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# Sacred Books of the East/Volume 16/Hexagram 2

II. The Khwăn Hexagram.
1. In the first line, divided, (we see its subject) treading on hoarfrost. The strong ice will come (by and by).
2. The second line, divided, (shows the attribute of) being straight, square, and great. (Its operation), without repeated efforts, will be in every respect advantageous.
3. The third line, divided, (shows its subject) keeping his excellence under restraint, but firmly maintaining it. If he should have occasion to engage in the king's service, though he will not claim the success (for himself), he will bring affairs to a good issue.
4. The fourth line, divided, (shows the symbol of) a sack tied up. There will be no ground for blame or for praise.
​6. The sixth line, divided, (shows) dragons fighting in the wild. Their blood is purple and yellow.
7. (The lines of this hexagram are all weak and divided, as appears from) the use of the number six. If those (who are thus represented) be perpetually correct and firm, advantage will arise.
II. The same attributes are here ascribed to Khwăn, as in the former hexagram to Khien;—but with a difference. The figure, made up of six divided lines, expresses the ideal of subordination and docility. The superior man, represented by it, must not take the initiative; and by following he will find his lord,—the subject, that is of Khien. Again, the correctness and firmness is defined to be that of 'a mare,' 'docile and strong,' but a creature for the service of man. That it is not the sex of the animal which the writer has chiefly in mind is plain from the immediate mention of the superior man, and his lord.
The symbolism of the lines is various. Paragraph 2 presents to us the earth itself, according to the Chinese conception of it, as a great cube. To keep his excellence under restraint, as in paragraph 3, is the part of a minister or officer, seeking not his own glory, but that of his ruler. Paragraph 4 shows its subject exercising a still greater restraint on himself than in paragraph 3. There is an interpretation of the symbolism of paragraph 5 in a narrative of the Zo Kwan, under the 12th year of duke Khâo, B.C. 530. 'Yellow' is one of the five 'correct' colours, and the colour of the earth. 'The lower garment' is a symbol of humility. The fifth line is the seat of honour. If its occupant possess the qualities indicated, he will be greatly fortunate.
See the note on the sixth line of hexagram 1. What is there said to be 'beyond the proper limits' takes place here 'in the wild.' The humble subject of the divided line is transformed into a ​dragon, and fights with the true dragon, the subject of the undivided line. They fight and bleed, and their blood is of the colour proper to heaven or the sky, and the colour proper to the earth. Paragraph 7 supposes that the hexagram Khwăn should become changed into Khien;—the result of which would be good.
# Sacred Books of the East/Volume 16/Hexagram 15

XV. The Khien Hexagram.
1. The first line, divided, shows us the superior man who adds humility to humility. (Even) the great ​stream may be crossed with this, and there will be good fortune.
2. The second line, divided, shows us humility that has made itself recognised. With firm correctness there will be good fortune.
3. The third line, undivided, shows the superior man of (acknowledged) merit. He will maintain his success to the end, and have good fortune.
4. The fourth line, divided, shows one, whose action would be in every way advantageous, stirring up (the more) his humility.
5. The fifth line, divided, shows one who, without being rich, is able to employ his neighbours. He may advantageously use the force of arms. All his movements will be advantageous.
6. The sixth line, divided, shows us humility that has made itself recognised. The subject of it will with advantage put his hosts in motion; but (he will only) punish his own towns and state.
A weak line, at the lowest place of the figure, is the fitting symbol of the superior man adding humility to humility.
Line 2 is weak, central, and in its proper place, representing a humility that has 'crowed;' that is, has proclaimed itself.
Line 3 is strong, and occupies an odd (its proper) place. It is 'the lord of the hexagram,' to whom all represented by the lines above and below turn.
Line 4 is weak and in its proper position. Its subject is sure to ​be successful and prosperous, but being so near the fifth line, he should still use the greatest precaution.
All men love and honour humility, in itself and without the adjuncts which usually command obedience and respect. Hence his neighbours follow the ruler in the fifth line, though he may not be very rich or powerful. His humility need not keep him from asserting the right, even by force of arms.
The subject of the sixth line, which is weak, is outside the game, so to speak, that has been played out. He will use force, but only within his own sphere and to assert what is right. He will not be aggressive.
# Sacred Books of the East/Volume 16/Hexagram 19

XIX. The Lin Hexagram.
1. The first line, undivided, shows its subject advancing in company (with the subject of the ​second line). Through his firm correctness there will be good fortune.
2. The second line, undivided, shows its subject advancing in company (with the subject of the first line). There will be good fortune; (advancing) will be in every way advantageous.
3. The third line, divided, shows one well pleased (indeed) to advance, (but whose action) will be in no way advantageous. If he become anxious about it (however), there will be no error.
4. The fourth line, divided, shows one advancing in the highest mode. There will be no error.
5. The fifth line, divided, shows the advance of wisdom, such as befits the great ruler. There will be good fortune.
6. The sixth line, divided, shows the advance of honesty and generosity. There will be good fortune, and no error.
Line 1 is a strong line in its proper place. The danger is that its subject may be more strong than prudent, hence the caution in requiring firm correctness.
Line 2, as strong, should be in an odd place; but this is more than counterbalanced by the central position, and its correlate in line 5.
Line 3 is weak, and neither central, nor in its correct position. Hence its action will not be advantageous; but being at the top of the trigram Tui, which means being pleased, its subject is represented as 'well pleased to advance.' Anxious reflection will save him from error.
Line 4, though weak, is in its proper place, and has for its correlate the strong 1. Hence its advance is 'in the highest style.'
Line 5 is the position of the ruler. It is weak, but being central, and having for its correlate the strong and central 2, we have in it a symbol of authority distrustful of itself, and employing fit agents;—characteristic of the wise ruler.
Line 6 is the last of the trigram Khwăn, the height therefore of docility. Line 2 is not its correlate, but it belongs to the Yin to seek for the Yang; and it is so emphatically in this case. Hence the characteristic and issue as assigned.
# Searchlights on Health/Etiquette in Your Speech

ETIQUETTE IN YOUR SPEECH.
Don't say Miss or Mister without the person's name.
Don't say pants for trousers.
Don't say gents for gentlemen.
Don't say female for woman.
Don't say elegant to mean everything that pleases you.
Don't say genteel for well-bred.
Don't say ain't for isn't.
Don't say I done it for I did it.
Don't say he is older than me; say older than I.
Don't say she does not see any; say she does not see at all.
Don't say not as I know; say not that I know.
Don't say he calculates to get off; say he expects to get off.
Don't say he don't; say he doesn't.
Don't say she is some better; say she is somewhat better.
Don't say where are you stopping? say where are you staying?
Don't say you was; say you were.
Don't say I say, says I, but simply say I said.
Don't sign your letters yours etc., but yours truly.
Don't say lay for lie; lay expresses action; lie expresses rest.
Don't say them bonnets; say those bonnets.
Don't say party for person.
Don't say it looks beautifully, but say it looks beautiful.
Don't say feller, winder, to-morrer, for fellow, window, to-morrow.
Don't use slangy words; they are vulgar.
Don't use profane words; they are sinful and foolish.
Don't say it was her, when you mean it was she.
Don't say not at once for at once.
Don't say he gave me a recommend, but say he gave me a recommendation.
Don't say the two first for the first two.
Don't say he learnt me French; say he taught me French.
Don't say lit the fire; say lighted the fire.
Don't say the man which you saw; say the man whom you saw.
Don't say who done it; say who did it
Don't say if I was rich I would buy a carriage; say if I were rich.
Don't say if I am not mistaken you are in the wrong; say if I mistake not.
Don't say who may you be; say who are you?
Don't say go lay down; say go lie down.
Don't say he is taller than me; say taller than I.
Don't say I shall call upon him; say I shall call on him.
Don't say I bought a new pair of shoes; say I bought a pair of new shoes.
Don't say I had rather not; say I would rather not.
Don't say two spoonsful; say two spoonfuls.
# Searchlights on Health/Etiquette of Calls

ETIQUETTE OF CALLS.
In the matter of making calls it is the correct thing:
For the caller who arrived first to leave first.
To return a first call within a week and in person.
To call promptly and in person after a first invitation.
For the mother or chaperon to invite a gentleman to call.
To call within a week after any entertainment to which one has been invited.
You should call upon an acquaintance who has recently returned from a prolonged absence.
It as proper to make the first call upon people in a higher social position, if one is asked to do so.
It is proper to call, after an engagement has been announced, or a marriage has taken place, in the family.
For the older residents in the city or street to call upon the newcomers to their neighborhood is a long recognized custom.
It is proper, after a removal from one part of the city to another, to send out cards with one's new address upon them.
To ascertain what are the prescribed hours for calling in the place where one is living, or making a visit, and to adhere to those hours is a duty that must not be overlooked.
A gentleman should ask for the lady of the house as well as the young ladies, and leave cards for her as well as for the head of the family.
# Searchlights on Health/Etiquette of Dress and Habits

ETIQUETTE OF DRESS AND HABITS.
Don't let one day pass without a thorough cleansing of your person.
Don't sit down to your evening meal before a complete toilet if you have company.
Don't cleanse your nails, your nose or your ears in public.
Don't use hair dye, hair oil or pomades.
Don't wear evening dress in daytime.
Don't wear jewelry of a gaudy character; genuine jewelry modestly worn is not out of place.
Don't overdress yourself or walk affectedly.
Don't wear slippers or dressing-gown or smoking-jacket out of your own house.
Don't sink your hands in your trousers' pockets.
Don't whistle in public places, nor inside of houses either.
Don't use your fingers or fists to beat a tattoo upon floor desk or window panes.
Don't examine other people's papers or letters scattered on their desk.
Don't bring a smell of spirits or tobacco into the presence of ladies.
Never use either in the presence of ladies.
Don't drink spirits; millions have tried it to their sorrow.
# Searchlights on Health/Falling of the Womb

FALLING OF THE WOMB.
CAUSES.—The displacement of the womb usually is the result of too much childbearing, miscarriages, abortions, or the taking of strong medicines to bring about menstruation. It may also be the result in getting up too quickly from the childbed. There are, however, other causes, such as a general breaking down of the health.
SYMPTOMS.—If the womb has fallen forward it presses against the bladder, causing the patient to urinate frequently. If the womb has fallen back, it presses against the rectum, and constipation is the result with often severe pain at stool. If the womb descends into the vagina there is a feeling of heaviness. All forms of displacement produce pain in the back, with an irregular and scanty menstrual flow and a dull and exhausted feeling.
HOME TREATMENT.—Improve the general health. Take some preparation of cod-liver oil, hot injections (of a teaspoonful of powdered alum with a pint of water), a daily sitz-bath, and a regular morning bath three times a week will be found very beneficial. There, however, can be no remedy unless the womb is first replaced to the proper position. This must be done by a competent physician who should frequently be consulted.
# Searchlights on Health/Etiquette on the Street

ETIQUETTE ON THE STREET.
1. Your conduct on the street should always be modest and dignified. Ladies should carefully avoid all loud and boisterous conversation or laughter and all undue liveliness in public.
2. When walking on the street do not permit yourself to be absent-minded, as to fail to recognize a friend; do not go along reading a book or newspaper.
3. In walking with a lady on the street give her the inner side of the walk, unless the outside if the safer part; in which case she is entitled to it.
4. Your arm should not be given to any lady except your wife or a near relative, or a very old lady, during the day, unless her comfort or safety requires it. At night the arm should always be offered; also in ascending the steps of a public building.
5. In crossing the street a lady should gracefully raise her dress a little above her ankle with one hand. To raise the dress with both hands is vulgar, except in places where the mud is very deep.
6. A gentleman meeting a lady acquaintance on the street should not presume to join her in her walk without first asking her permission.
7. If you have anything to say to a lady whom you may happen to meet in the street, however intimate you may be, do not stop her, but turn round and walk in company with her; you can take leave at the end of the street.
8. A lady should not venture out upon the street alone after dark. By so doing she compromises her dignity, and exposes herself to indignity at the hands of the rougher class.
9. Never offer to shake hands with a lady in the street if you have on dark or soiled gloves, as you may soil hers.
10. A lady does not form acquaintances upon the street, or seek to attract the attention of the other sex or of persons of her own sex. Her conduct is always modest and unassuming. Neither does a lady demand services or favors from a gentleman. She accepts them graciously, always expressing her thanks. A gentleman will not stand on the street corners, or in hotel doorways, or store windows and gaze impertinently at ladies as they pass by. This is the exclusive business of loafers.
11. In walking with a lady who has your arm, should you have to cross the street, do not disengage your arm and go around upon the outside, unless the lady's comfort renders it necessary. In walking with a lady, where it is necessary for you to proceed singly, always go before her.
# Silentium Amoris

* "Silentium Amoris" in The Writings of Oscar Wilde (1907)
* "Silentium Amoris" in The Poems of Oscar Wilde (1909)
# Siler v. Illinois Central Railroad Company

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
213 U.S. 199
Siler v. Illinois Central Railroad Company
Argued: February 24, 25, 26, 1909. ---
Messrs. C. C. McChord, Robert H. Winn, and James Breathitt for appellants.
Messrs. Edmund F. Trabue, John C. Doolan, Attilla Cox, Jr., and J. M. Dickinson for appellee in No. 522.
Mr. Alexander Pope Humphrey for appellee in No. 523.
Messrs. John Galvin, Edward Colston, and Maurice L. Galvin for appellee in No. 524.
By Mr. Justice Peckham:

## 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
# Silentium

* Search for titles containing or beginning with: "Silentium."
* sister projects: 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.
* Silentium!, a poem by Fyodor Tyutchev.
* Silentium Amoris, a poem by Oscar Wilde.
# Shakespeare of Stratford/The Biographical Facts/Fact 25

Layout 2
New Haven: Yale University Press, pages 31–32
​XXV. SHAKESPEARE A PART OWNER OF THE GLOBE THEATRE (1599).
Reference to the newly erected Globe Theatre in post-mortem inventory (May 16, 1599) of the property of Sir Thomas Brend, whose son had leased the site of the building to Shakespeare and his partners.
Una domo de novo edificata . . . in occupacione Willielmi Shakespeare et aliorum.
Note. When the Globe was built in 1599 a half-interest in the property was assigned to the brothers, ​Richard and Cuthbert Burbage, and the remaining half-interest divided equally among five actors of the Chamberlain’s Company: Shakespeare, Kempe, Pope, Phillips, and Heminge. Shakespeare, therefore, had at the start a one-tenth share in the theatre. The mathematical proportion of his interest to the entire property varied in later years as some of his fellow-sharers retired and new ones came in.
A later inventory of the Brend estate, in 1601, names the tenants of the playhouse as ‘Richard Burbage and William Shackespeare, Gent.’—mentioning, that is, simply the two most famous of the sharers.
Footnotes
# Shakespeare of Stratford/The Biographical Facts/Fact 27

Layout 2
New Haven: Yale University Press, pages 34–35
​XXVIII. SHAKESPEARE’S NAME EXPLOITED BY W. JAGGARD (1599).
Title-page of a collection of short poems by various authors.
THE PASSIONATE PILGRIM. By W. Shakespeare. At London. Printed for W. Jaggard . . . 1599.
Note. This small pamphlet contained twenty poems, of which five were by Shakespeare. All were doubtless secured more or less dishonestly by Jaggard, and his attribution of the whole work to Shakespeare on the title-page is, as Munro says (Shakspere Allusion Book, i. 63) ‘a testimony to the market-value of Shakspere’s name.’ The book reached a third edition in 1612, and Jaggard had the further effrontery to increase the small size of this by inserting (still under Shakespeare’s name) two long poems by Thomas Heywood, filched from the latter poet’s Britain’s Troy. Heywood protested in the following words, affixed to his Apology for Actors in the same year (1612):
‘Here likewise I must necessarily insert a manifest injury done me in that work, by taking the two Epistles of Paris to Helen and Helen to Paris and printing them in a less volume, under the name of another, which may put the world in opinion I might steal them from him; and he to do himself right hath since published them in his own name: but as I must acknowledge my lines not worthy his patronage, under whom he hath published them, so the author I know much offended with M. Jaggard that (altogether unknown to him) presumed to make so bold with his name.’
* ↑ I.e. Britain’s Troy, of which Jaggard had also been the publisher.
* ↑ I.e. The Passionate Pilgrim, 3d edition.
* ↑ I.e. Shakespeare.
Footnotes
# Shakespeare of Stratford/The Biographical Facts/Fact 29

Layout 2
New Haven: Yale University Press, pages 36–37
​XXIX. SHAKESPEARE’S FAME EXTENDS TO CAMBRIDGE (1600).
Allusions in the First Part of The Return from Parnassus, a student comedy, representing undergraduate life at Cambridge.
We shall have nothing but pure Shakspeare and shreds of poetry that he hath gathered at the theatres. (Ll. 1009 f.)
Mark, Romeo and Juliet! O monstrous theft! (L. 1015.)
Gullio, an affected poetaster, recites six lines of Venus and Adonis, and Ingenioso remarks: Sweet Mr. Shakspeare! (Ll. 1018–24.)
Gullio asks Ingenioso to write a poem for him—
Ingen. My pen is your bounden vassal to command. But what vein would it please you to have them in?
Gull. Not in a vain vein (pretty, i’ faith!): make me them in two or three divers veins—in Chaucer’s, Gower’s, and Spenser’s and Mr. Shakspeare’s. Marry, I think I shall entertain those verses which run like these:
Even as the sun with purple colour’d face
Had ta’en his last leave on the weeping morn, &c. O sweet Mr. Shakspeare! I’le have his picture in my study at the court. (LI. 1048–55.)
​Later Gullio says, Let me hear Mr. Shakspear’s vein; and Ingenioso recites seven lines in imitation of Venus and Adonis. Gullio says:
No more! I am one that can judge according to the proverb, ‘bovem ex unguibus.’ Ay, marry, Sir, these have some life in them! Let this duncified world esteem of Spenser and Chaucer, I’ll worship sweet Mr. Shakspeare, and to honour him will lay his Venus and Adonis under my pillow, as we read of one (I do not well remember his name, but I am sure he was a king) slept with Homer under his bed’s head. (Ll. 1211–27.)
Footnotes
# Sonnet 36 (Shakespeare)

One of the 154 sonnets by Shakespeare from the collection Shakespeare's Sonnets (1609).
* "Sonnet 36," in Shake-speares Sonnets, Never before Imprinted (1609)
* "Sonnet 36," in Shakespeare's Sonnets, (ed.) by William J. Rolfe (1883)
* "Sonnet 36," in Shakespeare's Sonnets, (ed.) by Edward Bliss Reed, The Yale Shakespeare (1923)
The Sonnets of William Shakespeare
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# Sonnet 32 (Shakespeare)

One of the 154 sonnets by Shakespeare from the collection Shakespeare's Sonnets (1609).

### In the collected Sonnets

* "Sonnet 32," in Shake-speares Sonnets, Never before Imprinted (1609)
* "Sonnet 32," in Shakespeare's Sonnets, (ed.) by William J. Rolfe (1883)
* "Sonnet 32," in Shakespeare's Sonnets, (ed.) by Edward Bliss Reed, The Yale Shakespeare (1923)

### Other editions

* "Poem XLVIII: Post Mortem," in the Golden Treasury of English Songs and Lyrics, (ed.) by Francis Turner Palgrave (1861).
* "Sonnets XXXII," in The Hundred Best Poems (lyrical) in the English language, second series, (ed.) by Adam Luke Gowans (1904).
The Sonnets of William Shakespeare
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# Sonnet 35

* Search for titles containing or beginning with: "Sonnet 35."
* sister projects: 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.
* Sonnet 35, by William Shakespeare.
* Sonnet 35, by Edmund Spenser, part of Amoretti
* A sonnet by Petratch
# Sonnet 36

* Search for titles containing or beginning with: "Sonnet 36."
* sister projects: 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.
* Sonnet 36, by William Shakespeare.
* Sonnet 36, by Edmund Spenser, part of Amoretti
* A sonnet by Petratch
# Sonnet 33

* Search for titles containing or beginning with: "Sonnet 33."
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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.
* Sonnet 33, by Ján Kollár
* Sonnet 33, by William Shakespeare.
* Sonnet 33, by Edmund Spenser, part of Amoretti
# Sonnet 33 (Shakespeare)

One of the 154 sonnets by Shakespeare from the collection Shakespeare's Sonnets (1609).
* "Sonnet 33," in Shake-speares Sonnets, Never before Imprinted (1609)
* "Sonnet 33," in Shakespeare's Sonnets, (ed.) by William J. Rolfe (1883)
* "Sonnet 33," in Shakespeare's Sonnets, (ed.) by Edward Bliss Reed, The Yale Shakespeare (1923)
The Sonnets of William Shakespeare
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse