OpenLLM-France/wikimedia huggingface dataset:
# The Philosophical Review/Volume 1/Summary: Haekel - Our Monism

(1) Monism exists in opposition to whatsoever comes between nature and mind, between the world and God. Natur-philosophie embraces the entire body of human knowledge, and becomes really philosophy when it has brought together results which analysis has ascertained. (2) Mechanicalism: mechanical causes, in the sense of Kant, are assumed as the sole effective cause and are placed in opposition to teleological causes. (3) Psychism: all matter is ensouled. This is exemplified by chemical affinity, by the 'irritability' of lower organisms, by the feeling and will of man. (4) Theism: the only idea of God logically compatible with monism is that which views him as the sum-total of the forces of the universe, which is inseparable from the sum-total of the matter of the universe. (5) Materialism: all the phenomena of the world are founded upon material processes. Yet matter did not originally exist alone and then secondarily create force or mind. (6) Spiritualism: feeling is as fundamental a property of the atom as is attraction or repulsion. Every 'spirit' is inseparably united with some 'matter.' Yet force did not originally exist and then secondarily create matter. (7) The 'belief in immortality' is scientifically tenable only as a general proposition equivalent to the conservation of energy. The 'human soul' is simply a transient, developmentary phenomenon. (8) Cosmism: the principles of world-conception laid down may also be designated cosmism, to the extent that they proceed from the fundamental idea that the 'world-process,' as world-development, is, within certain limits, a knowable natural process. Cosmism is thus opposed to agnosticism.
# The Philosophical Review/Volume 1/Summary: Hobhouse - Induction and Deduction

H.'s question is whether deduction involves something quite different from generalization, or is the same thing under a different aspect, or a particular species of the same thing; in any case can it be found to imply any single axiom, and if so, what is the relation of that axiom to the axiom of induction? Taking first syllogism as deduction, he finds that the conclusion of a syllogism is implicit in the premises on no ​further condition than that these premises have meaning. If we regard syllogism as employing a universal premise, it presupposes the axiom of induction, under which a universal truth is asserted and applied on the round of a particular observation. Taking next deduction to be the combination of several universals in a chain of reasoning, we here assert a relation between two universals on the ground of the relation of each to one or more intermediate universals, i.e. out of several relations we construct a resultant relation, or a whole in which the resultant relation appears as a part. This reasoning depends in the end on generalization, for it implies some such axiom as: If, when two terms are related to a third, a relation between the two is observed, then other terms similarly related to a third will have a similar relation to each other. All cases, then, tend to show that deduction involves generalization from an observed case on a single axiom; the axioms, therefore, of induction are the axioms of reasoning, and the generalization of particulars is the work of reason.
# The Philosophical Review/Volume 1/Summary: Gosse - Ethnologic und Aesthetik

V. f. w. Ph. = Vierteljahrschrift für wissenschaftliche Philosophie
Although many of the mental sciences have been enriched and extended by the study of Ethnology, yet Æsthetics has not yet taken advantage of the vast mass of material which this science has presented. The time, however, seems near when students of Æsthetics will perceive that many of its problems can only be solved with the help of Ethnology. Æsthetic feelings, the subject-matter of Æsthetics, are feelings of pleasure and pain, which are distinguished from other such feelings, in being immediately called up either by some sense-perception or by a representation. The task of Æsthetics consists in discovering the essence, conditions, and development of the æsthetic feelings. For the first of these problems the ethnological method will not prove helpful. Every aesthetic feeling is (1) the function of a subject in whom it is excited, and (2) of an object perceived or represented by which it is excited. The question of the objective conditions can only expect a result when it addresses itself to the simplest possible cases. A universally valid objective condition for the æsthetic feelings cannot be found by investigating the objects which belong to any limited circle, or grade of civilization, but only when we have before us the full results of ethnological studies. Objects pleasing to one person are often indifferent to another. The objective factor is the same, the difference lies in the æsthetic receptivity of the persons concerned. We can, however, speak of a typical aesthetic sensibility of a race and of a time.
# The Philosophical Review/Volume 1/Summary: Greeff - Untersuchung über binokulares Sehen mit Anwendung des Heringschen Fadenversuchs

Z. f. Ps. u. Phys. d. Sinn. = Zeitschrift für Psychologie und Physiologie der Sinnesorgane
In Hering's experiment, perception of depth was tested by the subjects determining whether a ball that fell across the plane of a vision, passed before or behind the point of fixation. With an improved form of Hering's apparatus the author found: 1st. Convergence of optic axes is not essential to perception of depth; the position of the line of fall of the ball, before or behind the point of fixation, was still determined, when, by means of lenses, the optic axes were made parallel or convergent. 2d. At distances too great for convergence and accommodation to come into play, binocular vision is retained so long as the ratio of the distance between the lines of fall, before and behind the point of fixation, to the distance of the point from the eye of the observer, is not less than 2: 100. This corresponds to a projection of about 0.002 mm. on the retina. 3d. When clearness of vision in one eye is impaired, whether artificially or by disease, binocular vision is possible so long as the weak eye receives an impression of the object, however dim or indistinct the object may appear. 4th. The author found no case among children, in which, after operation for strabismus, perfect binocular vision was gained; the patients perceived the object through each eye, but could not join the percepts into the impressions of depth. It seems, accordingly, that the coalescence of the retinal pictures is a purely mental act, which can only be learned in earliest youth.
# The Philosophical Review/Volume 1/Summary: Gutberlet - Ueber Messbarkeit psychischer Akte

Phil. Jahr. = Philosophisches Jahrbuch
Mental acts have intensity, a definite magnitude, and so are conceivably measurable. But for measurement proper, the amount of difference between them must be ascertainable. This is not given by immediate judgment, but must be sought through circuitous means taught by psycho-physics.
It is not to be admitted that only rough measurements of mental acts are possible. Practice brings considerable accuracy in determining both the quality, e.g. of the situation of musical notes on the scale, and of intensity, e.g. of the light of the stars, and of intellectual attainments or ability, e.g. under the marking system.
Fechner starts from the principle that if several values are given as increasing and decreasing, it is possible to judge of the equality or inequality of any two, and so to determine a number of equivalent magnitudes. On this principle all physical measurement is based. In that sphere there is the difficulty that equivalent units cannot be determined with perfect accuracy. The errors thus arising are diminished by artificial means of observation, and by repetition of the measurement. The arrangement of the stars in classes according to their degrees of brightness shows that equality in sensations of light may be perceived, and the amount of inequality measured. Hence every psychical difference may be regarded as a definite multiple of the difference between two adjoining degrees on a scale of intensity. A psychical measure may thus be obtained from determinations of equality in different parts ​of the scale; and we may find how many times a smaller difference is contained in a larger. But to measure the difference is not necessarily to measure the sensations that differ.
# The Philosophical Review/Volume 1/Summary: Hartmann - Zum Begriff der unbewussten Vorstellung

Phil. Mon. = Philosophische Monatshefte
Representation [Vorstellung is translated thus throughout] includes, qualitatively, sensation, intuition, and concept, and as to the source of the activity, perception, recollection, and phantasy. The question is which of these kinds of the genus representation is possible in the sense of an unconscious representation. Unconscious sensation is impossible, for where sensation exists it implies a consciousness. Unconscious sense intuition is also impossible, as it is built up out of sensations. An unconscious concept is perfectly impossible; it is the conscious understanding which abstracts. Unconscious perception or apperception, and unconscious recollection, and unconscious phantasy are also impossible. We can't introduce the character of unconsciousness into representation through feeling; feeling is either conscious or it is nothing. But is there no other kind of representation than the kinds enumerated? Unconscious representation of course, if it exist, must be incapable of being experienced, but we can't conclude from this that it does not exist; that it can't be experienced is a negative support of (the hypothesis of) unconscious representation. Positively, then, unconscious representation is determined as 'intellectual intuition' [intellectuelle Anschauung]. Intellectual intuition and unconscious representation are different expressions for the same concept. One can ​recognize in man intellectual intuition without recognizing in him beyond his sensuous abstract understanding also a supersensuous intuitive intellect. If any one wishes a simple term for the compound expression unconscious representation or unconscious intellectual function, we may use the word idea (specific and not generic in its signification in Greek and German v. English and French). Idea is equally incapable of being experienced along with intellectual intuition and unconscious representation, and like these words it excludes all difference or opposition, e.g. between that which is presented and that which presents, and like them is in opposition to sensation and intuition on the one side and concept on the other. H. rejects the eternal and immutable idea; the concreteness and the singularity of the one absolute idea attains to validity in the temporal changing content of the world-process. This idea is one with unconscious representation, i.e. if this idea exists, unconscious representation exists. On the latter H. builds his system.
# The Philosophical Review/Volume 1/Summary: Gourd - Du rôle de la volonté dans la croyance

Rev. Ph. = Revue Philosophique
The term belief is used in three senses, (1) Every judgment embraces a belief and every belief is indicated by a judgment. (2) In the narrower sense of constant belief, belief supposes the repetition of the same thought on the same subject. (3) The belief itself becomes the subject of belief, and is judged from the point of view of truth. The will is an essentially practical mental function, which determines, produces, acts. Though necessarily determining its effects, it is itself causeless. Although will cannot determine a judgment, which is made independently of volition when the idea agrees with the idea of being, it can and does determine the terms. If then will can influence a single judgment, it can influence several, causing the same to be repeated each time. Again, when we judge a belief to be true, we pass a judgment, and as every judgment is controlled by the will, the belief in the truth of a belief also becomes a product of volition.
# The Philosophical Review/Volume 1/Summary: Helmholtz - Versuch das psychophysische Gesetz auf die Farbenunterschiede trichromatischer Augen anzuwenden

Z. f. Ps. u. Phys. d. Sinn. = Zeitschrift für Psychologie und Physiologie der Sinnesorgane
In the second volume of the above periodical H. had tried to formulate the psychophysic law so as to embrace more than one variable, e.g. the three variables in the determinations of the color sensations of trichromatic eyes. In the present article H. shows there is a close correspondence between the curve for color differences experimentally found by König, and the curve calculated from the extended pp. formula on the assumption of the three elementary fundamental colors. This verification of the formula gives a basis for the determination of the fundamental colors which are found to be provisionally, carmine red, ​ultra marine blue, and yellowish green. The relation of these colors to the spectral colors is shown by the position of the latter within a color triangle of which the apices are the fundamental colors, and the gravity centre, white. According to this construction, spectral red, for instance, would be a whitish and yellowish modification of the fundamental carmine red. Moreover, the curve of the spectral colors shows that all the fundamental colors affect, with but little difference in intensity, all the nerve elements of the trichromatic eye, sensitive to light, simultaneously. It can be shown that the disagreement between the lacking color of dichromatic systems and any one of the given fundamental colors does not give rise to an insoluble contradiction. Newton's law of color mixing is applicable to the colors of the dichromatic system, and colored lights which appear like to normal eyes appear also like to dichromic eyes. The close agreement between sensitiveness to differences of color and differences of brightness corresponds to the author's supposition that perception of differences of color rests originally on perception of differences of brightness.
# The Soul Of A Century/My mother

MY MOTHER
Through life my mother went, like a saddened penitent Her days had not the hue, the scent, the splendor of o bloom; She plucked an arid fruit, whose ashen taste was spent For nourishment from off the tree of doom.
Into her cheeks poverty’s keen edged dust its beauty seared, And into her eyes, where years but cooled the inflamed pain, Then as a torrid simoon at her feet it swirled and reared Allowing her in its waves her exhausted strength to gain.
Beneath the burden of dark years she bent her back, Labor’s corrosive heat drained freshness from her banks; She kissed cold death and in agony’s last attack Her smiling lips but whispered gratitude’s words of thanks.
Upon a cathedral’s moistened marble she would kneel Dreaming before the altar, where the tapers cast a deathly scent and hue While the sweetened rain of solace and of heard appeal She gathered in the chalice of her soul like cooling dew.
Oh Mother, today you are transformed into a light A golden arrow shot into the flaming core Of blazing Myths! The sound of your name took flight And ceased upon our waves/ but you are as near as ever before.
I am the faded blossom of your cold/ lifeless blood, That thrived and grew beneath the moisture of your eyes. The bitter taste of life I drank from your lips’ flood, And as your heritage, now, grief in my bosom lies.
And when the midnight green, nights stillness lights again, You rise from out your tomb, and share with me my bed, I hear within my breath, your own hearts rhythmic strain, And as if revived with my voice you seem to moan with dread.
And the warmth in my veins found your body’s rising heat, The lustre of your eyes poured over in my gaze, The glow of mystic faith, whose quivers in your soul repeat Embodied self in me into a burning, crimson blaze.
And as once was your path, sadly my way I went, My days had not the hue, the scent, the splendor of a bloom, I plucked an arid fruit whose ashen taste was spent, Within your shade, from off the tree of man’s relentless doom.
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# The Soul Of A Century/Otakar Brezina

OTAKAR BREZINA
(1868–1929)
Otakar Brezina, born September 13, 1868 , to a poor artisan family, died March 26, 1929 , as the unique laureate of Czech poetry. Brezina is recognized today as the best representative of modern Czech lyricism, and a deep mysticist, whose diction and concepts breathe the air of deepest religious ecstasy. His symbolic rapturous interpretation of life cries out for social justice and for a better understanding of man’s limited role in the grand scheme of the Universe. Brezina spent his active years as a teacher in western Moravia, whose peaceful, secluded atmosphere enabled him to write his grandiose at times unreal views of life, cloaked in a diction and style rarely equalled in Czech literature. Brezina’s poetic works may well be summed up in the following six volumes, each of which carries its own interpretation of the problems of life. “Mysterious Distances” (1895) followed by “Dawning in the West” (1896) to which he added “The Polar Winds” (1897). Then came a two year period of silence broken in 1899 by “The Temple Builders”. The cycle of Brezina’s poetic mysticism concludes with “The Hands” (1901) and “The Symphony of Streams” (1903).
* My mother
* Siesta
* An autumn evening
* A memory
* White glow of light...
* Dead youth
* Mystic distance
* Wasted youth
* A quiet pain
* The anniversary
# The Soul Of A Century/Mystic distance

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MYSTIC DISTANCE
O strength of ecstasies and dreams, all art from you Glows with a fan of hues and in mystis tones resounds, Beneath your spell, thoughts in a blaze stream through As the light from the ether in vibrant threads rebounds.
Send down upon my soul, your glowing burning flow O might victorious, where inspiration lies, As on to the altar of stone, heavens poured fires below, Whereon Elias of old offered his bloody sacrifice.
Within my soul dwell sadness and a bitter longing scent, My thought is just a taper of feeble light that shone Quiveringly in the human sconce, impure and bent A taper upon the timeless altar of the Great Unknown.
My blood was not inflamed by a woman’s burning kiss, Insanity of love ne’er in my visions gleamed, My nerves were not illumined by the glowing light of bliss And friendship’s fragrant winds through my life but rarely streamed.
Alone I sat and solved the problems of my strife, Alone I toiled and bent over the flower-bed of my dreams More in my thoughts I erred and sinned than in my life Illusions I once loved, but kissed only yearning’s vaporous streams.
My Springtime was a lonely elegiac song Played tremulously for me by the Life I knew, The days of my joys were like a cluster of grass grown strong As it crowds along the wall and glistens with fallen dew . . .
My memories now are colorless and arid, Like a pressed-out cudweed, breathing its whitish mold, In poverties soured atmosphere I early tarried, And reaped the harvest of the humble, on my hold.
The grandiose light of the Universe that through my vision stole, With its secret of eternal flames and timeless might, Was reflected by the mirror of the Cosmos in my soul And focused itself into a crimson burning nucleus of light.
The stench of dessicated blood I breathed from the tales of old The terrors of the Unknown, the depths of my soul amassed, I saw in life the phantom of happiness unfold And break when refracted by the upper spheres it passed.
I do not long to quench my thirst at life’s water-ways Nor as Gedeon’s army, drink at the source from out my palms, I gathered in my soul the tenderness of mystic rays, And in the Secret shrine I knelt with unknown qualms.
My soul is saddened now, and full of a longing scent, My thought is just a taper of feeble light that shone Quiveringly in the human sconce, impure and bent A taper upon the timeless altar of the Great Unknown . . .
O strength of ecstasies and dreams, all art from you Glows with a fan of hues and in its tones resounds Beneath your spell, thoughts in a blaze stream through As the light from ether in vibrant threads rebounds.
Send down upon my soul your glowing burning flow O might victorious where inspiration lies, As onto the altar of stone heavens poured fires below Wheron Elias of old offered his bloody sacrifice . . .
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# The Soul Of A Century/Near Jerusalem

NEAR JERUSALEM
Atop Golgotha, tower three darkened crosses; Atop each cross, a bloody, lifeless form.
The evening clouds stretch out their crimson wings Above the city’s mansions and cathedrals, Above the homes, the walls and fragrant gardens, While the winds that drive the restless roaming clouds, Ruffle the silvery waves of ripened olives Upon the mountain tops of distant Cedron. Toward the city’s gates are noisily returning The multitudes who saw the gruesome hanging, Satisfied now, the lifeless forms ceased swaying.
A lonely soldier stands beneath each cross, The first, a Roman, of his Rome is thinking, Of Roman women, theatres and baths, Longingly thinking of the crowded Forum, The while he casts his brutal coarse damnation Upon the stench-filled city, dormant at his feet, And on the race of filthy Jews therein.
The second soldier sends to distant Gaul His hope filled dreams and thoughts. He thinks of woods alive with birds and beasts, Of cooling streams with pure transparent waters, Of light-haired women with their tempting charms, The feasts, the songs, the cups o’erfilled with wine— Of these he thinks, and casts a look of utter hatred Scornfully, bitterly across the sleeping land.
The third, a dusky Ethiopian soldier, Resting on his upward pointing spear Rolls lazily his large, white gleaming eyeballs Towards the swaying bodies, bedecked with smears of blood Towards the rolling waves of gardens filled with olives, The dreaming city bathing in the sunset, The darkened, mystic, distant mountain tops . . . He neither thinks nor dreams But nods his head and yawns.
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# The Soul Of A Century/Pathless journey

PATHLESS JOURNEY
Disgust with my inaction e’er increases For work I ne’er had love or high esteem. Oh if I could destroy and tear to pieces Each obligation, aim, or wasted dream.
To start anew . . . ’twould be a vain endeavor When disappointment curses all I do . . And when a hand, no sooner raised, falls ever Back in my lap . . . ere it can work anew . . .
And this I know . . . Were I born a woman instead . . I would expose my cheeks to the world’s sleet . . . With a brazen smile and skirts raised o’er my head I would go and sell my body in the street . . .
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