OpenLLM-France/wikimedia huggingface dataset:
# A Short Biographical Dictionary of English Literature/Henryson, Robert

​Henryson, Robert (1430?-1506?).—Scottish poet. Few details of his life are known, even the dates of his birth and death being uncertain. He appears to have been a schoolmaster perhaps in the Benedictine Convent, at Dunfermline, and was a member of the Univ. of Glasgow in 1462. He also practised as a Notary Public, and may have been in orders. His principal poems are The Moral Fables of Esope the Phrygian, The Testament of Cresseide, a sequel to the Troilus and Cressida of Chaucer, to whom it was, until 1721, attributed, Robene and Makyne, the first pastoral not only in Scottish vernacular, but in the English tongue, The Uplandis Mous and The Burges Mous (Country and Town Mouse), and ​the Garmond of Gude Ladeis. H., who was versed in the learning and general culture of his day, had a true poetic gift. His verse is strong and swift, full of descriptive power, and sparkling with wit. He is the first Scottish lyrist and the introducer of the pastoral to English literature.
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# A Short Biographical Dictionary of English Literature/Herbert, George

​Herbert, George (1593-1633).—Poet, brother of above, was ed. at Westminster School and Trinity Coll., Camb., where he took his degree in 1616, and was public orator 1619-27. He became the friend of Sir H. Wotton, Donne, and Bacon, the last of whom is said to have held him in such high esteem as to submit his writings to him before publication. He acquired the favour of James I., who conferred upon him a sinecure worth £120 a year, and having powerful friends, he attached himself for some time to the Court in the hope of preferment. The death of two of his patrons, however, led him to change his views, and coming under the influence of Nicholas Ferrar, the quietist of Little Gidding, and of Laud, he took orders in 1626 and, after serving for a few years as prebendary of Layton Ecclesia, or Leighton Broomswold, he became in 1630 Rector of Bemerton, Wilts, where he passed the remainder of his life, discharging the duties of a parish priest with conscientious assiduity. His health, however, failed, and he d. in his 40th year. His chief works are The Temple, or Sacred Poems and Private Ejaculations (1634), The Country Parson (1652), and Jacula Prudentium, a collection of pithy proverbial sayings, the two last in prose. Not pub. until the year after his death, The Temple had immediate acceptance, 20,000 copies, according to I. Walton, who was H.'s biographer, having been sold in a few years. Among its admirers were Charles I., Cowper, and Coleridge. H. wrote some of the most exquisite sacred poetry in the language, although his style, influenced by Donne, is at times characterised by artificiality and conceits. He was an excellent classical scholar, and an accomplished musician.
Works with Life by Izaak Walton, ed. by Coleridge, 1846, etc.
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# A Short Biographical Dictionary of English Literature/Herbert, Sir Thomas

​Herbert, Sir Thomas (1606-1682).—Traveller and historian, belonged to an old Yorkshire family, studied at Oxf. and Camb., and went in connection with an embassy to Persia, of which, and of other Oriental countries, he pub. a description. On the outbreak of the Civil War he was a Parliamentarian, but was afterwards taken into the household of the King, to whom he became much attached, was latterly his only attendant, and was with him on the scaffold. At the Restoration he was made a Baronet, and in 1678 pub. Threnodia Carolina, an account of the last two years of the King's life.
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# A Short Biographical Dictionary of English Literature/Heraud, John Abraham

​Heraud, John Abraham (1799-1887).—Poet, b. in London, of Huguenot descent, he contributed to various periodicals, and pub. two poems, which attracted some attention, The Descent into Hell (1830), and The Judgment of the Flood (1834). He also produced a few plays, miscellaneous poems, books of travel, etc.
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# A Short Biographical Dictionary of English Literature/Herbert, of Cherbury, Edward, 1st Lord

​Herbert, of Cherbury, Edward, 1st Lord (1583-1648).—Philosopher and historian, was the eldest s. of Richard H., of Montgomery Castle, and was b. there or at Eyton, Shropshire. He was at Oxf., and while there, at the age of 16, he m. a kinswoman four years his senior, the dau. of Sir William H. Thereafter he returned to the Univ. and devoted himself to study, and to the practice of manly sports and accomplishments. At his coronation in 1603 James I. made him a Knight of the Bath, and in 1608 he went to the Continent, where for some years he was engaged in military and diplomatic affairs, not without his share of troubles. In 1624 he was cr. an Irish, and a few years later, an English, peer, as Baron H., of Cherbury. On the outbreak of the Civil War he sided, though somewhat half-heartedly, with the Royalists, but in 1644 he surrendered to the Parliament, received a pension, held various offices, and d. in 1648. It was in 1624 that he wrote his treatise, De Veritate, "An empirical theory of knowledge," in which truth is distinguished from (i) revelation, (2) the probable, (3) the possible, (4) the false. It is the first purely metaphysical work written by an Englishman, and gave rise to much controversy. It was reprinted in 1645, when the author added two treatises, De Causis Errorum (concerning the Causes of Errors), and De Religione Laici]] (concerning the Religion of a Layman). His other chief philosophical work was De Religione Gentilium (1663), of which an English translation appeared in 1705, under the title of The Ancient Religion of the Gentiles and Cause of their Errors considered. It has been called "the charter of the Deists," and was intended to prove that "all religions recognise five main articles (i) a Supreme God, (2) who ought to be worshipped, (3) that virtue and purity are the essence of that worship, (4) that sin should be repented of, and (5) rewards and punishments in a future state. Among his historical works are Expeditio Buckinghamii Ducis (1656), a vindication of the Rochelle expedition, a Life of Henry VIII. (1649), extremely partial to the King, his Autobiography, which gives a brilliant picture of his contemporaries, and of the manners and events of his time, and a somewhat vainglorious account of himself and his doings. He was also the author of some poems of a metaphysical cast. On ​the whole his is one of the most shining and spirited figures of the time.
Autobiography ed. by S. Lee (1886). Poems ed. by J. Churton Collins, etc.
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# A Short Biographical Dictionary of English Literature/Herd, David

​Herd, David (1732-1810).—Scottish anthologist, s. of a farmer in Kincardineshire, was clerk to an accountant in Edin., and devoted his leisure to collecting old Scottish poems and songs, which he first pub. in 1769 as Ancient Scottish Songs, Heroic Ballads, etc. Other and enlarged ed. appeared in 1776 and 1791. Sir W. Scott made use of his MS. collections in his Minstrelsy of the Scottish Border.
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# A Treatise on Painting/Chapter 157

Chap. CLVII.—How to represent a Storm.
To form a just idea of a storm, you must consider it attentively in its effects. When the wind blows violently over the sea or land, it removes and carries off with it every thing that is not firmly fixed to the general mass. The clouds must appear strag​gling and broken, carried according to the direction and the force of the wind, and blended with clouds of dust raised from the sandy shore. Branches and leaves of trees must be represented as carried along by the violence of the storm, and, together with numberless other light substances, scattered in the air. Trees and grass must be bent to the ground, as if yielding to the course of the wind. Boughs must be twisted out of their natural form, with their leaves reversed and entangled. Of the figures dispersed in the picture, some should appear thrown on the ground, so wrapped up in their cloaks and covered with dust, as to be scarcely distinguishable. Of those who remain on their feet, some should be sheltered by and holding fast behind some great trees, to avoid the same fate: others bending to the ground, their hands over their faces to ward off the dust; their hair and their clothes flying straight up at the mercy of the wind.
The high tremendous waves of the stormy sea will be covered with foaming froth; the most subtle parts of which, being raised by the wind, like a thick mist, mix with the air. What vessels are seen should appear with broken cordage, and torn sails, fluttering in the wind; some with broken masts fallen across the hulk, already on its side amidst the tempestuous waves. Some of the crew should be represented as if crying aloud for help, and clinging to the remains of the shattered vessel. Let the clouds appear as driven by tempestuous winds against the summits of lofty mountains, enveloping those ​mountains, and breaking and recoiling with redoubled force, like waves against a rocky shore. The air should be rendered awfully dark, by the mist, dust, and thick clouds.
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# A Treatise on Painting/Chapter 150

Chap. CL.—The Character of Figures in Composition.
In general, the painter ought to introduce very few old men, in the ordinary course of historical subjects, and those few separated from young people; because old people are few, and their habits do not agree with those of youth. Where there is no conformity of custom, there can be no intimacy, and, without it, a company is soon separated. But if the subject require an appearance of gravity, a meeting on important business, as a council, for instance, let there be few young men introduced, for youth willingly avoids such meetings.
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# A Treatise on Painting/Chapter 151

Chap. CLI.—The Motion of the Muscles, when the Figures are in natural Positions.
A figure, which does not express by its position the sentiments and passions, by which we suppose it animated, will appear to indicate that its muscles are not obedient to its will, and the painter very deficient in judgment. For that reason, a figure is ​ to shew great eagerness and meaning; and its position is to be so well appropriated to that meaning, that it cannot be mistaken, nor made use of for any other.
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# A Treatise on Painting/Chapter 155

Chap. CLV.—Of a single Figure separate from an historical Group.
The same motion of members should not be repeated in a figure which you mean to be alone; for instance, if the figure be represented running, it must not throw both hands forward; but one forward and the other backward, or else it cannot run. If the right foot come forward, the right arm must ​go backward and the left forward, because, without such disposition and contraste of parts, it is impossible to run well. If another figure be supposed to follow this, one of its legs should be brought somewhat forward, and the other be perpendicular under the head; the arm on the same side should pass forward. But of this we shall treat more fully in the book on motion.
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# A Treatise on Painting/Chapter 156

Chap. CLVI.—On the Attitudes of the human Figure.
A painter is to be attentive to the motions and actions of men, occasioned by some sudden accident. He must observe them on the spot, take sketches, and not wait till he wants such expression, and then have it counterfeited for him; for instance, setting a model to weep when there is no cause; such an expression without a cause will be neither quick nor natural. But it will be of great use to have observed every action from nature, as it occurs, and then to have a model set in the same attitude to help the recollection, and find out something to the purpose, according to the subject in hand.
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# A Treatise on Painting/Chapter 149

Chap. CXLIX.—Of Decorum.
Observe decorum in every thing you represent, that is, fitness of action, dress, and situation, according to the dignity or meanness of the subject to be represented. Be careful that a king, for instance, be grave and majestic in his countenance and dress; that the place be well decorated; and that his attendants, or the by-standers, express reverence and admiration, and appear as noble, in dresses suitable to a royal court.
On the contrary, in the representation of a mean ​subject, let the figures appear low and despicable; those about them with similar countenances, and actions, denoting base and presumptuous minds, and meanly clad. In short, in both cases, the parts must correspond with the general sentiment of the composition.
The motions of old age should not be similar to those of youth; those of a woman to those of a man; nor should the latter be the same as those of a boy.
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# A Treatise on Painting/Chapter 15

Chap. XV.—Another Precept.
The young painter must, in the first instance, accustom his hand to copying the drawings of good masters; and when his hand is thus formed, and ready, he should, with the advice of his director, use himself also to draw from relievos; according to the rules we shall point out in the treatise on drawing from relievos. ​
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# A Treatise on Painting/Chapter 152

Chap. CLII.—A Precept in Painting.
The painter ought to notice those quick motions, which men are apt to make without thinking, when impelled by strong and powerful affections of the mind. He ought to take memorandums of them, and sketch them in his pocket-book, in order to make use of them when they may answer his purpose; and then to put a living model in the same position, to see the quality and aspect of the muscles which are in action.
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# A Treatise on Painting/Chapter 153

Chap. CLIII.—Of the Motion of Man, Plates XX. and XXI.
London. Published by J. Taylor High Holborn.
London. Published by J. Taylor High Holborn.
​in action and power. The first in point of vigour is A. The second is B. But A will throw his weapon farther than B, because, though they seem desirous of throwing it to the same point, A having turned his feet towards the object, while his body is twisted and bent back the contrary way, to increase his power, returns with more velocity and force to the point to which he means to throw. But the figure B having turned his feet the same way as his body, it returns to its place with great inconvenience, and consequently with weakened powers. For in the expression of great efforts, the preparatory motions of the body must be strong and violent, twisting and bending, so that it may return with convenient ease, and by that means have a great effect. In the same manner, if a cross-bow be not strung with force, the motion of whatever it shoots will be short and without effect; because, where there is no impulse, there can be no motion; and if the impulse be not violent, the motion is but tardy and feeble. So a bow, which is not strong, has no motion; and, if it be strung, it will remain in that state till the impulse be given by another power which puts it in motion, and it will shoot with a violence equal to that which was employed in bending it. In the same manner, the man who does not twist and bend his body will have acquired no power. Therefore, after A has thrown his dart, he will find himself twisted the contrary way, viz. on the side where he has thrown; and he will have acquired only power sufficient to serve him to return to where he was at first.
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# A Treatise on Painting/Chapter 154

Chap. CLIV.—Of Attitudes, and the Motions of the Members.
The same attitude is not to be repeated in the same picture, nor the same motion of members in the same figure, nay, not even in the hands or fingers. And if the history requires a great number of figures, such as a battle, or a massacre of soldiers, in which there are but three ways of striking, viz. thrusting, cutting, or back-handed; in that case you must take care, that all those who are cutting be expressed in different views; some turning their backs, some their sides, and others be seen in front; varying in the same manner the three different ways of fighting, so that all the actions may have a relation to those three principles. In battles, complex motions display great art, giving spirit and animation to the whole. By complex motion is meant, for instance, that of a single figure shewing the front of the legs, and at the same time the profile of the shoulder. But of this I shall treat in another place.
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# A Popular Account of Dr Livingstone's Expedition to the Zambesi and its Tributaries/FOOTNOTES

FOOTNOTES
{1} A remedy composed of from six to eight grains of resin of jalap, the same of rhubarb, and three each of calomel and quinine, made up into four pills, with tincture of cardamoms, usually relieved all the symptoms in five or six hours. Four pills are a full dose for a man--one will suffice for a woman. They received from our men the name of "rousers," from their efficacy in rousing up even those most prostrated. When their operation is delayed, a dessert-spoonful of Epsom salts should be given. Quinine after or during the operation of the pills, in large doses every two or three hours, until deafness or cinchonism ensued, completed the cure. The only cases in which, we found ourselves completely helpless, were those in which obstinate vomiting ensued.
{2} The late Mr. Robson.
{3} In 1865, four years after these forebodings were penned, we received intelligence that they had all come to pass. Sekeletu died in the beginning of 1864--a civil war broke out about the succession to the chieftainship; a large body of those opposed to the late chief's uncle, Impololo, being regent, departed with their cattle to Lake Ngami; an insurrection by the black tribes followed; Impololo was slain, and the kingdom, of which, under an able sagacious mission, a vast deal might have been made, has suffered the usual fate of African conquests. That fate we deeply deplore; for, whatever other faults the Makololo might justly be charged with, they did not belong to the class who buy and sell each other, and the tribes who have succeeded them do.
{4} It was with sorrow that we learned by a letter from Mr. Moffat, in 1864, that poor Sekeletu was dead. As will be mentioned further on, men were sent with us to bring up more medicine. They preferred to remain on the Shire, and, as they were free men, we could do no more than try and persuade them to hasten back to their chief with iodine and other remedies. They took the parcel, but there being only two real Makololo among them, these could neither return themselves alone or force their attendants to leave a part of the country where they were independent, and could support themselves with ease. Sekeletu, however, lived long enough to receive and acknowledge goods to the value of 50 pounds, sent, in lieu of those which remained in Tette, by Robert Moffat, jun., since dead.
{5} A brother, we believe, of one who accompanied Burke and Willis in the famous but unfortunate Australian Expedition.
{6} Genesis, chap. iii., verses 21 and 23, "make coats of skins, and clothed them"--"sent him forth from the garden of Eden to till the ground" imply teaching. Vide Archbishop Whately's "History of Religious Worship." John W. Parker, West Strand, London, 1849.
{7} "In 1854 the native church at Sierra-Leone undertook to pay for their primary schools, and thereby effected a saving to the Church Missionary Society of 800 pounds per annum. In 1861 the contributions of this one section of native Christians had amounted to upwards of 10,000 pounds."--"Manual of Church Missionary Society's African Missions."
# A Portrait of the Artist as a Young Man

This is the first edition published in book form.
A Portrait of the Artist as a Young Man
by
James Joyce
New York B. W. Hubesch MCMXVI
COPYRIGHT, 1916, BY B. W. HUEBSCH
PRINTED IN THE UNITED STATES OF AMERICA
* Chapter I
* Chapter II
* Chapter III
* Chapter IV
* Chapter V
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BY THE SAME WRITER:
CHAMBER MUSIC
(Elkin Mathews: London: 2/)
DUBLINERS
(B. W. Huebsch: New York: $1.50)
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 1941, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 82 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.
Public domainPublic domainfalsefalse
# A colonial autocracy, New South Wales under Governor Macquarie, 1810-1821

* related portals: History of Australia.
* sister projects: Wikipedia article, quotes, Wikidata item.
A COLONIAL AUTOCRACY
NEW SOUTH WALES UNDER GOVERNOR MACQUARIE 1810-1821
by
MARION PHILLIPS
B.A. (Melbourne), D.Sc. Economics (London)
LONDON
P. S. KING & SON
ORCHARD HOUSE, WESTMINSTER
1909
This work is the Thesis on which the Author obtained the Degree of D.Sc. in the Faculty of Economics, of the University of London, June, 1908.
Index
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 1932, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 91 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.
Public domainPublic domainfalsefalse
# A colonial autocracy, New South Wales under Governor Macquarie, 1810-1821/Abbreviations

ABBREVIATIONS
R.O. = Record Office.
C.O. = Colonial Office.
MS. = Documents in Manuscript.
D. = Despatch.
Encl. = Enclosure to D., etc.
H.R. = Historical Records of New South Wales, 1788-1811 (published by New South Wales Government).
P.P. = Parliamentary Papers.
H.C. = House of Commons.
C. on T. = Report of Committee on Transportation, together with minutes of Evidence and Appendices, P.P., 1812.
C. on G. = Report of Committee on Gaols, etc., P.P., 1819.
Bigge's Report, I. = Bigge's Report on Convict System, P.P., 1822.
Bigge's Report, II. = Bigge's Report on Judiciary and Police, P.P., 1823.
Bigge's Report, III. = Bigge's Report on Agriculture and Trade, etc., P.P., 1823.
Appendix Bigge's Reports. = Appendices to Reports in R.O. consisting of minutes of evidence, documents, etc.
S.G. = Sydney Gazette.
G.G.O. = Government and General Orders.
# A Treatise on Painting/Chapter 352

Chap. CCCLII.—Of the Judgment to be made of a Painter’s Work.
The first thing to be considered is, whether the figures have their proper relief, according to their respective situations, and the light they are in: that the shadows be not the same at the extremities of the groups, as in the middle; because being surrounded by ​shadows, or shaded only on one side, produce very different effects. The groups in the middle are surrounded by shadows from the other figures, which are between them and the light. Those which are at the extremities have the shadows only on one side, and receive the light on the other. The strongest and smartest touches of shadows are to be in the interstice between the figures of the principal group where the light cannot penetrate.
Secondly, that by the order and disposition of the figures they appear to be accommodated to the subject, and the true representation of the history in question.
Thirdly, that the figures appear alive to the occasion which brought them together, with expressions suited to their attitudes.
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# A Treatise on Painting/Chapter 353

Chap. CCCLIII.—How to make an imaginary Animal appear natural.
It is evident that it will be impossible to invent any animal without giving it members, and these members must individually resemble those of some known animal.
If you wish, therefore, to make a chimera, or imaginary animal, appear natural (let us suppose a serpent); take the head of a mastiff, the eyes of a cat, the ears of a porcupine, the mouth of a hare, the brows of a lion, the temples of an old cock, and the neck of a sea tortoise.
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