square root of the square root of that number. Thus the square root of 81 is 9, and the square root of 9 is 3, which is the biquadratic root of 81. Hutton.

 Bi'quad*rat"ic, n. (Math.) (a) A biquadrate. (b) A biquadratic equation.

 Bi*quin"tile (&?;), n. [Pref. bi- + quintile: cf.
 F. biquintile.] (Astron.) An aspect of the planets when they are distant from each other by twice the fifth part of a great circle -- that is, twice 72 degrees.

 { Bi*ra"di*ate (&?;), Bi*ra"di*a'ted (&?;), } a. [Pref. bi- + radiate.] Having two rays; as, a biradiate fin.

 Bi*ra"mous (&?;), a. [Pref. bi- + ramous.] (Biol.)
 Having, or consisting of, two branches.

 Birch (brch), n.; pl. Birches (-z). [OE. birche, birk, AS. birce, beorc; akin to Icel. björk, Sw. björk, Dan. birk, D. berk, OHG. piricha, MHG. birche, birke, G. birke, Russ. bereza, Pol. brzoza, Serv. breza, Skr. bhrja. √254. Cf.
 1st Birk.] 1. A tree of several species, constituting the genus Betula; as, the white or common birch (B. alba) (also called silver birch and lady birch); the dwarf birch (B. glandulosa); the paper or canoe birch (B. papyracea); the yellow birch (B. lutea); the black or cherry birch (B. lenta).

2. The wood or timber of the birch.

3. A birch twig or birch twigs, used for flogging.

 The twigs of the common European birch (B. alba), being tough and slender, were formerly much used for rods in schools. They were also made into brooms.

 The threatening twigs of birch. Shak.
4. A birch-bark canoe.

Birch of Jamaica, a species (Bursera gummifera) of turpentine tree. -- Birch partridge. (Zoöl.) See Ruffed grouse. -- Birch wine, wine made of the spring sap of the birch. -- Oil of birch. (a) An oil obtained from the bark of the common European birch (Betula alba), and used in the preparation of genuine (and sometimes of the imitation) Russia leather, to which it gives its peculiar odor. (b) An oil prepared from the black birch (B. lenta), said to be identical with the oil of wintergreen, for which it is largely sold.

 Birch, a. Of or pertaining to the birch; birchen.

 Birch, v. t. [imp. & p. p. Birched (brcht); p. pr.
 & vb. n. Birching.] To whip with a birch rod or twig; to flog.

 Birch"en (brch"'n), a. Of or relating to birch.

 He passed where Newark's stately tower Looks out from Yarrow's birchen bower. Sir W. Scott.
 Bird (brd), n. [OE. brid, bred, bird, young bird, bird, AS. bridd young bird. √92.] 1. Orig., a chicken; the young of a fowl; a young eaglet; a nestling; and hence, a feathered flying animal (see 2).

 That ungentle gull, the cuckoo's bird. Shak.
 The brydds [birds] of the aier have nestes. Tyndale (Matt. viii. 20).
2. (Zoöl.) A warm-blooded, feathered vertebrate provided with wings. See Aves.

3. Specifically, among sportsmen, a game bird.

4. Fig.: A girl; a maiden.

 And by my word! the bonny bird In danger shall not tarry.
Campbell.
Arabian bird, the phenix. -- Bird of Jove, the eagle. -- Bird of Juno, the peacock. -- Bird louse (Zoöl.), a wingless insect of the group Mallophaga, of which the genera and species are very numerous and mostly parasitic upon birds. -- Bird mite (Zoöl.), a small mite (genera Dermanyssus, Dermaleichus and allies) parasitic upon birds. The species are numerous. -- Bird of passage, a migratory bird. -- Bird spider (Zoöl.), a very large South American spider (Mygale avicularia). It is said sometimes to capture and kill small birds. -- Bird tick (Zoöl.), a dipterous insect parasitic upon birds (genus Ornithomyia, and allies), usually winged.

 Bird (&?;), v. i. 1. To catch or shoot birds.

2. Hence: To seek for game or plunder; to thieve. [R.] B. Jonson.
 Bird"bolt' (&?;), n. A short blunt arrow for killing birds without piercing them. Hence: Anything which smites without penetrating.
 Shak.
 { Bird" cage", or Bird"cage' } (&?;), n. A cage for confining birds.

 Bird"call' (&?;), n. 1. A sound made in imitation of the note or cry of a bird for the purpose of decoying the bird or its mate.

2. An instrument of any kind, as a whistle, used in making the sound of a birdcall.

 Bird"catch'er (&?;), n. One whose employment it is to catch birds; a fowler.

 Bird"catch'ing, n. The art, act, or occupation or catching birds or wild fowls.

 Bird" cher'ry (&?;). (Bot.) A shrub (Prunus Padus ) found in Northern and Central Europe. It bears small black cherries.

 Bird"er (&?;), n. A birdcatcher.

 Bird"-eyed' (&?;), a. Quick-sighted; catching a glance as one goes.

 Bird" fan'ci*er (&?;). 1. One who takes pleasure in rearing or collecting rare or curious birds.

2. One who has for sale the various kinds of birds which are kept in cages.

 Bird"ie (&?;), n. A pretty or dear little bird; -- a pet name.
 Tennyson.
 Bird"i*kin (&?;), n. A young bird. Thackeray.
 Bird"ing, n. Birdcatching or fowling. Shak.
Birding piece, a fowling piece. Shak.
 Bird"let, n. A little bird; a nestling.

 Bird"like' (&?;), a. Resembling a bird.

 Bird"lime' (&?;), n. [Bird + lime viscous substance.] An extremely adhesive viscid substance, usually made of the middle bark of the holly, by boiling, fermenting, and cleansing it. When a twig is smeared with this substance it will hold small birds which may light upon it. Hence: Anything which insnares.

 Not birdlime or Idean pitch produce A more tenacious mass of clammy juice. Dryden.
Birdlime is also made from mistletoe, elder, etc.

 Bird"lime', v. t. To smear with birdlime; to catch with birdlime; to insnare.

 When the heart is thus birdlimed, then it cleaves to everything it meets with. Coodwin.
 Bird"ling, n. A little bird; a nestling.

 Bird"man (&?;), n


cover Samantha at Saratoga by Marietta Holley Marietta Holley (_PHONE_) has been called America's first female humorist. She was an extremely popular author and a well-known suffragette.
Holley, who never married, published her first books as Josiah Allen's Wife, only adding her own name after her success was established. She lived in an 18 room home she built in Jefferson County, New York and drove a Pierce-Arrow. Her legacy of more than 20 books has mostly been forgotten today but they are still very good reading.
I have no information about the illustrator.
Josiah TO THE GREAT ARMY OF SUMMER TRAMPS THIS BOOK IS DEDICATED BY THEIR COMRADE AND FELLOW WANDERER THE AUTHOR * * * * * * * * * * * Samantha Contents PREFACE CHAPTER I. SAMANTHA AT SARATOGA CHAPTER II. ARDELIA TUTT AND HER MOTHER CHAPTER III. THE CHERITY OF THE JONESVILLIANS CHAPTER IV. ARDELIA AND ABRAM GEE CHAPTER V. WE ARRIVE AT SARATOGA CHAPTER VI. SARATOGA BY DAYLIGHT CHAPTER VII. SEEING THE DIFFERENT SPRINGS CHAPTER VIII. JOSIAH AND SAMANTHA TAKE A LONG WALK CHAPTER IX. JOSIAH'S FLIRTATIONS CHAPTER X. MISS G. WASHINGTON FLAMM CHAPTER XI. VISIT TO THE INDIAN ENCAMPMENT CHAPTER XII. A DRIVE TO SARATOGA LAKE CHAPTER XIII. VISITS TO NOTABLE PLACES CHAPTER XIV. LAKE GEORGE AND MOUNT McGREGOR HAPTER XV. ADVENTURES AT VARIOUS SPRINGS CHAPTER XVI. AT A LAWN PARTY CHAPTER XVII. A TRIP TO SCHUYLERVILLE CHAPTER XVIII. THE SOCIAL SCIENCE MEETING CHAPTER XIX. ST. CHRISTINA'S HOME CHAPTER XX. AN ACCIDENT WITH RESULTS A SORT OF PREFACE.
WHICH IT IS NOT NECESSARY TO READ.
When Josiah read my dedication he said "it wuz a shame to dedicate a book that it had took most a hull bottle of ink to write, to a lot of creeters that he wouldn't have in the back door yard." But I explained it to him, that I didn't mean tramps with broken hats, variegated pantaloons, ventilated shirt-sleeves, and barefooted. But I meant tramps with diamond ear-rings, and cuff-buttons, and Saratoga trunks, and big accounts at their bankers.
And he said, "Oh, shaw!" But I went on nobly, onmindful of that shaw, as female pardners have to be, if they accomplish all the talkin' they want to.
And sez I, "It duz seem sort o' pitiful, don't it, to think how sort o' homeless the Americans are a gettin'? How the posys that blow under the winders of Home are left to waste their sweet breaths amongst the weeds, while them that used to love 'em are a climbin' mountain tops after strange nosegays." The smoke that curled up from the chimbleys, a wreathin' its way up to the heavens—all dead and gone. The bright light that shone out of the winder through the dark a tellin' everybody that there wuz a Home, and some one a waitin' for somebody—all dark and lonesome.
Yes, the waiter and the waited for are all a rushin' round somewhere, on the cars, mebby, or a yot, a chasin' Pleasure, that like as not settled right down on the eves of the old house they left, and stayed there.
I wonder if they will find her there when they go back again. Mebby they will, and then agin, mebby they won't. For Happiness haint one to set round and lame herself a waitin' for folks to make up their minds.
Sometimes she looks folks full in the face, sort o' solemn like and heart-searchin', and gives 'em a fair chance what they will chuse.
And then if they chuse wrong, shee'll turn her back to 'em, for always. I've hearn of jest such cases.
But it duz seem sort o' solemn to think—how the sweet restful felin's that clings like ivy round the old familier door steps—where old 4 fathers feet stopped, and stayed there, and baby feet touched and then went away—I declare for't, it almost brings tears, to think how that sweet clingin' vine of affection, and domestic repose, and content—how soon that vine gets tore up nowadays.
It is a sort of a runnin' vine anyway, and folks use it as sech, they run with it. Jest as it puts its tendrils out to cling round some fence post, or lilock bush, they pull it up, and start off with it. And then its roots get dry, and it is some time before it will begin to put out little shoots and clingin' leaves agin round some petickular mountain top, or bureau or human bein'. And then it is yanked up agin, poor little runnin' vine, and run with—and so on—and so on—and so on.
Why sometimes it makes me fairly heart-sick to think on't. And I fairly envy our old 4 fathers, who used to set down for several hundred years in one spot. They used to get real rested, it must be they did.
Jacob now, settin' right by that well of his'n for pretty nigh two hundred years. How much store he must have set by it during the last hundred years of 'em! How attached he must have been to it!
Good land! Where is there a well that one of our rich old American patriarks will set down by for two years, leavin' off the orts. There haint none, there haint no such a well. Our patriarks haint fond of well water, anyway.
And old Miss Abraham now, and Miss Isaac—what stay to home wimmen they wuz, and equinomical!
What a good contented creeter Sarah Abraham wuz. How settled down, and stiddy, stayin' right to home for hundreds of years. Not gettin' rampent for a wider spear, not a coaxin' old Mr. Abraham nights to take her to summer resorts, and winter hants of fashion.
No, old Mr. Abraham went to bed, and went to sleep for all of her.
And when they did once in a hundred years, or so, make up their minds to move on a mile or so, how easy they traveled. Mr. Abraham didn't have to lug off ten or twelve wagon loads of furniture to the Safe Deposit Company, and spend weeks and weeks a settlin' his bisness, in Western lands, and Northern mines, Southern railroads, and Eastern wildcat stocks, to get ready to go. And Miss Abraham didn't have to have a dozen dress-makers in the house for a month or two, and messenger boys, and dry goods clerks, and have to stand and be fitted for basks and polenays, and back drapery, and front drapery, and tea gowns, and dinner gowns, and drivin' gowns, and mornin' gowns, and evenin' gowns, and etectery, etcetery, etcetery.
No, all the preperations she had to make wuz to wrop her mantilly a little closter round her, and all Mr. Abraham had to do wuz to gird up his lions. That is what it sez. And I don't believe it would take much time to gird up a few lions, it don't seem to me as if it would.
And when these few simple preperations had been made, they jest histed up their tent and laid it acrost a camel, and moved on a mild or two, walkin' afoot.
Why jest imagine if Miss Abraham had to travel with eight or ten big Saratoga trunks, how could they have been got up onto


language, Up:= W = write-only memory n. The obvious antonym to 'read-only memory'. Out of frustration with the long and seemingly useless chain of approvals required of component specifications, during which no actual checking seemed to occur, an engineer at Signetics once created a specification for a write-only memory and included it with a bunch of other specifications to be approved. This inclusion came to the attention of Signetics management only when regular customers started calling and asking for pricing information. Signetics published a corrected edition of the data book and requested the return of the 'erroneous' ones. Later, in 1972, Signetics bought a double-page spread in "Electronics" magazine's April issue and used the spec as an April Fools' Day joke. Instead of the more conventional characteristic curves, the 25120 "fully encoded, 9046 x N, Random Access, write-only-memory" data sheet included diagrams of "bit capacity vs. Temp.", "Iff vs. Vff", "Number of pins remaining vs. number of socket insertions", and "AQL vs.
selling price". The 25120 required a 6.3 VAC VFF supply, a +10V VCC, and VDD of 0V, +/- 2%.
Node:Wrong Thing, Next:wugga wugga, Previous:write-only memory, Up:= W = Wrong Thing n. A design, action, or decision that is clearly incorrect or inappropriate. Often capitalized; always emphasized in speech as if capitalized. The opposite of the Right Thing; more generally, anything that is not the Right Thing. In cases where 'the good is the enemy of the best', the merely good -- although good -- is nevertheless the Wrong Thing. "In C, the default is for module-level declarations to be visible everywhere, rather than just within the module. This is clearly the Wrong Thing."
Node:wugga wugga, Next:wumpus, Previous:Wrong Thing, Up:= W = wugga wugga /wuh'g* wuh'g*/ n. Imaginary sound that a computer program makes as it labors with a tedious or difficult task.grind (sense 4).
Node:wumpus, Next:WYSIAYG, Previous:wugga wugga, Up:= W = wumpus /wuhm'p*s/ n. The central monster (and, in many versions, the name) of a famous family of very early computer games called "Hunt The Wumpus'. The original was invented in 1970 (several years before ADVENT) by Gregory Yob. The wumpus lived somewhere in a cave with the topology of an dodecahedron's edge/vertex graph (later versions supported other topologies, including an icosahedron and Möbius strip). The player started somewhere at random in the cave with five 'crooked arrows'; these could be shot through up to three connected rooms, and would kill the wumpus on a hit (later versions introduced the wounded wumpus, which got very angry). Unfortunately for players, the movement necessary to map the maze was made hazardous not merely by the wumpus (which would eat you if you stepped on him) but also by bottomless pits and colonies of super bats that would pick you up and drop you at a random location (later versions added 'anaerobic termites' that ate arrows, bat migrations, and earthquakes that randomly changed pit locations).
This game appears to have been the first to use a non-random graph-structured map (as opposed to a rectangular grid like the even older Star Trek games). In this respect, as in the dungeon-like setting and its terse, amusing messages, it prefigured ADVENT and Zork and was directly ancestral to the latter (Zork acknowledged this heritage by including a super-bat colony). A C emulation of the original Basic game is available at the Retrocomputing Museum, _URL_
Node:WYSIAYG, Next:WYSIWYG, Previous:wumpus, Up:= W = WYSIAYG /wiz'ee-ayg/ adj.
Describes a user interface under which "What You See Is All You Get"; an unhappy variant of WYSIWYG. Visual, 'point-and-shoot'-style interfaces tend to have easy initial learning curves, but also to lack depth; they often frustrate advanced users who would be better served by a command-style interface. When this happens, the frustrated user has a WYSIAYG problem. This term is most often used of editors, word processors, and document formatting programs. WYSIWYG 'desktop publishing' programs, for example, are a clear win for creating small documents with lots of fonts and graphics in them, especially things like newsletters and presentation slides. When typesetting book-length manuscripts, on the other hand, scale changes the nature of the task; one quickly runs into WYSIAYG limitations, and the increased power and flexibility of a command-driven formatter like TeX or Unix's troff becomes not just desirable but a necessity. Compare YAFIYGI.
Node:WYSIWYG, Next:X, Previous:WYSIAYG, Up:= W = WYSIWYG /wiz'ee-wig/ adj.
[Traced to Flip Wilson's "Geraldine" character c.1970] Describes a user interface under which "What You See Is What You Get", as opposed to one that uses more-or-less obscure commands that do not result in immediate visual feedback. True WYSIWYG in environments supporting multiple fonts or graphics is a a rarely-attained ideal; there are variants of this term to express real-world manifestations including WYSIAWYG (What You See Is Almost What You Get) and WYSIMOLWYG (What You See Is More or Less What You Get). All these can be mildly derogatory, as they are often used to refer to dumbed-down user-friendly interfaces targeted at non-programmers; a hacker has no fear of obscure commands (compare WYSIAYG). On the other hand, EMACS was one of the very first WYSIWYG editors, replacing (actually, at first overlaying) the extremely obscure, command-based TECO.
See also WIMP environment. [Oddly enough, WYSIWYG has already made it into the OED, in lower case yet. --ESR] Node:= X =, Next:= Y =, Previous:= W =, Up:The Jargon Lexicon = X = X: XEROX PARC: XOFF: XON: xor: xref: XXX: xyzzy: Node:X, Next:XEROX PARC, Previous:WYSIWYG, Up:= X = X /X/ n.
1. Used in various speech and writing contexts (also in lowercase) in roughly its algebraic sense of 'unknown within a set defined by context' (compare N).
Thus, the abbreviation 680x0 stands for 68000, 68010, 68020, 68030, or 68040, and 80x86 stands for 80186, 80286, 80386, 80486, 80586 or 80686 (note that a Unix hacker might write these as 680[0-6]0 and 80[1-6]86 or 680?0 and 80?86 respectively; see glob). 2. [after the name of an earlier window system called 'W'] An over-sized, over-featured, over-engineered and incredibly over-complicated window system developed at MIT and widely used on Unix systems.
Node:XEROX PARC, Next:XOFF, Previous:X, Up:= X = XEROX PARC /zee'roks park'/ n. The famed Palo Alto Research Center. For more than a decade, from the early 1970s into the mid-1980s, PARC yielded an astonishing volume of groundbreaking hardware and software innovations. The modern mice, windows, and icons style of software interface was invented there. So was the laser printer and the local-area network; and PARC's series of D machines anticipated the powerful personal computers of the 1980s by a decade. Sadly, the prophets at PARC were without honor in their own company, so much so that it became a standard joke to describe PARC as a place that specialized in developing brilliant ideas for everyone else.
The stunning shortsightedness


, or lay away, esp. as papers in a methodical manner for preservation and reverence; to place on file; to insert in its proper place in an arranged body of papers.

 I would have my several courses and my dishes well filed.

Beau. & Fl.
2. To bring before a court or legislative body by presenting proper papers in a regular way; as, to file a petition or bill. Burrill.
3. (Law) To put upon the files or among the records of a court; to note on (a paper) the fact date of its reception in court.

 To file a paper, on the part of a party, is to place it in the official custody of the clerk. To file, on the part of the clerk, is to indorse upon the paper the date of its reception, and retain it in his office, subject to inspection by whomsoever it may concern.

Burrill.
 File, v. i. [Cf. F. filer.] (Mil.) To march in a file or line, as soldiers, not abreast, but one after another; -- generally with off.

To file with, to follow closely, as one soldier after another in file; to keep pace.

 My endeavors Have ever come too short of my desires, Yet filed with my abilities.

Shak.
 File (fl), n. [AS. feól; akin to D. viji, OHG.
 fla, fhala, G. feile, Sw. fil, Dan. fiil, cf. Icel. þl, Russ. pila, and Skr. piç to cut out, adorn; perh. akin to E. paint.] 1. A steel instrument, having cutting ridges or teeth, made by indentation with a chisel, used for abrading or smoothing other substances, as metals, wood, etc.

 A file differs from a rasp in having the furrows made by straight cuts of a chisel, either single or crossed, while the rasp has coarse, single teeth, raised by the pyramidal end of a triangular punch.

2. Anything employed to smooth, polish, or rasp, literally or figuratively.

 Mock the nice touches of the critic's file.

Akenside.
3. A shrewd or artful person. [Slang] Fielding.
 Will is an old file in spite of his smooth face.

Thackeray.
Bastard file, Cross file, etc. See under Bastard, Cross, etc. -- Cross-cut file, a file having two sets of teeth crossing obliquely. -- File blank, a steel blank shaped and ground ready for cutting to form a file. -- File cutter, a maker of files. -- Second-cut file, a file having teeth of a grade next finer than bastard. -- Single-cut file, a file having only one set of parallel teeth; a float. -- Smooth file, a file having teeth so fine as to make an almost smooth surface.

 File, v. t. 1. To rub, smooth, or cut away, with a file; to sharpen with a file; as, to file a saw or a tooth.

2. To smooth or polish as with a file. Shak.
File your tongue to a little more courtesy.

Sir W. Scott.
 File, v. t. [OE. fulen, filen, foulen, AS. f&?;lan, fr. f&?;l foul. See Foul, and cf. Defile, v. t.] To make foul; to defile. [Obs.]

 All his hairy breast with blood was filed.

Spenser.
 For Banquo's issue have I filed my mind.

Shak.
 File"fish' (?), n. (Zoöl.) Any plectognath fish of the genera Monacanthus, Alutera, balistes, and allied genera; -- so called on account of the roughly granulated skin, which is sometimes used in place of sandpaper.

 Fil"e*mot (?), n. See Feullemort. Swift.
 Fil"er (?), n. One who works with a file.

 Fil"ial (?), a. [L. filialis, fr. filius son, filia daughter; akin to e. female, feminine. Cf. Fitz.] 1.
 Of or pertaining to a son or daughter; becoming to a child in relation to his parents; as, filial obedience.

2. Bearing the relation of a child.

 And thus the filial Godhead answering spoke.

Milton.
 Fil"ial*ly (?), adv. In a filial manner.

 Fil"i*ate (?), v. t. To adopt as son or daughter; to establish filiation between. [R.] Southey.
 Fil'i*a"tion (?), n. [LL. filiatio, fr. L. filius son: cf. F. filiation. See Filial.] 1. The relationship of a son or child to a parent, esp. to a father.

 The relation of paternity and filiation.

Sir M. Hale.
2. (Law) The assignment of a bastard child to some one as its father; affiliation. Smart.
 Fil"i*beg (?), n. [Gael. feileadhbeag, i. e., little kilt; feileadh kilt + beag little, small; cf. filleadh a plait, fold.] Same as Kilt. [Written also philibeg.]

 Fil"i*bus'ter (?), n. [Sp. flibuster, flibustero, corrupted fr. E. freebooter. See Freebooter.] A lawless military adventurer, especially one in quest of plunder; a freebooter; -- originally applied to buccaneers infesting the Spanish American coasts, but introduced into common English to designate the followers of Lopez in his expedition to Cuba in 1851, and those of Walker in his expedition to Nicaragua, in 1855.

 Fil"i*bus*ter, v. i. [imp. & p. p. Fillibustered (?); p. pr. & vb. n. Filibustering.] 1. To act as a filibuster, or military freebooter. Bartlett.
2. To delay legislation, by dilatory motions or other artifices.
 [political cant or slang, U.S.] Bartlett.
 Fil"i*bus'ter*ism (?), n. The characteristics or practices of a filibuster. Bartlett.
 Fil"i*cal (?), a. Belonging to the Filices, r ferns.

 Fi*lic"ic (?), a. [L. filix, -icis, a fern.] (Chem.)
 Pertaining to, or derived from, ferns; as, filicic acid.

 Fil"i*cide (?), n. [L. filius son, filia daughter + caedere to kill.] The act of murdering a son or a daughter; also, parent who commits such a murder.

 Fi*lic"i*form (?), a. [L. filix, -icis, fern + -form: cf. F. filiciforme] Shaped like a fern or like the parts of a fern leaf. Smart.
 Fil"i*coid (?), a. [L. filix, -icis, fern + -oid: cf. F. filicoiïde.] (Bot.) Fernlike, either in form or in the nature of the method of reproduction.

 Fil"i*coid, n. (Bot.) A fernlike plant. Lindley.
 Fi*li"e*ty (?), n. [L. filietas.] The relation of a son to a father; sonship; -- the correlative of paternity. J. S. Mill.
 Fi*lif"er*ous (?), a. [L. filum a thread + -ferous.]
 Producing threads. Carpenter.
 Fil"i*form (?), a. [L. filum thread + -form: cf. F.
 filiforme.] Having the shape of a thread or filament; as, the filiform pap


ers, mighty captain and ninth judge of Israel, might have fitted out many an opera text, irrespective of the pathetic story of the sacrifice of his daughter in obedience to a vow, though this episode springs first to mind when his name is mentioned, and has been the special subject of the Jephtha operas. An Italian composer named Pollarolo wrote a "Jefte" for Vienna in 1692; other operas dealing with the history are Rolle's "Mehala, die Tochter Jephthas" (1784), Meyerbeer's "Jephtha's Tochter" (Munich, 1813), Generali, "Il voto di Jefte" (1827), Sanpieri, "La Figlia di Jefte" (1872). Luis Cepeda produced a Spanish opera in Madrid in 1845, and a French opera, in five acts and a prologue, by Monteclaire, was prohibited, after one performance, by Cardinal de Noailles in 1832.
Judith, the widow of Manasseh, who delivered her native city of Bethulia from the Assyrian Holofernes, lulling him to sleep with her charms and then striking off his drunken head with a falchion, though an Apocryphal personage, is the most popular of Israelitish heroines.
The record shows the operas "Judith und Holofernes" by Leopold Kotzeluch (1799), "Giuditta" by S. Levi (1844), Achille Peri (1860), Righi (1871), and Sarri (1875). Naumann wrote a "Judith" in 1858, Doppler another in 1870, and Alexander Seroff a Russian opera under the same title in 1863. Martin Roder, who used to live in Boston, composed a "Judith," but it was never performed, while George W. Chadwick's "Judith," half cantata, half opera, which might easily be fitted for the stage, has had to rest content with a concert performance at a Worcester (Mass.) festival.
The memory of Esther, the queen of Ahasuerus, who saved her people from massacre, is preserved and her deed celebrated by the Jews in their gracious festival of Purim. A gorgeous figure for the stage, she has been relegated to the oratorio platform since the end of the eighteenth century. Racine's tragedy "Athalie" has called out music from Abbe Vogler, Gossec, Boieldieu, Mendelssohn, and others, and a few oratorios, one by Handel, have been based on the story of the woman through whom idolatry was introduced into Judah; but I have no record of any Athalia opera.
CHAPTER III RUBINSTEIN'S "GEISTLICHE OPER" I have a strong belief in the essential excellence of Biblical subjects for the purposes of the lyric drama—at least from an historical point of view. I can see no reason against but many reasons in favor of a return to the stage of the patriarchal and heroic figures of the people who are a more potent power in the world to-day, despite their dispersal and loss of national unity, than they were in the days of their political grandeur and glory. Throughout the greater part of his creative career Anton Rubinstein was the champion of a similar idea. Of the twenty works which he wrote for the theatre, including ballets, six were on Biblical subjects, and to promote a propaganda which began with the composition of "Der Thurmbau zu Babel," in 1870, he not only entered the literary field, but made personal appeal for practical assistance in both the Old World and the New. His, however, was a religious point of view, not the historical or political. It is very likely that a racial predilection had much to do with his attitude on the subject, but in his effort to bring religion into the service of the lyric stage he was no more Jew than Christian: the stories to which he applied his greatest energies were those of Moses and Christ.
Much against my inclination (for Rubinstein came into my intellectual life under circumstances and conditions which made him the strongest personal influence in music that I have ever felt), I have been compelled to believe that there were other reasons besides those which he gave for his championship of Biblical opera. Smaller men than he, since Wagner's death, have written trilogies and dreamed of theatres and festivals devoted to performances of their works. Little wonder if Rubinstein believed that he had created, or could create, a kind of art-work which should take place by the side of "Der Ring des Nibelungen," and have its special home like Bayreuth; and it may have been a belief that his project would excite the sympathetic zeal of the devout Jew and pious Christian alike, as much as his lack of the capacity for self-criticism, which led him like a will-o'-the-wisp along the path which led into the bogs of failure and disappointment.
While I was engaged in writing the programme book for the music festival given in New York in 1881, at which "The Tower of Babel" was performed in a truly magnificent manner, Dr. Leopold Damrosch, the conductor of the festival, told me that Rubinstein had told him that the impulse to use Biblical subjects in lyrical dramas had come to him while witnessing a ballet based on a Bible story many years before in Paris. He said that he had seldom been moved so profoundly by any spectacle as by this ballet, and it suggested to him the propriety of treating sacred subjects in a manner worthy of them, yet different from the conventional oratorio. The explanation has not gotten into the books, but is not inconsistent with the genesis of his Biblical operas, as related by Rubinstein in his essay on the subject printed by Joseph Lewinsky in his book "Vor den Coulissen," published in 1882 after at least three of the operas had been written. The composer's defence of his works and his story of the effort which he made to bring about a realization of his ideals deserve to be rehearsed in justice to his character as man and artist, as well as in the interest of the works themselves and the subjects, which, I believe, will in the near future occupy the minds of composers again.
"The oratorio," said Rubinstein, "is an art-form which I have always been disposed to protest against. The best-known masterpieces of this form have, not during the study of them but when hearing them performed, always left me cold; indeed, often positively pained me. The stiffness of the musical and still more of the poetical form always seemed to me absolutely incongruous with the high dramatic feeling of the subject. To see and hear gentlemen in dress coats, white cravats, yellow gloves, holding music books before them, or ladies in modern, often extravagant, toilets singing the parts of the grand, imposing figures of the Old and New Testaments has always disturbed me to such a degree that I could never attain to pure enjoyment. Involuntarily I felt and thought how much grander, more impressive, vivid, and true would be all that I had experienced in the concert-room if represented on the stage with costumes, decorations, and full action."
The contention, said Rubinstein in effect, that Biblical subjects are ill adapted to the stage beeause of their sacred character is a testimony of poverty for the theatre, which should be an agency in the service of the highest purposes of culture. The people have always wanted to see stage representations of Bible incidents; witness the mystery plays of the Middle Ages and the Passion Play at Oberammergau to-day. But yielding to a prevalent feeling that such representations are a profanation of sacred history, he had conceived an appropriate type of art-work which was to be produced in theatres to be specially built for the purpose and by companies of artists to be specially trained to that end. This art-work was to be called Sacred Opera (geistliche Oper), to distinguish it from secular opera, but its purpose was to be purely artistic and wholly separate from the interests of the Church. He developed ways and means for raising the necessary funds, enlisting artists, overcoming the difficulties presented by the mise en scene and the polyphonic character of the choral music, and set forth his aim in respect of the subject-matter of the dramas to be a representation in chronological order of the chief incidents described in the Old and New Test


Musique under the direction of M. Colonne. The part of Dalila was taken by Mme.
Deschamps-Jehin, that of Samson by M. Vergnet, that of the High Priest by M. Lassalle. Eight months before this it had been performed as an oratorio by the Oratorio Society of New York. There were two performances, on March 25 and 26, 1892, the conductor being Mr. Walter Damrosch and the principal singers being Frau Marie Ritter-Goetze, Sebastian Montariol, H. E. Distelhurst, Homer Moore, Emil Fischer, and Purdon Robinson. London had heard the work twice as an oratorio before it had a stage representation there on April 26, 1909, but this performance was fourteen years later than the first at the Metropolitan Opera House on February 8, 1895. The New York performance was scenically inadequate, but the integrity of the record demands that the cast be given here: Samson, Signor Tamagno; Dalila, Mme. Mantelli; High Priest, Signor Campanari; Abimelech and An Old Hebrew, M. Plancon; First Philistine, Signor Rinaldini; Second Philistme, Signor de Vachetti; conductor, Signor Mancinelli. The Metropolitan management did not venture upon a repetition until the opening night of the season _PHONE_, when its success was such that it became an active factor in the repertory of the establishment; but by that time it had been made fairly familiar to the New York public by performances at the Manhattan Opera House under the management of Mr. Oscar Hammerstein, the first of which took place on November 13, 1908. Signor Campanini conducted and the cast embraced Mme. Gerville-Reache as Dalila, Charles Dalmores as Samson, and M. Dufranne as High Priest. The cast at the Metropolitan Opera House's revival of the opera on November 15,1915, was as follows: Dalila, Mme. Margarete Matzenauer; Samson, Signor Enrico Caruso; High Priest, Signor Pasquale Amato; Abimelech, Herr Carl Schlegel; An Old Hebrew, M. Leon Rothier; A Philistine Messenger, Herr Max Bloch; First Philistine, Pietro Audisio; Second Philistine, Vincenzo Reschiglian; conductor, Signor Polacco.
It would be a curious inquiry to try to determine the source of the fascination which the story of Manoah's son has exerted upon mankind for centuries. It bears a likeness to the story of the son of Zeus and Alcmene, and there are few books on mythology which do not draw a parallel between the two heroes. Samson's story is singularly brief.
For twenty years he "judged Israel," but the Biblical history which deals with him consists only of an account of his birth, a recital of the incidents in which he displayed his prodigious strength and valor, the tale of his amours, and, at the end, the account of his tragical destruction, brought about by the weak element in his character.
Commentators have been perplexed by the tale, irrespective of the adornments which it has received at the hands of the Talmudists. Is Samson a Hebrew form of the conception personified by the Greek Herakles? Is he a mythical creature, born in the human imagination of primitive nature worship—a variant of the Tyrian sun-god Shemesh, whose name his so curiously resembles? [In Hebrew he is called Shimshon, and the sun shemesh.] Was he something more than a man of extraordinary physical strength and extraordinary moral weakness, whose patriotic virtues and pathetic end have kept his memory alive through the ages? Have a hundred generations of men to whom the story of Herakles has appeared to be only a fanciful romance, the product of that imagination heightened by religion which led the Greeks to exalt their supreme heroes to the extent of deification, persisted in hearing and telling the story of Samson with a sympathetic interest which betrays at least a sub-conscious belief in its verity? Is the story only a parable enforcing a moral lesson which is as old as humanity? If so, how got it into the canonical Book of Judges, which, with all its mythical and legendary material, seems yet to contain a large substratum of unquestionable history?
There was nothing of the divine essence in Samson as the Hebrews conceived him, except that spirit of God with which he was directly endowed in supreme crises. There is little evidence of his possession of great wisdom, but strong proof of his moral and religious laxity. He sinned against the laws of Israel's God when he took a Philistine woman, an idolater, to wife; he sinned against the moral law when he visited the harlot at Gaza. He was wofully weak in character when he yielded to the blandishments of Delilah and wrought his own undoing, as well as that of his people. The disgraceful slavery into which Herakles fell was not caused by the hero's incontinence or uxoriousness, but a punishment for crime, in that he had in a fit of madness killed his friend Iphitus. And the three years which he spent as the slave of Omphale were punctuated by larger and better deeds than those of Samson in like situation—bursting the new cords with which the men of Judah had bound him and the green withes and new ropes with which Delilah shackled him. The record that Samson "judged Israel in the days of the Philistines twenty years" leads the ordinary reader to think of him as a sage, judicial personage, whereas it means only that he was the political and military leader of his people during that period, lifted to a magisterial position by his strength and prowess in war. His achievements were muscular, not mental.
Rabbinical legends have magnified his stature and power in precisely the same manner as the imagination of the poet of the "Lay of the Nibelung" magnified the stature and strength of Siegfried. His shoulders, says the legend, were sixty ells broad; when the Spirit of God came on him he could step from Zorah to Eshtaol although he was lame in both feet; the hairs of his head arose and clashed against one another so that they could be heard for a like distance; he was so strong that he could uplift two mountains and rub them together like two clods of earth, Herakles tore asunder the mountain which, divided, now forms the Straits of Gibraltar and Gates of Hercules.
The parallel which is frequently drawn between Samson and Herakles cannot be pursued far with advantage to the Hebrew hero. Samson rent a young lion on the road to Timnath, whither he was going to take his Philistine wife; Herakles, while still a youthful herdsman, slew the Thespian lion and afterward strangled the Nemean lion with his hands.
Samson carried off the gates of Gaza and bore them to the top of a hill before Hebron; Herakles upheld the heavens while Atlas went to fetch the golden apples of Hesperides. Moreover, the feats of Herakles show a higher intellectual quality than those of Samson, all of which, save one, were predominantly physical. The exception was the trick of tying 300 foxes by their tails, two by two, with firebrands between and turning them loose to burn the corn of the Philistines. An ingenious way to spread a conflagration, probably, but primitive, decidedly primitive. Herakles was a scientific engineer of the modern school; he yoked the rivers Alpheus and Peneus to his service by turning their waters through the Augean stables and cleansing them of the deposits of 3000 oxen for thirty years. Herakles had excellent intellectual training; Rhadamanthus taught him wisdom and virtue, Linus music. We know nothing about the bringing up of Samson save that "the child grew and the Lord blessed him. And the Lord began to move him at times in the camp of Dan between Zorah and Eshtaol." Samson made little use of his musical gifts, if he had any, but that little he made well; Herakles made little use of his musical training, and that little he made ill. He lost his temper and killed his music


kk in drekka (to drink) must be pronounced like the kc in bookcase, while the k in dręki (dragon) is single, as in booking. When final (or followed by another cons.) double conss. are pronounced long, as in munn (mouth acc.), hamarr (hammer nom.), steinn (stone nom.), distinguished from mun (will vb.), and the accusatives hamar, stein.
6. k and g had a more front (palatal) sound before the front vowels e, ę, i, ö, ǫ̈, y, and their longs, as also before j, as in kęnna (known), keyra (drive), gǫ̈ra (make), liggja (lie).
7. kkj, ggj were probably pronounced simply as double front kk, gg, the j not being pronounced separately.
8. f had initially the sound of our f, medially and finally that of v, as in gefa (give), gaf (gave), except of course in such combinations as ft, where it had the sound of f.
9. g was a stopped (back or front--guttural or palatal) cons.
initially and in the combination ng, the two g's in ganga (go) being pronounced as in go. It had the open sound of G. g in sagen medially before the back vowels a, o, ǫ, u, and all conss. except j, and finally:--saga (tale), dǫgum (with days); sagði (he said); lag (he lay).
Before the front vowels and j it had the sound of G. g in liegen, or nearly that of j (our y), as in sęgir (says), sęgja (to say).
10. Before voiceless conss. (t, s) g seems to have been pronounced k, as in sagt (said), dags (day's).
11. The g was always sounded in the combination ng, as in single, not as in singer.
12. h was sounded before j in such words as hjarta (heart) much as in E. hue (= hjū). hl, hn, hr, hv probably represented voiceless l, n, r, w respectively, hv being identical with E. wh: hlaupa (leap), hnīga (bend), hringr (ring), hvat (what).
13. j is not distinguished from i in the MSS. It had the sound of E. y in young: jǫrð (earth), sętja (to set).
14. p in pt probably had the sound of f: lopt (air).
15. r was always a strong point trill, as in Scotch.
16. s was always sharp.
17. v (which was sometimes written u and w) had the sound of E. w: vel (well), hǫggva (hew).
18. z had the sound of ts: bęztr (best).
19. þ and ð were used promiscuously in the older MS., the very oldest using þ almost exclusively. In Modern Icelandic þ is written initially to express the sound of E. hard th, ð medially and finally to express that of soft th; as there can be no doubt that this usage corresponds with the old pronunciation, it is retained in this book: þing (parliament), faðir (father), við (against). In such combinations as pð the ð must of course be pronounced þ. Stress 20. The stress (accent) is always on the first syllable.
Phonology Vowels 21. The vowels are related to one another in different ways, the most important of which are mutation (umlaut), fracture (brechung), and gradation (ablaut).
Mutation 22. The following changes are i-mutations (caused by an older i or j following, which has generally been dropped)3: [Footnote 3: Many of the i's which appear in derivative and inflectional syllables are late weakenings of a and other vowels, as in bani (death) = Old English bana; these do not cause mutation.]
a (ǫ)... ę :-- mann (man acc.), męnn (men); hǫnd (hand), hęndr (hands).
ā... æ :-- māl (speech), mæla (speak).
e (ja, jǫ)... i :-- verðr (worth), virða (estimate).
u (o)... y :-- fullr (full), fylla (to fill); lopt (air), lypta (lift).
ū... ȳ :-- brūn (eyebrow), pl. brȳnn.
o... ö :-- koma (to come), kömr (comes).
ō... œ :-- fōr (went), fœra (bring).
au... ey :-- lauss (loose), leysa (loosen).
jū (jō)... ȳ :-- sjūkr (sick), sȳki (sickness); ljōsta (strike), lȳstr (strikes).
23. The change of a into ę is sometimes the result of a following k, g, or ng, as in dęgi dat. sg.
of dagr (day), tękinn (taken), gęnginn (gone), inf.
taka, ganga. i appears instead of e, and u instead of o before a nasal followed by another cons.: cp.
binda (to bind), bundinn (bound) with bresta (burst) ptc. prt. brostinn.
24. There is also a u-mutation, caused by a following u, which has often been dropped: a... ǫ :-- dagr (day) dat. pl. dǫgum; land (land) pl. lǫnd.
25. Unaccented ǫ becomes u, as in sumur pl. of sumar (summer), kǫlluðu (they called), infin. kalla.
Fracture 26. The only vowel that is affected by fracture is e: when followed by original a it becomes ja, when followed by original u it becomes jǫ, as in jarðar gen. of jǫrð (earth)4. When followed by original i, the e is, of course, mutated to i, as in skildir plur. nom. of skjǫldr (shield), gen. skjaldar.
[Footnote 4: Cp. German erde.]
Gradation 27. By gradation the vowels are related as follows:-- a... ō :-- fara (go) pret. fōr, whence by mut. fœra (bring).
e (i, ja)... a... u (o) :-- bresta (burst), prt. brast, prt. pl. brustu, ptc. prt. brostinn; finna (find), fundinn (found ptc.), fundr (meeting).
e... a... ā... o :-- stela (steal), prt. stal, prt. pl. stālu, ptc. prt. stolinn.
e... a... ā... e :-- gefa (give), gaf (he gave), gāfu (they gave), gefinn (given), gjǫf (gift), u-fracture of gef-, gæfa (luck) mut. of gāf-.
ī... ei... i :-- skīna (shine), skein (he shone), skinu (they shone). sōl-skin (sunshine).
jū (jō)... au... u... o :-- ljūga (tell a lie), prt. laug, prt. pl. lugu, ptc. prt.
loginn. lygi (lie sbst.) mut. of lug-.
skjōta (shoot), skjōtr (swift), skotinn (shot ptc.), skot (shot subst.).
Other changes 28. All final vowels are long in accented syllables: þā (then), nū (now).
29. Inflection


ech, Up:= L = leech mode n.
[warez d00dz] "Leech mode" or "leech access" or (simply "leech" as in "You get leech") is the access mode on a FTP site where one can download as many files as one wants, without having to upload. Leech mode is often promised on banner sites, but rarely obtained. See ratio site, banner site.
Node:legal, Next:legalese, Previous:leech mode, Up:= L = legal adj.
Loosely used to mean 'in accordance with all the relevant rules', esp. in connection with some set of constraints defined by software. "The older =+ alternate for += is no longer legal syntax in ANSI C." "This parser processes each line of legal input the moment it sees the trailing linefeed." Hackers often model their work as a sort of game played with the environment in which the objective is to maneuver through the thicket of 'natural laws' to achieve a desired objective. Their use of 'legal' is flavored as much by this game-playing sense as by the more conventional one having to do with courts and lawyers.
Compare language lawyer, legalese.
Node:legalese, Next:LER, Previous:legal, Up:= L = legalese n. Dense, pedantic verbiage in a language description, product specification, or interface standard; text that seems designed to obfuscate and requires a language lawyer to parse it. Though hackers are not afraid of high information density and complexity in language (indeed, they rather enjoy both), they share a deep and abiding loathing for legalese; they associate it with deception, suits, and situations in which hackers generally get the short end of the stick.
Node:LER, Next:LERP, Previous:legalese, Up:= L = LER /L-E-R/ n. 1. [TMRC, from 'Light-Emitting Diode'] A light-emitting resistor (that is, one in the process of burning up). Ohm's law was broken. See also SED. 2. An incandescent light bulb (the filament emits light because it's resistively heated).
Node:LERP, Next:let the smoke out, Previous:LER, Up:= L = LERP /lerp/ vi.,n.
Quasi-acronym for Linear Interpolation, used as a verb or noun for the operation. "Bresenham's algorithm lerps incrementally between the two endpoints of the line."
Node:let the smoke out, Next:letterbomb, Previous:LERP, Up:= L = let the smoke out v. To fry hardware (see fried). See magic smoke for a discussion of the underlying mythology.
Node:letterbomb, Next:lexer, Previous:let the smoke out, Up:= L = letterbomb 1. n. A piece of email containing live data intended to do nefarious things to the recipient's machine or terminal. It used to be possible, for example, to send letterbombs that would lock up some specific kinds of terminals when they are viewed, so thoroughly that the user must cycle power (see cycle, sense 3) to unwedge them. Under Unix, a letterbomb can also try to get part of its contents interpreted as a shell command to the mailer. The results of this could range from silly to tragic; fortunately it has been some years since any of the standard Unix/Internet mail software was vulnerable to such an attack (though, as the Melissa virus attack demonstrated in early 1999, Microsoft systems can have serious problems). See also Trojan horse; compare nastygram. 2. Loosely, a mailbomb.
Node:lexer, Next:lexiphage, Previous:letterbomb, Up:= L = lexer /lek'sr/ n. Common hacker shorthand for 'lexical analyzer', the input-tokenizing stage in the parser for a language (the part that breaks it into word-like pieces). "Some C lexers get confused by the old-style compound ops like =-."
Node:lexiphage, Next:life, Previous:lexer, Up:= L = lexiphage /lek'si-fayj'/ n. A notorious word chomper on ITS.
See bagbiter. This program would draw on a selected victim's bitmapped terminal the words "THE BAG" in ornate letters, followed a pair of jaws biting pieces of it off.
Node:life, Next:Life is hard, Previous:lexiphage, Up:= L = life n.
1. A cellular-automata game invented by John Horton Conway and first introduced publicly by Martin Gardner ("Scientific American", October 1970); the game's popularity had to wait a few years for computers on which it could reasonably be played, as it's no fun to simulate the cells by hand. Many hackers pass through a stage of fascination with it, and hackers at various places contributed heavily to the mathematical analysis of this game (most notably Bill Gosper at MIT, who even implemented life in TECO!; see Gosperism). When a hacker mentions 'life', he is much more likely to mean this game than the magazine, the breakfast cereal, or the human state of existence. 2. The opposite of Usenet. As in "Get a life!"
Node:Life is hard, Next:light pipe, Previous:life, Up:= L = Life is hard prov.
[XEROX PARC] This phrase has two possible interpretations: (1) "While your suggestion may have some merit, I will behave as though I hadn't heard it." (2) "While your suggestion has obvious merit, equally obvious circumstances prevent it from being seriously considered." The charm of the phrase lies precisely in this subtle but important ambiguity.
Node:light pipe, Next:lightweight, Previous:Life is hard, Up:= L = light pipe n. Fiber optic cable. Oppose copper.
Node:lightweight, Next:like kicking dead whales down the beach, Previous:light pipe, Up:= L = lightweight adj.
Opposite of heavyweight; usually found in combining forms such as 'lightweight process'.
Node:like kicking dead whales down the beach, Next:like nailing jelly to a tree, Previous:lightweight, Up:= L = like kicking dead whales down the beach adj.
Describes a slow, difficult, and disgusting process. First popularized by a famous quote about the difficulty of getting work done under one of IBM's mainframe OSes. "Well, you could write a C compiler in COBOL, but it would be like kicking dead whales down the beach." See also fear and loathing.
Node:like nailing jelly to a tree, Next:line 666, Previous:like kicking dead whales down the beach, Up:= L = like nailing jelly to a tree adj.
Used to describe a task thought to be impossible, esp. one in which the difficulty arises from poor specification or inherent slipperiness in the problem domain. "Trying to display the 'prettiest' arrangement of nodes and arcs that diagrams a given graph is like nailing jelly to a tree, because nobody's sure what 'prettiest' means algorithmically."
Hacker use of this term may recall mainstream slang originated early in the 20th century by President Theodore Roosevelt. There is a legend that, weary of inconclusive talks with Colombia over the right to dig a canal through its then-province Panama, he remarked, "Negotiating with those pirates is like trying to nail currant jelly to the wall." Roosevelt's government subsequently encouraged the anti-Colombian insurgency that created the nation of Panama.
Node:line 666, Next:line eater the, Previous:like nailing jelly to a tree, Up:= L = line 666 [from Christian eschatological myth] n. The notional line of source at which a program fails for obscure reasons, implying either that somebody is out to get it (when you are the programmer), or that it richly deserves to be so gotten (when you are not). "It works when I trace through it, but seems to crash on line 666 when I run it." "What happens is that whenever a large batch comes through, mmdf dies on the Line of the Beast. Probably some twit hardcoded a buffer size."
Node:line eater the, Next:line noise, Previous:line 666, Up:= L = line eater, the n


LEVIATHAN By Thomas Hobbes 1651 LEVIATHAN OR THE MATTER,FORME, & POWER OF A COMMON-WEALTH ECCLESIASTICAL AND CIVILL Thomas Hobbes of Malmesbury Printed for Andrew Crooke, at the Green Dragon in St. Paul's Churchyard, 1651.

 Hobbes used capitals and italics very extensively, for emphasis, for proper names, for quotations, and sometimes, it seems, just because.

 The original has very extensive margin notes, which are used to show where he introduces the definitions of words and concepts, to give in short the subject that a paragraph or section is dealing with, and to give references to his quotations, largely but not exclusively biblical.
 To some degree, these margin notes seem to have been intended to serve in place of an index, the original having none. They are all in italics.

 He also used italics for words in other languages than English, and there are a number of Greek words, in the Greek alphabet, in the text.

 To deal with these within the limits of plain vanilla ASCII, I have done the following in this E-text.

 I have restricted my use of full capitalization to those places where Hobbes used it, except in the chapter headings, which I have fully capitalized, where Hobbes used a mixture of full capitalization and italics.

 Where it is clear that the italics are to indicate the text is quoting, I have introduced quotation marks. Within quotation marks I have retained the capitalization that Hobbes used.

 Where italics seem to be used for emphasis, or for proper names, or just because, I have capitalized the initial letter of the words. This has the disadvantage that they are not then distinguished from those that Hobbes capitalized in plain text, but the extent of his italics would make the text very ugly if I was to use an underscore or slash.

 Where the margin notes are either to introduce the paragraph subject, or to show where he introduces word definitions, I have included them as headers to the paragraph, again with all words having initial capitals, and on a shortened line.

 For margin references to quotes, I have included them in the text, in brackets immediately next to the quotation. Where Hobbes included references in the main text, I have left them as he put them, except to change his square brackets to round.

 For the Greek alphabet, I have simply substituted the nearest ordinary letters that I can, and I have used initial capitals for foreign language words.

 Neither Thomas Hobbes nor his typesetters seem to have had many inhibitions about spelling and punctuation. I have tried to reproduce both exactly, with the exception of the introduction of quotation marks.

 In preparing the text, I have found that it has much more meaning if I read it with sub-vocalization, or aloud, rather than trying to read silently. Hobbes' use of emphasis and his eccentric punctuation and construction seem then to work.

 TO MY MOST HONOR'D FRIEND Mr. FRANCIS GODOLPHIN of GODOLPHIN HONOR'D SIR.

 Your most worthy Brother Mr SIDNEY GODOLPHIN, when he lived, was pleas'd to think my studies something, and otherwise to oblige me, as you know, with reall testimonies of his good opinion, great in themselves, and the greater for the worthinesse of his person. For there is not any vertue that disposeth a man, either to the service of God, or to the service of his Country, to Civill Society, or private Friendship, that did not manifestly appear in his conversation, not as acquired by necessity, or affected upon occasion, but inhaerent, and shining in a generous constitution of his nature. Therefore in honour and gratitude to him, and with devotion to your selfe, I humbly Dedicate unto you this my discourse of Common-wealth. I know not how the world will receive it, nor how it may reflect on those that shall seem to favour it. For in a way beset with those that contend on one side for too great Liberty, and on the other side for too much Authority, 'tis hard to passe between the points of both unwounded. But yet, me thinks, the endeavour to advance the Civill Power, should not be by the Civill Power condemned; nor private men, by reprehending it, declare they think that Power too great. Besides, I speak not of the men, but (in the Abstract) of the Seat of Power, (like to those simple and unpartiall creatures in the Roman Capitol, that with their noyse defended those within it, not because they were they, but there) offending none, I think, but those without, or such within (if there be any such) as favour them. That which perhaps may most offend, are certain Texts of Holy Scripture, alledged by me to other purpose than ordinarily they use to be by others. But I have done it with due submission, and also (in order to my Subject) necessarily; for they are the Outworks of the Enemy, from whence they impugne the Civill Power. If notwithstanding this, you find my labour generally decryed, you may be pleased to excuse your selfe, and say that I am a man that love my own opinions, and think all true I say, that I honoured your Brother, and honour you, and have presum'd on that, to assume the Title (without your knowledge) of being, as I am, Sir, Your most humble, and most obedient servant, Thomas Hobbes.

 Paris APRILL 15/25 1651.

Contents THE INTRODUCTION PART I. OF MAN CHAPTER I. OF SENSE CHAPTER II. OF IMAGINATION Memory Dreams Apparitions Or Visions Understanding CHAPTER III. OF THE CONSEQUENCE OR TRAYNE OF IMAGINATIONS Trayne Of Thoughts Unguided Trayne Of Thoughts Regulated Remembrance Prudence Signes Conjecture Of The Time Past CHAPTER IV. OF SPEECH Originall Of Speech The Use Of Speech Abuses Of Speech Names Proper & Common Universall Subject To Names Use Of Names Positive Negative Names With Their Uses Words Insignificant Understanding Inconstant Names CHAPTER V. OF REASON, AND SCIENCE.
 Reason What It Is Reason Defined Right Reason Where The Use Of Reason Of Error And Absurdity Causes Of Absurditie Science Prudence & Sapience, With Their Difference Signes Of Science CHAPTER VI. OF THE INTERIOUR BEGINNINGS OF VOLUNTARY MOTIONS COMMONLY CALLED THE PASSIONS, AND THE SPEECHES BY WHICH THEY ARE EXPRESSED.
 Motion Vitall And Animal Endeavour; Appetite; Desire; Hunger; Thirst; Aversion Contempt Good Evill Pulchrum Turpe; Delightfull Profitable; Unpleasant Unprofitable Delight Displeasure Pleasure Offence Pleasures Of Sense; Pleasures Of The Mind; Joy Paine Griefe The Will Formes Of Speech, In Passion Good And Evill Apparent Felicity Praise Magnification CHAPTER VII. OF THE ENDS OR RESOLUTIONS OF DISCOURSE Judgement, or Sentence Final; Doubt Science Opinion Conscience Beliefe Faith CHAPTER VIII.


And upbraided them with their unbelief.

Mark xvi. 14.
 Vet do not Upbraid us our distress.

Shak.
2. To reprove severely; to rebuke; to chide.

 Then began he to upbraid the cities wherein most of his mighty works were done.

Matt. xi. 20 How much doth thy kindness upbraid my wickedness!

Sir P. Sidney.
3. To treat with contempt. [Obs.] Spenser.
4. To object or urge as a matter of reproach; to cast up; — with to before the person. [Obs.] Bacon.
Syn. — To reproach; blame; censure; condemn.

 Up*braid", v. i. To utter upbraidings. Pope.
 Up*braid", n. The act of reproaching; contumely. [Obs.] " Foul upbraid."
 Spenser.
 Up*break" (p*brk"), v. i. To break upwards; to force away or passage to the surface.

 Up"break' (p"brk'), n. A breaking upward or bursting forth; an upburst. Mrs. Browning.
 Up*breathe" (p*br"), v. i. To breathe up or out; to exhale. [Obs.]
 Marston.
 Up*breed" (p*brd"), v. t. To rear, or bring up; to nurse. "Upbred in a foreign country." Holinshed.
 Up*brought" (?), a. Brought up; educated. [Obs.] Spenser.
 Up*buoy"ance (?), n. The act of buoying up; uplifting. [R.] Coleridge.
 Up"burst' (?), n. The act of bursting upwards; a breaking through to the surface; an upbreak or uprush; as, an upburst of molten matter.

 Up"cast' (?), a. Cast up; thrown upward; as, with upcast eyes. Addison.
 Up"cast' (?), n. 1. (Bowling) A cast; a throw. Shak.
2. (Mining.) The ventilating shaft of a mine out of which the air passes after having circulated through the mine; — distinguished from the downcast. Called also upcast pit, and upcast shaft.

3. An upset, as from a carriage. [Scot.]

4. A taunt; a reproach. [Scot.] Sir W. Scott.
 Up*cast" (?), v. t. 1. To cast or throw up; to turn upward.
 [Obs.] Chaucer.
2. To taunt; to reproach; to upbraid. [Scot.]

 Up"caught' (?), a. Seized or caught up. " She bears upcaught a mariner away." Cowper.
 Up*cheer" (?), v. t. To cheer up. Spenser.
 Up*climb" (?), v. t. & i. To climb up; to ascend.

Upclomb the shadowy pine above the woven copse.

Tennyson.
 Up*coil" (?), v. t. & i. To coil up; to make into a coil, or to be made into a coil.

 Up"coun'try (?), adv. In an upcountry direction; as, to live upcountry.
 [Colloq.]

 Up"coun'try, a. Living or situated remote from the seacoast; as, an upcountry residence. [Colloq.] — n. The interior of the country. [Colloq.]

 Up*curl" (?), v. t. To curl up. [R.] Tennyson.
 Up*dive" (?), v. i. To spring upward; to rise. [R.] Davies (Microcosmos).
 Up*draw" (?), v. t. To draw up. [R.] Milton.
 Up*end" (?), v. t. To end up; to set on end, as a cask.

 U'pey*gan" (?), n. (Zoöl.) The borele.

 Up*fill" (?), v. t. To fill up. [Obs.]

 Up*flow" (?), v. i. To flow or stream up. Southey.
 Up*flung" (?), a. Flung or thrown up.

 Up*gath"er (?), v. t. To gather up; to contract; to draw together.
 [Obs.]

 Himself he close upgathered more and more.

Spenser.
 Up*gaze" (?), v. i. To gaze upward. Byron.
 Up*give" (?), v. t. To give up or out. [Obs.]

 Up*grow" (?), v. i. To grow up. [R.] Milton.
 Up"growth' (?), n. The process or result of growing up; progress; development.

 The new and mighty upgrowth of poetry in Italy.

J. R. Green.
 Up"gush' (?), n. A gushing upward. Hawthorne.
 Up*gush" (?), v. i. To gush upward.

 Up*haf" (?), obs. imp. of Upheave. Chaucer.
 Up"hand' (?), a. Lifted by the hand, or by both hands; as, the uphand sledge. [R.] Moxon.
 Up*hang" (?), v. t. To hang up. Spenser.
 Up*hasp" (?), v. t. To hasp or faster up; to close; as, sleep uphasps the eyes. [R.] Stanyhurst.
 Up"heaped' (?), a. Piled up; accumulated.

 God, which shall repay all with upheaped measure.

Udall.
 Up*heav"al (?), n. The act of upheaving, or the state of being upheaved; esp., an elevation of a portion of the earth's crust. Lubbock.
 Up*heave", v. t. To heave or lift up from beneath; to raise. Milton.
 Up*held" (?), imp. & p. p. of Uphold.

 Up"her (?), n. (Arch.) A fir pole of from four to seven inches diameter, and twenty to forty feet long, sometimes roughly hewn, used for scaffoldings, and sometimes for slight and common roofs, for which use it is split. [Spelt also ufer.] [Eng.] Gwilt.
 Up*hill" (?), adv. Upwards on, or as on, a hillside; as, to walk uphill.

 Up"hill' (?), a. 1. Ascending; going up; as, an uphill road.

2. Attended with labor; difficult; as, uphill work.

 Up*hilt" (?), v. t. To thrust in up to the hilt; as, to uphilt one's sword into an enemy. [R.] Stanyhurst.
 Up*hoard" (?), v. t. To hoard up. [Obs.] Shak.
 Up*hold" (?), v. t. 1. To hold up; to lift on high; to elevate.

 The mournful train with groans, and hands upheld. Besought his pity.

Dryden.
2. To keep erect; to support; to sustain; to keep from falling; to maintain.

 Honor shall uphold the humble in spirit.

Prov. xxix 3.
 Faulconbridge, In spite of spite, alone upholds the day.

Shak.
3. To aid by approval or encouragement; to countenance; as, to uphold a person in wrongdoing.

 Up*hold"er (?), n. [Up + holder. Cf. Upholsterer.]

1. A broker or auctioneer; a tradesman. [Obs.]

2. An undertaker, or provider for funerals. [Obs.]

 The upholder, rueful harbinger of death.

Gay.
3. An upholsterer. [Obs.]

4. One who, or that which, upholds; a supporter; a defender; a sustainer.

 Up*hol"ster


God.

White.
5. Relating to an individual, his character, conduct, motives, or private affairs, in an invidious and offensive manner; as, personal reflections or remarks.

6. (Gram.) Denoting person; as, a personal pronoun.

Personal action (Law), a suit or action by which a man claims a debt or personal duty, or damages in lieu of it; or wherein he claims satisfaction in damages for an injury to his person or property, or the specific recovery of goods or chattels; -- opposed to real action.
 -- Personal equation. (Astron.) See under Equation. -- Personal estate or property (Law), movables; chattels; -- opposed to real estate or property. It usually consists of things temporary and movable, including all subjects of property not of a freehold nature. -- Personal identity (Metaph.), the persistent and continuous unity of the individual person, which is attested by consciousness. -- Personal pronoun (Gram.), one of the pronouns I, thou, he, she, it, and their plurals. -- Personal representatives (Law), the executors or administrators of a person deceased. -- Personal rights, rights appertaining to the person; as, the rights of a personal security, personal liberty, and private property. -- Personal tithes. See under Tithe. -- Personal verb (Gram.), a verb which is modified or inflected to correspond with the three persons.

 Per"son*al, n. (Law) A movable; a chattel.

 Per"son*al*ism (?), n. The quality or state of being personal; personality. [R.]

 Per'son*al"i*ty (?), n.; pl. Personalities (#). [Cf.
 F. personnalité. Cf. Personality.] 1. That which constitutes distinction of person; individuality.

Personality is individuality existing in itself, but with a nature as a ground.

Coleridge.
2. Something said or written which refers to the person, conduct, etc., of some individual, especially something of a disparaging or offensive nature; personal remarks; as, indulgence in personalities.

 Sharp personalities were exchanged.

Macaulay.
3. (Law) That quality of a law which concerns the condition, state, and capacity of persons. Burrill.
 Per"son*al*ize (?), v. t. [imp. & p. p. Personalized (?); p. pr. & vb. n. Personalizing (?).] To make personal.
 "They personalize death." H. Spencer.
 Per"son*al*ly, adv. 1. In a personal manner; by bodily presence; in person; not by representative or substitute; as, to deliver a letter personally.

 He, being cited, personally came not.

Grafton.
2. With respect to an individual; as regards the person; individually; particularly.

 She bore a mortal hatred to the house of Lancaster, and personally to the king.

Bacon.
3. With respect to one's individuality; as regards one's self; as, personally I have no feeling in the matter.

 Per"son*al*ty (?), n. 1. The state of being a person; personality. [R.]

2. (Law) Personal property, as distinguished from realty or real property.

 Per"son*ate (?), v. t. [imp. & p. p. Personated (?); p. pr. & vb. n. Personating (?).] [L. personare to cry out, LL., to extol. See Person.] To celebrate loudly; to extol; to praise.
 [Obs.]

 In fable, hymn, or song so personating Their gods ridiculous.

Milton.
 Per"son*ate, v. t. [L. personatus masked, assumed, fictitious, fr. persona a mask. See Person.] 1. To assume the character of; to represent by a fictitious appearance; to act the part of; hence, to counterfeit; to feign; as, he tried to personate his brother; a personated devotion. Hammond.
2. To set forth in an unreal character; to disguise; to mask. [R.]
 "A personated mate." Milton.
3. To personify; to typify; to describe. Shak.
 Per"son*ate, v. i. To play or assume a character.

 Per"son*ate (?), a. [L. personatus masked.] (Bot.)
 Having the throat of a bilabiate corolla nearly closed by a projection of the base of the lower lip; masked, as in the flower of the snapdragon.

 Per'son*a"tion (?), n. The act of personating, or conterfeiting the person or character of another.

 Per"son*a'tor (?), n. One who personates. "The personators of these actions." B. Jonson.
 Per'son*e"i*ty (?), n. Personality. [R.] Coleridge.
 Per*son'i*fi*ca"tion (?), n. [Cf. F. personnification.] 1.
 The act of personifying; impersonation; embodiment. C. Knight.
2. (Rhet.) A figure of speech in which an inanimate object or abstract idea is represented as animated, or endowed with personality; prosopop&?;ia; as, the floods clap their hands. "Confusion heards his voice." Milton.
 Per*son"i*fi'er (?), n. One who personifies.

 Per*son"i*fy (?), v. t. [imp. & p. p. Personified (?); p. pr. & vb. n. Personifying (?).] [Person + -fy: cf. F. personnifier.] 1. To regard, treat, or represent as a person; to represent as a rational being.

 The poets take the liberty of personifying inanimate things.

Chesterfield.
2. To be the embodiment or personification of; to impersonate; as, he personifies the law.

 Per"son*ize (?), v. t. To personify. [R.]

 Milton has personized them.

J. Richardson.
 ||Per'son'nel" (?), n. [F. See Personal.] The body of persons employed in some public service, as the army, navy, etc.; -- distinguished from matériel.

 Per*spec"tive (?), a. [L. perspicere, perspectum, to look through; per + spicere, specere, to look: cf. F. perspectif; or from E. perspective, n. See Spy, n.] 1. Of or pertaining to the science of vision; optical. [Obs.] Bacon.
2. Pertaining to the art, or in accordance with the laws, of perspective.

Perspective plane, the plane or surface on which the objects are delineated, or the picture drawn; the plane of projection; -- distinguished from the ground plane, which is that on which the objects are represented as standing. When this plane is oblique to the principal face of the object, the perspective is called oblique perspective; when parallel to that face, parallel perspective.
 -- Perspective shell (Zoöl.), any shell of the genus Solarium and allied genera. See Solarium.

 Per*spec"tive, n. [F. perspective, fr. perspectif: cf. It. perspettiva. See Perspective, a.] 1. A glass through which objects are viewed. [Obs.] "Not a perspective, but a mirror." Sir T. Browne.
2. That which is seen through an opening; a view; a vista. "The perspective of life." Goldsmith.
3. The effect of distance upon the appearance of objects, by means of which the eye recognized them as being at a more or less measurable distance. Hence, aërial perspective, the assumed greater vagueness or uncertainty of outline in distant objects.


a strong attachment to his country, to his profession, to his principles, and even to favorite places; in respect to none of these could we use the word affection.

 At*tack" (&?;), v. t. [imp. & p. p. Attacked (&?;); p. pr. & vb. n. Attacking.] [F. attaquer, orig. another form of attacher to attack: cf. It. attacare to fasten, attack. See Attach, Tack a small nail.] 1. To fall upon with force; to assail, as with force and arms; to assault. "Attack their lines." Dryden.
2. To assail with unfriendly speech or writing; to begin a controversy with; to attempt to overthrow or bring into disrepute, by criticism or satire; to censure; as, to attack a man, or his opinions, in a pamphlet.

3. To set to work upon, as upon a task or problem, or some object of labor or investigation.

4. To begin to affect; to begin to act upon, injuriously or destructively; to begin to decompose or waste.

 On the fourth of March he was attacked by fever. Macaulay.
 Hydrofluoric acid... attacks the glass. B. Stewart.
Syn. -- To Attack, Assail, Assault, Invade. These words all denote a violent onset; attack being the generic term, and the others specific forms of attack. To attack is to commence the onset; to assail is to make a sudden and violent attack, or to make repeated attacks; to assault (literally, to leap upon) is to attack physically by a had-to-hand approach or by unlawful and insulting violence; to invade is to enter by force on what belongs to another. Thus, a person may attack by offering violence of any kind; he may assail by means of missile weapons; he may assault by direct personal violence; a king may invade by marching an army into a country. Figuratively, we may say, men attack with argument or satire; they assail with abuse or reproaches; they may be assaulted by severe temptations; the rights of the people may be invaded by the encroachments of the crown.

 At*tack", v. i. To make an onset or attack.

 At*tack", n. [Cf. F. attaque.] 1. The act of attacking, or falling on with force or violence; an onset; an assault; -- opposed to defense.

2. An assault upon one's feelings or reputation with unfriendly or bitter words.

3. A setting to work upon some task, etc.

4. An access of disease; a fit of sickness.

5. The beginning of corrosive, decomposing, or destructive action, by a chemical agent.

 At*tack"a*ble (&?;), a. Capable of being attacked.

 At*tack"er (&?;), n. One who attacks.

 { At"ta*gas (&?;), At"ta*gen (&?;), } n. [L. attagen a kind of bird, Gr. &?;, &?;.] (Zoöl.) A species of sand grouse (Syrrghaptes Pallasii) found in Asia and rarely in southern Europe.

 At"ta*ghan (t"t*gn), n. See Yataghan.

 At*tain" (t*tn"), v. t. [imp. & p. p. Attained (-tnd"); p. pr. & vb. n. Attaining.] [Of. atteinen, atteignen, atainen, OF. ateindre, ataindre, F. atteindre, fr. L. attingere; ad + tangere to touch, reach. See Tangent, and cf. Attinge, Attaint.] 1. To achieve or accomplish, that is, to reach by efforts; to gain; to compass; as, to attain rest.

 Is he wise who hopes to attain the end without the means? Abp.
 Tillotson.
2. To gain or obtain possession of; to acquire. [Obs. with a material object.] Chaucer.
3. To get at the knowledge of; to ascertain. [Obs.]

 Not well attaining his meaning. Fuller.
4. To reach or come to, by progression or motion; to arrive at.
 "Canaan he now attains." Milton.
5. To overtake. [Obs.] Bacon.
6. To reach in excellence or degree; to equal.

Syn. -- To Attain, Obtain, Procure. Attain always implies an effort toward an object. Hence it is not synonymous with obtain and procure, which do not necessarily imply such effort or motion.
 We procure or obtain a thing by purchase or loan, and we obtain by inheritance, but we do not attain it by such means.

 At*tain", v. i. 1. To come or arrive, by motion, growth, bodily exertion, or efforts toward a place, object, state, etc.; to reach.

 If by any means they might attain to Phenice. Acts xxvii.
 12.
 Nor nearer might the dogs attain. Sir W. Scott.
 To see your trees attain to the dignity of timber. Cowper.
 Few boroughs had as yet attained to power such as this. J. R. Green.
2. To come or arrive, by an effort of mind.

 Such knowledge is too wonderful for me; it is high, I can not attain unto it. Ps. cxxxix. 6.
 At*tain", n. Attainment. [Obs.]

 At*tain'a*bil"i*ty (&?;), n. The quality of being attainable; attainableness.

 At*tain"a*ble (&?;), a. 1. Capable of being attained or reached by efforts of the mind or body; capable of being compassed or accomplished by efforts directed to the object.

 The highest pitch of perfection attainable in this life. Addison.
2. Obtainable. [Obs.]

 General Howe would not permit the purchase of those articles [clothes and blankets] in Philadelphia, and they were not attainable in the country. Marshall.
 At*tain"a*ble*ness, n. The quality of being attainable; attainability.

 At*tain"der (&?;), n. [OF. ataindre, ateindre, to accuse, convict. Attainder is often erroneously referred to F. teindre tie stain. See Attaint, Attain.] 1. The act of attainting, or the state of being attainted; the extinction of the civil rights and capacities of a person, consequent upon sentence of death or outlawry; as, an act of attainder. Abbott.
 Formerly attainder was the inseparable consequence of a judicial or legislative sentence for treason or felony, and involved the forfeiture of all the real and personal property of the condemned person, and such "corruption of blood" that he could neither receive nor transmit by inheritance, nor could he sue or testify in any court, or claim any legal protection or rights. In England attainders are now abolished, and in the United States the Constitution provides that no bill of attainder shall be passed; and no attainder of treason (in consequence of a judicial sentence) shall work corruption of blood or forfeiture, except during the life of the person attainted.

2. A stain or staining; state of being in dishonor or condemnation.
 [Obs.]

 He lived from all attainder of suspect. Shak.
Bill of attainder, a bill brought into, or passed by, a legislative body, condemning a person to death or outlawry, and attainder, without judicial sentence.

 At*tain"ment (&?;), n. 1. The act of attaining; the act of arriving at or reaching; hence, the act of obtaining by efforts.

 The attainment of every desired object. Sir W. Jones.
2. That which is attained to


or figures, on some hard substance; to engrave.

 Thou shalt take two onyx stones, and grave on them the names of the children of Israel.

Ex. xxviii. 9.
3. To carve out or give shape to, by cutting with a chisel; to sculpture; as, to grave an image.

 With gold men may the hearte grave.

Chaucer.
4. To impress deeply (on the mind); to fix indelibly.

 O! may they graven in thy heart remain.

Prior.
5. To entomb; to bury. [Obs.] Chaucer.
 Lie full low, graved in the hollow ground.

Shak.
 Grave, v. i. To write or delineate on hard substances, by means of incised lines; to practice engraving.

 Grave, n. [AS. gr?f, fr. grafan to dig; akin to D.
 & OS. graf, G. grab, Icel. gröf, Russ. grob' grave, coffin. See Grave to carve.] An excavation in the earth as a place of burial; also, any place of interment; a tomb; a sepulcher. Hence: Death; destruction.

 He bad lain in the grave four days.

John xi. 17.
Grave wax, adipocere.

 Grave"clothes' (&?;), n. pl. The clothes or dress in which the dead are interred.

 Grave"dig'ger (?), n. 1. A digger of graves.

2. (Zoöl.) See Burying beetle, under Bury, v. t. Grav"el (?), n. [OF. gravele, akin to F. gr?ve a sandy shore, strand; of Celtic origin; cf. Armor. grouan gravel, W. gro coarse gravel, pebbles, and Skr. grvan stone.] 1.
 Small stones, or fragments of stone; very small pebbles, often intermixed with particles of sand.

2. (Med.) A deposit of small calculous concretions in the kidneys and the urinary or gall bladder; also, the disease of which they are a symptom.

Gravel powder, a coarse gunpowder; pebble powder.

 Grav"el, v. t. [imp. & p. p. Graveled (?) or Gravelled; p. pr. & vb. n. Graveling or Gravelling.]

1. To cover with gravel; as, to gravel a walk.

2. To run (as a ship) upon the gravel or beach; to run aground; to cause to stick fast in gravel or sand.

 When we were fallen into a place between two seas, they graveled the ship.

Acts xxvii. 41 (Rhemish version).
 Willam the Conqueror... chanced as his arrival to be graveled; and one of his feet stuck so fast in the sand that he fell to the ground.

Camden.
3. To check or stop; to embarrass; to perplex. [Colloq.]

 When you were graveled for lack of matter.

Shak.
 The physician was so graveled and amazed withal, that he had not a word more to say.

Sir T. North.
4. To hurt or lame (a horse) by gravel lodged between the shoe and foot.

 Grave"less (?), a. Without a grave; unburied.

 Grav"el*ing (?), or Grav"el*ling, n. 1. The act of covering with gravel.

2. A layer or coating of gravel (on a path, etc.).

 Grav"el*ing, or Grav"el*ling, n. (Zoöl.) A salmon one or two years old, before it has gone to sea.

 Grav"el*li*ness (?), n. State of being gravelly.

 Grav"el*ly (?), a. Abounding with gravel; consisting of gravel; as, a gravelly soil.

 Grav"el-stone" (?), n. A pebble, or small fragment of stone; a calculus.

 Grave"ly (?), adv. In a grave manner.

 Grav"en (?), p. p. of Grave, v. t. Carved.

Graven image, an idol; an object of worship carved from wood, stone, etc. "Thou shalt not make unto thee any graven image." Ex.
 xx. 4.
 Grave"ness, n. The quality of being grave.

 His sables and his weeds, Importing health and graveness.

Shak.
 Gra"ven*stein" (?), n. [So called because it came from Gravenstein, a place in Schleswig. Downing.] A kind of fall apple, marked with streaks of deep red and orange, and of excellent flavor and quality.

 Gra*ve"o*lence (?), n. [L. graveolentia: cf. F. gravéolence.
 See Graveolent.] A strong and offensive smell; rancidity. [R.] Bailey.
 Gra*ve"o*lent (?), a. [L. graveolens; gravis heavy + olere to smell.] Having a rank smell. [R.] Boyle.
 Graver (?), n. 1. One who graves; an engraver or a sculptor; one whose occupation is te cut letters or figures in stone or other hard material.

2. An ergraving or cutting tool; a burin.

 Grav"er*y (?), n. The act, process, or art, of graving or carving; engraving.

 Either of picture or gravery and embossing.

Holland.
 Graves (?), n. pl. The sediment of melted tallow. Same as Greaves.

 Graves"' dis*ease" (?). [So called after Dr. Graves, of Dublin.]
 Same as Basedow's disease.

 Grave"stone (?), n. A stone laid over, or erected near, a grave, usually with an inscription, to preserve the memory of the dead; a tombstone.

 Grave"yard" (?), n. A yard or inclosure for the interment of the dead; a cemetery.

 Grav"ic (?), a. Pertaining to, or causing, gravitation; as, gravic forces; gravic attraction. [R.]

 Grav"id (?), a. [L. gravidus, fr. gravis heavy, loaded. See Grave, a.] Being with child; heavy with young; pregnant; fruitful; as, a gravid uterus; gravid piety. " His gravid associate." Sir T. Herbert.
 Grav"i*da"ted (?), a. [L. gravidatus, p. p. of gravidare to load, impregnate. See Gravid.] Made pregnant; big. [Obs.] Barrow.
 Grav"i*da"tion (?), n. Gravidity. [Obs.]

 Gra*vid"i*ty (?), n. [L. graviditas.] The state of being gravidated; pregnancy. [R.]

 Grav"i*grade (?), a. [L. gravis heavy + gradus step.] (Zoöl.)
 Slow-paced. -- n. One of the pachyderms.

 Gra*vim"e*ter (?), n. [L. gravis heavy + -meter: cf.
 F. gravimètre.] (Physics) An instrument for ascertaining the specific gravity of bodies.

 Grav"i*met"ric (?), a. (Chem.) Of or pertaining to measurement by weight; measured by weight. -- Grav"i*met"ric*al*ly (#), adv.

Gravimetric analysis (Chem.), analysis in which the amounts of the constituents are determined by weight; -- in distinction from volumetric analysis.

 Grav"ing (?), n. [From Grave to clean.] The act of cleaning a ship's bottom.

Graving dock. (Naut.) See under Dock.

 Grav"ing, n


Editorial Note: Wives and Daughters was first published serially in the Cornhill Magazine from August, 1864, to January, 1866. Elizabeth Gaskell died suddenly in November, 1865. She had completed all but the last chapter, and in that sense the book, which many consider her masterpiece, is unfinished. The editor of the Cornhill Magazine, Frederick Greenwood, appended his comments about Mrs. Gaskell's intentions for the conclusion and about Mrs. Gaskell as a person.
 Those comments are included at the end of this e-book. Wives and Daughters was first published in book form in 1866 by Smith, Elder.
 Both the Cornhill serial and the Smith, Elder first edition had eighteen full-page illustrations by George du Maurier, and those are included in this e-book. The Cornhill edition also had small illustrations at the beginning of seventeen chapters, and those too are included.

Molly's New Bonnet.
WIVES AND DAUGHTERS.
AN EVERY-DAY STORY.
BY MRS. GASKELL.
WITH ILLUSTRATIONS BY GEORGE DU MAURIER.
CONTENTS I. THE DAWN OF A GALA DAY.
II. A NOVICE AMONGST THE GREAT FOLK.
III. MOLLY GIBSON'S CHILDHOOD.
IV. MR. GIBSON'S NEIGHBOURS.
V. CALF-LOVE.
VI. A VISIT TO THE HAMLEYS.
VII. FORESHADOWS OF LOVE PERILS.
VIII. DRIFTING INTO DANGER.
IX. THE WIDOWER AND THE WIDOW.
X. A CRISIS.
XI. MAKING FRIENDSHIP.
XII. PREPARING FOR THE WEDDING.
XIII. MOLLY GIBSON'S NEW FRIENDS.
XIV. MOLLY FINDS HERSELF PATRONIZED.
XV. THE NEW MAMMA.
XVI. THE BRIDE AT HOME.
XVII. TROUBLE AT HAMLEY HALL.
XVIII. MR. OSBORNE'S SECRET.
XIX. CYNTHIA'S ARRIVAL.
XX. MRS. GIBSON'S VISITORS.
XXI. THE HALF-SISTERS.
XXII. THE OLD SQUIRE'S TROUBLES.
XXIII. OSBORNE HAMLEY REVIEWS HIS POSITION.
XXIV. MRS. GIBSON'S LITTLE DINNER.
XXV. HOLLINGFORD IN A BUSTLE.
XXVI. A CHARITY BALL.
XXVII. FATHER AND SONS.
XXVIII. RIVALRY.
XXIX. BUSH-FIGHTING.
XXX. OLD WAYS AND NEW WAYS.
XXXI. A PASSIVE COQUETTE.
XXXII. COMING EVENTS.
XXXIII. BRIGHTENING PROSPECTS.
XXXIV. A LOVER'S MISTAKE.
XXXV. THE MOTHER'S MANŒUVRE.
XXXVI. DOMESTIC DIPLOMACY.
XXXVII. A FLUKE, AND WHAT CAME OF IT.
XXXVIII. MR. KIRKPATRICK, Q.C.
XXXIX. SECRET THOUGHTS OOZE OUT.
XL. MOLLY GIBSON BREATHES FREELY.
XLI. GATHERING CLOUDS.
XLII. THE STORM BURSTS.
XLIII. CYNTHIA'S CONFESSION.
XLIV. MOLLY GIBSON TO THE RESCUE.
XLV. CONFIDENCES.
XLVI. HOLLINGFORD GOSSIPS.
XLVII. SCANDAL AND ITS VICTIMS.
XLVIII. AN INNOCENT CULPRIT.
XLIX. MOLLY GIBSON FINDS A CHAMPION.
L. CYNTHIA AT BAY.
LI. "TROUBLES NEVER COME ALONE."
LII. SQUIRE HAMLEY'S SORROW.
LIII. UNLOOKED-FOR ARRIVALS.
LIV. MOLLY GIBSON'S WORTH IS DISCOVERED.
LV. AN ABSENT LOVER RETURNS.
LVI. "OFF WITH THE OLD LOVE, AND ON WITH THE NEW."
LVII. BRIDAL VISITS AND ADIEUX.
LVIII. REVIVING HOPES AND BRIGHTENING PROSPECTS.
LIX. MOLLY GIBSON AT HAMLEY HALL.
LX. ROGER HAMLEY'S CONFESSION.
 CONCLUDING REMARKS. [By the Editorof The Cornhill Magazine.]
ILLUSTRATIONS MOLLY'S NEW BONNET.
A LOVE LETTER.
VÆ VICTIS!
THE NEW MAMMA.
UNWELCOME ATTENTIONS.
SHAKSPEARE AND THE MUSICAL GLASSES.
FIRST IMPRESSIONS.
ROGER IS INTRODUCED AND ENSLAVED.
"TU T'EN REPENTIRAS, COLIN."
"WHY, OSBORNE, IS IT YOU?"
THE BURNING OF THE GORSE.
THE LAST TURNING.
"OH! IT IS NO WONDER!"
"I TRUST THIS WILL NEVER OCCUR AGAIN, CYNTHIA!"
THERE STOOD MR. PRESTON AND CYNTHIA.
LADY HARRIET ASKS ONE OR TWO QUESTIONS.
"MAMAN, MAMAN!"
"CYNTHIA'S LAST LOVER."
CHAPTER I. THE DAWN OF A GALA DAY.
To begin with the old rigmarole of childhood. In a country there was a shire, and in that shire there was a town, and in that town there was a house, and in that house there was a room, and in that room there was a bed, and in that bed there lay a little girl; wide awake and longing to get up, but not daring to do so for fear of the unseen power in the next room—a certain Betty, whose slumbers must not be disturbed until six o'clock struck, when she wakened of herself "as sure as clockwork," and left the household very little peace afterwards. It was a June morning, and early as it was, the room was full of sunny warmth and light.
On the drawers opposite to the little white dimity bed in which Molly Gibson lay, was a primitive kind of bonnet-stand on which was hung a bonnet, carefully covered over from any chance of dust with a large cotton handkerchief, of so heavy and serviceable a texture that if the thing underneath it had been a flimsy fabric of gauze and lace and flowers, it would have been altogether "scomfished" (again to quote from Betty's vocabulary). But the bonnet was made of solid straw, and its only trimming was a plain white ribbon put over the crown, and forming the strings. Still, there was a neat little quilling inside, every plait of which Molly knew, for had she not made it herself the evening before, with infinite pains? and was there not a little blue bow in this quilling, the very first bit of such finery Molly had ever had the prospect of wearing?
Six o'clock now! the pleasant, brisk ringing of the church bells told that; calling every one to their daily work, as they had done for hundreds of years. Up jumped Molly, and ran with her bare little feet across the room, and lifted off the handkerchief and saw once again the bonnet; the pledge of the gay bright day to come. Then to the window, and after some tugging she opened the casement, and let in the sweet morning air. The dew was already off the flowers in the garden below, but still rising from the long hay-grass in the meadows directly beyond. At one side lay the little town of Hollingford, into a street of which Mr. Gibson's front door opened; and delicate columns, and little puffs of smoke were already beginning to rise from many a cottage chimney where some housewife was already up, and preparing breakfast for the bread-winner of the family.
Molly Gibson saw all this, but all she thought about it was, "Oh! it will be a fine day! I was afraid it never, never would come; or that, if it ever came, it would be a rainy day!" Five-and-forty years ago, children's pleasures in a country town were very simple, and Molly had lived for twelve long years without the occurrence of any event so great as that which was now impending. Poor child! it is true that she had lost her


the etext.

 Footnotes added by myself are always initialed (A. L.), unless they merely note the chapter and paragraph corresponding to a page number given in the text.


rat. (Zoöl.) (a) See Pocket Gopher, under Pocket. (b) Any African rodent of the genus Cricetomys. -- Rat Indians (Ethnol.), a tribe of Indians dwelling near Fort Ukon, Alaska. They belong to the Athabascan stock. -- Rat mole. (Zoöl.)
 See Mole rat, under Mole. -- Rat pit, an inclosed space into which rats are put to be killed by a dog for sport. -- Rat snake (Zoöl.), a large colubrine snake (Ptyas mucosus) very common in India and Ceylon. It enters dwellings, and destroys rats, chickens, etc. -- Spiny rat (Zoöl.), any South American rodent of the genus Echinomys.
 -- To smell a rat. See under Smell. -- Wood rat (Zoöl.), any American rat of the genus Neotoma, especially N. Floridana, common in the Southern United States. Its feet and belly are white.

 Rat, v. i. [imp. & p. p. Ratted; p. pr. & vb. n.
 Ratting.] 1. In English politics, to desert one's party from interested motives; to forsake one's associates for one's own advantage; in the trades, to work for less wages, or on other conditions, than those established by a trades union.

 Coleridge... incurred the reproach of having ratted, solely by his inability to follow the friends of his early days.

De Quincey.
2. To catch or kill rats.

 Ra"ta (rä"t), n. [Maori.] (Bot.) A New Zealand forest tree (Metrosideros robusta), also, its hard dark red wood, used by the Maoris for paddles and war clubs.

 Rat'a*bil"i*ty (rt'*bl"*t), n. The quality or state of being ratable.

 Rat"a*ble (rt"*b'l), a. 1. Capable of being rated, or set at a certain value.

 Twenty oræ were ratable to [at] two marks of silver.

Camden.
2. Liable to, or subjected by law to, taxation; as, ratable estate.

3. Made at a proportionate rate; as, ratable payments. -- Rat"a*ble*ness, n. -- Rat"a*bly, adv.
 Rat'a*fi"a (rt'*f"), n. [F., fr. Malay arak arrack + tfa a spirit distilled from molasses.] A spirituous liquor flavored with the kernels of cherries, apricots, peaches, or other fruit, spiced, and sweetened with sugar; -- a term applied to the liqueurs called noyau, curaçao, etc. [Written also ratifia and ratafee.]

 Ra*tan" (r*tn"), n. See Rattan.

 Rat"a*ny (rt"*n), n. (Bot.) Same as Rhatany.

 ||Ra'ta'plan" (r't'pläN"), n. [F.] The iterative sound of beating a drum, or of a galloping horse.

 Ratch (rch), n. (Zoöl.) Same as Rotche.

 Ratch (rch), n. [See Rack the instrument, Ratchet.] A ratchet wheel, or notched bar, with which a pawl or click works.

 Ratch"el (-l), n. Gravelly stone. [Prov. Eng.]

 Ratch"et (-t), n. [Properly a diminutive from the same word as rack: cf. F. rochet. See 2d Ratch, Rack the instrument.] 1. A pawl, click, or detent, for holding or propelling a ratchet wheel, or ratch, etc.

2. A mechanism composed of a ratchet wheel, or ratch, and pawl. See Ratchet wheel, below, and 2d Ratch.

Ratchet brace (Mech.), a boring brace, having a ratchet wheel and pawl for rotating the tool by back and forth movements of the brace handle. -- Ratchet drill, a portable machine for working a drill by hand, consisting of a hand lever carrying at one end a drill holder which is revolved by means of a ratchet wheel and pawl, by swinging the lever back and forth. -- Ratchet wheel (Mach.), a circular wheel having teeth, usually angular, with which a reciprocating pawl engages to turn the wheel forward, or a stationary pawl to hold it from turning backward.

 In the cut, the moving pawl c slides over the teeth in one direction, but in returning, draws the wheel with it, while the pawl d prevents it from turning in the contrary direction.

 Rate (rt), v. t. & i. [Perh. fr. E. rate, v. t., to value at a certain rate, to estimate, but more prob. fr. Sw. rata to find fault, to blame, to despise, to hold cheap; cf. Icel. hrat refuse, hrati rubbish.] To chide with vehemence; to scold; to censure violently. Spenser.
 Go, rate thy minions, proud, insulting boy!

Shak.
 Conscience is a check to beginners in sin, reclaiming them from it, and rating them for it.

Barrow.
 Rate, n. [OF., fr. L. rata (sc. pars), fr. ratus reckoned, fixed by calculation, p. p. of reri to reckon, to calculate. Cf. Reason.] 1. Established portion or measure; fixed allowance.

 The one right feeble through the evil rate Of food which in her duress she had found.

Spenser.
2. That which is established as a measure or criterion; degree; standard; rank; proportion; ratio; as, a slow rate of movement; rate of interest is the ratio of the interest to the principal, per annum.

 Heretofore the rate and standard of wit was different from what it is nowadays.

South.
 In this did his holiness and godliness appear above the rate and pitch of other men's, in that he was so... merciful.

Calamy.
 Many of the horse could not march at that rate, nor come up soon enough.

Clarendon.
3. Valuation; price fixed with relation to a standard; cost; charge; as, high or low rates of transportation.

 They come at dear rates from Japan.

Locke.
4. A tax or sum assessed by authority on property for public use, according to its income or value; esp., in England, a local tax; as, parish rates; town rates.

5. Order; arrangement. [Obs.]

 Thus sat they all around in seemly rate.

Spenser.
6. Ratification; approval. [R.] Chapman.
7. (Horol.) The gain or loss of a timepiece in a unit of time; as, daily rate; hourly rate; etc.

8. (Naut.) (a) The order or class to which a war vessel belongs, determined according to its size, armament, etc.; as, first rate, second rate, etc. (b) The class of a merchant vessel for marine insurance, determined by its relative safety as a risk, as A1, A2, etc.

 Rate, v. t. [imp. & p. p. Rated; p. pr. & vb. n.
 Rating.] 1. To set a certain estimate on; to value at a certain price or degree.

 To rate a man by the nature of his companions is a rule frequent indeed, but not infallible.

South.
 You seem not high enough your joys to rate.

Dryden.
2. To assess for the payment of a rate or tax.