OpenLLM-France/wikimedia huggingface dataset:
# Pardue v. State

Pardue v. State, 338 Ark. 606 (1999), is a per curiam decision of the Arkansas Supreme Court.
Supreme Court of Arkansas
338 Ark. 606
David Pardue v. State of Arkansas
Pro Se Motion to Supplement Record and to Proceed Informa Pauperis
No. 99-841. --- Delivered: Sept. 23, 1999.
* Court Documents
* Per Curiam Decision
* APPEAL & ERROR—APPEAL FROM DENIAL OF POST-CONVICTION RELIEF—WHEN DENIED.—An appeal of the denial of post-conviction relief will not be permitted to go forward where it is clear that the appellant could not prevail.
* HABEAS CORPUS—NO BASIS FOR APPELLANT TO FILE PETITION FOR WRIT—CIRCUIT COURT DID NOT HAVE JURISDICTION.—There was no basis for appellant to file a petition for writ of habeas corpus in the trial court because he was not incarcerated as a direct result of that conviction when he filed the petition; moreover, he was not in custody in the county where the petition was filed, and was in fact incarcerated in a federal prison in another state; even if the sentence imposed in Arkansas had not been exhausted, a circuit court does not have jurisdiction to release on a writ of habeas corpus ​a prisoner not in custody in that court's jurisdiction; the motion was denied and the appeal dismissed.
Pro Se Motion to Supplement Record and to Proceed Informa Pauperis; denied and appeal dismissed.
Appellant, pro se.
No response.
[PER CURIAM decision of the court.]
This work is in the public domain in the U.S. because it is an edict of a government, local or foreign. See § 313.6(C)(2) of the Compendium II: Copyright Office Practices. Such documents include "legislative enactments, judicial decisions, administrative rulings, public ordinances, or similar types of official legal materials" as well as "any translation prepared by a government employee acting within the course of his or her official duties."
These do not include works of the Organization of American States, United Nations, or any of the UN specialized agencies. See Compendium III § 313.6(C)(2) and 17 U.S.C. 104(b)(5).
A non-American governmental edict may still be copyrighted outside the U.S. Similar to {{PD-in-USGov}}, the above U.S. Copyright Office Practice does not prevent U.S. states or localities from holding copyright abroad, depending on foreign copyright laws and regulations.
Public domainPublic domainfalsefalse
# Pardon, old fathers

PARDON, old fathers, if you still remain
Somewhere in ear-shot for the story’s end,
Old Dublin merchant ‘free of ten and four’
Or trading out of Galway into Spain; And country scholar, Robert Emmet’s friend,
A hundred-year-old memory to the poor; Traders or soldiers who have left me blood
That has not passed through any huxter’s loin,
Pardon, and you that did not weigh the cost, Old Butlers when you took to horse and stood Beside the brackish waters of the Boyne Till your bad master blenched and all was lost; You merchant skipper that leaped overboard After a ragged hat in Biscay Bay, You most of all, silent and fierce old man Because you were the spectacle that stirred My fancy, and set my boyish lips to say ‘Only the wastful virtues earn the sun’; Pardon that for a barren passion’s sake, Although I have come close on forty-nine I have no child, I have nothing but a book,
Nothing but that to prove your blood and mine.
# Pass to they Rendezvous of Light

Pass to thy Rendezvous of Light, Pangless except for us — Who slowly for the Mystery Which thou hast leaped across!
# Party

* Search for titles containing or beginning with: "Party."
* sister projects: Wikipedia article, Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* "The Party" (1888), a short story by Anton Chekhov
* "The Party", (1896, "Dey had a gread big pahty down to Tom's de othah night") a poem by Paul Laurence Dunbar
* "The Parties" (1870), an editorial published anonymously in Harper's Weekly
* "Parties" (1792), an essay by James Madison

## See also

* House Party
# Patriotic pieces from the Great War/Your Lad and My Lad

YOUR LAD, AND MY LAD
Permission of the author
Down toward the deep-blue water, marching to throb of drum, From city street and country lane the lines of khaki come; The rumbling guns, the sturdy tread, are full of grim appeal, While rays of western sunshine flash back from burnished steel. With eager eyes and cheeks aflame the serried ranks advance; And your dear lad, and my dear lad, are on their way to France.
A sob clings choking in the throat, as file on file sweep by, Between those cheering multitudes, to where the great ships lie; The batteries halt, the columns wheel, to clear-toned bugle-call, With shoulders squared and faces front they stand a khaki wall. Tears shine on every watcher's cheek, love speaks in every glance, For your dear lad, and my dear lad, are on their way to France.
​Between them, through a mist of years, in soldier buff or blue, Brave comrades from a thousand fields watch now in proud review; The same old Flag—the same old Faith—the Freedom of the World— Spells duty in those flapping folds above long ranks unfurled. Strong are the hearts which bear along Democracy's advance, As your dear lad, and my dear lad, go on their way to France.
The word rings out; a million feet tramp forward on the road, Along that path of sacrifice, o'er which their fathers strode. With eager eyes and cheeks aflame, with cheers on smiling lips, These fightng men of '17 move onward to their ships. Nor even love may hold them back, or halt that stern advance, As your dear lad, and my dear lad, go on their way to France.
—Randall Parrish
# Patriotism and Christianity/front matter

Crown 8vo, about 350 pp. each, Cloth Cover, 2/6 per Vol.; Half-Polished Morocco, Gilt Top, 5s. :
| Count Tolstoy's Works. ||
| The following Volumes are already issued— ||
| a russian proprietor. the cossacks. ivan ilyitch, and other stories. my religion. life. my confession. childhood, boyhood, youth. the physiology of war. anna karénina. 3/6. | what to do? war and peace. (4 vols.) the long exile, and other stories for children. sevastopol. the kreutzer sonata, and family happiness. the kingdom of god is within you. work while ye have the light. |
| Uniform with the above— ||
| IMPRESSIONS OF RUSSIA. By Dr. Georg Brandes. ||
| Post 4to, Cloth, Price 1s. ||
| PATRIOTISM AND CHRISTIANITY. ||
| To which is appended a Reply to Criticisms of the Work. By Count Tolstoy. ||
| 1/- Booklets by Count Tolstoy. ||
| Bound in White Grained Boards, with Gilt Lettering. ||
| where love is, there god is also. the two pilgrims. what men live by. | the godson. if you neglect the fire, you don't put it out. what shall it profit a man? |
| 2/- Booklets by Count Tolstoy. ||
| NEW EDITIONS, REVISED. ||
| Small 12mo, Cloth, with Embossed Design on Cover, each containing Two Stories by Count Tolstoy, and Two Drawings by H. R. Millar. In Box, Price 2s. each. ||
| Volume I. contains— where love is, there god is also. the godson. Volume II. contains— what men live by. what shall it profit a man? | Volume III. contains— the two pilgrims. if you neglect the fire, you don't put it out. Volume IV. contains— master and man. Volume V. contains— tolstoy's parables. |
| London: Walter Scott, Limited, Paternoster Square. ||
# Patriotic pieces from the Great War/To the Glory of the Needle

TO THE GLORY OF THE NEEDLE
By permission of Needlecraft, Augusta, Maine
Never before have they plied so well— Never so sturdily; Love in the wool, and there's love in the stitch, And the heart of the woman is doubly rich Who's knitting for you and me. The way of the war is a right hard way, And troubled and grim and blind; But what of the mothers at home to-day, And the love that we left behind? Click! click! click!—so do the needles sing, Click! click! click!—souls of us seem a-wing. And the gray wool falls into magic place, And we fancy we see such a fair, sweet face That battle is blessed with a holy grace— And so do the needles sing!
Never before was their task so dear— Never so bitter-sweet! We of the trench and the blood-red land Look to the thrift of that swift, sure hand In victory—or defeat! Our thoughts stray back to a sunlit room Where the casement is wide and bright; And the fairy work of a finger-loom That spins from the dawn till night. ​Click! click! click!—so do the needles croon, Click! click! click!—with a sort of wistful tune; And the snow sweeps down from a leaden sky, And the chill wind whines as it passes by, It's a desolate place for a man to die— Ah, the needles are none too soon!
Never before was their weave so swift— Never so firm and true; Love in the parcel that's handed to me, Bridging the width of a storm-tossed sea, And stamped with the seal of YOU! The gray wool fashions a precious thing, That covers a fast-timed heart; And precious the song that the needles sing As they hasten to do their part. Click! click! click!—so comes the clear refrain, Click! click! click!—over and over again; And it's mother, and sister and maiden fair, Who knit for the fellow who's "over there," The home-hands, doing their little share For the living—and for the slain!
# Patsone v. Pennsylvania

* related portals: Supreme Court of the United States.
* sister projects: Wikipedia article, Wikidata item.
United States Supreme Court
232 U.S. 138
Patsone v. Pennsylvania
Argued: November 4, 1913. --- Decided: January 19, 1914
Mr. Marcel A. Viti fpr plaintiff error.
[Argument of Counsel from pages 139-142 intentionally omitted]
Mr. John C. Bell, Attorney General of Pennsylvania, and Messrs. William M. Hargest and W. H. Lemon for defendant in error.
Mr. Justice Holmes 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
# Patriotism and Christianity

(Russian: Христианство и патриотизм) an essay by Leo Tolstoy in which he argues that patriotism is a harmful and unchristian ideology. This edition also includes the works "A Reply to Criticisms" and "Patriotism, or Peace?"
PATRIOTISM
AND
CHRISTIANITY
TO WHICH IS APPENDED
"A REPLY TO CRITICISMS" OF THE WORK
AND
"PATRIOTISM, OR PEACE?"
A Letter called forth by the Venezuelan dispute between England and the United States.
BY
COUNT LEO TOLSTOY
With a Note to English Readers by
JOHN C. KENWORTHY
LONDON WALTER SCOTT, LTD., PATERNOSTER SQUARE 1896
NOTE TO ENGLISH READERS.
In this remarkable work by Leo Tolstoy, which powerfully aroused European attention a year ago, the principle of "non-resistance," which is so often, by opponents, made to take a doctrinaire, or even absurd complexion, is seen in drastic application to the huge militarism under which the world groans. As reasonable people, following Tolstoy, we must ask: "What other principle of conduct than this, can possibly remove the incubus?"
To us, in England, the unusual contentions of this work may not seem so startling as to those who live under a system of compulsory military service. But a little thought reminds us that we also maintain hundreds of thousands of fighting-men, and that in paying taxes for government purposes, we are responsible for the appearance, upon the sea and in the field, of those whom Tolstoy might call "licensed murderers." So that the obligation of conscience raised by this book is equally binding upon all, whether Russian or English, French or American.
JOHN C. KENWORTHY.
March, 1896.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# On the Sublime/Chapter 40

XL
There is another method very efficient in exalting a style. As the different members of the body, none of which, if severed from its connection, has any intrinsic excellence, unite by their mutual combination to form a complete and perfect organism, so also the elements of a fine passage, by whose separation from one another its high quality is simultaneously dissipated and evaporates, when joined in one organic whole, and still further compacted by the bond of harmony, by the mere rounding of the period gain power of tone.2 In fact, a clause may be said to derive its sublimity from the joint contributions of a number of particulars. And further (as we have shown at large elsewhere), many writers in prose and verse, though their natural powers were not high, were perhaps even low, and though the terms they employed were usually common and popular and conveying no ​impression of refinement, by the mere harmony of their composition have attained dignity and elevation, and avoided the appearance of meanness. Such among many others are Philistus, Aristophanes occasionally, Euripides almost always.3 Thus when Heracles says, after the murder of his children,
"I'm full of woes, I have no room for more,"
the words are quite common, but they are made sublime by being cast in a fine mould. By changing their position you will see that the poetical quality of Euripides depends more on his arrangement than on his thoughts.4 Compare his lines on Dirce dragged by the bull—
"Whatever crossed his path,Caught in his victim's form, he seized, and dragging Oak, woman, rock, now here, now there, he flies."
The circumstance is noble in itself, but it gains in vigour because the language is disposed so as not to hurry the movement, not running, as it were, on wheels, because there is a distinct stress on each word, and the time is delayed, advancing slowly to a pitch of stately sublimity.
* ↑ H. F. 1245
* ↑ Antiope (Nauck, 222).
# On the Sublime/Chapter 34

XXXIV
If the number and not the loftiness of an author's merits is to be our standard of success, judged by this test we must admit that Hyperides is a far superior orator to Demosthenes. For in Hyperides there is a richer modulation, a greater variety of excellence. He is, we may say, in everything second-best, like the champion of the pentathlon, who, though in every contest he has to yield the prize to some other combatant, is superior to the unpractised in all five.2 Not only has he rivalled the success of Demosthenes in everything but his manner of composition, but, as though that were not enough, he has taken in all the excellences and graces of Lysias as well. He knows when it is proper to speak with simplicity, and does not, like Demosthenes, continue the same key throughout. His touches of character are racy and sparkling, and full of a delicate flavour. Then how admirable ​is his wit, how polished his raillery! How well-bred he is, how dexterous in the use of irony! His jests are pointed, but without any of the grossness and vulgarity of the old Attic comedy. He is skilled in making light of an opponent's argument, full of a well-aimed satire which amuses while it stings; and through all this there runs a pervading, may we not say, a matchless charm. He is most apt in moving compassion; his mythical digressions show a fluent ease, and he is perfect in bending his course and finding a way out of them without violence or effort. Thus when he tells the story of Leto he is really almost a poet; and his funeral oration shows a declamatory magnificence to which I hardly know a parallel.3 Demosthenes, on the other hand, has no touches of character, none of the versatility, fluency, or declamatory skill of Hyperides. He is, in fact, almost entirely destitute of all those excellences which I have just enumerated. When he makes violent efforts to be humorous and witty, the only laughter he arouses is against himself; and the nearer he tries to get to the winning grace of Hyperides, the farther he recedes from it. Had he, for instance, attempted such a task as the little speech in defence of Phryne or Athenagoras, he would only have added to the reputation of his rival. 4 Nevertheless all the beauties of Hyperides, however numerous, cannot make him sublime. He never ​exhibits strong feeling, has little energy, rouses no emotion; certainly he never kindles terror in the breast of his readers. But Demosthenes followed a great master, and drew his consummate excellences, his high-pitched eloquence, his living passion, his copiousness, his sagacity, his speed—that mastery and power which can never be approached—from the highest of sources. These mighty, these heaven-sent gifts (I dare not call them human), he made his own both one and all. Therefore, I say, by the noble qualities which he does possess he remains supreme above all rivals, and throws a cloud over his failings, silencing by his thunders and blinding by his lightnings the orators of all ages. Yes, it would be easier to meet the lightning-stroke with steady eye than to gaze unmoved when his impassioned eloquence is sending out flash after flash.
# On the Sublime/Chapter 35

XXXV
But in the case of Plato and Lysias there is, as I said, a further difference. Not only is Lysias vastly inferior to Plato in the degree of his merits, but in their number as well; and at the same time he is as far ahead of Plato in the number of his faults as he is behind in that of his merits.
​2What truth, then, was it that was present to those mighty spirits of the past, who, making whatever is greatest in writing their aim, thought it beneath them to be exact in every detail? Among many others especially this, that it was not in nature's plan for us her chosen children to be creatures base and ignoble,—no, she brought us into life, and into the whole universe, as into some great field of contest, that we should be at once spectators and ambitious rivals of her mighty deeds, and from the first implanted in our souls an invincible yearning for all that is great, all that is diviner than ourselves.3 Therefore even the whole world is not wide enough for the soaring range of human thought, but man's mind often overleaps the very bounds of space. When we survey the whole circle of life, and see it abounding everywhere in what is elegant, grand, and beautiful, we learn at once what is the true end of man's being.4 And this is why nature prompts us to admire, not the clearness and usefulness of a little stream, but the Nile, the Danube, the Rhine, and far beyond all the Ocean; not to turn our wandering eyes from the heavenly fires, though often darkened, to the little flame kindled by human hands, however pure and steady its light; not to think that tiny lamp more wondrous than ​the caverns of Aetna, from whose raging depths are hurled up stones and whole masses of rock, and torrents sometimes come pouring from earth's centre of pure and living fire.
To sum the whole: whatever is useful or needful lies easily within man's reach; but he keeps his homage for what is astounding.
# On the Sublime/Chapter 38

XXXVIII
Such absurdities as, "Unless you carry your brains next to the ground in your heels." Hence it is necessary to know where to draw the line; for if ever it is overstepped the effect of the hyperbole is spoilt, being in such cases relaxed by overstraining, and producing the very opposite to the effect desired.2 Isocrates, for instance, from an ambitious desire of lending everything a strong rhetorical colouring, shows himself in quite a childish light. Having in his Panegyrical Oration set himself to prove that the Athenian state has surpassed that of Sparta in her services to Hellas, he starts off at the very outset with these words: "Such is the power of language that it can extenuate what is great, and lend greatness to what is little, give freshness to what is antiquated, and describe what is recent so that it seems to be of the past." Come, Isocrates (it might be asked), is ​it thus that you are going to tamper with the facts about Sparta and Athens? This flourish about the power of language is like a signal hung out to warn his audience not to believe him.3 We may repeat here what we said about figures, and say that the hyperbole is then most effective when it appears in disguise. And this effect is produced when a writer, impelled by strong feeling, speaks in the accents of some tremendous crisis; as Thucydides does in describing the massacre in Sicily. "The Syracusans," he says, "went down after them, and slew those especially who were in the river, and the water was at once defiled, yet still they went on drinking it, though mingled with mud and gore, most of them even fighting for it." The drinking of mud and gore, and even the fighting for it, is made credible by the awful horror of the scene described.4 Similarly Herodotus on those who fell at Thermopylae: "Here as they fought, those who still had them, with daggers, the rest with hands and teeth, the barbarians buried them under their javelins." That they fought with the teeth against heavy-armed assailants, and that they were buried with javelins, are perhaps hard sayings, but not incredible, for the reasons already explained. "We can see that these circumstances have not been dragged in to produce a hyperbole, but that the hyperbole has grown naturally out of ​the circumstances.5 For, as I am never tired of explaining, in actions and passions verging on frenzy there lies a kind of remission and palliation of any licence of language. Hence some comic extravagances, however improbable, gain credence by their humour, such as—
"He had a farm, a little farm, where space severely pinches; 'Twas smaller than the last despatch from Sparta by some inches."
6For mirth is one of the passions, having its seat in pleasure. And hyperboles may be employed either to increase or to lessen since exaggeration is common to both uses. Thus in extenuating an opponent's argument we try to make it seem smaller than it is.
* ↑ Psued. Dem. de Halon.
* ↑ Paneg. 8.
* ↑ xvii. 1.
* ↑ Thuc. vii. 84.
* ↑ vii. 225.