OpenLLM-France/wikimedia huggingface dataset:
# Once a Week (magazine)/Series 1/Volume 7/Head-gear in the south

HEAD GEAR IN THE SOUTH.
English females have little notion of the artistic effect of wearing, as many of the better class of the sex do in Lombardy, those very becoming black veils, which cover great part of the head, neck, and shoulders. They would also be astonished for awhile at meeting, in the streets of Genoa, with something very different from any covering for the head used hereabouts in the muslin Pezzotto, which is pinned into the hair of the ladies, and floats away from it, and in the gaudy Mezzaro scarf which is worn by their poorer neighbours. There is something to look at in the showy handkerchiefs of the Livornese, and something to admire in the pretty white shawl which adorns, while partially concealing, the locks of the fair ones of Bologna. The white folded square, which painters commonly place upon the heads of their plebeian figures belonging to Rome, will probably disappoint the observer, so far as the place itself is concerned. For it is not often worn by any but those wrinkled dames who used to play on the banks of the Tiber some time last century, and are now too conservative to submit to any new-fangled notion about showing the world the exact state or quantity of their residue of capillary attraction. Where we can suppose our countrywomen a little envious, is in the neighbourhood of Florence, itself the great centre of the straw-plait manufacture, where the damsels come forth to captivate the hearts of certain open-mouthed swains, in their large flapping hats, so limp as to take all sorts of shapes with the passing breeze, and yet so well made as to return forthwith to their normal condition. We well remember the effect of them, when we were lounging in the dull broad street of Fiesole, a place more noted for its Pelasgic and other historical remains than for any modern attractions. It was a fête day, the Duomo was gaudily furnished for the occasion, and the bells struck up a merry invitation to the service, which all the younger part of the population seemed duly to accept. The youths, who came early, showed anything but an anxiety to secure good places inside; in fact, loitered about to see the successive batches of damsels well in first, with or without any idea of profiting by that sort of introduction to the solemnities of the evening. We watched them likewise; and seeing, as a novelty to us, that they took off the flapping hats at the entrance of the Duomo, we were tempted to look in and see what they did further with them. We soon found that, although white veils have the chief place in old ecclesiastical costumes, the rule was for each female to put on a black one. And since, by another rule, they all immediately fell on their knees, the process of adjusting the veils, had to be gone through in that position. The unfolding, pulling, squaring, &c., of the covering, the constant fidgeting of the wearer, and her evident critical anxiety about the success of others in gracefulness, all on the hard marble floor, seemed likely, in our view, to increase the difficulties of devotion under the circumstances; but then we had no licence to judge.
# Once a Week (magazine)/Series 1/Volume 7/Found twenty years after

FOUND TWENTY YEARS AFTER.
I.
It may be after years have passed away, ’Mid faded relics of a time gone by, These lines, in some far-off and distant day, May chance to fall beneath your careless eye!
II.
If then the hand that penn’d them long ago Lies nerveless in the grave,—if then the heart From whence this stream of fancy once could flow Is cold in death!—it may be you will start,
III.
When dwelling in the changes time has seen, ’Mid hopes deluded, ’mid accomplished fears, When naught is left of all that once has been, Save the pale memories of happier years!
IV.
If at that hour a shade of sorrow creeps O’er your poor spirit—weary on its way! If one who could have cheer’d for ever sleeps— Lean on the love of a forgotten day!
V.
May be, rank grass will choke a rotting grave, Where cruel rains beat down, where winds moan past— Yet feel that love,—that life you scorn’d to save Was true to death,—was faithful to the last!
Gilbert à Beckett.
# Order 10: Management of Detention and Prison Facilities

* information about this edition.
* related portals: Coalition Provisional Authority.
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Deficient OCR, possibly incomplete. Original PDF available at Commons:Category:Coalition Provisional Authority documents.
COALITION PROVISIONAL AUTHORITY ORDER NUMBER 10
MANAGEMENT OF DETENTION AND PRISON FACILITIES
Pursuant to my authority as head of the Coalition Provisional Authority (CPA), and
under the laws and usages of war, and consistent with relevant U.N. Security Council
resolutions, including Resolution 1483 (2003),
Recognizing the urgent necessity to ensure safe and humane prisons in order to re-
establish law and order and provide for the safety of the people of Iraq,
I hereby promulgate the following:
Section 1
Authority Over Detention and Prison Facilities
Full authority and control over all detention and prison facilities, currently exercised
by the Ministry of Labor and Social Affairs and the Ministry of Interior, is hereby
vested in the Ministry of Justice. The Directorate of Adult Prisons and the Directorate
of Juvenile Prisons in the Ministry of Labor and Social Affairs, all facilities under
their authority, and all employees thereof, are hereby transferred to the Ministry of
Justice.
Section 2
Interagency Cooperation
The Ministry of Labor and Social Affairs, the Ministry of Interior, and the Ministry
of Justice, and all other relevant elements of government, shall cooperate in this
effort. The Ministry of Justice, under the authority, direction and control of the
Administrator of the CPA, may prescribe any administrative procedures necessary to
ensure a properly coordinated transfer of the detention and prison facilities in
accordance with this Order.
Section 3
Prison and Detention Facility Standards
There shall be promulgated pursuant to this Order an Implementing Memorandum
that will set out fundamental standards applicable to the operation of all prison and
detention facilities under the authority of the Ministry of Justice.
CPA/ORD/8 June 2003/10
This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Orator

* Orator in May-day and other pieces (1867)
* Orator in Poems (Household Edition, 1904)
# Order-in-Council, Customs, May 28, 1868

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* Order-in-Council, Customs, May 28, 1868 (1)
* Order-in-Council, Customs, May 28, 1868 (2)
# On the Sublime/Chapter 13

XIII
To return, however, to Plato: how grand he can be with all that gentle and noiseless flow of eloquence you will be reminded by this characteristic passage, which you have read in his Republic: "They, therefore, who have no knowledge of wisdom and virtue, whose lives are passed in feasting and similar joys, are borne downwards, as is but natural, and in this region they wander all their lives; but they never lifted up their eyes nor were borne upwards to the true world above, nor ever tasted of pleasure abiding and unalloyed; but like beasts they ever look downwards, and their heads are bent to the ground, or rather to the table; they feed full their bellies and their lusts, and longing ever more and more for such things they kick and gore one another ​with horns and hoofs of iron, and slay one another in their insatiable desires."
2We may learn from this author, if we would but observe his example, that there is yet another path besides those mentioned which leads to sublime heights. What path do I mean? The emulous imitation of the great poets and prose-writers of the past. On this mark, dear friend, let us keep our eyes ever steadfastly fixed. Many gather the divine impulse from another's spirit, just as we are told that the Pythian priestess, when she takes her seat on the tripod, where there is said to be a rent in the ground breathing upwards a heavenly emanation, straightway conceives from that source the godlike gift of prophecy, and utters her inspired oracles; so likewise from the mighty genius of the great writers of antiquity there is carried into the souls of their rivals, as from a fount of inspiration, an effluence which breathes upon them until, even though their natural temper be but cold, they share the sublime enthusiasm of others.3 Thus Homer's name is associated with a numerous band of illustrious disciples—not only Herodotus, but Stesichorus before him, and the great Archilochus, and above all Plato, who from the great fountain-head of Homer's genius drew into himself innumerable tributary streams. Perhaps it would have been necessary to illustrate ​this point, had not Ammonius and his school already classified and noted down the various examples.4 Now what I am speaking of is not plagiarism, but resembles the process of copying from fair forms or statues or works of skilled labour. Nor in my opinion would so many fair flowers of imagery have bloomed among the philosophical dogmas of Plato, nor would he have risen so often to the language and topics of poetry, had he not engaged heart and soul in a contest for precedence with Homer, like a young champion entering the lists against a veteran. It may be that he showed too ambitious a spirit in venturing on such a duel; but nevertheless it was not without advantage to him: "for strife like this," as Hesiod says, "is good for men." And where shall we find a more glorious arena or a nobler crown than here, where even defeat at the hands of our predecessors is not ignoble?
* ↑ Rep. ix. 586, A.
* ↑ Opp. 29.
# On the Sublime/Chapter 1

I
1The treatise of Caecilius on the Sublime, when, as you remember, my dear Terentian, we examined it together, seemed to us to be beneath the dignity of the whole subject, to fail entirely in seizing the salient points, and to offer little profit (which should be the principal aim of every writer) for the trouble of its perusal. There are two things essential to a technical treatise: the first is to define the subject; the second (I mean second in order, as it is by much the first in importance) to point out how and by what methods we may become masters of it ourselves. And yet Caecilius, while wasting his efforts in a thousand illustrations of the nature of the Sublime, as though here we were quite in the dark, somehow passes by as immaterial the question how we might be able to exalt our own genius to a certain degree of progress in sublimity. However, perhaps it would be fairer to commend this writer’s intelligence and zeal in themselves, 2instead of blaming him for his omissions. And since you ​have bidden me also to put together, if only for your entertainment, a few notes on the subject of the Sublime, let me see if there is anything in my speculations which promises advantage to men of affairs. In you, dear friend—such is my confidence in your abilities, and such the part which becomes you—I look for a sympathising and discerning critic of the several parts of my treatise. For that was a just remark of his who pronounced that the points in which we resemble the divine nature are benevolence and love of truth.
3As I am addressing a person so accomplished in literature, I need only state, without enlarging further on the matter, that the Sublime, wherever it occurs, consists in a certain loftiness and excellence of language, and that it is by this, and this only, that the greatest poets and prose-writers have gained eminence, and won themselves a lasting 4 place in the Temple of Fame. A lofty passage does not convince the reason of the reader, but takes him out of himself. That which is admirable ever confounds our judgment, and eclipses that which is merely reasonable or agreeable. To believe or not is usually in our own power; but the Sublime, acting with an imperious and irresistible force, sways every reader whether he will or no. Skill in invention, lucid arrangement and disposition of facts, ​are appreciated not by one passage, or by two, but gradually manifest themselves in the general structure of a work; but a sublime thought, if happily timed, illumines an entire subject with the vividness of a lightning-flash, and exhibits the whole power of the orator in a moment of time. Your own experience, I am sure, my dearest Terentian, would enable you to illustrate these and similar points of doctrine.
* ↑ Reading φιλοφρονέστατα καί ἀληθέστατα.
* ↑ Reading διεφώτισεν.
# On the Sublime

LONGINUS ON THE SUBLIME
LONGINUS
ON THE SUBLIME
TRANSLATED INTO ENGLISH BY
H. L. HAVELL, B.A. FORMERLY SCHOLAR OF UNIVERSITY COLLEGE, OXFORD
WITH AN INTRODUCTION BY
ANDREW LANG
London MACMILLAN AND CO. AND NEW YORK
1890
All rights reserved
* Acknowledgment
* Translator's Preface
* Analysis
* Introduction
* Chapter 1
* Chapter 2
* Chapter 3
* Chapter 4
* Chapter 5
* Chapter 6
* Chapter 7
* Chapter 8
* Chapter 9
* Chapter 10
* Chapter 11
* Chapter 12
* Chapter 13
* Chapter 14
* Chapter 15
* Chapter 16
* Chapter 17
* Chapter 18
* Chapter 19
* Chapter 20
* Chapter 21
* Chapter 22
* Chapter 23
* Chapter 24
* Chapter 25
* Chapter 26
* Chapter 27
* Chapter 28
* Chapter 29
* Chapter 30
* Chapter 31
* Chapter 32
* Chapter 33
* Chapter 34
* Chapter 35
* Chapter 36
* Chapter 37
* Chapter 38
* Chapter 39
* Chapter 40
* Chapter 41
* Chapter 42
* Chapter 43
* Chapter 44
* Notes on Longinus
* Appendix
* Back Matter
# On the Sublime/Chapter 12

XII
I must first remark that I am not satisfied with the definition of amplification generally given by authorities on rhetoric. They explain it to be a form of language which invests the subject with a certain grandeur. Yes, but this definition may be applied indifferently to sublimity, pathos, and the use of figurative language, since all these invest the discourse with some sort of grandeur. The difference seems to me to lie in this, that sublimity gives elevation to a subject, while amplification gives extension as well. Thus the sublime is often conveyed in a single thought, but amplification can only subsist with a certain prolixity and diffusiveness.2 The most general definition of amplification would ​explain it to consist in the gathering together of all the constituent parts and topics of a subject, emphasising the argument by repeated insistence, herein differing from proof, that whereas the object of proof is logical demonstration, …
3Plato, like the sea, pours forth his riches in a copious and expansive flood. Hence the style of the orator, who is the greater master of our emotions, is often, as it were, red-hot and ablaze with passion, whereas Plato, whose strength lay in a sort of weighty and sober magnificence, though never frigid, does not rival the thunders of Demosthenes.4 And, if a Greek may be allowed to express an opinion on the subject of Latin literature, I think the same difference may be discerned in the grandeur of Cicero as compared with that of his Grecian rival. The sublimity of Demosthenes is generally sudden and abrupt: that of Cicero is equally diffused, Demosthenes is vehement, rapid, vigorous, terrible; he burns and sweeps away all before him; and hence we may liken him to a whirlwind or a thunderbolt: Cicero is like a widespread conflagration, which rolls over and feeds on all around it, whose fire is extensive and burns long, breaking out successively in different places, and finding its fuel now here, now there.4 Such points, however, I resign to your more competent judgment.
To resume, then, the high-strung sublimity of ​Demosthenes is appropriate to all cases where it is desired to exaggerate, or to rouse some vehement emotion, and generally when we want to carry away our audience with us. We must employ the diffusive style, on the other hand, when we wish to overpower them with a flood of language. It is suitable, for example, to familiar topics, and to perorations in most cases, and to digressions, and to all descriptive and declamatory passages, and in dealing with history or natural science, and in numerous other cases.
# On the Sublime/Acknowledgment

TO
S. H. BUTCHER, Esq., LL.D.
PROFESSOR OF GREEK IN THE UNIVERSITY OF EDINBURGH FORMERLY FELLOW OF TRINITY COLLEGE, CAMBRIDGE AND OF UNIVERSITY COLLEGE, OXFORD
THIS ATTEMPT
TO PRESENT THE GREAT THOUGHTS OF LONGINUS
IN AN ENGLISH FORM
IS DEDICATED
IN ACKNOWLEDGMENT OF THE KIND SUPPORT
BUT FOR WHICH IT MIGHT NEVER HAVE SEEN THE LIGHT
AND OF THE BENEFITS OF THAT
INSTRUCTION TO WHICH IT LARGELY OWES
WHATEVER OF SCHOLARLY QUALITY IT MAY POSSESS
# On the Sublime/Back Matter

CLASSICAL LIBRARY.
Texts, Edited with Introductions and Notes, for the use of Advanced Students; Commentaries and Translations.
⁂ Also an Edition on Large Paper. Cr. 8vo. 9s.
MACMILLAN AND CO., LONDON.
# On the Sublime/Chapter 11

XI
Closely associated with the part of our subject we have just treated of is that excellence of writing which is called amplification, when a writer or pleader, whose theme admits of many successive starting-points and pauses, brings on one impressive point after another in a continuous and ascending scale.2 Now whether this is employed in the treatment of a commonplace, or in the way of exaggeration, whether to place arguments or facts in a strong light, or in the disposition of actions, or of passions—for amplification takes a hundred different shapes—in all cases the orator must be cautioned that none of these methods is complete without the aid of sublimity,—unless, indeed, it be our object to excite pity, or to depreciate an opponent's argument. In all other uses of amplification, if you subtract the element of sublimity you will take as it were the ​soul from the body. No sooner is the support of sublimity removed than the whole becomes lifeless, nerveless, and dull.
3There is a difference, however, between the rules I am now giving and those just mentioned. Then I was speaking of the delineation and co-ordination of the principal circumstances. My next task, therefore, must be briefly to define this difference, and with it the general distinction between amplification and sublimity. Our whole discourse will thus gain in clearness.
# On the Sublime/Analysis

ANALYSIS
The Treatise on the Sublime may be divided into six Parts, as follows:—
II.—cc. iii-v. [The beginning lost.] Vices of Style opposed to the Sublime: Affectation, Bombast, False Sentiment, Frigid Conceits. The cause of such defects.
III.—cc. vi, vii. The true Sublime, what it is, and how distinguishable.
IV.—cc. viii-xl. Five Sources of the Sublime (how Sublimity is related to Passion, c. viii, §§ 2-4).
       a. As the natural outcome of nobility of soul. Examples (c. ix).
       b. Choice of the most striking circumstances. Sappho’s Ode (c. x).
       c. Amplification. Plato compared with Demosthenes, Demosthenes with Cicero (cc. xi-xiii).
       d. Imitation (cc. xiii, xiv).
       e. Imagery (c. xv).
(iii.) Figures of Speech (cc. xvi-xxix).
b. Rhetorical Question (c. xviii).
c. Asyndeton (c. xix-xxi).
d. Hyperbaton (c. xxii).
e. Changes of Number, Person, Tense, etc. (cc. xxiii-xxvii).
f. Periphrasis (cc. xxviii, xxix).
(iv.) Graceful Expression (cc. xxx-xxxii and xxxvii, xxxviii).
b. Ornaments of Style (cc. xxxi, xxxii and xxxvii, xxxviii).
(β) Metaphors; accumulated; extract from the Timaeus; abuse of Metaphors; certain tasteless conceits blamed in Plato (c. xxxii).
(γ) Comparisons and Similes [lost] (c. xxxvii).
(δ) Hyperbole (c. xxxviii).
(v.) Dignity and Elevation of Structure (cc. xxxix, xl).
b. Composition (c. xl).
    ii(i.) Abuse of Rhythm i(ii.) Broken and Jerky Clauses (cc. xli, xlii). (iii.) Undue Prolixity i(iv.) Improper Use of Familiar Words. Anti-climax. Example from Theopompus (c. xliii).
# Open access and the humanities/Citing this work

Citing this work
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# On the Sublime/Chapter 23

XXIII
The juxtaposition of different cases, the enumeration of particulars, and the use of contrast and climax, all, as you know, add much vigour, and give beauty and great elevation and life to a style. The diction also gains greatly in diversity and movement by changes of case, time, person, number, and gender.
2With regard to change of number: not only is the style improved by the use of those words which, though singular in form, are found on inspection to be plural in meaning, as in the lines—
"A countless host dispersed along the sand With joyous cries the shoal of tunny hailed,"
but it is more worthy of observation that plurals ​for singulars sometimes fall with a more impressive dignity, rousing the imagination by the mere sense of vast number.3 Such is the effect of those words of Oedipus in Sophocles—
"Oh fatal, fatal ties!
Here we have in either case but one person, first Oedipus, then Jocasta; but the expansion of number into the plural gives an impression of multiplied calamity. So in the following plurals—
"There came forth Hectors, and there came Sarpedons."
And in those words of Plato's (which we have already adduced elsewhere),4 referring to the Athenians: "We have no Pelopses or Cadmuses or Aegyptuses or Danauses, or any others out of all the mob of Hellenised barbarians, dwelling among us; no, this is the land of pure Greeks, with no mixture of foreign elements," etc. Such an accumulation of words in the plural number necessarily gives greater pomp and sound to a subject. But we must only have recourse to this device when the nature of our theme makes it allowable to amplify, to multiply, or to speak in the tones of exaggeration or ​passion. To overlay every sentence with ornament is very pedantic.
* ↑ O. R. 1403.
* ↑ Menex. 245 D.
* ↑ Lit. "To hang bells everywhere," a metaphor from the bells which were attached to horses' trappings on festive occasions.