OpenLLM-France/wikimedia huggingface dataset:
# (Un)trusted input

All user input is to be considered untrusted. Seemingly “trusted/safe” input, like some $_SERVER variables in PHP, can be easily manipulated by attackers.

## To prevent this type of attack

* Thoroughly filter/escape any untrusted content
* If the allowed character set for certain input fields is limited, check that the input is valid before using it
* If in doubt about a certain kind of data (e.g. server variable), treat it as untrusted
* If you are sure, but there is no real need to treat it as trusted, treat it as untrusted
* The request URL (e.g. in environment variables) is untrusted
* Data coming from HTTP headers is untrusted
** Referer
** X-Forwarded-For
** Cookies
** Server name (!)
* All POST and GET data is untrusted
** includes non-user-modifiable input fields like select
* All content validation is to be done server side

## Rationale

Escaping or filtering “trusted” input that should not contain any characters that require escaping will only give you a negligible performance penalty, but you will be on the safe side if the input turns out to be untrusted.
Validating input data using a character whitelist can avoid attacks using unexpected characters (null bytes, UTF-8, control characters used as delimiters in internal representations etc.). Ensure your validation is not too strict, for example you will need to allow both UTF-8 and characters like ' in person name fields.
An attacker is not constrained by the constraints a browser puts on him. Just because an input field is specified with maxlength=20 does not mean that an attacker cannot craft a request with 200 KB of data. The same goes for any JavaScript based constraints.
# The Devonshire Manuscript/ther ys no cure ffor care off miyd

* ←I se the change ffrom that that was || width="200" align="right" | as ffor my part I know no thyng→
* The Devonshire Manuscript facsimile 41r
f. [41r] 1 ther ys no cure ffor care o off miyd mind $^1$ 2 but to fforget wych can nat be 3 I cannat sayll agayst the wynd 4 nor help the thyng past remedy 5 yff eny seche adwersety 6 do trobell owther with{w+t+} seche lyk smart 7 thys shall I say ffor charety 8 I pray god help every woffull hart ffynys

## Notes & Glosses

1. There is no macron to supply the spelling needed for the rhyme.

## Commentary

Written in Margaret Douglas's hand, this poem remains unattributed and is unique to this manuscript. The lyric laments the powerlessness of the speaker in the face of adversity, a sentiment which resonates with Douglas’s position vis-à-vis Henry VIII when her engagement to Thomas Howard was discovered. Margaret Douglas's writing appears so faintly on the page that it becomes almost unreadable.
# The Devonshire Manuscript/the sueden ghance ded mak me mves

* ←am el mem || width="200" align="right" | Madame margeret→
* The Devonshire Manuscript facsimile 67v
f. [67v] 1 the sueden ghance $^1$ ded mak me mves 2 off hym that so lat was my ffrend 3 so straenely now the do me ues 4 that I well spy hes uavaryng$^2$ mynd 5 wharffor I mak a promes now 6 to brek my ffansy and nat to bow 7 what cowld he say mor then he ded 8 or what aperrence mor covld he show 9 allways to put me owt off dred hape hawe bedden my happe a vaneng$^3$

## Notes & Glosses

1. It is uncertain if the poet intended to write chance or glance.
 2. It is uncertain if the poet may have intended to write wavering or unvarying, which affects the reading considerably.
 3. The sentiment of this may be considered in relation to the poems on the facing page.

## Commentary

Written in Margaret Douglas's hand, this poem remains unattributed. The interpretation of this poem is difficult due to the unclear meaning of a key word in line 4, “uavaryng.” This key word could be read as “wavering” or “unvarying”, which radically affects the sentiment of the poem and qualifies the “fancy” that must be broken in line 5. Mary Shelton enters an annotation under the poem that seems to be commenting on fortune. Shelton may have written her annotation in relation to the poem on the facing page, “My ywtheffol days ar past” (68r). The rhyme of the poem appears rough and may depend on particular pronunciation.
# The Devonshire Manuscript/thou haste no faith of him that eke hath none

* ←Beholde love thye powre how she despisith || width="200" align="right" | Theye fle from me that some tyme ded me seke→
* The Devonshire Manuscript facsimile 69v
f. [69v] 1 thou haste no faith of him that eke hath none 2 {es}[[The Devonshire Manuscript/Appendix_I:_Paleographic_Features|{{th}+u+}]] but thou must love him nedes bye good reason 3 for as the pro{p2}verbe saith right notable 4 everye thinksekith his semblable / 5 {_on}{_o} [[The Devonshire Manuscript/Appendix_I:_Paleographic_Features|{{th}+u+}]] and thou hast thyne of thy owne condicion 6 yet ys yt not the thing I passe vppon 7 nother hot nor colde is my affection 8 for sins thi hert is this so mutable / 9 thou haste no faith / 10 I demid the trwe with{w+t+}out exception 11 but I perceyve I lacked dastrestion discretion 12 to fasten faith to wordes{es} so dobtable 13 thye thought is to light and variable / 14 to chaunge so oft without occasion occacoion{_i}{w+t+} 15 thou hast no faith

## Commentary

Attributed to Sir Thomas Wyatt, this poem was entered by H8. The speaker complains of his love's fickleness, which was a common theme in medieval and early Tudor courtly love poetry. Wyatt adopts the French rondeau structure for his poem, a form which consists of thirteen lines, two stanzas of four lines, five lines in the last stanza, and a refrain that appears after each stanza. In this particular rondeau, Wyatt omits the refrain after the first stanza.
The two refrains following are aligned to the right.

#### Works Cited

* ↑ R.A. Rebholz, ed. Sir Thomas Wyatt: The Complete Poems. London: Penguin, 1978. 73-74.

## Textual Notes
#### Texts Collated

LEge41

#### Collation

1 thou] Thou LEge41 haste] hast LEge41 eke] LEge41 2 bye good] by LEge41 3 the proverbe saith right] saieth a proverbe LEge41 4 everye thinkg] eche thing LEge41 sekith] seketh LEge41 semblable /] semblable LEge41 5 thyne] thyn LEge41 owne condicion] conditions LEge41 6 ys yt] is it LEge41 vppon] on LEge41 7 nother] nor LEge41 hot] hote LEge41 colde] cold LEge41 is my] ofis myn LEge41 8 sins] syns LEge41 thi] thyn LEge41 this] LEge41 mutable /] mutable LEge41 9 haste] hast LEge41 faith /] faith LEge41 10 demid] thought LEge41 trwe] true / LEge41 without] withoute LEge41 11 perceyve] perceve LEge41 dastrestiondiscretion] discretion LEge41 12 fasten] fasshion LEge41 so doblable] mutable LEge41 13 thye] thy LEge41 and variable /] & variable LEge41 14 without] withoute LEge41 occacion] occasion LEge41 15 thou] Thou LEge41
# The Devonshire Manuscript/now that ye be assemblled heer

* ←My mothers maides . when they dyd sow or spin || width="200" align="right" | Womans harte vnto no creweltye→
* The Devonshire Manuscript facsimile 88r
f. [88r] 1 now that ye be assemblled heer 2 all ye my ffrynds at my request 3 specyally you my ffather Dere 4 that off my blud ar the nerest 5 thys vnto you ys my request 6 that ye woll pacyenlly hyre 7 by thys my last words exprest 8 my testement Intyer 9 and thynk nat to Interrupte me 10 ffor syche wyse provyded hawe I 11 that thoght ye welldyt woll nat be 12 thys touer ys hy ye se ys strong and hye 13  and the dooris fast barred hawe I 14 that no wyhght my purpose [ne] let shold 15 for to be quen off all Italy 16 nat on day lengere leve I wold 17 wherffor swet father I I you pray Pray 18 ber thys my deth with{w+t+} pacyence 19 and tourment nat your herys gray 20 but frely pardonn myn offence 21 sythe yt presedeth off lowers ffervence 22 and off my harts constancy 23 let me nat ffrom the sweat presence 24 off hym that I haw case yt to dy

## Commentary

Written in Margaret Douglas's hand and possibly her own composition, this poem is a direct address -- and plea -- by Douglas to her uncle and ward, Henry VIII whom she addresses as “ffather Dere / that off my blud ar the nerest” (3-4). She most likely asks pardon for her relationship with Thomas Howard, which she considers a grievous "offence." Henry Howard, The Earl of Surrey, expressed a similar sentiment when he renounced all his affection for the Fair Geraldine: specifically, Surrey refers to Thomas Howard's fate as: "Sith that for love one of the race did end his life in woe, / In tow'r both strong and high, for his assured truth, / Wheras in tears he spent his breath, alas! the more the ruth. / This gentle beast so died, whom nothing could remove, / But willingly to seek his death, for loss of his true love." (ll.36-40).
Similar to other transcriptions entered by Margaret Douglas in the manuscript, this page appears stained with quite a few inkblots. Margaret Douglas also emphasizes her entry through her lettering and crossouts.

#### Works Cited

* ↑ George Frederick Nott, ed. The Works of Henry Howard, Earl of Surrey, and of Sir Thomas Wyatt the Elder, 1815-16. Volume I. London: T. Bensley, 1815. 27.
# The Devonshire Manuscript/the losse is small to lose suche on

* ←Dyvers dothe vse as I have hard & kno || width="200" align="right" | Spight hathe no powre to make me sadde→
* The Devonshire Manuscript facsimile 77v
f. [77v] 1 the losse is small to sose suche on 2 that[[The Devonshire Manuscript/Appendix_I:_Paleographic_Features|{{th}+t+}]] shrynckith for a slendr naye 3 [[The Devonshire Manuscript/Appendix_I:_Paleographic_Features|{{th}+t+}]][[The Devonshire Manuscript/Appendix_I:_Paleographic_Features|{{th}+ei+}]] & wit thei lak that wolde make mone 4 tho all suche peakes{es} ware wipid awaye / fs

## Commentary

Attributed to Sir Thomas Wyatt, this poem was entered by H8. In this humourous lyric, the female speaker believes that losing a lover put off by a small “nay” is trivial, and that shrinking lovers who complain lack wit because they do not face any real adversity. This short verse may be a comment on the poem above it, “Dyvers dothe vse as I have hard & kno” (77v).

#### Works Cited

* ↑ R.A. Rebholz, ed. Sir Thomas Wyatt: The Complete Poems. London: Penguin, 1978. 229.
# The Devonshire Manuscript/patiens for I have wrong /

* ←I finde no peace and all my warre is donne || width="200" align="right" | whan that I call vnto my mynde→
* The Devonshire Manuscript facsimile 82v
f. [82v] 1 patiens for I haue wrong / 2 and dare not shew whereyn . 3 patiens shalbe my song 4 sins truthe can no thing wynn{_n}e 5 patiens then for this fytt 6 hereafter com{_o}mis not yett / finis /

## Commentary

Attributed to Sir Thomas Wyatt, this poem was entered by H9 and is in italic script -- a rare occurrence in this manuscript. Rebholz suggests that this poem may be part of a group of poems that were inspired by Serafino's Canzona de la Patientia.

#### Works Cited

* ↑ R.A. Rebholz, ed. Sir Thomas Wyatt: The Complete Poems. London: Penguin, 1978. 227.
* ↑ ibid., 388, 497.
# Text and Translation

Meter - Limping Iambics
| Line | Latin Text | English Translation |
| 1 | Suffenus iste, Vare, quem probe nosti, | That Suffenus, Varus, who is well known, |
| 2 | homo est venustus et dicax et urbanus, | is a charming and well-spoken and sophisticated man, |
| 3 | idemque longe plurimos facit versus. | and this same man writes rather many verses by far. |
| 4 | Puto esse ego illi milia aut decem aut plura | I think that there are a thousand or ten thousand or more authored by him |
| 5 | perscripta, nec sic ut fit in palimpsesto | and not related on palimpsest, as it is usually done, |
| 6 | relata: cartae regiae, novi libri, | regal sheets, new books, |
| 7 | novi umbilici, lora rubra, membranae, | new scroll knobs, red straps, cover skins, |
| 8 | derecta plumbo et pumice omnia aequata. | lined with lead and all polished with pumice. |
| 9 | Haec cum legas tu, bellus ille et urbanus | When you read these, that attractive and sophisticated |
| 10 | Suffenus unus caprimulgus aut fossor | Suffenus seems instead a goat-herder or a ditch-digger: |
| 11 | rursus videtur: tantum abhorret ac mutat. | he is so inconsistent and changes so much. |
| 12 | Hoc quid putemus esse? Qui modo scurra | What can we think this is? He who just recently seemed a wit |
| 13 | aut si quid hac re scitius videbatur, | or whatever is more wittier than this title, |
| 14 | idem infaceto est infacetior rure, | this same man is duller than the dull countryside, |
| 15 | simul poemata attigit, neque idem umquam | as soon as he has touched his poems, and he is never |
| 16 | aeque est beautus ac poema cum scribit, | as happy as when he writes his poems, |
| 17 | tam gaudet in se tamque se ipse miratur | he himself so rejoices in himself so marvels at himself |
| 18 | Nimirum idem omnes fallimur, neque est quisquam | Evidently we all falter in the same way, and there is no one |
| 19 | quem non in aliqua re videre Suffenum | whom you cannot see Suffenus in some fashion |
| 20 | possis. Suus cuique attributus est error; | To each man is attributed his own error; |
| 21 | sed non videmus manticae quod in tergo est. | but we do not see the kind of knapsack which is on our back. |
# The Poetry of Gaius Valerius Catullus/21

Aurelius, father of hungers
# The Poetry of Gaius Valerius Catullus/34

XXXIV. Carmen Dianae
Dianae sumus in fide
puellae et pueri integri:
Dianam pueri integri
puellaeque canamus.
o Latonia, maximi
magna progenies Iovis,
quam mater prope Deliam
deposiuit olivam,
montium domina ut fores
silvarumque virentium
saltuumque reconditorum
amniumque sonantum:
tu Lucina dolentibus
Iuno dicta puerperis,
tu potens Trivia et notho es
dicta lumine Luna.
tu cursu, dea, menstruo
metiens iter annuum,
rustica agricolae bonis
tecta frugibus exples.
sis quocumque tibi placet
sancta nomine, Romulique,
antique ut solita es, bona
sospites ope gentem.
# The Poetry of Gaius Valerius Catullus/37

Horny saloon and its smug clientele, pillar nine from the twins wearing caps, you think that you alone dangle dicks and have the right to fuck all the girls and consider other men good as goats? A hundred or two of you sit side by side and foolishly doubt I would dare violate the mouths of sitters two hundred strong. Believe it! In fact, I'll paint penises across your entire saloon grand facade A girl who fled my arms, once my girl, loved in a way no girl ever was, for the sake of whom I fought mighty wars, -she joins the crowd, and the crowd loves her too, not just the rich and the god (shame enough) but every low-life sex fiend in town. And the pack is led by you, hairy fop, son of Celtic Spain, rabbit land, Egnatius, proud of your dark, black goatee and teeth of Iberian sheen, brushed in piss.
# The Poetry of Gaius Valerius Catullus/17

* Latin
* O Colonia, quæ cupis ponte ludere longo,
* et salire paratum habes, sed uereris inepta
* crura ponticuli axulis stantis in rediuiuis,
* ne supinus eat cauaque in palude recumbat:
* sic tibi bonus ex tua pons libidine fiat,
* in quo uel Salisubsali sacra suscipiantur,
* munus hoc mihi maximi da, Colonia, risus.
* quendam municipem meum de tuo uolo ponte
* ire præcipitem in lutum per caputque pedesque,
* uerum titius ut lacus putidæque paludis
* liuidissima maximeque est profunda uorago.
* insulsissimus est homo, nec sapit pueri instar
* bimuli trmula patris dormientis in ulna.
* cui cum sit uiridissimo nupta flore puella
* et puella tenellulo delicatior hædo,
* adseruanda nigerrimis diligentius uuis,
* ludere hanc sinit ut lubet, nec pili facit uni,
* nec se subleuat ex sua parte, sed uelut alnus
* in fossa Liguri iacet suppernata securi,
* tantundem omnia sentiens quam si nulla sit usquam;
* talis iste meus stupor nil uidet, nihil audit,
* ipse qui sit, utrum sit an non sit, id quoque nescit.
* nunc eum uolo de tuo ponte mittere pronum,
* si pote stolidum repente excitare ueternum,
* et supinum animum in graui derelinquere cæno,
* ferream ut soleam tenaci in uoragine mula.
# The Poetry of Gaius Valerius Catullus/24

O qui flosculus es Iuuentiorum,
non horum modo, sed quot aut fuerunt aut posthac aliis erunt in annis, mallem diuitias Midae dedisses isti, cui neque seruus est neque arca, quam sic te sineres ab illo amari. 'qui? non est homo bellus?' inquies. est: sed bello huic neque seruus est neque arca. hoc tu quam lubet abice eleuaque: nec seruum tamen ille habet neque arcam.
Iuventius, lovely flower of the young men, not only of these here, but also of those who were or later will be, I'd prefer if you were giving the treasure of Midas to that one, who doesn't have neither a slave nor a chest, than allowing him love you so much. What? Isn't he a beautiful man? You ask. He is: but this beautiful man has neither a slave nor a chest. Think about him whatever you wish: but he has neither a slave nor a chest.
# The Poetry of Gaius Valerius Catullus/16

| Line | Latin Text | English Translation |
| 1 | Pedicabo ego vos et irrumabo | I will sodomize you and face-fuck you, |
| 2 | Aureli pathice et cinaede Furi, | bottom Aurelius and catamite Furius, |
| 3 | Qui me ex versiculis meis putastis, | you who think, because my poems |
| 4 | Quod sunt molliculi, parum pudicum. | are sensitive, that I have no shame. |
| 5 | Nam castum esse decet pium poetam | For it's proper for a devoted poet to be moral |
| 6 | Ipsum, versiculos nihil necesse est; | himself, [but] in no way is it necessary for his poems. |
| 7 | Qui tum denique habent salem ac leporem, | In point of fact, these have wit and charm, |
| 8 | Si sunt molliculi ac parum pudici, | if they are sensitive and a little shameless, |
| 9 | Et quod pruriat incitare possunt, | and can arouse an itch, |
| 10 | Non dico pueris, sed his pilosis | and I don't mean in boys, but in those hairy old men |
| 11 | Qui duros nequeunt movere lumbos. | who can't get it up. |
| 12 | Vos, quod milia multa basiorum | Because you've read my countless kisses, |
| 13 | Legistis, male me marem putatis? | you think less of me as a man? |
| 14 | Pedicabo ego vos et irrumabo. | I will sodomize you and face-fuck you. |

# External Links

Catullus 16 on Wikipedia
# Transportation Deployment Casebook/Plug-in Electric Vehicles
## Battery Electric Vehicles

When people speak of "electric cars" today, they often mean to refer to Battery Electric Vehicles. BEVs are fully-electric, highway-capable vehicles with rechargeable on-board batteries. Unlike plug-in hybrid electric vehicles (PHEV), or "hybrids," they do not have any built in gasoline engine.

## History

Battery-powered electric vehicles actually predate the internal combustion engine. In 1899 and 1900 more electric vehicles were sold in the US than gasoline and steam cars combined. Range was adequate for city driving, however trips outside the city were problematic. Electricity was scarce outside of cities, rendering long-distance travel virtually not an option. Gradually, electric vehicles were bested by Henry Ford and his Model T.

## Data and Analysis

| Year | HEV Vehicles Sold | Predicted Sales |
| 1999 | 17 | 51 |
| 2000 | 9350 | 254 |
| 2001 | 20282 | 1254 |
| 2002 | 22335 | 6124 |
| 2003 | 47566 | 28386 |
| 2004 | 84199 | 106674 |
| 2005 | 205828 | 240706 |
| 2006 | 253518 | 322522 |
| 2007 | 352862 | 346286 |
| 2008 | 315688 | 351515 |
| 2009 | 290740 | 352590 |
| 2010 | 274421 | 352808 |
| 2011 | 269178 | 352852 |
# Utopia/Economics

People do have to eat and live and find shelter. People must have their basic physiological needs met before they can go on to strive for the gratification of their higher needs. These higher needs include love, fulfilling social relationships, self-actualization, and so forth.
Economics deals with allocating limited resources in the most advantageous ways possible.
When you're creating a society it is important to see that the nations of today with the most successful economies are the ones that practice a free-market capitalism. Critics of capitalism point to the potential instability of a capitalist system or to the tendency of free markets to result in some members of society living in poverty or without prospects for self improvement. A separate concern that does not touch on political economics directly is the tendency of free market economies to cater to human appetites to the point of encouraging vices. While certain vices may stimulate a community's financial opportunities, they can also prove destructive to public morality in a way that conflicts with the desire for utopia.
However if we attempt to establish this economy through a veil of ignorance which rawl's present's all people within this community would have agreed previously on the laws of the economy. When deciding which laws to enact the community should definitely vote through census. By doing hosting a census vote, and only through that can we make everybody within this community truly accept their economy.
# Utopia/History

It is important to learn from our mistakes. Extensive research should be done on previous attempts to build an utopia.

### History of the Term

The word 'utopia' was coined by Thomas More in 1515 as the name of his fictional island. The name itself is a play on the Greek ou-topos, meaning "no place", and eu-topos, meaning "good place" --an ironic joke on the likelihood of such a paradise existing. Since then 'utopian' and 'dystopian' have become literary genres of their own. Plato’s ‘Republic’ is now often referred to as a utopia as is Swifts ‘Gulliver’s Travels’ and even the biblical story of the Garden of Eden. Famous modern attempts to understand a utopia include George Orwell’s classic 1984, Robert Heinlein's ‘Stranger in a Strange Land’ and Aldous Huxley’s ‘Brave New World.’
The term utopia has become a by-word for idealism, often used now as an ironic criticism of an overly enthusiastic plan. Many authors have described their utopia with great practicality and attention to detail but still the term utopia has become stereotyped as reflecting ambitious notions that are too optimistic and idealistic for practical application; readers often argue their concepts are impossible, their logic refutable and thus their conclusions void.

## Utopia in Philosophy

More, Sir Thomas: Utopia Orwell, George: 1984, Animal Farm Huxley, Aldous: Brave New World; Brave New World Revisited Bradbury, Ray: Fahrenheit 451

## Historical and Contemporary Utopian Movements

* North American Phalanx
* New Harmony
* Onedia Society
* The Kibbutz Movement Kibbutz

## Source

* Utopia