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# Palmer Oil Corp v. Amerada Petroleum Corp./Opinion of the Court

* Court Documents
* Case Syllabus
* Opinion of the Court
United States Supreme Court
342 U.S. 35
Palmer Oil Corp v. Amerada Petroleum Corp.
Argued: Nov. 5, 1951. ---
The Court is advised that, on May 26, 1951, Laws 1951, p. 142, the Oklahoma Legislature repealed Okla.Stat. 1941, Cum. Supp. 1949, Tit. 52, §§ 286.1-286.17, the constitutionality of which is drawn in question by these appeals. The causes are therefore ordered continued for such period as will enable appellants with all convenient speed to secure in an appropriate state proceeding a determination as to the effect of this repeal on the matters raised in these appeals.
Causes continued.

## 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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# On the Sublime and Beautiful/Part II/Chapter 18

THE EYE is not the only organ of sensation by which a sublime passion may be produced. Sounds have a great power in these as in most other passions. I do not mean words, because words do not affect simply by their sounds, but by means altogether different. Excessive loudness alone is sufficient to overpower the soul, to suspend its action, and to fill it with terror. The noise of vast cataracts, raging storms, thunder, or artillery, awakes a great and awful sensation in the mind, though we can observe no nicety or artifice in those sorts of music. The shouting of multitudes has a similar effect; and, by the sole strength of the sound, so amazes and confounds the imagination, that, in this staggering and hurry of the mind, the best-established tempers can scarcely forbear being borne down, and joining in the common cry, and common resolution of the crowd.
# On the Sublime and Beautiful/Part II/Chapter 2

NO passion so effectually robs the mind of all its powers of acting and reasoning as fear. For fear being an apprehension of pain or death, it operates in a manner that resembles actual pain. Whatever therefore is terrible, with regard to sight, is sublime too, whether this cause of terror be endued with greatness of dimensions or not; for it is impossible to look on anything as trifling, or contemptible, that may be dangerous. There are many animals, who though far from being large, are yet capable of raising ideas of the sublime, because they are considered as objects of terror. As serpents and poisonous animals of almost all kinds. And to things of great dimensions, if we annex an adventitious idea of terror, they become without comparison greater. A level plain of a vast extent on land, is certainly no mean idea; the prospect of such a plain may be as extensive as a prospect of the ocean: but can it ever fill the mind with anything so great as the ocean itself? This is owing to several causes; but it is owing to none more than this, that the ocean is an object of no small terror. Indeed, terror is in all cases whatsoever, either more openly or latently, the ruling principle of the sublime. Several languages bear a strong testimony to the affinity of these ideas. They frequently use the same word, to signify indifferently the modes of astonishment or admiration, and those of terror. [Greek] is in Greek, either fear or wonder; [Greek] is terrible or respectable; [Greek], to reverence or to fear. Vereor in Latin, is what [Greek] is in Greek. The Romans used the verb stupeo, a term which strongly marks the state of an astonished mind, to express the effect of either of simple fear or of astonishment; the word attonitus (thunder-struck) is equally expressive of the alliance of these ideas; and do not the French étonnement, and the English astonishment and amazement, point out as clearly the kindred emotions which attend fear and wonder? They who have a more general knowledge of languages, could produce, I make no doubt, many other and equally striking examples.

## Notes

* ↑ Part IV. sect. 3&#150;6.
# On the Sublime and Beautiful/Part II/Chapter 17

AMONG colours, such as are soft or cheerful (except perhaps a strong red which is cheerful) are unfit to produce grand images. An immense mountain covered with a shining green turf, is nothing, in this respect, to one dark and gloomy; the cloudy sky is more grand than the blue; and night more sublime and solemn than day. Therefore in historical painting, a gay or gaudy drapery can never have a happy effect: and in buildings, when the highest degree of the sublime is intended, the materials and ornaments ought neither to be white, nor green, nor yellow, nor blue, nor a pale red, nor violet, nor spotted, but of sad and fuscous colours, as black, or brown, or deep purple, and the like. Much of gilding, mosaics, painting, or statues, contribute but little to the sublime. This rule need not be put in practice, except where an uniform degree of the most striking sublimity is to be produced, and that in every particular; for it ought to be observed, that this melancholy kind of greatness, though it be certainly the highest, ought not to be studied in all sorts of edifices, where yet grandeur must be studied: in such cases the sublimity must be drawn from the other sources; with a strict caution however against anything light and riant; as nothing so effectually deadens the whole taste of the sublime.
# On the Sublime and Beautiful/Part II/Chapter 16

AS the management of light is a matter of importance in architecture, it is worth inquiring, how far this remark is applicable to building. I think then, that all edifices calculated to produce an idea of the sublime, ought rather to be dark and gloomy, and this for two reasons; the first is, that darkness itself on other occasions is known by experience to have a greater effect on the passions than light. The second is, that to make an object very striking, we should make it as different as possible from the objects with which we have been immediately conversant; when therefore you enter a building, you cannot pass into a greater light than you had in the open air; to go into one some few degrees less luminous, can make only a trifling change; but to make the transition thoroughly striking, you ought to pass from the greatest light, to as much darkness as is consistent with the uses of architecture. A night the contrary rule will hold, but for the very same reason; and the more highly a room is then illuminated, the grander will the passion be.
# On the Sublime and Beautiful/Part II/Chapter 21

SUCH sounds as imitate the natural inarticulate voices of men, or any animals in pain or danger, are capable of conveying great ideas; unless it be the well-known voice of some creature, on which we are used to look with contempt. The angry tones of wild beasts are equally capable of causing a great and awful sensation. Hinc exaudiri gemitus iræque leonum Vincla recusantum, et sera sub nocte rudentum; Setigerique sues, atque in præsepibus ursi Sævire; et formæ magnorum ululare luporum. It might seem that these modulations of sound carry some connexion with the nature of the things they represent, and are not merely arbitrary; because the natural cries of all animals, even of those animals with whom we have not been acquainted, never fail to make themselves sufficiently understood; this cannot be said of language. The modifications of sound, which may be productive of the sublime, are almost infinite. Those I have mentioned are only a few instances to show on what principles they are all built.
# On the Sublime and Beautiful/Part II/Chapter 22

Smells and Tastes have some share too in ideas of greatness; but it is a small one, weak in its nature, and confined in its operations. I shall only observe, that no smells or tastes can produce a grand sensation, except excessive bitters, and intolerable stenches. It is true, that these affections of the smell and taste, when they are in their full force, and lean directly upon the sensory, are simply painful, and accompanied with no sort of delight; but when they are moderated, as in a description or narrative, they become sources of the sublime, as genuine as any other, and upon the very same principle of a moderated pain. &#147;A cup of bitterness;&#148; &#147;to drain the bitter cup of fortune;&#148; &#147;the bitter apples of Sodom;&#148; these are all ideas suitable to a sublime description. Nor is this passage of Virgil without sublimity, where the stench of the vapour in Albunea conspires so happily with the sacred horror and gloominess of that prophetic forest: At rex sollicitus monstris oracula Fauni Fatidici genitoris adit, lucosque sub alta Consulit Albunea, nemorum quæ maxima sacro Fonte sonat; sævamque exhalat opaca Mephitim. In the sixth book, and in a very sublime description, the poisonous exhalation of Acheron is not forgotten, nor does it all disagree with the other images amongst which it is introduced: Spelunca alta fuit, vastoque immanis hiatu, Scrupea, tuta lacu nigro, nemorumque tenebris; Quam super haud ullæ poterant impune volantes Tendere iter pennis: talis sese halitus atris Faucibus effundens supera ad convexa ferebat. I have added these examples, because some friends, for whose judgment I have great deference, were of opinion that if the sentiment stood nakedly by itself, it would be subject, at first view, to burlesque and ridicule; but this I imagine would principally arise from considering the bitterness and stench in company with mean and contemptible ideas, with which it must be owned they are often united; such an union degrades the sublime in all other instances as well as in those. But it is one of the tests by which the sublimity of an image is to be tried, not whether it becomes mean when associated with mean ideas; but whether, when united with images of an allowed grandeur, the whole composition is supported with dignity. Things which are terrible are always great; but when things possess disagreeable qualities, or such as have indeed some degree of danger, but of a danger easily overcome, they are merely odious; as toads and spiders.
# On the Sublime and Beautiful/Part II/Chapter 20

A LOW, tremulous, intermitting sound, though it seems in some respects opposite to that just mentioned, is productive of the sublime. It is worth while to examine this a little. The fact itself must be determined by every man&#146;s own experience and reflection. I have already observed, that night increases our terror, more perhaps than anything else; it is our nature, when we do not know what may happen to us, to fear the worst that can happen; and hence it is, that uncertainty is so terrible, that we often seek to be rid of it, at the hazard of certain mischief. Now, some low, confused, uncertain sounds, leave us in the same fearful anxiety concerning their causes, that no light, or an uncertain light, does concerning the objects that surround us. Quale per incertam lunam sub luce maligna Est iter in sylvis.&#151;
&#151;A faint shadow of uncertain light, Like as a lamp, whose life doth fade away; Or as the moon clothed with cloudy night Doth show to him who walks in fear and great affright.
But light now appearing and now leaving us, and so off and on, is even more terrible than total darkness: and a sort of uncertain sounds are, when the necessary dispositions concur, more alarming than a total silence.

## Notes

* ↑ Sect. 3.
# On the Sublime and Beautiful/Part II/Chapter 15

HAVING considered extension, so far as it is capable of raising ideas of greatness; colour comes next under consideration. All colours depend on light. Light therefore ought previously to be examined; and with its opposite, darkness. With regard to light, to make it a cause capable of producing the sublime, it must be attended with some circumstances, besides its bare faculty of showing other objects. Mere light is too common a thing to make a strong impression on the mind, and without a strong impression nothing can be sublime. But such a light as that of the sun, immediately exerted on the eye, as it overpowers the sense, is a very great idea. Light of an inferior strength to this, if it moves with great celerity, has the same power; for lightning is certainly productive of grandeur, which it owes chiefly to the extreme velocity of its motion. A quick transition from light to darkness, or from darkness to light, has yet a greater effect. But darkness is more productive of sublime ideas than light. Our great poet was convinced of this; and indeed so full was he of this idea, so entirely possessed with the power of a well-managed darkness, that in describing the appearance of the Deity, amidst that profusion of magnificent images, which the grandeur of his subject provokes him to pour out upon every side, he is far from forgetting the obscurity which surrounds the most incomprehensible of all beings, but &#151;With majesty of darkness round Circles his throne.&#151; And what is no less remarkable, our author had the secret of preserving this idea, even when he seemed to depart the farthest from it, when he describes the light and glory which flows from the Divine presence; a light which by its very excess is converted into a species of darkness. Dark with excessive light thy skirts appear. Here is an idea not only poetical in a high degree, but strictly and philosophically just. Extreme light, by overcoming the organs of sight, obliterates all objects, so as in its effect exactly to resemble darkness. After looking for some time at the sun, two black spots, the impression which it leaves, seem to dance before our eyes. Thus are two ideas as opposite as can be imagined reconciled in the extremes of both; and both, in spite of their opposite nature, brought to concur in producing the sublime. And this is not the only instance wherein the opposite extremes operate equally in favour of the sublime, which in all things abhors mediocrity.
# On the Sublime and Beautiful/Part II/Chapter 19

A SUDDEN beginning or sudden cessation of sound of any considerable force, has the name power. The attention is roused by this; and the faculties driven forward, as it were, on their guard. Whatever, either in sights or sounds, makes the transition from one extreme to the other easy, causes no terror, and consequently can be no cause of greatness. In everything sudden and unexpected, we are apt to start; that is, we have a perception of danger, and our nature rouses us to guard against it. It may be observed that a single sound of some strength, though but of short duration, if repeated after intervals, has a grand effect. Few things are more awful than the striking of a great clock, when the silence of the night prevents the attention from being too much dissipated. The same may be said of a single stroke on a drum, repeated with pauses; and of the successive firing of cannon at a distance. All the effects mentioned in this section have causes very nearly alike.
# Orient Insurance Company v. Board of Assessors for the Parish of Orleans

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
221 U.S. 358
Orient Insurance Company v. Board of Assessors for the Parish of Orleans
Argued: April 18 and 19, 1911. --- Decided: May 15, 1911
Messrs. Monte M. Lemann, Alex. C. King, J. Blanc Monroe, and Harry H. Hall for plaintiffs in error.
Messrs. Harry P. Sneed, George H. Terriberry, and H. Garland Dupre for defendants in error.
Mr. Justice Hughes 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
# Orient Mutual Insurance Company v. Adams

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
123 U.S. 67
Orient Mutual Insurance Company v. Adams
James Lowndes, for plaintiff in error.
D. T. Watson, for defendants in error.
Mr. Justice HARLAN, after stating the facts in the foregoing language, 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
# Orient Mutual Insurance Company v. Wright

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
64 U.S. 401
Orient Mutual Insurance Company v. Wright
THIS case was brought up by writ of error from the Circuit Court of the United States for the district of Maryland.
The facts are stated in the opinion of the court.
It was argued by Mr. Hamilton and Mr. Cutting for the plaintiff in error, and by Mr. Brent and Mr. May for the defendant.
The arguments chiefly turned upon the point when under this policy the risk commenced. The counsel for the plaintiff in error contended, that it did not attach until the assured paid such premium as should be in good faith named by the insurer as an adequate compensation for the risk to be assumed. The counsel for the defendant in error contended, that the contract was irrevocable the moment the premium and extension was reported and approved.
1 Parsons Contracts, 406, 407, note K.
Tayloe v. Merchants' Insurance Company, 9 How., 390.
The contract is not the less complete, because an increased premium was left open for subsequent agreement.
This was decided in United States v. Wilkins, 6 Wheat., 135, and not overruled, as supposed, in 17 Ohio, 192.
But here is an express obligation to pay an increased premium, and that is itself as good as if the increased premium had been paid at the time-promise for promise is a good consideration.
1 Parsons Contracts, 373-376.
19 Howard, 323.
Mr. Justice NELSON 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
# Oriental Encounters

​ORIENTAL ENCOUNTERS
PALESTINE and SYRIA (1894-5-6)
BY
MARMADUKE PICKTHALL
LONDON: 48 PALL MALL
W. COLLINS SONS & CO. LTD.
GLASGOW MELBOURNE AUCKLAND ​Copyright 1918
CONTENTS
| CHAP. | CHAP. | PAGE |
| | INTRODUCTION | 1 |
| I. | RASHÎD THE FAIR | 11 |
| II. | A MOUNTAIN GARRISON | 20 |
| III. | THE RHINOCEROS WHIP | 28 |
| IV. | THE COURTEOUS JUDGE | 36 |
| V. | NAWÂDIR | 45 |
| VI. | NAWÂDIR (continued) | 54 |
| VII. | THE SACK WHICH CLANKED | 68 |
| VIII. | POLICE WORK | 77 |
| IX. | MY COUNTRYMAN | 87 |
| X. | THE PARTING OF THE WAYS | 96 |
| XI. | THE KNIGHT ERRANT | 106 |
| XII. | THE FANATIC | 117 |
| XIII. | RASHÎD’S REVENGE | 125 |
| XIV. | THE HANGING DOG | 134 |
| XV. | TIGERS | 142 |
| XVI. | PRIDE AND A FALL | 151 |
| XVII. | TRAGEDY | 161 ​ |
| XVIII | BASTIRMA | 146 |
| XIX | THE ARTIST-DRAGOMAN | 153 |
| XX | LOVE AND THE PATRIARCH | 160 |
| XXI | THE UNPOPULAR LANDOWNER | 170 |
| XXII | THE CAÏMMACÂM | 178 |
| XXIII | CONCERNING BRIBES | 187 |
| XXIV | THE BATTLEFIELD | 197 |
| XXV | MURDERERS | 202 |
| XXVI | THE TREES ON THE LAND | 202 |
| XXVII | BUYING A HOUSE | 202 |
| XXVIII | A DISAPPOINTMENT | 202 |
| XXIX | CONCERNING CRIME AND PUNISHMENT | 202 |
| XXX | THE UNWALLED VINEYARD | 202 |
| XXXI | THE ATHEIST | 202 |
| XXXII | THE SELLING OF OUR GUN | 202 |
| XXXIII | MY BENEFACTOR | 202 |
# Parish Apprentices Act 1778

Source: The Statutes, Second Revised Edition: Volume 2. London. The Stationery Office. 1889.
AN ACT to amend such part of an Act made in the Forty-third Year of the Reign of Queen Elizabeth, intituled "An Act for the Relief of the Poor," as relates to the binding of Parish Apprentices.
WHEREAS in and by an Act made in the forty-third year of the reign of Queen Elizabeth (intituled An Act for the relief of the poor) it was enacted, that it should be lawful for the churchwardens and overseers therein mentioned, or the greater part of them, by the assent of any two justices of the peace, to bind the children of all such parents who shall not by the said churchwardens and overseers or the greater part of them be thought able to keep and maintain their children, to be apprentices, where they shall see convenient, till such man-child shall come to the age of four and twenty years, and such woman-child to the age of one and twenty years, or day of marriage: And whereas it has been found by experience that the said term respecting men-children is longer than is necessary, and that if such man-child was bound to be an apprentice only till he came to the age of one and twenty years all the benefits intended by the said Act would be preserved, the hardships brought on such parish apprentices by the length of their apprenticeship would be avoided, and the good harmony between master and apprentice would be better maintained: May it therefore please your Majesty that it may be enacted, and be it enacted by the King's most Excellent Majesty, by and with the advice and consent of the lords spiritual and temporal, and commons, in this present Parliament assembled, and by the authority of the same, that from and after the passing of this Act, when any man-child shall be bound to be an apprentice by virtue of and under the authority of the said Act made in the forty-third year of Queen Elizabeth, such child shall be bound to be an apprentice for no longer term than till such child shall come to the age of twenty-one years.
This work is in the public domain worldwide because it was created by a public body of the United Kingdom with Crown Status and commercially published before 1974.
See Crown copyright artistic works, Crown copyright non-artistic works and List of Public Bodies with Crown Status.
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# Parish v. Pitts/Concurrence Smith

* Court Documents
* Case Syllabus
* Opinion of the Court
* Concurring Opinion Smith
* Dissenting Opinions Harris Fogleman
​GEORGE ROSE SMITH, Justice, concurring. I join in Special Justice Moorhead's opinion, but I should like to add a word in reply to the dissentient suggestion that our statute adopting the common law of England exempted that body of rules from judicial modification, leaving the power of repeal in the legislature alone. If that were true we would be absolutely bound to follow an English precedent announced 300 years ago, no matter how wrong we thought it to be, if no later case on the point could be found. The practical point of view, and I think the right one, is that when we adopted the English common law there was included in that heritage the fundamental common law rule that a court can and should overrule an erroneous judicial decision when it can be done without injustice to past or future litigants. That is all the court is doing today.