso, and the falsetto of the child's voice. All these colors are distinctly asserted and perfectly harmonized in a most exquisite play of tints, but it is still no more like Nature than the trio in "I Puritani" is like conversation. Turner never dreamed of painting like Nature, and no sane man ever saw or can see, in this world, Nature in the colors in which he has painted her, any more than he will find men conducting business in operatic notes.

One step farther, and we leave the analogy. In the "Swiss Valley," one of his last works, we are from the first conscious that his harmonies have run away with his theme. In Ole Bull's "Niagara" we have almost as much of matter-of-fact Nature as in Turner's "Swiss Valley." The eye untrained by study of Turner's works finds nothing but a blaze of color with no intelligible object, just as we have, in opera, music of which the words are inaudible; both are there for practised ear and eye, but in neither case as of primary importance. Turner has even gone farther, and given us pictures of pure color, as in the illustration of Goethe's theory of colors, a fantasie of the palette. And why shall Turner not orchestrate color as well as Verdi sound? why not give us his synchromies as well as Beethoven his symphonies? You prefer common sense,— Harding and Fripp, Stanfield and Creswick? Well, suppose you like better to hear some familiar voice talking of past times than to hear "Robert le Diable" ever so well sung, or Hawthorne's prose better than Browning's verse, it proves nothing, save that you do not care for music and poetry so well as some others do.

But after all, Turner was one of the old school of artists. Claude was the first landscape painter of the line, Turner the last; subjective poets both, the one a child, the other a mighty man. But the poets no longer govern the world as in times past; they give place to the philosophers. The race is no longer content with its inspirations and emotions, but must sec and understand. The old school of Art was one of sentiment, the new is one of fact; and out of that English mind from whose seeming common-place level of untrained, unschooled intellect have burst so many of the loftiest souls the world has known,—from that mind more inspired in its want of academic greatness, more self-educated in its wild liberty, than the best-trained nations of Europe, this new school has fittingly had its origin.

We speak of it as a School, though yet in its rudiments, because it has a distinctive character, a real purpose, and because it is the embodiment of the new-age spirit of truth-seeking, of the spirit of science, rather than that of song. Among the pictures contributed to the English exhibition by the Pre-Raphaelites, there are very few which do not convey the distinct impression of a determined effort to realize certain truths. There are few which succeed entirely; but this is so far from astonishing, that we have only to think that the oldest of these artists has hardly passed his first decade of recognized artistic existence, and that their aims are new in Art, to wonder that so much of fresh and subtile truth is given. There are two respects in which nearly all the works of the school agree, and which have come to be regarded by superficial students of Art as its characteristics, namely, that they are very deficient in drawing and devoid of grace. Both deficiencies are such as might have been expected from the circumstances. Young men filled with earnestness and enthusiasm, and with an artistic purpose full in view, will spend little time in acquiring academic excellences, or trouble themselves much with methods or styles of drawing. They dash at once to their purpose, and let technical excellence follow, as it ought, in the train of the idea of their work. Of course they do not compare, as draughtsmen and technists, with men who have spent years in getting a knowledge of the proportions of the human figure, and the best methods of applying color; but, on the other hand, they are safe from that most alluring and fatal course of study which makes the subject only a lay figure to display artistic capacity on. Of all the pictures of the school, in the collection of which we speak, there is but one of academic excellence in drawing,—the "King Lear" of Ford Madox Brown. All the others have errors, and some of them to a ludicrous degree; but wherever refined drawing is needed to convey the


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 thence in a north-easterly direction to a point about 1 kilometre south of Koliebken church, where the Danzig-Neustadt railway crosses a stream:

a line to be fixed on the ground passing south-east of Kamehlen, Krissau, Fidlin, Sulmin (Richthof), Mattern, Schäferei, and to the north-west of Neuendorf, Marschau, Czapielken, Hoch- and Klein-Kelpin, Pulvermühl, Renneberg and the towns of Oliva and Zoppot;

thence the course of the stream mentioned above to the Baltic Sea.

The boundaries described above are drawn on a German, map scale 1/100,000, attached to the present Treaty (Map No. 3).

A Commission composed of three members appointed by the Principal Allied and Associated Powers, including a High Commissioner as President, one member appointed by Germany and one member appointed by Poland, shall be constituted within fifteen days of the coming into force of the present Treaty for the purpose of delimiting on the spot the frontier of the territory as described above, taking into account as far as possible the existing communal boundaries.

The Principal Allied and Associated Powers undertake to establish the town of Danzig, together with the rest of the territory described in Article 100, as a Free City. It will be placed under the protection of the League of Nations.

A constitution for the Free City of Danzig shall be drawn up by the duly appointed representatives of the Free City in agreement with a High Commissioner to be appointed by the League of Nations. This constitution shall be placed under the guarantee of the League of Nations.

The High Commissioner will also be entrusted with the duty of dealing in the first instance with all differences arising between Poland and the Free City of Danzig in regard to this Treaty or any arrangements or agreements made thereunder.

The High Commissioner shall reside at Danzig.


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 of titanic Egyptian letters spelling terrible primal arcana of earth; and thereafter a still more mysterious realm where everything is white, and where shrouded giants and snowy-plumed birds guard a cryptic cataract of mist which empties from immeasurable celestial heights into a torrid milky sea. Metzengerstein horrifies with its malign hints of a monstrous metempsychosis—the mad nobleman who burns the stable of his hereditary foe; the colossal unknown horse that issues from the blazing building after the owner has perished therein; the vanishing bit of ancient tapestry where was shown the giant horse of the victim’s ancestor in the Crusades; the madman’s wild and constant riding on the great horse, and his fear and hatred of the steed; the meaningless prophecies that brood obscurely over the warring houses; and finally, the burning of the madman’s palace and the death therein of the owner, borne helpless into the flames and up the vast staircases astride the beast he has ridden so strangely. Afterward the rising smoke of the ruins takes the form of a gigantic horse. The Man Of The Crowd, telling of one who roams day and night to mingle with streams of people as if afraid to be alone, has quieter effects, but implies nothing less of cosmic fear. Poe’s mind was never far from terror and decay, and we see in every tale, poem, and philosophical dialogue a tense eagerness to fathom unplumbed wells of night, to pierce the veil of death, and to reign in fancy as lord of the frightful mysteries of time and space.

Certain of Poe’s tales possess an almost absolute perfection of artistic form which makes them veritable beacon-lights in the province of the short story. Poe could, when he wished, give to his prose a richly poetic cast; employing that archaic and Orientalised style with jewelled phrase, quasi-Biblical repetition, and recurrent burthen so successfully used by later writers like Oscar Wilde and Lord Dunsany; and in the cases where he has done this we have an effect of lyrical phantasy almost narcotic in essence—an opium pageant of dream in the language of dream, with every unnatural colour and grotesque image bodied forth in a symphony of corresponding sound. The Masque Of The Red Death, Silence, A Fable, and Shadow, A Parable, are assuredly poems in every sense of the word save the metrical one, and owe as much of their power to aural cadence as to visual imagery. But it is in two of the less openly poetic tales, Ligeia and The Fall Of The House Of Usher,—especially the latter—that one finds those very summits of artistry whereby Poe takes his place at the head of fictional miniaturists. Simple and straightforward in plot, both of these tales owe their supreme magic to the cunning development which appears in the selection and collocation of every least incident. Ligeia tells of a first wife of lofty and mysterious origin, who after death returns through a preternatural force of will to take possession of the body of a second wife; imposing even her physical appearance on the temporary reanimated corpse of her victim at the last moment. Despite a suspicion of prolixity and topheaviness, the narrative reaches its terrific climax with relentless power. Usher, whose superiority in detail and proportion is very marked, hints shudderingly of obscure life in inorganic things, and displays an abnormally linked trinity of entities at the end of a long and isolated family history—a brother, his twin sister, and their incredibly ancient house all sharing a single soul and meeting one common dissolution at the same moment.

These bizarre conceptions, so awkward in unskilful hands, become under Poe’s spell living and convincing terrors to haunt our nights; and all because the author understood so perfectly the very mechanics and physiology of fear and strangeness—the essential details to emphasise, the precise incongruities and conceits to select as preliminaries or concomitants to horror, the exact incidents and allusions to throw out innocently in advance as symbols or prefigurings of each major step toward the hideous denouement to come, the nice adjustments of cumulative force and the unerring accuracy in linkage of parts which make for faultless unity throughout and thunderous effectiveness at the climactic moment, the delicate nuances of scenic and landscape value to select in establishing and sustaining the desired mood and vitalising the desired illusion—principles of this kind, and dozens of

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Page:Treaty of Peace with Germany.djvu/149

 Persons convicted of political offences shall be enabled to exercise their right of voting.

Every person will vote in the commune where he is domiciled or in which he was born, if he has not retained his domicile in the area.

The result of the vote will be determined by communes according to the majority of votes in each commune.

5

On the conclusion of the voting, the number of votes cast in each commune will be communicated by the Commission to the Principal Allied and Associated Powers, with a full report as to the taking of the vote and a recommendation as to the line which ought to be adopted as the frontier of Germany in Upper Silesia. In this recommendation regard will be paid to the wishes of the inhabitants as shown by the vote, and to the geographical and economic conditions of the locality.

6.

As soon as the frontier has been fixed by the Principal Allied and Associated Powers, the German authorities will be notified by the International Commission that they are free to take over the administration of the territory which it is recognised should be German; the said authorities must proceed to do so within one month of such notification and in the manner prescribed by the Commission.

Within the same period and in the manner prescribed by the Commission, the Polish Government must proceed to take over the administration of the territory which it is recognised should be Polish.

When the administration of the territory has been provided for by the German and Polish authorities respectively, the powers of the Commission will terminate.

The cost of the army of occupation and expenditures by the Commission, whether in discharge of its own functions or in the administration of the territory, will be a charge on the area.


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Without prejudice to the provisions of the present Treaty, Germany undertakes not to put forward directly or indirectly against any Allied or Associated Power, signatory of the present Treaty, including those which without having declared war, have broken off diplomatic relations with the German Empire, any pecuniary claim based on events which occurred at any time before the coming into force of the present Treaty.

The present stipulation will bar completely and finally all claims of this nature, which will be thenceforward extinguished, whoever may be the parties in interest.

Germany accepts and recognises as valid and binding all decrees and orders concerning German ships and goods and all orders relating to the payment of costs made by any Prize Court of any of the Allied or Associated Powers, and undertakes not to put forward any claim arising out of such decrees or orders on behalf of any Gemian national.

The Allied and Associated Powers reserve the right to examine in such manner as they may determine all decisions and orders of German Prize Courts, whether affecting the property rights of nationals of those Powers or of neutral Powers. Germany agrees to furnish copies of all the documents constituting the record of the cases, including the decisions and orders made, and to accept and give effect to the recommendations made after such examination of the cases.

, of which the French and English texts are both authentic, shall be ratified.

The deposit of ratifications shall be made at Paris as soon as possible.

Powers of which the seat of the Government is outside Europe will be entitled merely to inform the Government of the French Republic through their diplomatic representative at Paris that their ratification has been given; in that case they must transmit the instrument of ratification as soon as possible.


text: Index:Théâtre D’opéra Spatial (USCO Review Board, 2023).pdf


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 15.

Each Government will defray the expenses of the Clearing Office set up in its territory, including the salaries of the staff.

16.

Where the two Clearing Offices are unable to agree whether a debt claimed is due, or in case of a difference between an enemy debtor and an enemy creditor or between the Clearing Offices, the dispute shall either be referred to arbitration if the parties so agree under conditions fixed by agreement between them, or referred to the Mixed Arbitral Tribunal provided for in Section VI hereafter.

At the request of the Creditor Clearing Office the dispute may, however, be submitted to the jurisdiction of the Courts of the place of domicile of the debtor.

17.

Recovery of sums found by the Mixed Arbitral Tribunal, the Court, or the Arbitration Tribunal to be due shall be effected through the Clearing Offices as if these sums were debts admitted by the Debtor Clearing Office.

18.

Each of the Governments concerned shall appoint an agent who will be responsible for the presentation to the Mixed Arbitral Tribunal of the cases conducted on behalf of its Clearing Office. This agent will exercise a general control over the representatives or counsel employed by its nationals.

Decisions will be arrived at on documentary evidence, but it will be open to the Tribunal to hear the parties in person, or according to their preference by their representatives approved by the two Governments, or by the agent referred to above, who shall be competent to intervene along with the party or to re-open and maintain a claim abandoned by the same.

19.

The Clearing Offices concerned will lay before the Mixed Arbitral Tribunal all the information and documents in their possession, so as to enable the Tribunal to decide rapidly on the cases which are brought before it.


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Page:Théâtre D’opéra Spatial (USCO Review Board, 2023).pdf/1

 September 5, 2023

Tamara Pester, Esq. Tamara S. Pester, LLC PO Box 6601 Denver, CO 80206

Dear Ms. Pester:

The Review Board of the United States Copyright Office (“Board”) has considered Jason M. Allen’s (“Mr. Allen”) second request for reconsideration of the Office’s refusal to register a two-dimensional artwork claim in the work titled “Théâtre D’opéra Spatial” (“Work”). After reviewing the application, deposit copy, and relevant correspondence, along with the arguments in the second request for reconsideration, the Board affirms the Registration Program’s denial of registration. The Board finds that the Work contains more than a de minimis amount of content generated by artificial intelligence (“AI”), and this content must therefore be disclaimed in an application for registration. Because Mr. Allen is unwilling to disclaim the AI-generated material, the Work cannot be registered as submitted.

I.DESCRIPTION OF THE WORK

The Work is a two-dimensional artwork, reproduced below:


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Tamara Pester, Esq. Tamara S. Pester, LLC II.ADMINISTRATIVE RECORD

On September 21, 2022, Mr. Allen filed an application to register a two-dimensional artwork claim in the Work. While Mr. Allen did not disclose in his application that the Work was created using an AI system, the Office was aware of the Work because it had garnered national attention for being the first AI-generated image to win the 2022 Colorado State Fair’s annual fine art competition. Because it was known to the Office that AI-generated material contributed to the Work, the examiner assigned to the application requested additional information about Mr. Allen’s use of Midjourney, a text-to-picture artificial intelligence service, in the creation of the Work. Email from U.S. Copyright Office to Tamara Pester (Sept. 28, 2022). In response, Mr. Allen provided an explanation of his process, stating that he “input numerous revisions and text prompts at least 624 times to arrive at the initial version of the image.” Email from Tamara Pester to U.S. Copyright Office (Sept. 30, 2022) (“Allen Sept. Creation Explanation”). He further explained that, after Midjourney produced the initial version of the Work, he used Adobe Photoshop to remove flaws and create new visual content and used Gigapixel AI to “upscale” the image, increasing its resolution and size. Id. As a result of these disclosures, the examiner requested that the features of the Work generated by Midjourney be excluded from the copyright claim. Email from U.S. Copyright Office to Tamara Pester (Oct. 14, 2022). Mr. Allen declined the examiner’s request and reasserted his claim to copyright in the features of the Work produced by an AI system. Email from Tamara Pester to U.S. Copyright Office (Oct. 25, 2022). The Office refused to register the claim because the deposit for the Work did not “fix only [Mr. Allen’s] alleged authorship” but instead included “inextricably merged, inseparable contributions” from both Mr. Allen and Midjourney. Initial Letter Refusing Registration from U.S. Copyright Office to Tamara Pester at 1 (Dec. 13, 2022).

On January 24, 2023, Mr. Allen requested that the Office reconsider its initial refusal to register the Work, arguing that the examiner had misapplied the human authorship requirement and that public policy favored registration. Letter from Tamara Pester to U.S. Copyright Office at 2, 4–8 (Jan. 24, 2023) (“First Request”). After reviewing the Work in light of the points raised in the First Request, the Office reevaluated the claims and again concluded that the Work could not be registered without limiting the claim to only the copyrightable authorship Mr. Allen himself contributed to the Work. Refusal of First Request for Reconsideration from U.S. Copyright Office to Tamara Pester (June 6, 2023). The Office explained that “the image generated by Midjourney that formed the initial basis for th[e] Work is not an original work of authorship protected by copyright.” Id. at 6. The Office accepted Mr. Allen’s claim that human-authored “visual edits” made with Adobe Photoshop contained a sufficient amount of original authorship to be registered. Id. at 8. However, the Office explained that the features generated by Midjourney and Gigapixel AI must be excluded as non-human authorship. Id. at 6–7, 9. Because Mr. Allen sought to register the entire work and refused to disclaim the portions attributable to AI, the Office could not register the claim. Id. at 9.

In a letter submitted July 12, 2023, Mr. Allen requested that, pursuant to 37 C.F.R. § 202.5(c), the Office reconsider for a second time its refusal to register the Work. Letter from


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Tamara Pester, Esq. Tamara S. Pester, LLC Tamara Pester to U.S. Copyright Office (July 12, 2023) (“Second Request”). The Second Request presented several arguments. First, Mr. Allen argued that, in finding that the image generated by Midjourney lacks the human authorship essential for copyright protection, “the Office ignore[d] the essential element of human creativity required to create a work using the Midjourney program.” Id. at 1. Mr. Allen argued that his “creative input” into Midjourney, which included “enter[ing] a series of prompts, adjust[ing] the scene, select[ing] portions to focus on, and dictat[ing] the tone of the image,” is “on par with that expressed by other types of artists and capable of Copyright protection.” Id. at 4. He further contended that the fair use doctrine “would allow for registration of the work” because it “allows for transformative uses of copyrighted material.” Id. at 1, 9. Mr. Allen argued that, “[i]n this case, the underlying AI-generated work merely constitutes raw material which Mr. Allen has transformed through his artistic contributions.” Id. at 11 (emphasis in original). Therefore, “regardless of whether the underlying AI-generated work is eligible for copyright registration, the entire Work in the form submitted to the copyright office should be accepted for registration.” Id. at 1, 9–11.

Next, he asserted that, by refusing to register content generated via Midjourney and other generative AI platforms, “the Office is placing a value judgment on the utility of various tools,” and that denial of copyright protection for the output of such tools would result in a void of ownership. Id. at 6, 9. Finally, he objected to the Office’s registration requirements for works containing AI-generated content, stating that “[r]equiring creators to list each tool and the proportion of the work created with the tool would have a burdensome effect if enforced uniformly.” Id. at 7–8.

III.DISCUSSION

After carefully examining the Work and considering the arguments made in the First and Second Requests, the Board finds that the Work contains more than a de minimis amount of AI-generated content, which must be disclaimed in an application for registration. Because Mr. Allen has refused to disclaim the material produced by AI, the Work cannot be registered as submitted.

A. Originality and the Human Authorship Requirement

The Copyright Act protects, and the Office registers, “original works of authorship fixed in any tangible medium of expression.” 17 U.S.C. § 102(a). Courts have interpreted the statutory phrase “works of authorship” to require human creation of the work. See Thaler v. Perlmutter, No. 22-cv-1564, 2023 WL 5333236, at *4 (D.D.C. Aug. 18, 2023) (stating that “human authorship is a bedrock requirement of copyright” in affirming the Office’s refusal to register a work “autonomously” created by AI). For this reason, courts have uniformly rejected attempts to protect the creations of non-humans through copyright. For example, the Ninth Circuit held that a book containing words “‘authored’ by non-human spiritual beings” can only gain copyright protection if there is “human selection and arrangement of the revelations.” Urantia Found. v. Kristen [sic] Maaherra, 114 F.3d 955, 957–59 (9th Cir. 1997) (holding that “some element of human creativity must have occurred in order for the Book to be copyrightable” because “it is not creations of divine beings that the copyright laws were intended to protect”). Similarly, a monkey cannot register a copyright in photos it captures with a camera because the Copyright Act refers to an author’s “children,” “‘ [sic]widow,” “grandchildren,” and


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 PART I.

THE COVENANT OF THE LEAGUE OF NATIONS.

,

In order to promote international co-operation and to achieve international peace and security

by the acceptance of obligations not to resort to war,

by the prescription of open, just and honourable relations between nations,

by the firm, establishment of the understandings of international law as the actual rule of conduct among Governments, and by the maintenance of justice and a scrupulous respect for all treaty obligations in the dealings of organised peoples with one another.

Agree to this Covenant of the League of Nations.

The original Members of the League of Nations shall be those of the Signatories which are named in the Annex to this Covenant and also such of those other States named in the Annex as shall accede without reservation to this Covenant. Such accession shall be effected by a Declaration deposited with the Secretariat within two months of the coming into force of the Covenant. Notice thereof shall be sent to all other Members of the League.

Any fully self-governing State, Dominion or Colony not named in the Annex may become a Member of the League if its admission is agreed to by two-thirds of the Assembly, provided that it shall give effective guarantees of its sincere intention to observe its international obligations, and shall accept such regulations as may be prescribed by the League in regard to its military, naval and air forces and armaments.


text:
Page:Treaty of Peace with Germany.djvu/173

The Principal Allied and Associated Powers undertake to negotiate a Treaty between the Polish Government and the Free City of Danzig, which shall come into force at the same time as the establishment of the said Free City, with the following objects:

(1) To effect the inclusion of the Free City of Danzig within the Polish Customs frontiers, and to establish a free area in the port;

(2) To ensure to Poland without any restriction the free use and service of all waterways, docks, basins, wharves and other works within the territory of the Free City necessary for Polish imports and exports;

(3) To ensure to Poland the control and administration of the Vistula and of the whole railway system within the Free City, except such street and other railways as serve primarily the needs of the Free City, and of postal, telegraphic and telephonic communication between Poland and the port of Danzig;

(4) To ensure to Poland the right to develop and improve the waterways, docks, basins, wharves, railways and other works and means of communication mentioned in this Article, as well as to lease or purchase through appropriate processes such land and other property as may be necessary for these purposes;

(5) To provide against any discrimination within the Free City of Danzig to the detriment of citizens of Poland and other persons of Polish origin or speech;

(6) To provide that the Polish Government shall undertake the conduct of the foreign relations of the Free City of Danzig as well as the diplomatic protection of citizens of that city when abroad.

On the coming into force of the present Treaty German nationals ordinarily resident in the territory described in Article 100 will ipso facto lose their German nationality in order to become nationals of the Free City of Danzig.


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Tamara Pester, Esq. Tamara S. Pester, LLC that “all imply humanity and necessarily exclude animals.” Naruto v. Slater, 888 F.3d 418, 426 (9th Cir. 2018), decided on other grounds. Most recently, in Thaler v. Perlmutter, the U.S. District Court for the District of Columbia explained: "By its plain text, the 1976 Act … requires a copyrightable work to have an originator with the capacity for intellectual, creative, or artistic labor. Must that originator be a human being to claim copyright protection? The answer is “yes.”"

2023 WL 5333236 at *4 (footnote omitted). Because copyright protection is only available for the creations of human authors, “the Office will refuse to register a [copyright] claim if it determines that a human being did not create the work.”, § 306 (3d ed. 2021) (“”).

When analyzing AI-generated material, the Office must determine when a human user can be considered the “creator” of AI-generated output. In March 2023, the Office provided public guidance on registration of works created by a generative-AI system. The guidance explained that, in considering an application for registration, the Office will ask “whether the ‘work’ is basically one of human authorship, with the computer [or other device] merely being an assisting instrument, or whether the traditional elements of authorship in the work (literary, artistic, or musical expression or elements of selection, arrangement, etc.) were actually conceived and executed not by man but by a machine.” Copyright Registration Guidance: Works Containing Material Generated by Artificial Intelligence, 88 Fed. Reg. 16,190, 16,192 (Mar. 16, 2023) (“AI Registration Guidance”) (quoting, , 5 (1966)); see also AI Registration Guidance, 88 Fed. Reg. at 16,192 (asking “whether the AI contributions are the result of ‘mechanical reproduction’ or instead of an author’s ‘own original mental conception, to which [the author] gave visible form.’”) (quoting Burrow-Giles Lithographic Company v. Sarony, 111 U.S. 53, 60 (1884)). This analysis will be “necessarily case-by-case” because it will “depend on the circumstances, particularly how the AI tool operates and how it was used to create the final work.” AI Registration Guidance, 88 Fed. Reg. at 16,192.

If all of a work’s “traditional elements of authorship” were produced by a machine, the work lacks human authorship, and the Office will not register it. Id. If, however, a work containing AI-generated material also contains sufficient human authorship to support a claim to copyright, then the Office will register the human’s contributions. Id. at 16,192–93. In such cases, the applicant must disclose AI-generated content that is “more than de minimis.” Id. at 16,193. Applicants may disclose and exclude such material by placing a brief description of the AI-generated content in the “Limitation of Claim” section on the registration application. The description may be as brief and generic as “[description of content] generated by artificial intelligence.” Id. Applicants may provide additional information in the “Note to CO” field in the online application. Id. Applicants are not required to list the AI tools used in the creation of the work.

Before turning to its analysis of the Work, the Board notes the Office has previously considered the scope of copyright protection of images generated through the use of the tool used by Mr. Allen, i.e., the generative AI system Midjourney. Last year, the Office of Registration Policy and Practice initiated cancellation proceedings for a graphic novel containing images


text: Page:UN Treaty Series - vol 3.pdf/118

title: Page:UN Treaty Series - vol 3.pdf/118


text: Page:UN Treaty Series - vol 3.pdf/120

title: Page:UN Treaty Series - vol 3.pdf/120


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Tamara Pester, Esq. Tamara S. Pester, LLC generated by Midjourney. In its final decision reissuing the registration certificate with exclusions, the Office explained its understanding of how the Midjourney service functions and the relevant analysis under copyright law. In examining the Work here, the Board applies its knowledge of Midjourney and Midjourney’s description of its own service, of which the Office takes administrative notice. See § 1704.2 (“[T]he Board … may take administrative notice of matters of general knowledge or matters known to the Office or the Review Board.”).

B. Analysis

Because the Work here contains AI-generated material, the Board starts with an analysis of the circumstances of the Work’s creation, including Mr. Allen’s use of an AI tool. According to Mr. Allen, the Work was created by 1) initially generating an image using Midjourney (the “Midjourney Image”), 2) using Adobe Photoshop to “beautify and adjust various cosmetic details/flaws/artifacts, etc.” in the Midjourney Image, and 3) upscaling the image using Gigapixel AI. After considering the application, the deposit, and Mr. Allen’s correspondence, the Board concludes that the Work contains an amount of AI-generated material that is more than de minimis and thus must be disclaimed. Specifically, the Board concludes that the Midjourney Image, which remains in substantial form in the final Work, is not the product of human authorship. In reaching this conclusion, the Board does not decide whether Mr. Allen’s adjustments made in Adobe Photoshop would be copyrightable on their own because the Board lacks sufficient information to make that determination. The Board also does not consider Mr. Allen’s use of Gigapixel AI because he concedes that Gigapixel AI “doesn’t introduce new, original elements into the image” and that “the enlargement process undertaken by Gigapixel AI does not equate to authorship.” Second Request at 5–6.


text:
Page:Treaty of Peace with Germany.djvu/175

Within a period of two years from the coming into force of the present Treaty, German nationals over 18 years of age ordinarily resident in the territory described in Article 100 will have the right to opt for German nationality.

Option by a husband wall cover his wife and option by parents will cover their children less than 18 years of age.

All persons who exercise the right of option referred to above must during the ensuing twelve months transfer their place of residence to Germany.

These persons will be entitled to preserve the immovable property possessed by them in the territory of the Free City of Danzig. They may carry with them their movable property of every description. No export or import duties shall be imposed upon them in this connection.

All property situated within the territory of the Free City of Danzig belonging to the German Empire or to any German State shall pass to the Principal Allied and Associated Powers for transfer to the Free City of Danzig or to the Polish State as they may consider equitable.

The proportion and nature of the financial liabilities of Germany and of Prussia to be borne by the Free City of Danzig shall be fixed in accordance with Article 254 of Part IX (Financial Clauses) of the present Treaty.

All other questions which may arise from the cession of the territory referred to in Article 100 shall be settled by further agreements.

  SCHLESWIG.

The frontier between Germany and Denmark shall be fixed in conformity with the wishes of the population.

For this purpose, the population inhabiting the territories of the former German Empire situated to the north of a line, from East to West, (shown by a brown line on the map No. 4, annexed to the present Treaty):


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Page:Treaty of Peace with Germany.djvu/177

 leaving the Baltic Sea about 13 kilometres east-north-east of Flensburg, running south-west so as to pass south-east of: Sygum, Ringsherg, Munkbrarup, Adelby, Tastrup, Jarplund, Oversee, and north-west of: Langballigholz, Langballig, Bönstrup, Rüllschau, Weseby, Kleinwolstrup, Gross-Solt,

thence westwards passing south of Frörup and north of Wanderup,

thence in a south-westerly direction passing south-east of Oxlund, Steigiund and Ostenau and north-west of the villages on the Wanderup-Kollund road,

thence in a north-westerly direction passing south-west of Löwenstedt, Joldelund, Goldelund, and north-east of Kolkerheide and Högel to the bend of the Soholmer Au, about 1 kilometre east of Soholom, where it meets the southern boundary of the Kreis of Tondern,

following this boundary to the North Sea,

passing south of the islands of Fohr and Amrum and north of the islands of Oland and Langeness,

shall be called upon to pronounce by a vote which will be taken under the following conditions:

(1) Within a period not exceeding ten days from the coming into force of the present Treaty, the German troops and authorities (including the Oberpräsidenten, Regierungs-präsidenten, Landräthe, Amtsvorsteher, Oberbürgermeister) shall evacuate the zone lying to the north of the line above fixed.

Within the same period the Workmen's and Soldiers' Councils which have been constituted in this zone shall be dissolved; members of such Councils who are natives of another region and are exercising their functions at the date of the coming into force of the present Treaty, or who have gone out of office since March 1, 1919, shall also he evacuated.

The said zone shall immediately be placed under the authority of an International Commission, composed of five members, of whom three will be designated by the Principal Allied and Associated Powers; the Norwegian and Swedish Governments will each be requested to designate a member; in the event of their failing to do so, these two members will be chosen by the Principal Allied and Associated Powers.


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Tamara Pester, Esq. Tamara S. Pester, LLC {|
 * Théâtre D’opéra Spatial original output.jpg
 * Théâtre D’opéra Spatial.jpg
 * Midjourney Image
 * The Work
 * }
 * }

In his Second Request, Mr. Allen asserts a number of arguments in support of his claim. He argues that his use of Midjourney allows him to claim authorship of the image generated by the service because he provided “creative input” when he “entered a series of prompts, adjusted the scene, selected portions to focus on, and dictated the tone of the image.” Id. at 4. As explained in his correspondence, Mr. Allen created a text prompt that began with a “big picture description” that “focuse[d] on the overall subject of the piece.” Allen Sept. Creation Explanation. He then added a second “big picture description” to the prompt text “as a way of instructing the software that Mr. Allen is combining two ideas.” Id. Next, he added “the overall image’s genre and category,” “certain professional artistic terms which direct the tone of the piece,” “how lifelike [Mr. Allen] wanted the piece to appear,” a description of “how colors [should be] used,” a description “to further define the composition,” “terms about what style/era the artwork should depict,” and “a writing technique that Mr. Allen has established from extensive testing” that would make the image “pop.” Id. He then “append[ed the prompt] with various parameters which further instruct[ed] the software how to develop the image,” resulting in a final text prompt that was “executed … into Midjourney to complete the process” and resulted in the creation of the Midjourney Image above. Id.

In the Board’s view, Mr. Allen’s actions as described do not make him the author of the Midjourney Image because his sole contribution to the Midjourney Image was inputting the text prompt that produced it. Although Mr. Allen describes “input[ing] numerous revisions and text prompts at least 624 times” before producing the Midjourney Image, Allen Sept. Creation Explanation, the steps in that process were ultimately dependent on how the Midjourney system processed Mr. Allen’s prompts. According to Midjourney’s documentation, prompts “influence” what the system generates and are “interpret[ed]” by Midjourney and “compared to its training data.” As the Office has explained, “Midjourney does not interpret prompts as specific instructions to create a particular expressive result,” because “Midjourney does not understand


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Tamara Pester, Esq. Tamara S. Pester, LLC grammar, sentence structure, or words like humans.” It is the Office’s understanding that, because Midjourney does not treat text prompts as direct instructions, users may need to attempt hundreds of iterations before landing upon an image they find satisfactory. This appears to be the case for Mr. Allen, who experimented with over 600 prompts before he “select[ed] and crop[ped] out one ‘acceptable’ panel out of four potential images … (after hundreds were previously generated).” Allen Sept. Creation Explanation. As the Office described in its March guidance, “when an AI technology receives solely a prompt from a human and produces complex written, visual, or musical works in response, the ‘traditional elements of authorship’ are determined and executed by the technology—not the human user.” AI Registration Guidance, 88 Fed. Reg. at 16,192. And because the authorship in the Midjourney Image is more than de minimis, Mr. Allen must exclude it from his claim. See id. at 16,193. Because Mr. Allen has refused to limit his claim to exclude its non-human authorship elements, the Office cannot register the Work as submitted.

The Board finds that Mr. Allen’s remaining arguments regarding elements of authorship in the Work are unpersuasive. First, he argues that the Office’s position “ignores the essential element of human creativity required to create a work using the Midjourney program,” and that his creative choices in operating Midjourney make him the author of resulting output. Second Request at 1, 4 (citing SHL ImagingImaging, [sic] Inc. v. Artisan House, Inc., 117 F. Supp. 2d 301, 308 (S.D.N.Y. 2000) (holding human authorship requires that “an author must imbue the work with a visible form that results from creative choices”)). The Board acknowledges that the process of prompting can involve creativity—after all, “some prompts may be sufficiently creative to be protected by copyright” as literary works. AI Registration Guidance, 88 Fed. Reg. at 16,192 n.27. But that does not mean that providing text prompts to Midjourney “actually form[s]” the generated images. See Sarony, 111 U.S. at 61; see also Thaler, 2023 WL 5333236, at *3 (the “key” to copyright protection is “[h]uman involvement in, and ultimate creative control over, the work at issue”). Instead, Mr. Allen is closer to the plaintiff in Kelley v. Chicago Park District who sought to claim copyright in a “living garden.” 635 F.3d 290 (7th Cir. 2011). In that case, the court rejected the authorship claim because, as is true here, the plaintiff’s actions did not amount to creative control of the claimed elements of the work. As the Seventh Circuit further explained, while “copyright’s prerequisites of authorship and fixation are broadly defined, … the law must have some limits.” Id. at 304.

Second, the Board rejects Mr. Allen’s policy argument that denying copyright protection to AI-generated material leaves a “void of ownership troubling to creators.” Second Request at 9. The Constitution and the Copyright Act define the works that are entitled to copyright


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Tamara Pester, Esq. Tamara S. Pester, LLC protection, and expressly exclude certain subject matter. To be copyrightable, a work must qualify as an “original work of authorship,” which excludes works produced by non-humans. The fact that not all works will satisfy this standard does not create a “troubling” void of ownership. The Office administers the copyright laws as enacted by Congress and cannot exceed the bounds set by Congress and the Constitution.

Third, the Board rejects Mr. Allen’s argument that requiring AI-generated material to be excluded from the application for the Work improperly “plac[es] a value judgment on the utility of various tools.” Second Request at 6–7. The disclosure of AI-generated material is “information regarded by the Register of Copyrights as bearing upon the preparation or identification of the work or the existence, ownership, or duration of the copyright.” 17 U.S.C. § 409(10). As the Office’s guidance on works containing AI-generated material explained, the Copyright Act permits the Register to identify such information and require its disclosure in copyright applications. AI Registration Guidance, 88 Fed. Reg. at 16,191. This requirement is not a value judgment; it is a recognition of the fact that “[h]uman authorship is a bedrock requirement of copyright.” Thaler, 2023 WL 5333236, at *4.

Fourth, the Board rejects Mr. Allen’s suggestion that the doctrine of “fair use” is relevant to the determination of whether a work is copyrightable. See Second Request at 1, 9–11 (arguing that AI-generated material “merely constitutes raw material which Mr. Allen has transformed”) (citing Cariou v. Prince, 714 F.3d 694 (2d Cir. 2013)). Fair use is a legal doctrine that permits the unauthorized use of copyright-protected works in certain circumstances; it does not address copyrightability, but rather use. To the extent Mr. Allen argues by analogy that his visual edits are “transformative,” and thus, copyrightable, the Board agrees that human-authored modifications of AI-generated material may protected by copyright. See AI Registration Guidance, 88 Fed. Reg. at 16,192–93 (explaining that in many cases, “a work containing AI-generated material will also contain sufficient human authorship to support a copyright claim” because a human author may select, arrange, or modify AI-generated material in a sufficiently creative way). But the Office cannot register Mr. Allen’s human contributions if he does not limit his claim with respect to the AI-generated material.

Finally, the Board dismisses Mr. Allen’s argument that “[r]equiring creators to list each tool and the proportion of the work created with the tool would have a burdensome effect.” Second Request at 8. The Office does not require a detailed disclosure of the specific identity and creative process behind the AI-generated material in a work. The Office’s guidance merely requires applicants to provide a “brief statement” in the application, such as that the text was “generated by artificial intelligence.” See AI Registration Guidance, 88 Fed. Reg. at 16,193. The Office does not intend this requirement to be burdensome, and it does not call for a detailed list of the tools used or the precise proportions of the work that were created by each one.


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Tamara Pester, Esq. Tamara S. Pester, LLC IV.CONCLUSION

For the reasons stated herein, the Review Board of the United States Copyright Office affirms the refusal to register the copyright claim in the Work. Pursuant to 37 C.F.R. § 202.5(g), this decision constitutes final agency action regarding Mr. Allen’s September 2022 application.


text: Théâtre D’opéra Spatial (USCO Review Board, 2023)


text:
Page:The China Review, Or, Notes and Queries on the Far East, Volume 22 1RZBAQAAMAAJ.pdf/94

 the other dialects belonging to the Cantonese family of dialects, such for example as in the San Ning, yet there are more than in some of the others, as for example in the Tung Kwún. The following are the principal changes in the Höng Shán:—ch in Cantonese becomes almost always ts except before e, í, ö, and ü. It may at first sight be thought 正 cheng and 秤 ch'eng (in Höng Shán tsang and ts'ang) are exceptions to these exceptions; but it will be noticed that the e (or rather i, it being ching in the book language) becomes a short a; and that in the second word in Cantonese it is a short i. Again 黜 chut retains the ch in Höng Shán, because the u in Cantonese is turned into the French ü, in the Höng Shán.

It can readily be understood that there is considerable difficulty at times in distinguishing whether the letters are ts or ch. The writer of the Introduction to the 'Chinese Chrestomathy' (p. X) also seems to have experienced something of the same nature as he says:— As far as the present writer is informed, these remarks appear to be erroneous. The sound is ts and not tch, and sz is not pronounced chú but sí. It is just possible that there may be some variant of the Höng Shán in which these words are so pronounced; but the present writer is informed that such is not the case. In listening attentively to a speaker, it seems as if he veered between ch and ts, sometimes pronouncing the one and sometimes the other. Perhaps the speech of those from the country who have never heard any other dialect but their own, might give more certain and reliable results; for it is well known the Chinese as a rule are not able to distinguish clearly between these two sounds, so that residence amongst speakers who pronounce them in a slightly different way is apt, unknown almost to themselves, to lead them occasionally perhaps to pronounce the words like those they are living amongst, when especially in their everyday talk with those around them they give up their own speech and adopt the speech of those amongst whom they live. As far as the writer can gather the ts sound seems to predominate in the Höng Shán dialect; but thus ts does not appear to have such an explodent force as from Cantonese lips—in short it appears to be softer somewhat than the Cantonese ts. There seems often to one who is listening very little distinction between ts and ch: they sometimes appear to approach as near to each other as it is almost possible to do. It is just possible, of course, that there may be a wavering between the two, though this is scarcely likely.

H takes the place of the initial f in Cantonese before u and ú as a general rule, there being some exceptions. Initial f before ok and on is sometimes replaced by k'  in Höng Shán. Initial h is generally the same, but words in hak with perhaps one exception become h'ak, and other words occasionally take a k or k' . Exception:—愷 ôí, h replaces the semi-vowel initial y that appears in some pure Cantonese words.

Initial k is always the same. Exception 嬀 waí. Kw:—with regard to the w after k—it is dropped throughout the Höng Shán district; and the district city of Shek-k'éí was no exception to the general rule until the students attending the literary examinations in Canton began to despise their own provincialisms, and approximated in this respect to the standard of pure Cantonese, as represented in the provincial capital: so that in the city of Shek-k'éí both pronunciations are in use. The initials l, m, n, ng, and p are the same in Cantonese and Höng Shán as a general rule; but ng is more common in Höng Shán, as it forms the first letters in some words in which it does not appear in pure Cantonese, being prefixed to


text: Mallory v. Norfolk Southern

title: Mallory v. Norfolk Southern


text: Mallory v. Norfolk Southern/Opinion of the Court


text: Mallory v. Norfolk Southern/Opinion of Justice Jackson


text: Mallory v. Norfolk Southern/Opinion of Justice Alito


text: Mallory v. Norfolk Southern/Opinion of Justice Barrett


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Page:The China Review, Or, Notes and Queries on the Far East, Volume 22 1RZBAQAAMAAJ.pdf/95

 some words where the semi-vowel y takes their place in Cantonese.

As a general rule initial s appears in the same words in Höng Shán that it does in Cantonese; but it is more common as an initial in Höng Shán, as the initials sh are never found in Höng Shán, the h being dropped and simple s remaining. T initial is the same as in Cantonese, and ts also as a general rule, the exception being ts before ü when it becomes ch. A similar change takes place in some words with the spelling tsöü and ts'öü.

Initial w is generally the same but wú drops the w, or becomes fú, or hú, or kú. Wúí becomes huöü, or úöü, or, while drops the w or becomes hún, hün, kún, or k'ún, and finally wút becomes út. Y as an initial is dropped before í, or ng is put in its place, or occasionally h, or k' . In Shek-k'éí, there is a slight tendency, in two or three cases to retain the y. A syllable unknown in Cantonese, viz. yôi, occurs in the Höng Shán dialect. Another peculiarity of the Höng Shán dialect, viz.,—the use of ng or h in many cases where in Cantonese the semi-vowel y only appears as an initial, is noticed by Dr. Williams in the Introduction to 'the Tonic Dictionary,' p. XX, as follows:— The writer of the Introduction to the 'Chinese Chrestomathy' (p. X.) also notices this in the following words:—

As regards the final consonants:—The final consonants are the same as in Cantonese with the exception of z (used only in Cantonese in the words ) which is invariably changed into the long vowel.

Vowels.

It will usually be found that the length and shortness of the vowels are the same in Höng Shán as in Cantonese when the vowels themselves are the same in these two dialects. The vowels and diphthongs a, áí, aú and áú are retained in the Höng Shán words, where they occur in the same words in Cantonese, as a general rule. Exception k'yéú for k'aú.

The short e is also the same. Exception, pí (or ) for pe.

In the change of the diphthong éí into the long í occurs one of the most characteristic of the Höng Shán sounds, nor is it confined to Höng Shán alone. And again another of the equally or even more characteristic sounds of this dialect is heard in the short a which supersedes the short when it is followed by k or ng. Exceptions 名 and 命 meëng and 聲, 城, and 成 which are either sang or seng. Long í is the same in both Cantonese and Höng Shán.

O and ò are the same in both Cantonese and Höng Shán with the exception of short ò before m, p, when it then becomes a short a, ö is the same in Höng Shán as in Cantonese. It is difficult to know how to represent the class of sound which is the counter-part of the Cantonese oi. For want of any better means of setting it forth in an English spelling, it is here represented by ôí. As has already been said by the writer, since the letters Having got un peu près to the Chinese pronunciation, or sometimes even very near to it, we must perforce—since we have no similar or identical sound in our language


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Rh

who has of late been winning such golden opinions in the amphitheatres of the provinces. Some sixty thousand persons were present, and but for the fact that the streets were almost impassable, it is fair to presume that the house would have been full. His august Majesty, the Emperor Aurelius, occupied the imperial box, and was the cynosure of all eyes. Many illustrious nobles and generals of the Empire graced the occasion with their presence, and not the least among them was the young patrician lieutenant whose laurels, won in the ranks of the “Thundering Legion,” are still so green upon his brow. The cheer which greeted his entrance was heard beyond the Tiber!

“The late repairs and decorations add both to the comeliness and the comfort of the Coliseum. The new cushions are a great improvement upon the hard marble seats we have been so long accustomed to. The present management deserve well of the public. They have restored to the Coliseum the gilding, the rich upholstery and the uniform magnificence which old Coliseum frequenters tell us Rome was so proud of fifty years ago.