OpenLLM-France/wikimedia huggingface dataset:
# Compco Corp. v. Day-Brite Lighting, Inc./Concurrence Harlan

* Court Documents
* Case Syllabus
* Opinion of the Court
* Concurring Opinion Harlan
* Wikipedia article
United States Supreme Court
376 U.S. 234
Compco Corp. v. Day-Brite Lighting, Inc.
Argued: Jan. 16, 1964. --- Decided: March 9, 1964
Mr. Justice HARLAN, concurring in the result.
In one respect I would give the States m re leeway in unfair competition 'copying' cases than the Court's opinions would allow. If copying is found, other than by an inference arising from the mere act of copying, to have been undertaken with the dominant purpose and effect of palming off one's goods as those of another or of confusing customers as to the source of such goods, I see no reason why the State may not impose reasonable restrictions on the future 'copying' itself. Vindication of the paramount federal interest at stake does not require a State to tolerate such specifically oriented predatory business practices. Apart from this, I am in accord with the opinions of the Court, and concur in both judgments since neither case presents the point on which I find myself in disagreement.

## 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
# Compendious Syriac Grammar/Note on the English Edition

NOTE ON THE ENGLISH EDITION.
I am glad to have the opportunity of expressing here my satisfaction with Dr. Crichton's translation of my book, and my hearty recognition of the great care and ability with which he has performed his task. Special thanks are also due on my part to the translator, for rectifying certain errors which had crept into the original work in the case of several of the citations. I venture to hope that the book, in its new form, will prove useful to a still wider circle of readers.
Strassburg i. E. March 1904.
Th. Nöldeke.
# Compendious Syriac Grammar

Nöldeke's Kurzgefasste syrische Grammatik remains one of the standard reference works for students of Classical Syriac. This translation, Compendious Syriac Grammar, is based on the second German edition (Leipzig, 1898). The book is intended for readers with some basic knowledge of Biblical Hebrew: for a standard introduction to Hebrew available on Wikisource, see Gesenius' Hebrew Grammar. Knowledge of the Greek alphabet is also helpful.
Technical note: Rendering support for Unicode Syriac characters is essential for reading this work. The bulk of the Syriac text is intended to be read in the Western Serto script, though support for any variety is sufficient for most of the book. (Windows 10 and some other operating systems come with fonts for Estrangelo script, but not Serto. To check which script is being rendered, compare the transcription and page scan on page 2.) See also Wikipedia's article on the Syriac alphabet and guidance on support for Syriac/Aramaic script.
Dashes — and underlines _ used to represent placeholders for diacritics or affixes have been replaced with the dotted circle ◌, which serves the same typographic purpose and is likelier to render properly.
COMPENDIOUS
SYRIAC GRAMMAR
BY
THEODOR NÖLDEKE PROFESSOR OF ORIENTAL LANGUAGES, UNIVERSITY OF STRASBURG.
WITH A TABLE OF CHARACTERS
BY
JULIUS EUTING.
TRANSLATED
(WITH THE SANCTION OF THE AUTHOR)
FROM THE SECOND AND IMPROVED GERMAN EDITION
BY
JAMES A. CRICHTON, d.d.
LONDON: WILLIAMS & NORGATE, 14 HENRIETTA STREET, COVENT GARDEN. 1904.
* Translator's Prefatory Note
* Preface to the First Edition
* Preface to the Second Edition
* Note on the English Edition
CONTENTS.
INTRODUCTION.
PART FIRST. ORTHOGRAPHY AND PHONOLOGY.
I. ORTHOGRAPHY.
Letters.
Vowel Expression.
(a) By Vowel Letters.
(b) By Other Signs.
Other Reading-Signs.
Interpunctuation and Accents.
II. PHONOLOGY.
1. CONSONANTS.
General Statement.
Rukkākhā and Quššāyā.
Liquids.
Gutturals.
The Vowel-Letters ܘ‎ and ܝ‎.
2. VOWELS.
Long and Short Vowels in open and closed Syllables.
Some of the most important Vowel Changes.
New Vowels and Syllables.
Influence of the Consonants upon the Vowels.
PART SECOND. MORPHOLOGY.
I. NOUNS.
1. PRONOUNS.
Personal Pronouns.
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 1930, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 93 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
# Compco Corp. v. Day-Brite Lighting, Inc.

* related portals: Supreme Court of the United States.
* sister projects: Wikipedia article, Wikidata item.

## Concurring Opinion

    Harlan
United States Supreme Court
376 U.S. 234
Compco Corp. v. Day-Brite Lighting, Inc.
Argued: Jan. 16, 1964. --- Decided: March 9, 1964
See 377 U.S. 913, 84 S.Ct. 1162.
Jerome F. Fallon, Chicago, Ill., for petitioner.
Owne J. Ooms, Chicago, Ill., for respondent.
Mr. Justice BLACK 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
# Century Magazine/Volume 49/Issue 1/Action

"Wherefore is it that we live and die?"  Who thus questioned lived a life of light,  And full many a soul in sorrow's night  Blest him in its thought when out of sight; While each child of misery passing by Knew why he was born, but not why he should die.
"For God’s glory do we live and die:"  Who thus answered thrust the asker out  With the unforgiven, for his doubt;  Yet his own life was a silent flout To the God whom it should glorify: None knew why he was born, or why he should not die.
# Century Magazine/Volume 49/Issue 1/The Mother Who Died Too

She was so little—little in her grave,  The wide earth all around so hard and cold— She was so little! therefore did I crave  My arms might still her tender form enfold. She was so little, and her cry so weak  When she among the heavenly children came— She was so little—I alone might speak  For her who knew no word nor her own name.
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 1925, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 98 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
# Century Magazine/Volume 49/Issue 5/Old Dutch Masters. Pieter de Hooch

uch of the meager information concerning Pieter de Hooch is doubtful. He appears to have been born either at Utrecht or Ouderschie, a suburb of Rotterdam, about the year 1632. In 1655 he became a member of the Painters’ Gild at Delft, but left that city in 1657 for either Haarlem or Amsterdam, and it is conjectured that he must have died soon after i681, as this date is the latest on his pictures. The greater part of the pictures (about a hundred) known to be by his hand are in private English collections.
Hooch is one of the most charming of the Dutch masters. He delights in giving us glimpses of the cheerful and peaceful aspect of the domestic life of the time. One might linger hours before his simple scenes with greatest delight without tiring of them, and wonder what it is that gives so mysterious a charm to his works. Much of the secret of his fascination is due to his wonderful feeling for light and shade, and his refined sensitiveness for values, though much more, no doubt, to the sweet contentment and love of home that must have characterized a gentle and refined nature. A man must paint what he is. Hooch is a poet of rare and delicate fiber. No other master can compare with him in the representation of the poetry of light, and in that marvelous brilliancy and clearness with which he calls it forth in various distances till the background is reached, which is generally illumined by a fresh beam.
"The Buttery," which I have engraved, is in the Ryks Museum at Amsterdam, and ranks among the finest examples of Hooch, and nothing, surely, could be more delightful. The action of the servant as she presents the jug to the child to sip is expressive of gentleness and endearment; and what could be more charming than the glimpse of the inside room, with its picture, and the casement, and the cushioned chair, and the court beyond in sunlight? How bright and sunny and joyful all this is! It is full of the sentiment of home. Hooch’s pictures are never very large; this one measures 25¾ inches high by 23½ inches wide. There are other wonderful works by Hooch in the the Ryks Museum. The Louvre also possesses a rare gem by this master known as "A Dutch Interior," representing a richly decorated room in which, by the side of a sculptured fireplace, a group is engaged at cards. The rich chamber is flooded with mellow light, which is reflected from the golden stamped leather of the walls, and a charming comfort and lovely mystery pervade. Yet, full as it seems of light, much is kept out by the heavy curtains beyond the card-players, near which a loving couple snatch a stolen opportunity for communing. A page enters noiselessly from another room with his salver, glass, and flask of wine.
# Century Magazine/Volume 49/Issue 1/At Candle-Lighting

I think it better to believe, And be even as the children, they The children of the early day, Who let the kindly dreams deceive, And joyed in all the mind may weave Of dear conceit — better, I say, To let wild fancy have her way, To trust her, than to know and grieve. A poet of old Colophon A notion held I think was right, No matter how or whence he gat it: The stars are snuffed out every dawn, And newly lighted every night. I hope to catch the angels at it.
# Century Magazine/Volume 49/Issue 1/Old Dutch Masters. Bartholomeus van der Helst

Van der Helst was one of the most distinguished of the Dutch portrait-painters of his time. He was born at Haarlem about 1613, and removed while young to Amsterdam, where he married in 1636, and where he died in 1670. His teacher is supposed to have been Nicolas Elias, an eminent master in the art of portraiture; it is also thought that he was instructed by Franz Hals. More than this is not known of his life. He flourished at a time when Rembrandt ceased to be understood. He captivated by a surprising realism of treatment and a living individuality of character in his heads, to which was added a naturalistic coloring, undisturbed by any conscientious scruples of chiaroscuro. To understand him in relation to Rembrandt one should see him at the Ryks Museum, Amsterdam, where, in the Rembrandt Sala, are two of his largest and finest works hung on either side of the "Night-Watch." These are corporation pictures, representing assemblages of military officers, all life-size. One of these great canvases, called the "Schuttersmaaltyd," represents a banquet given by a company of the civic guard of Amsterdam, in commemoration of the peace of Westphalia in 1648, at which the Spanish ambassador is present. It was of this painting that Sir Joshua Reynolds said, "This is perhaps the first picture of portraits in the world." Startling and impressive as this work is at first sight, from its realism and the sense of vitality in the heads, it yet fails to charm because of its want of atmosphere and chiaroscuro. The main object in these splendid groups by Helst is strong and truthful delineation of every part, both in form and color: we note the fine drawing of the hands, so characteristic of each sitter; the powerful and clear coloring, and the excellent execution of the details. But the general effect is monotonous and cold, and there is no attempt to unite the various parts into a whole, and thus to create a picture. It was said that Rembrandt's treatment of his heads in the "Night-Watch" gave occasion of demur in some of his sitters, because he had not depicted them with the same distinctness as those placed in the foreground. Van der Helst gave no occasion for such complaint, but gave every man his money’s worth.
Of the single portraits by Van der Helst, that of the painter Paul Potter is among the most interesting. It is to be seen in The Hague Museum, and measures 38¾ inches high by 31½ inches wide. It was painted in the last days of his sitter, and shows him still at his easel with palette and brushes in hand, though in the last stage of consumption. The peculiar sallowness of the complexion is heightened by the rich velvet of the dress. From the palette we can see how few were the colors that the Dutchman needed to produce these marvelous effects.
# Century Magazine/Volume 49/Issue 2

Volume 49, Issue 2 (December 1894).

## Contents

* The First Word, by George Parsons Lathrop
* Mary: Mother and Prophetess, by Julia Schayer
* Life of Napoleon Bonaparte. Napoleon at the Beginning of the Revolution, by William M. Sloane
* A Christmas Guest, by Ruth McEnery Stuart
* "How to the Singer Comes the Song", by Richard Watson Gilder
* Francesco Crispi, by W. J. Stillman
* Old Dutch Masters. Anthony van Dyck, by Timothy Cole
* Casa Braccio, by F. Marion Crawford
* What Has Science to do with Religion?, by Augustus J. Du Bois
* A Neighbor's Landmark, by Sarah Orne Jewett
* Old Maryland Homes and Ways, by John Williamson Palmer
* Chrysalis, by William Cleaver Wilkinson
* An Errant Wooing, by Mrs. Burton Harrison
* One Woman's Way, by George A. Hibbard
* Azelie, by Kate Chopin
* A Walking Delegate, by Rudyard Kipling
* The Floating Bethel, by Lucy S. Furman
* The American Woman in Politics, by Eleonora Kinnicutt
Topics of the Times
* A New Napoleon
* The World's Supply of Gold
* The Reign of the Bicycle
* No Backward Step in Copyright!
* The Growth of Civil-Service Reform
Open Letters
* About Children, by J. Mark Baldwin
* The Century Series of American Artists. Our Christmas Pictures, by W. Lewis Fraser
* The Tramp and the Reform School, by W. M. Hutt
In Lighter Vein
* The Christmas Goose, by Grace Wilbur Conant
* The Penitent, by Nannie A. Cox
* Her Violin, by James B. Kenyon
* Merlin and Vivien, by Heileman Wilson
* Fancies from the Servian. Paraphrased from the Servian of Zmai Iovan Iovanovich, after literal translation by Nikola Tesla, by Robert Underwood Johnson
** A Fairy from the Sun-Shower
** Quid pro Quo
** Why the Army Became Quiet
# Century Magazine/Volume 49/Issue 1/Witch-Hazel

The last lone aster in the wood has died,  And taken wings, and flown; The sighing oaks, the evergreens' dark pride, And shivering beeches, keep their leaves alone.
From the chill breath of late October's blast  That all the foliage seared, Even the loyal gentian shrank at last, And, gathering up her fringes, disappeared.
The wood is silent as an unswept lute;  Color and song have fled; Only the brave black-alder's brilliant fruit Lights the sear deadness with its living red.
But what is this wild fragrance that pervades  The air like incense-smoke? Pungent as spices blown in tropic shades, Subtle as some enchanter might evoke.
Not like the scent of flower, nor drug, nor balm,  Nor resins from the East, Yet trancing soul and sense in such a charm As holds us when the thrush's song has ceased.
Mysterious, gradual, like the gathering dews,  And damp, sweet scents of night, Whence is this strange aroma that imbues The lone and leafless wood with new delight?
And while the questioner drinks,withparted lips,  The mystical draught — behold! A wondrous bush, beplumed from root to tips With crimped and curling bloom of shredded gold!
Not even the smallest leaf or hint of green  Is mingled with its sprays, But every slender stem and twig is seen Haloed with flickerings of yellow blaze.
What wizard, wise in spells of drugs and gums,  With weird divining-rod Conjures this luminous loveliness that comes As if by magic from the frozen sod?
Fearless witch-hazel! braver than the oak  That dares not bloom till spring, Thus to defy the frost's benumbing stroke With challenge of November blossoming!
And yet it has an airy, delicate grace  Denied all other flowers, And lights the gloom as some beloved face Dawns on the dark of melancholy hours.
Miraculous shrub, that thus in frost and blight  Smilest all undismayed, And scatterest from thy wands of golden light A sudden sunshine in the chilly glade.
Sprite of New England forests, he was wise  Who gave thee thy quaint name, As, threading wind-stripped woods, with awed surprise He first beheld thy waving fan of flame.
# Complete Encyclopaedia of Music/A/Antisthenes

Antisthenes, a disciple of Socrates, wrote several works on music, 324 years before Jesus Christ.
# Complete Encyclopaedia of Music/A/Antoine, D'

Antoine, D', captain in the service of the Elector of Cologne, was a scholar of Marpurg and Kirnberger. He set to music several operas, and published some symphonies and quartets since the year 1780.
# Complete Encyclopaedia of Music/A/Antonei, Pietro Degli

Antonei, Pietro Degli, a chapel-master at Bologna, published several works at the end of the seventeenth century.
# Complete Encyclopaedia of Music/A/Antonio, Dagl' Organi

Antonio, Dagl' Organi. A celebrated organist at Rome about the year 1460. It is said that foreigners went to Rome from various nations purposely to hear him play.
# Complete Encyclopaedia of Music/A/Antonio

Antonio. A composer of violin sonatas and motets, about 1729.
ANTONIO. A tenor singer at Rome in 1790.
# Complete Encyclopaedia of Music/A/Antistrophe

Antistrophe. (G.) The name given to the second couplet of the periods of the Greek odes.
# Complete Encyclopaedia of Music/A/Antoin, ferdinand d'

Antoin, ferdinand d', published some dramatic music in 1792 and 1794.
# Complete Encyclopaedia of Music/A/Anton, Conrad Gottlob

Anton, Conrad Gottlob, a learned Orientalist at Wittenburg, published some works on sacred music, and on the ancient metres, since the year 1770.
# Complete Encyclopaedia of Music/A/Antonelli Torres

Antonelli Torres. A Portuguese composer of operas since the year 1783.
# Complete Encyclopaedia of Music/A/Antonellio

Antonellio, or ANTINELLIO, ABUNDIO. A Neapolitan composer of motets, &c., about the year 1614.
# Collier's New Encyclopedia (1921)/Font

Edition of 1921; disclaimer.
FONT, the vessel which contains the water for the purposes of baptism. The font is the only relic of our ancient architecture which in its form is at all analogous to the Grecian and Roman vases. Norman fonts are generally square or circular; the first frequently placed on five legs. The circular form continued to be much used during the early English period; so, occasionally, was the square. Throughout the continuance of the Decorated style, the octagon was generally employed, sometimes the hexagon. During the Perpendicular style, the octagon was almost always used. Until the Reformation, and occasionally after, dipping was practiced in England. Pouring or sprinkling was not unusual previous to the Reformation; for as early as the year 754, pouring, in cases of necessity, was declared by Pope Stephen III. to be lawful; and in the year 1311, the Council of Ravenna declared dipping or sprinkling indifferent; yet dipping appears to have been in England the more usual mode. Fonts were required to be covered and locked, and the covers were highly ornamented.
# Collier's New Encyclopedia (1921)/Fort William

Edition of 1921; disclaimer.
​ FORT WILLIAM, a city of Canada, in the Thunder Bay District, in the Province of Ontario. It is on the Kaministiquia river, at its entrance into Lake Superior. The city has excellent harbor facilities and carries on a large lake traffic. It is the head of lake navigation on Lake Superior and is the entrance of the wheat fields of western Canada. It has repair shops of the Canadian Pacific, Grand Trunk Pacific, and Canadian Northern railroads. Its industries include flour mills, stove works, machine-shop, and car-wheel foundries, shipbuilding, brickyards, breweries, etc. The city has a large number of grain elevators. There is a number of fine public buildings including a city hall, a court house, hospitals, parks, a library, and a collegiate institute. Pop. (1920) about 20,000.
# Collier's New Encyclopedia (1921)/Fort Madison

Edition of 1921; disclaimer.
FORT MADISON, a city of Iowa, the county-seat of Lee co. It is on the Missouri river, and on the Atchison, Topeka, and Santa Fe, and the Chicago, Burlington and Quincy railroads. Its industries include pork packing, railroad shops, grain elevators, cement works, flour and saw mills, farm-implement works, button works, etc. It is the seat of the State penitentiary and has a public library, two hospitals, and several parks. Pop. (1910) 8,900; (1920) 12,066.
# Collier's New Encyclopedia (1921)/Fort Wayne

Edition of 1921; disclaimer.
​ FORT WAYNE, a city and county-seat of Allen co., Ind.; at the confluence of the St. Mary and St. Joseph rivers, and on the Wabash, the Lake Shore and Michigan Southern, the Lake Erie and Western, the Grand Rapids and Indiana, the Fort Wayne, Cincinnati and Louisville, and other railroads; 43 miles S. W. of Defiance, O. It is built on a high plateau, covers an area of about 10 square miles, and is popularly known as Summit City. Here are a United States Government building, several county buildings, Concordia College (Luth.), and several other educational institutions, Hope and St. Joseph Hospitals. Fort Wayne has street railroads, electric lights, sewerage system, improved waterworks, several National banks, and numerous daily, weekly, and monthly periodicals. Among the industries are extensive railroad, machine and repair shops which occupy many acres, flour mills, knitting mills, oil-tank works, and packing houses. The French visited this locality about 1700, and shortly afterward a trading post named Fort Miami was founded. The English constructed a fort near the place in 1760. General Wayne located a government post here in 1794. Pop. (1910) 63,933; (1920) 86,549.
# Collier's New Encyclopedia (1921)/Fort Smith

Edition of 1921; disclaimer.
​ FORT SMITH, a city of Arkansas, one of the county-seats of Sebastian co. It is at the junction of the Arkansas and Poteau rivers, and is on the St. Louis and San Francisco, the Arkansas Central, the Midland Valley, the Kansas City Southern, the Fort Smith and Western, and the St. Louis, Iron Mountain and Southern railroads. It is an important wholesale jobbing center for the surrounding country, and has a large trade in coal, cotton, lumber, etc. Its industries include saw and planing mills, iron and steel mills, and manufactures of brooms, stoves, overalls, refrigerators, etc. The river is spanned within the city limits by four steel bridges. It has a United States court house and post office, a high school, a public library, a city park, several hospitals, and a national cemetery. Pop. (1910) 23,975; (1920) 28,870.