OpenLLM-France/wikimedia huggingface dataset:
# Nicene and Post-Nicene Fathers: Series II/Volume II/Socrates/Book I/Chapter 4

Chapter IV.—War arises between Constantine and Licinius on Account of the Christians.
By this course he drew upon himself the emperor Constantine’s heaviest displeasure; and they became enemies, the pretended treaty of friendship between them having been violated. Not long afterwards they took up arms against each other as declared enemies. And after several engagements both by sea and land, Licinius was at last utterly defeated near Chrysopolis in Bithynia, a port of the Chalcedonians, and surrendered himself to Constantine. Accordingly he having taken him alive, treated him with the utmost humanity, and would by no means put him to death, but ordered him to take up his abode and live in tranquillity at Thessalonica. He having, however, remained quiet a short time, managed afterwards to collect some barbarian mercenaries and made an effort to repair his late disaster by a fresh appeal to arms. The emperor being made acquainted with his proceedings, directed that he should be slain, which was carried into effect. Constantine thus became possessed of the sole dominion, and was accordingly proclaimed sovereign Autocrat,
and again sought to promote the welfare of Christians. This he did in a variety of ways, and Christianity enjoyed unbroken peace by reason of his efforts. But an internal dissension soon succeeded this state of repose, the nature and origin of which I shall now endeavor to describe.

## Footnotes

* ↑ After a victory the soldiers greeted their prince with acclamations of ‘Emperor!’ ‘Augustus!’ So also did the citizens on his triumphal entry into the city. So it appears Constantine was formally greeted on assuming the sole control of affairs.
# Nicene and Post-Nicene Fathers: Series II/Volume II/Socrates/Book I/Chapter 31

Chapter XXXI.—When the Bishops will not listen to Athanasius’ Defense on the Second Charge, he betakes himself to the Emperor.
But in refuting the false allegations against Macarius, he made use of legal forms; taking exception in the first place to Eusebius and his party, as his enemies, protesting against the injustice of any man’s being tried by his adversaries. He next insisted on its being proved that his accuser Ischyras had really obtained the dignity of presbyter; for so he had been designated in the indictment. But as the judges would not allow any of these objections, the case of Macarius was entered into, and the informers being found deficient of proofs, the hearing of the matter was postponed, until some persons should have gone into Mareotis, in order that all doubtful points might be examined on the spot. Athanasius seeing that those very individuals were to be sent to whom he had taken exception (for the persons sent were Theognis, Maris, Theodorus, Macedonius, Valens, and Ursacius), exclaimed that ‘their procedure was both treacherous and fraudulent; for that it was unjust that the presbyter Macarius should be detained in bonds, while the accuser together with the judges who were his adversaries, were permitted to go, in order that an ex parte collection of the facts in evidence might be made.’ Having made this protest before the whole Synod and Dionysius the governor of the province, and finding that no one paid any attention to his appeal, he privately withdrew. Those, therefore, who were sent to Mareotis, having made an ex parte
investigation, held that what the accuser said was true.

## Footnotes

* ↑ ἐκ μονομεροῦς, Lat. ex parte; the term, however, is not restricted to this technical sense, but may be used of any form of partiality. Cf. Sophocles’ Greek Lex. of Rom. and Byz. As already noted in the Intro. p. ix, Harnack denies that there is any special juristic knowledge shown here; it must be conceded that the language used is such as might have been at the command of any intelligent and educated non-professional man.
# Nicene and Post-Nicene Fathers: Series II/Volume II/Socrates/Book I/Chapter 33

Chapter XXXIII.—The Members of the Synod proceed from Tyre to Jerusalem, and having celebrated the Dedication of the ‘New Jerusalem,’ receive Arius and his Followers into Communion.
Letters in the meantime were brought from the emperor directing those who composed the Synod to hasten to the New Jerusalem:
having therefore immediately left Tyre, they set forward with all despatch to Jerusalem, where, after celebrating a festival in connection with the consecration of the place, they readmitted Arius
and his adherents into communion, in obedience, as they said, to the wishes of the emperor, who had signified in his communication to them, that he was fully satisfied respecting the faith of Arius and Euzoïus. They moreover wrote to the church at Alexandria,
stating that all envy being now banished, the affairs of the church were established in peace: and that since Arius had by his recantation acknowledged the truth, it was but just that, being thenceforth a member of the church, he should also be henceforth received by them, alluding to the banishment of Athanasius [in their statement that ‘all envy was now banished’]. At the same time they sent information of what had been done to the emperor, in terms nearly to the same effect. But whilst the bishops were engaged in these transactions, other letters came unexpectedly from the emperor, intimating that Athanasius had fled to him for protection; and that it was necessary for them on his account to come to Constantinople. This unanticipated communication from the emperor was as follows.

## Footnotes

* ↑ See above, ch. 17.
* ↑ Arius, the originator of the Arian heresy, died before the council at Jerusalem; hence Valesius infers that this Arius must be another man of the same name mentioned in the encyclical of Alexander of Alexandria as a partisan of the arch-heretic. Cf. ch. 6.
* ↑ This letter is contained in Athanasius’ de Synod, 21, and a portion of it in Apol. contra Arian, 84.
# Ornithological Biography/Volume 1/Carbonated Warbler

THE CARBONATED WARBLER.
Sylvia carbonate.
PLATE LX. Male.
I shot the two little birds here represented, near the village of Henderson, in the State of Kentucky, in May 1811. They were both busily engaged in searching for insects along the branches and amongst the leaves of a Dog-wood tree. Their motions were those common to all the species of the genus Sylvia. On examination, they were found to be both males. I am of opinion, that they were both young birds of the preceding year, and not in full plumage, as they had no part of their dress seemingly complete, excepting the head. Not having met with any other individuals of the species, I am at this moment unable to say any thing more about them. They were drawn, like all the other birds which I have represented, immediately after being killed; but the branch on which you see them was not added until the following summer.
The common name of this plant is Service Tree. It seldom attains a greater height than thirty or forty feet, and is usually found in hilly ground of secondary quality. The berries are agreeable to the taste, and are sought after by many species of birds, amongst which the Red-headed Woodpecker is very conspicuous.
Sylvia carbonata.
Young Male. Plate LX.
Bill of ordinary length, nearly straight, subulato-conical, acute, nearly as deep as broad at the base, the edges acute, the gap line slightly deflected at the base. Nostrils basal, lateral, elliptical, half-closed by a membrane. Head rather small. Neck short. Body slender. Feet of ordinary length, slender; tarsus longer than the middle toe, covered anteriorly by a few scutella, acutely-edged behind; toes scutellate above, the inner free, the hind toe of moderate size; claws slender, compressed, acute, arched.
Plumage, soft, blended, tufty. Wings of ordinary length, acute, the second quill longest. Tail short, notched.
​Bill brownish-black above, light blue beneath. Iris hazel. Feet light flesh-colour. Upper part of the head black. Fore part of the back, lesser wing-coverts and sides dusky, spotted with black. Lower back dull yellowish-green, as is the tail, of which the outer web of the outer feather is whitish. Tips of the second row of coverts white, of the first row yellow; quills dusky, their outer webs tinged with yellow. A line from the lore over the eye, sides of the neck, and the throat, bright yellow. A dusky line behind the eye. The rest of the under parts dull yellow, excepting the sides.
Length 4¾ inches; bill along the ridge $^5$/$_{12}$, along the gap $^7$/$_{12}$; tarsus ¾.
The May-bush or Service.
Pyrus Botryapium, Willd. Sp. Pl. vol. ii. p. 1013. Pursh, Flor. Amer. voL i. p. 339. Icosandria Pentagynia, Linn. Rosaceæ, Juss.
This species is distinguished by its ovate, acuminate leaves, racemose flowers, linear-lanceolate petals, pubescent germens, and smooth calycine segments.
# On the Sublime and Beautiful/Part III/Chapter 20

I HAVE hitherto purposely omitted to speak of the eye, which has so great a share in the beauty of the animal creation, as it did not fall so easily under the foregoing heads, though in fact it is reducible to the same principles. I think, then, that the beauty of the eye consists, first, in its clearness; what coloured eye shall please most, depends a good deal on particular fancies; but none are pleased with an eye whose water (to use that term) is dull and muddy. We are pleased with the eye in this view, on the principle upon which we like diamonds, clear water, glass, and such like transparent substances. Secondly, the motion of the eye contributes to its beauty, by continually shifting its direction; but a slow and languid motion is more beautiful than a brisk one; the latter is enlivening; the former lovely. Thirdly, with regard to the union of the eye with the neighbouring parts, it is to hold the same rule that is given of other beautiful ones; it is not to make a strong deviation from the line of the neighbouring parts; nor to verge into any exact geometrical figure. Besides all this, the eye affects, as it is expressive of some qualities of the mind, and its principal power generally arises from this; so that what we have just said of the physiognomy is applicable here.

## Notes

* ↑ Part IV. sect. 25.
# On the Sublime and Beautiful/Part III/Chapter 23

WHEN any body is composed of parts smooth and polished without pressing upon each other, without showing any ruggedness or confusion, and at the same time affecting some regular shape, I call it elegant. It is closely allied to the beautiful, differing from it only in this regularity; which, however, as it makes a very material difference in the affection produced, may very well constitute another species. Under this head I rank those delicate and regular works of art, that imitate no determinate object in nature, as elegant buildings, and pieces of furniture. When any object partakes of the above-mentioned qualities, or of those of beautiful bodies, and is withal of great dimensions, it is full as remote from the idea of mere beauty; I call it fine or specious.
# On the Sublime and Beautiful/Part III/Chapter 22

Gracefulness is an idea not very different from beauty; it consists of much the same things. Gracefulness is an idea belonging to posture and motion. In both these, to be graceful, it is requisite that there be no appearance of difficulty; there is required a small inflection of the body; and a composure of the parts in such a manner, as not to encumber each other, not to appear divided by sharp and sudden angles. In this ease, this roundness, this delicacy of attitude and motion, it is that all the magic of grace consists, and what is called its je ne sçai quoi; as will be obvious to any observer, who considers attentively the Venus de Medicis, the Antinous, or any statue generally allowed to be graceful in a high degree.
# On the Sublime and Beautiful/Part III/Chapter 21

IT may perhaps appear like a sort of repetition of what we have before said, to insist here upon the nature of ugliness; as I imagine it to be in all respects the opposite to those qualities which we have laid down for the constituents of beauty. But though ugliness be the opposite to beauty, it is not the opposite to proportion and fitness. For it is possible that a thing may be very ugly with any proportions, and with a perfect fitness to any uses. Ugliness I imagine likewise to be consistent enough with an idea of the sublime. But I would by no means insinuate that ugliness of itself is a sublime idea, unless united with such qualities as excite a strong terror.
# On the Sublime and Beautiful/Part III/Chapter 25

IN this sense we find an equal aptitude to be affected in a soft and delicate manner; and how far sweet or beautiful sounds agree with our descriptions of beauty in other senses, the experience of every one must decide. Milton has described this species of music in one of his juvenile poems. I need not say that Milton was perfectly well versed in that art; and that no man had a finer ear, with a happier manner of expressing the affections of one sense by metaphors taken from another. The description is as follows: &#151;And ever against eating cares, Lap me in soft Lydian airs; In notes with many a winding bout Of linked sweetness long drawn out; With wanton heed, and giddy cunning, The melting voice through mazes running; Untwisting all the chains that tie The hidden soul of harmony. Let us parallel this with the softness, the winding surface, the unbroken continuance, the easy gradation of the beautiful in other things; and all the diversities of the several senses, with all their several affections, will rather help to throw lights from one another to finish one clear, consistent idea of the whole, than to obscure it by their intricacy and variety.
To the above-mentioned description I shall add one or two remarks. The first is; that the beautiful in music will not bear that loudness and strength of sounds, which may be used to raise other passions; nor notes which are shrill, or harsh, or deep; it agrees best with such as are clear, even, smooth, and weak. The second is; that great variety, and quick transitions from one measure or tone to another, are contrary to the genius of the beautiful in music. Such transitions often excite mirth, or other sudden and tumultuous passions; but not that sinking, that melting, that languor, which is the characteristical effect of the beautiful as it regards every sense. The passion excited by beauty is in fact nearer to a species of melancholy, than to jollity and mirth. I do not here mean to confine music to any one species of notes, or tones, neither is it an art in which I can say I have any great skill. My sole design in this remark is, to settle a consistent idea of beauty. The infinite variety of the affections of the soul will suggest to a good head, and skilful ear, a variety of such sounds as are fitted to raise them. It can be no prejudice to this, to clear and distinguished some few particulars, that belong to the same class, and are consistent with each other, from the immense crowd of different, and sometimes contradictory, ideas, that rank vulgarly under the standard of beauty. And of these it is my intention to mark such only of the leading points as show the conformity of the sense of Hearing with all the other senses, in the article of their pleasures.

## Notes

* ↑ I ne&#146;er am merry, when I hear sweet music.&#151;SHAKESPEARE.
* ↑ I ne&#146;er am merry, when I hear sweet music.&#151;SHAKESPEARE.
# On the Sublime and Beautiful/Part III/Chapter 26

THIS general agreement of the senses is yet more evident on minutely considering those of taste and smell. We metaphorically apply the idea of sweetness to sights and sounds; but as the qualities of bodies, by which they are fitted to excite either pleasure or pain in these senses, are not so obvious as they are in the others, we shall refer an explanation of their analogy, which is a very close one, to that part, wherein we come to consider the common efficient cause of beauty, as it regards all the senses. I do not think anything better fitted to establish a clear and settled idea of visual beauty than this way of examining the similar pleasures of other senses; for one part is sometimes clear in one of the senses, that is more obscure in another; and where there is a clear concurrence of all, we may with more certainty speak of any one of them. By this means, they bear witness to each other; nature is, as it were, scrutinized; and we report nothing of her but what we receive from her own information.
# On the Sublime and Beautiful/Part III/Chapter 27

ON closing this general view of beauty, it naturally occurs, that we should compare it with the sublime; and in this comparison there appears a remarkable contrast. For sublime objects are vast in their dimensions, beautiful ones comparatively small: beauty should be smooth and polished; the great, rugged and negligent; beauty should shun the right line, yet deviate from it insensibly; the great in many cases loves the right line, and when it deviates it often makes a strong deviation: beauty should not be obscure; the great ought to be dark and gloomy: beauty should be light and delicate; the great ought to be solid, and even massive. They are indeed ideas of a very different nature, one being founded on pain, the other on pleasure; and however they may vary afterwards from the direct nature of their causes, yet these causes keep up an eternal distinction between them, a distinction never to be forgotten by any whose business it is to affect the passions. In the infinite variety of natural combinations, we must expect to find the qualities of things the most remote imaginable from each other united in the same object. We must expect also to find combinations of the same kind in the works of art. But when we consider the power of an object upon our passions, we must know that when anything is intended to affect the mind by the force of some predominant property, the affection produced is like to be the more uniform and perfect, if all the other properties or qualities of the object be of the same nature, and tending to the same design, as the principal;
If black and white blend, soften, and unite A thousand ways, are there no black and white?
If the qualities of the sublime and beautiful are sometimes found united, does this prove that they are the same; does it prove that they are any way allied; does it prove even that they are not opposite and contradictory? Black and white may soften, may blend; but they are not therefore the same. Nor, when they are so softened and blended with each other, or with different colours, is the power of black as black, or of white as white, so strong as when each stands uniform and distinguished.
# On the Sublime and Beautiful/Part III/Chapter 3

THAT proportion has but a small share in the formation of beauty, is full as evident among animals. Here the greatest variety of shapes and dispositions of parts are well fitted to excite this idea. The swan, confessedly a beautiful bird, has a neck longer than the rest of his body, and but a very short tail: is this a beautiful proportion? We must allow that it is. But then what shall we say to the peacock, who has comparatively but a short neck, with a tail longer than the neck and the rest of the body taken together? How many birds are there that vary infinitely from each of these standards, and from every other which you can fix; with proportions different, and often directly opposite to each other! and yet many of these birds are extremely beautiful; when upon considering them we find nothing in any one part that might determine us, a priori, to say what the others ought to be, nor indeed to guess anything about them, but what experience might show to be full of disappointment and mistake. And with regard to the colours either of birds or flowers, for there is something similar in the colouring of both, whether they are considered in their extension or gradation, there is nothing of proportion to be observed. Some are of but one single colour, others have all the colours of the rainbow; some are of the primary colours, others are of the mixt; in short, an attentive observer may soon conclude, that there is as little of proportion in the colouring as in the shapes of these objects. Turn next to beasts; examine the head of a beautiful horse; find what proportion that bears to his body, and to his limbs, and what relations these have to each other; and when you have settled these proportions as a standard of beauty, then take a dog or cat, or any other animal, and examine how far the same proportions between their heads and their necks, between those and the body, and so on, are found to hold. I think we may safely say, that they differ in every species, yet that there are individuals, found in a great many species so differing, that have a very striking beauty. Now, if it be allowed that very different and even contrary forms and dispositions are consistent with beauty, it amounts I believe to a concession, that no certain measures, operating from a natural principle, are necessary to produce it; at least so far as the brute species is concerned.
# On the shortness of life/Chapter XIV

14. Of all men they alone are at leisure who take time for philosophy, they alone really live; for they are not content to be good guardians of their own lifetime only. They annex every age to their own; all the years that have gone before them are an addition to their store. Unless we are most ungrateful, all those men, glorious fashioners of holy thoughts, were born for us; for us they have prepared a way of life. By other men's labours we are led to the sight of things most beautiful that have been wrested from darkness and brought into light; from no age are we shut out, we have access to all ages, and if it is our wish, by greatness of mind, to pass beyond the narrow limits of human weakness, there is a great stretch of time through which we may roam. We may argue with Socrates, we may doubt with Carneades, find peace with Epicurus, overcome human nature with the Stoics, exceed it with the Cynics. Since Nature allows us to enter into fellowship with every age, why should we not turn from this paltry and fleeting span of time and surrender ourselves with all our soul to the past, which is boundless, which is eternal, which we share with our betters?
Those who rush about in the performance of social duties, who give themselves and others no rest, when they have fully indulged their madness, when they have every day crossed everybody's threshold, and have left no open door unvisited, when they have carried around their venal greeting to houses that are very far apart—out of a city so huge and torn by such varied desires, how few will they be able to see? How many will there be who either from sleep or self-indulgence or rudeness will keep them out! How many who, when they have tortured them with long waiting, will rush by, pretending to be in a hurry! How many will avoid passing out through a hall that is crowded with clients, and will make their escape through some concealed door as if it were not more discourteous to deceive than to exclude. How many, still half asleep and sluggish from last night's debauch, scarcely lifting their lips in the midst of a most insolent yawn, manage to bestow on yonder poor wretches, who break their own slumber in order to wait on that of another, the right name only after it has been whispered to them a thousand times!
But we may fairly say that they alone are engaged in the true duties of life who shall wish to have Zeno, Pythagoras, Democritus, and all the other high priests of liberal studies, and Aristotle and Theophrastus, as their most intimate friends every day. No one of these will be "not at home," no one of these will fail to have his visitor leave more happy and more devoted to himself than when he came, no one of these will allow anyone to leave him with empty hands; all mortals can meet with them by night or by day.

## Footnotes

* ↑ The New Academy taught that certainty of knowledge was unattainable.
* ↑ The salutatio was held in the early morning.