OpenLLM-France/wikimedia huggingface dataset:
# Palestine Exploration Fund - Quarterly Statement for 1894/Agriculture

XIII.—Agriculture.
The country was tilled by the Jews, and contained vineyards, olive yards, corn-fields, vegetable gardens, fruit orchards, and other plantations. The regulations of the seventh year were only strictly applied to the Holy Land, and the same refers to the trees not plucked till the fourth year. The corner of the field and the gleanings were left to the Levite or the poor, as directed in the Law. The fields in the mountain district had stone terraces as at the present time (Shebiith, iii, 8). The vines were of two kinds (Menakhoth, viii, 6), one on poles, the other growing on the ground. The grapes were trodden in presses (Shebiith, viii, 6; Sabbath, i, 9), and the olives crushed in stone vats. Ruined remains of both are numerous. The corn was stacked in heaps and threshed on the threshing floor (Sanhedrin, iv, 3; Maaser Sheni, iv, 5) exactly as it now is. Vines were planted in quincunx order (Kilaim, iv, 5). Manure was used in the fields (Shebiith, ii, 1), and was sometimes obtained from blood of sacrifices (Yoma, V, 6). Tares of various kinds are noticed with the wheat, barley, spelt, and beans (Kilaim, i, 1). The irrigation of trees is also noticed (Moed Katon, i,.3). Charcoal was made for warming (Yom Tob, iv, 4), and wood chopped for the fire (Baba Kama, iii, 7). Ox carts (Shebiith, v, 6; Kilaim, viii, 4) and a cart like a chair, perhaps the threshing wain (Kelim, xxiv, 2) were drawn by oxen, and mules were apparently not used (Kilaim, viii, 4; Baba Bathra, vi, 1). It is certain that many fruits were foreign to Palestine, though grown in its plains, including rice, citrons, and perhaps the Egyptian bean, Persian fig, and Cilician bean, with the Greek and Egyptian cucumber, the melopepo and crustomima, and the peach and quince. The strongest wine came from Bethlaban and Bethrima, on the borders of Samaria (Menakhoth, viii, 6), and Sharon wine is also noticed (Niddah, ii, 7). The finest oil was from Tekoa, south of Bethlehem, and the next best from Ragaba, in Gilead (Menakkoth, viii, 3). The fields had thorn hedges as they still have in the plains (Baba Kama, iii, 2) and the tibn or chopped straw is noticed with straw proper (Baba Kama, iii, 2)
# Palermo v. United States

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
360 U.S. 343
Palermo v. United States
Argued: April 28, 1959. --- Decided: June 22, 1959
See 80 S.Ct. 41.
Mr. Wyllys S. Newcomb, New York City, for petitioner.
Mr. Ralph S. Spritzer, Washington, D.C., for respondent.
Mr. Justice FRANKFURTER delivered the opinion of the Court.

## Notes

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
# Palestine Exploration Fund - Quarterly Statement for 1894

* PALESTINE EXPLORATION FUND.
* Patron—THE QUEEN.
* Quarterly Statement
* FOR 1894.
* LONDON:
* SOCIETY'S OFFICE, 24, HANOVER SQUARE, W.,
* AND BY
* A. P. WATT AND SON, NORFOLK STREET, STRAND, W.C.
# Palestine Exploration Fund - Quarterly Statement for 1894/Alphabet

ALPHABET.
# Peale v. Phipps (49 U.S. 256)

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
49 U.S. 256
Peale v. Phipps
THIS case was brought up, by writ of error, from Louisiana, and a motion was made by Mr. Henderson to dismiss it, upon the grounds stated in the opinion of the court.
Mr. Justice McLEAN delivered the opinion of the court.

## Notes

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
# Pearce v. Commissioner of Internal Revenue

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
315 U.S. 543
Pearce v. Commissioner of Internal Revenue
Argued: Feb. 5, 1942. --- Decided: March 9, 1942
[Syllabus from pages 543-545 intentionally omitted]
Mr. Gordon S. P. Kleeberg, of New York City, for petitioner.
Mr. Gordon B. Tweedy, of Washington, D.C., for respondent.
Mr. Justice DOUGLAS delivered the opinion of the Court.

## Notes

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
# Pearce v. Ham

* related portals: Supreme Court of the United States.
* sister projects: Wikipedia article, Wikidata item.
United States Supreme Court
113 U.S. 585
Pearce v. Ham
John M. Palmer, for appellants.
S. P. Wheeler, for appellee.
WOODS, J.

## Notes

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).
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# Peale v. Phipps

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This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* Peale v. Phipps (49 U.S. 256)
* Peale v. Phipps (55 U.S. 368)
# Peale v. Phipps (49 U.S. 256)/Opinion of the Court

* Court Documents
* Case Syllabus
* Opinion of the Court
United States Supreme Court
49 U.S. 256
Peale v. Phipps
A motion is made to dismiss this writ of error on three grounds:--
1. Because there is no citation to the defendants in error, as the law requires.
2. Because the citation is addressed to Martha Phipps and Mary Rice, 'wife of George Bowers, and by him assisted,' who are not the persons of parties defendants in the record.
3. Because said citation is stated to have been issued at the instance of E. Peale, as plaintiff in error,-instead of Elijah Peale, Trustee of the Agricultural Bank of Mississippi, &c.
The suit was brought by Martha Phipps and Mary Rice; and in the petition they are called Martha Phipps and Mary Bowers, wife of Charles Rice, 'who is authorized and assisted in this suit by her said husband, Charles.' The defendant is named 'Elijah Peale, in his capacity of Trustee and Assignee of the President, Directors, and Company of the Agricultural Bank of Mississippi.' The decree is in favor of Martha Phipps and Mary Rice.
The citation appears to have been issued by E. Peale, and was directed to Martha Phipps and Mary Rice, 'wife of George Bowers, and by him assisted.' And the service of the citation was accepted by S. S. Prentiss, plaintiff's attorney, at New Orleans, the 22d of October, 1849.
The names of the defendants in error are correctly stated in the citation, except that Mary Rice is represented as the wife of George Bowers, instead of the wife of Charles Rice. Under the procedure in Louisiana, the husband is named in the petition as assenting to the suit brought in the name of his wife. He is not a party to the suit, nor is he responsible for costs. The use of the name of the husband is merely formal, and the misnomer alleged could not have misled the defendants in error. Nor could they have been misled by the omission in the notice of the capacity of trustee, in which the defendant below was sued, and in which he necessarily prosecutes the writ of error. The acceptance of the service of the notice by the counsel of the defendants in error, without exception, shows that there could have been no misapprehension in regard to it. The motion to dismiss the case is overruled.
On consideration of the motion to dismiss this writ of error, submitted to the court by General Henderson, on a prior day of the present term of this court, to wit, on Friday, the 28th ultimo, it is now here ordered by this court, that said motion be, and the same is hereby, overruled.

## Notes

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
# On a Grey Thread/Poppy Song

Poppy Song
Layout 2
# On a Grey Thread/The Artist

The Artist
Layout 2
# On a Grey Thread/Mnasidika

Mnasidika
Layout 2
# On a Grey Thread/Of a Certain Friendship

Of a Certain Friendship
Layout 2
# On a Grey Thread/Philosophy

Philosophy
Layout 2
# On a Grey Thread/Roots

Roots
Layout 2
# On a Grey Thread/Oversoul

Oversoul
Layout 2
# On a Grey Thread/Relinquishment

Relinquishment
Layout 2
# On a Grey Thread/Sudden Friendship

Sudden Friendship
Layout 2
# On a Grey Thread/The Friend Departs

The Friend Departs
Layout 2
# Phyllis

* Search for titles containing or beginning with: "Phyllis."
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This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* Phyllis, a work by Frances Hodgson Burnett
* Phyllis by Paul Laurence Dunbar
* Phyllis by Sir Charles Sedley
# Pictures in Rhyme

* related portals: Modern poetry, English literature.
* sister projects: Commons category, Wikidata item.
PICTURES IN RHYME
BY
ARTHUR CLARK KENNEDY
ILLUSTRATED BY MAURICE GREIFFENHAGEN
LONDON
LONGMANS, GREEN, AND CO.
AND NEW YORK : 15 EAST 16th STREET
1891
All rights reserved
To
CONTENTS
| | PAGE |
| La Marquise de Pompadour (illust. Frontispiece) | 1 |
| The Witches' Warning | 3 |
| Will He Forgive? | 4 |
| Sisera | 6 |
| Upon the Sands | 8 |
| Under the Snowy Steppes | 10 |
| An Assignation | 13 |
| At Kassassin | 14 |
| Vivienique (illust.) | 18 |
| The Poet's Prophecy | 19 |
| In the Night | 21 |
| The Sale of the World | 23 |
| Death and Dives (illust.) | 26 |
| Street Music | 29 |
| Sir Alexander's Desk | 31 |
| On the Stair (illust.) | 36 |
| One Little Year To-day | 40 |
| 'He was a Prince of Power and Might' | 43 |
| Lament of Boabdil | 46 |
| 'In my Dreams I see a Castle' | 48 |
| The Song | 50 |
| 'When Dead is Day' | 52 |
| 'Young Love unfurled his Silken Sail' | 54 |
| A Queen | 56 |
| 'They tell me you have Married' | 57 |
| On a Portrait of Napoleon I by David | 59 |
| Why? | 61 |
| The Broken Glass | 62 |
| Nor is Love Sold | 63 |
| How Strange our Lives! | 65 |
| Flower of the Flowers | 67 |
| A Desert Night | 69 |
| Two Friends I knew | 70 |
| The Icicle Queen | 71 |
| Flower and Fruit | 73 |
| 'Cinderella' by Millais | 74 |
| The Morning Mist | 75 |
| At Malvern Wells | 76 |
| The Summons of Spring | 78 |
| Street Arabs | 79 |
| 'The Patter of Tiny Feet' | 81 |
| Illusions Perdues | 82 |
ILLUSTRATIONS
| SHE WAS MADAME DE POMPADOUR | Frontispiece |
| OUR NOBLEST AIMS ARE WRECKED BY FINGERS FAIR, AMBITION'S SHROUD, A WEB OF WOMAN'S HAIR | To face page 18 |
| 'BEHOLD! HOW MUCH I GIVE TO THEE IN PLACE OF ALL THOU LEAV'ST FOR ME' | To face page„28 |
| IN HIS HAND A GLITTERING RAPIER SHONE | To face page„36 |
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1926, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 97 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
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# Pictures in Rhyme/'Cinderella,' by Millais

'CINDERELLA,' BY MILLAIS
Fair Cinderella, in a pensive mood,
Kirtled in hodden-grey, and broom in hand,
Seems trembling on that mystic borderland—
That narrow strip entrenched 'twixt womanhood
And childish ways! Perplexing thoughts intrude
Upon her brain. Her Prince, though near, doth stand
As yet unseen; not yet the fairy wand
Hath changed uncertainty to certitude.
Deep, earnest eyes of wondering purity;
Vision of ruddy lips, and golden hair
Crowned with red cap of Liberty! Take care
How you exchange your maiden surety
For the full cup of love's maturity,
Lest you become less happy than you are!
# Pictures From Italy/Front matter

NEW AND REVISED EDITION OF "OLIVER TWIST", IN TEN MONTHLY PARTS.
Publishing in Monthly Parts, price One Shilling each, with Two Illustrations on Steel, (uniform with "The Pickwick Papers,")
OLIVER TWIST.
BY
CHARLES DICKENS.
ILLUSTRATED BY GEORGE CRUIKSHANK.
This Edition has been carefully corrected by the Author throughout, and it will contain the whole of the original Illustrations.
A NEW ENGLISH STORY,
BY MR. DICKENS,
In Twenty Monthly Parts, price One Shilling each, uniform with "Martin Chuzzlewit," &c.
IS NOW IN PREPARATION.
No. I. will be published on the First of October.
# Pictures in Rhyme/'He was a Prince of Power and Might'

'HE WAS A PRINCE OF POWER AND MIGHT'
He was a prince of power and might
But yesternight;
To-day
A senseless lump of coffined clay,
To hide away.
His life was one long holiday,
Careless of sorrows;
A ceaseless whirligig of play— No thought for morrows.
His talents slept,
Securely hid,
'Neath social custom's ponderous lid;
And all men kept
The vast white pearls Of truth from him, ​Who held his wealth in changing curls
Of many girls,
By passion's passing whim.
Dusting his eyes
With flatteries,
His clouded vision
Saw fields Elysian
In scenes of rank debaucheries;
Until his name,
Of lofty fame,
Sank into shame.
He once was heard to say:
'Which is the God,
Jesus or Bacchus,
Over us?
Which heaven's true way—
Where the snow on the mountain shines,
Or where the valley's vines
Beckon and nod,
With countless clusters
Of purple lustres, ​In serried line on lines,
Through smiling vale or over mountain snows?' —But now he knows.
He was a prince of power and might
But yesternight;
To-day
A senseless lump of coffined clay,
# Pictures in Rhyme/'In my Dreams I see a Castle'

'IN MY DREAMS I SEE A CASTLE'
In my dreams I see a castle standing by the Northern seas,
Where the long Atlantic rollers lash the rugged Orcades, And a stately lady walking up and down beneath the trees.
Why does the lady wander there, in robes of white array'd? Why does she carry in her hand a sharp and shining blade, While her features work with agony, her eyes with fear dismay'd?
She slowly passes through the grove of wind-swept melody, Till she stands beside the ocean, and then, full suddenly, She cuts her heart from out her breast, and casts it in the sea. ​'O western wind! O wandering wave! seek Southern summer seas, Bear him my bleeding heart from these far Northern castle-leas, And tell him I love him now much better than all these.'
But the heart was passion-weighted—passion still unpurged of pride— On the bosom of the billows it could not safely ride;
It never reach'd those summer seas, but sank beneath the tide.
The lady wanders still beside the dreary Northern sea, And cries unto the wind and waves: 'Give back my heart to me.' But the wind and waves make answer: 'That can never, never be.'
# Pictures From Italy/End matter

Mr. Dicken's Works.
THE CHIMES. A Goblin Story of some Bells that Rang an Old Year Out and A New Year In. The Illustrations by Daniel Maclise, R.A.; Clarkson Stanfield, R. A.; John Leech; and Richard Doyle. Twelfth Edition. In Foolscap 8vo, price 5s.
A CHRISTMAS CAROL. In Prose. Being a Ghost Story of Christmas. With Four Coloured Etchings, and Woodcuts, by Leech. Tenth Edition. In Foolscap 8vo, price 5s.
THE CRICKET ON THE HEARTH. A Fairy Tale of Home. The Illustrations by Clarkson Stanfield, Esq., R.A.; Daniel Maclise, Esq., R.A.; John Leech, Esq.; and Richard Doyle, Esq. Twentieth Edition. In Foolscap 8vo, price 5s.
I.
II.
III.
IV.
V.
VI.
VII.
# Pictures in Rhyme/'The Patter of Tiny Feet'

'THE PATTER OF TINY FEET'
Dear is the patter of tiny feet Which falls on my ears with the morning light: Tiny feet with their mighty clatter, Tiny tongues with their ceaseless chatter— Musical touches—the world how bright! •••••• Past is the patter of tiny feet, But my heart still hears, with each morning's light,
Tiny feet with their mighty clatter, Tiny tongues with their ceaseless chatter— Such muffled echoes—and day is night!
# On the Sublime/Chapter 19

XIX
… The removal of connecting particles gives a quick rush and "torrent rapture" to a passage, the writer appearing to be actually almost left behind by his own words. There is an example in Xenophon: "Clashing their shields together they pushed, they fought, they slew, they fell." And the words of Eurylochus in the Odyssey—
"We passed at thy command the woodland's shade; We found a stately hall built in a mountain glade."
Words thus severed from one another without the intervention of stops give a lively impression of one who through distress of mind at once halts and ​hurries in his speech. And this is what Homer has expressed by using the figure Asyndeton.
* ↑ Xen. Hel. iv. 3. 19.
* ↑ Od. x. 251.
# On the Sublime/Chapter 14

XIV
Therefore it is good for us also, when we are labouring on some subject which demands a lofty and majestic style, to imagine to ourselves how Homer might have expressed this or that, or how Plato or Demosthenes would have clothed it with ​sublimity, or, in history, Thucydides. For by our fixing an eye of rivalry on those high examples they will become like beacons to guide us, and will perhaps lift up our souls to the fulness of the stature we conceive.2 And it would be still better should we try to realise this further thought, How would Homer, had he been here, or how would Demosthenes, have listened to what I have written, or how would they have been affected by it? For what higher incentive to exertion could a writer have than to imagine such judges or such an audience of his works, and to give an account of his writings with heroes like these to criticise and look on?3 Yet more inspiring would be the thought, With what feelings will future ages through all time read these my works? If this should awaken a fear in any writer that he will not be intelligible to his contemporaries it will necessarily follow that the conceptions "of his mind will be crude, maimed, and abortive, and lacking that ripe perfection which alone can win the applause of ages to come.
# On the Sublime/Chapter 20

XX
But nothing is so conducive to energy as a combination of different figures, when two or three uniting their resources mutually contribute to the vigour, the cogency, and the beauty of a speech. So Demosthenes in his speech against Meidias repeats the same words and breaks up his sentences in one lively descriptive passage: "He who receives a blow is hurt in many ways which he could not even describe to another, by gesture, by look, by tone."2 Then, to vary the movement of his speech, and prevent it from standing still (for stillness produces rest, but passion requires a certain disorder of language, imitating the agitation and commotion of the soul), he at once dashes off in another direction, breaking up his words again, and repeating them in a different form, "by gesture, by look, by tone—when insult, when hatred, is added to violence, when he is struck with the fist, when he is struck as a slave!" By such means the orator imitates the action of Meidias, dealing blow upon blow on the minds of his judges. Immediately after like a hurricane he makes a fresh attack: "When he is struck with the fist, when he is struck in the face; this is what moves, this is what ​maddens a man, unless he is inured to outrage; no one could describe all this so as to bring home to his hearers its bitterness." You see how he preserves, by continual variation, the intrinsic force of these repetitions and broken clauses, so that his order seems irregular, and conversely his irregularity acquires a certain measure of order.
# On the Sublime/Chapter 17

XVII
There is one truth which my studies have led me to observe, which perhaps it would be worth while to set down briefly here. It is this, that by a natural law the Sublime, besides receiving an acquisition of strength from figures, in its turn lends support in a remarkable manner to them. To explain: the use of figures has a peculiar tendency to rouse a suspicion of dishonesty, and to create an impression of treachery, scheming, and false reasoning; especially if the person addressed be a judge, who is master of the situation, and still more in the case of a despot, a king, a military potentate, or any of those who sit in high places. If a man feels that this artful speaker is treating him like a silly boy and trying to throw dust in his eyes, he at once grows irritated, and thinking that such false reasoning implies a contempt of his understanding, he perhaps flies into a rage and will not hear another ​word; or even if he masters his resentment, still he is utterly indisposed to yield to the persuasive power of eloquence. Hence it follows that a figure is then most effectual when it appears in disguise.2 To allay, then, this distrust which attaches to the use of figures we must call in the powerful aid of sublimity and passion. For art, once associated with these great allies, will be overshadowed by their grandeur and beauty, and pass beyond the reach of all suspicion. To prove this I need only refer to the passage already quoted: "I swear it by the men," etc. It is the very brilliancy of the orator's figure which blinds us to the fact that it is a figure. For as the fainter lustre of the stars is put out of sight by the all-encompassing rays of the sun, so when sublimity sheds its light all round the sophistries of rhetoric they become invisible.3 A similar illusion is produced by the painter's art. When light and shadow are represented in colour, though they lie on the same surface side by side, it is the light which meets the eye first, and appears not only more conspicuous but also much nearer. In the same manner passion and grandeur of language, lying nearer to our souls by reason both of a certain natural affinity and of their radiance, always strike our mental eye before we become conscious of the figure, throwing its artificial character into the shade and hiding it as it were in a veil.
# On the Sublime/Chapter 21

XXI
Supposing we add the conjunctions, after the practice of Isocrates and his school: "Moreover, I must not omit to mention that he who strikes a blow may hurt in many ways, in the first place by gesture, in the second place by look, in the third and last place by his tone." If you compare the words thus set down in logical sequence with the expressions of the "Meidias," you will see that the rapidity and rugged abruptness of passion, when all is made regular by connecting links, will be smoothed away, and the whole point and fire of the passage will at once disappear.2 For as, if you were to bind two runners together, they will forthwith be deprived of all liberty of movement, even so passion rebels against the trammels of conjunctions and other particles, because they curb its free rush and destroy the impression of mechanical impulse.