From 1bd2d10a8c619ddfcbb9c3424b410259e4949440 Mon Sep 17 00:00:00 2001 From: milesgranger Date: Thu, 23 Jul 2020 13:21:19 +0200 Subject: [PATCH 1/2] Makefile: Add dev-install step --- Makefile | 6 ++++++ 1 file changed, 6 insertions(+) diff --git a/Makefile b/Makefile index 8324c187..f365d6e8 100644 --- a/Makefile +++ b/Makefile @@ -17,3 +17,9 @@ bench-gzip: bench-brotli: $(BASE_BENCH_CMD) brotli + +dev-install: + rm -rf ./wheels + maturin build --release --out wheels --interpreter $(shell which python) + pip uninstall cramjam -y + pip install --no-index wheels/* From 5389773306f263f72ffe74aac8f1710e9a285127 Mon Sep 17 00:00:00 2001 From: milesgranger Date: Thu, 23 Jul 2020 15:37:30 +0200 Subject: [PATCH 2/2] Improve benchmarks --- Makefile | 2 +- benchmarks/README.md | 167 +- benchmarks/data/COPYING | 23 + benchmarks/data/Mark.Twain-Tom.Sawyer.txt | 396 + benchmarks/data/alice29.txt | 3609 +++++++ benchmarks/data/asyoulik.txt | 4122 ++++++++ benchmarks/data/fireworks.jpeg | Bin 0 -> 123093 bytes benchmarks/data/geo.protodata | Bin 0 -> 118588 bytes benchmarks/data/html | 1 + benchmarks/data/html_x_4 | 1 + benchmarks/data/kppkn.gtb | Bin 0 -> 184320 bytes benchmarks/data/lcet10.txt | 7519 ++++++++++++++ benchmarks/data/paper-100k.pdf | Bin 0 -> 102400 bytes benchmarks/data/plrabn12.txt | 10699 ++++++++++++++++++++ benchmarks/data/urls.10K | 10000 ++++++++++++++++++ benchmarks/test_bench.py | 40 +- 16 files changed, 36508 insertions(+), 71 deletions(-) create mode 100644 benchmarks/data/COPYING create mode 100644 benchmarks/data/Mark.Twain-Tom.Sawyer.txt create mode 100644 benchmarks/data/alice29.txt create mode 100644 benchmarks/data/asyoulik.txt create mode 100644 benchmarks/data/fireworks.jpeg create mode 100644 benchmarks/data/geo.protodata create mode 100644 benchmarks/data/html create mode 100644 benchmarks/data/html_x_4 create mode 100644 benchmarks/data/kppkn.gtb create mode 100644 benchmarks/data/lcet10.txt create mode 100644 benchmarks/data/paper-100k.pdf create mode 100644 benchmarks/data/plrabn12.txt create mode 100644 benchmarks/data/urls.10K diff --git a/Makefile b/Makefile index f365d6e8..1e229438 100644 --- a/Makefile +++ b/Makefile @@ -1,4 +1,4 @@ -BASE_BENCH_CMD = python -m pytest -v --benchmark-only benchmarks/ -k +BASE_BENCH_CMD = python -m pytest -v --benchmark-sort name --benchmark-only benchmarks/ -k test: python -m pytest -v --ignore benchmarks diff --git a/benchmarks/README.md b/benchmarks/README.md index 9f9bf95b..92ab2492 100644 --- a/benchmarks/README.md +++ b/benchmarks/README.md @@ -9,18 +9,10 @@ to produce the following benchmarks on a fairly modern machine. If you'd like to run these yourself, you'll need whatever according system dependency, if any, required by the specific algorithm as well as the Python -lib installed. Can install all via `pip install -r benchmark-requirements.txt`. +lib installed. Can install all via `pip install -r benchmark-requirements.txt`. -Note that some are faster, some are slower. Depending on your situation, this lib -may be a good trade-off. I make no _real_ attempt at speed, but a focus -on pure Rust implementations (or those that can be statically compiled), meaning no -system libraries or third-party dependencies are required. - -The resulting output from benchmarks indicate what lib was used, (`cramjam` vs `gzip`) -and the following number represents (about) how many MB was used in a round-trip iteration -during the benchmark. For example: - -`test_gzip[cramjam-1]` indicates `cramjam` and 1MB was used during the gzip benchmark. +The resulting output from benchmarks indicate what file and lib was used, (`cramjam` vs `gzip`) +`test_gzip[urls.10K-cramjam]` indicates `cramjam` and `benchmarks/data/urls.10K` file was used during the gzip benchmark. --- @@ -29,16 +21,35 @@ during the benchmark. For example: `make bench-gzip` ```bash ---------------------------------------------------------------------------------------- benchmark: 6 tests -------------------------------------------------------------------------------------- -Name (time in ms) Min Max Mean StdDev Median IQR Outliers OPS Rounds Iterations -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- -test_gzip[cramjam-1] 4.3467 (1.0) 4.9494 (1.0) 4.4423 (1.0) 0.0833 (1.0) 4.4147 (1.0) 0.0710 (1.0) 26;15 225.1111 (1.0) 179 1 -test_gzip[gzip-1] 7.9946 (1.84) 11.6538 (2.35) 8.7541 (1.97) 0.6237 (7.49) 8.6428 (1.96) 0.6360 (8.96) 31;5 114.2324 (0.51) 120 1 -test_gzip[cramjam-10] 44.9814 (10.35) 50.3039 (10.16) 45.7286 (10.29) 1.2207 (14.66) 45.3096 (10.26) 0.8114 (11.43) 1;1 21.8682 (0.10) 18 1 -test_gzip[gzip-10] 82.0343 (18.87) 86.7872 (17.53) 83.6660 (18.83) 1.6559 (19.89) 82.8103 (18.76) 2.5325 (35.69) 3;0 11.9523 (0.05) 12 1 -test_gzip[cramjam-100] 546.2079 (125.66) 562.1310 (113.57) 554.0027 (124.71) 6.6722 (80.13) 551.0923 (124.83) 10.6431 (149.97) 2;0 1.8050 (0.01) 5 1 -test_gzip[gzip-100] 886.4751 (203.94) 948.1273 (191.56) 909.5149 (204.74) 25.5782 (307.19) 908.3611 (205.76) 38.8905 (548.01) 1;0 1.0995 (0.00) 5 1 -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- +--------------------------------------------------------------------------------------------------------- benchmark: 24 tests --------------------------------------------------------------------------------------------------------- +Name (time in us) Min Max Mean StdDev Median IQR Outliers OPS Rounds Iterations +--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- +test_gzip[Mark.Twain-Tom.Sawyer.txt-cramjam] 497.7920 (1.0) 927.0370 (1.0) 512.6448 (1.0) 38.7377 (1.03) 501.2350 (1.0) 4.6807 (1.0) 89;331 1,950.6684 (1.0) 1533 1 +test_gzip[Mark.Twain-Tom.Sawyer.txt-gzip] 573.7430 (1.15) 986.6440 (1.06) 591.0132 (1.15) 37.5584 (1.0) 578.2010 (1.15) 14.7650 (3.15) 97;163 1,692.0095 (0.87) 1470 1 +test_gzip[alice29.txt-cramjam] 10,788.0000 (21.67) 13,869.3350 (14.96) 11,136.2440 (21.72) 522.4084 (13.91) 11,004.6575 (21.96) 145.8700 (31.16) 5;8 89.7969 (0.05) 90 1 +test_gzip[alice29.txt-gzip] 11,869.4080 (23.84) 14,129.1380 (15.24) 12,164.6976 (23.73) 403.3387 (10.74) 12,050.8860 (24.04) 168.4588 (35.99) 5;6 82.2051 (0.04) 83 1 +test_gzip[asyoulik.txt-cramjam] 8,285.3550 (16.64) 11,234.8790 (12.12) 8,510.5130 (16.60) 423.3875 (11.27) 8,410.6555 (16.78) 114.5175 (24.47) 6;13 117.5017 (0.06) 120 1 +test_gzip[asyoulik.txt-gzip] 8,952.9650 (17.99) 11,291.9470 (12.18) 9,346.9739 (18.23) 415.8719 (11.07) 9,241.8710 (18.44) 145.0840 (31.00) 7;10 106.9865 (0.05) 90 1 +test_gzip[fireworks.jpeg-cramjam] 3,822.6550 (7.68) 6,172.2910 (6.66) 3,983.1931 (7.77) 326.3236 (8.69) 3,891.8400 (7.76) 123.2523 (26.33) 8;11 251.0549 (0.13) 147 1 +test_gzip[fireworks.jpeg-gzip] 3,197.8900 (6.42) 5,114.0700 (5.52) 3,306.4640 (6.45) 208.9637 (5.56) 3,260.7100 (6.51) 101.4152 (21.67) 9;10 302.4379 (0.16) 285 1 +test_gzip[geo.protodata-cramjam] 1,577.1590 (3.17) 2,818.3670 (3.04) 1,654.2466 (3.23) 144.8015 (3.86) 1,614.0270 (3.22) 63.4920 (13.56) 31;37 604.5048 (0.31) 574 1 +test_gzip[geo.protodata-gzip] 2,113.4380 (4.25) 3,371.9360 (3.64) 2,211.3350 (4.31) 127.9896 (3.41) 2,169.3200 (4.33) 84.6785 (18.09) 26;24 452.2155 (0.23) 429 1 +test_gzip[html-cramjam] 1,956.7170 (3.93) 3,061.7890 (3.30) 2,028.4278 (3.96) 121.2626 (3.23) 1,990.7950 (3.97) 75.0007 (16.02) 29;28 492.9926 (0.25) 439 1 +test_gzip[html-gzip] 2,458.9250 (4.94) 3,761.2100 (4.06) 2,540.1700 (4.96) 135.4718 (3.61) 2,504.6555 (5.00) 89.0160 (19.02) 21;16 393.6744 (0.20) 390 1 +test_gzip[html_x_4-cramjam] 9,322.9810 (18.73) 11,875.0880 (12.81) 9,564.6007 (18.66) 366.2080 (9.75) 9,482.4370 (18.92) 138.2243 (29.53) 6;8 104.5522 (0.05) 107 1 +test_gzip[html_x_4-gzip] 10,878.6620 (21.85) 13,747.6080 (14.83) 11,147.0642 (21.74) 395.4767 (10.53) 11,072.2015 (22.09) 140.1490 (29.94) 4;5 89.7097 (0.05) 90 1 +test_gzip[kppkn.gtb-cramjam] 39,047.1010 (78.44) 41,982.6430 (45.29) 39,376.7768 (76.81) 574.0887 (15.29) 39,231.4520 (78.27) 179.2995 (38.31) 1;1 25.3957 (0.01) 24 1 +test_gzip[kppkn.gtb-gzip] 62,117.8520 (124.79) 64,566.2150 (69.65) 62,617.8781 (122.15) 730.3686 (19.45) 62,403.7350 (124.50) 133.9970 (28.63) 2;2 15.9699 (0.01) 16 1 +test_gzip[lcet10.txt-cramjam] 26,369.5180 (52.97) 29,075.0250 (31.36) 26,686.8723 (52.06) 447.7174 (11.92) 26,645.4015 (53.16) 185.7090 (39.68) 1;2 37.4716 (0.02) 34 1 +test_gzip[lcet10.txt-gzip] 29,200.5550 (58.66) 32,278.3550 (34.82) 29,595.5600 (57.73) 546.9773 (14.56) 29,446.1480 (58.75) 150.3415 (32.12) 3;4 33.7889 (0.02) 31 1 +test_gzip[paper-100k.pdf-cramjam] 2,770.0760 (5.56) 4,955.2750 (5.35) 2,878.5382 (5.62) 246.0345 (6.55) 2,814.7090 (5.62) 100.5495 (21.48) 14;15 347.3985 (0.18) 355 1 +test_gzip[paper-100k.pdf-gzip] 3,214.4760 (6.46) 5,073.3990 (5.47) 3,339.4041 (6.51) 196.4699 (5.23) 3,277.1590 (6.54) 117.5240 (25.11) 18;18 299.4546 (0.15) 295 1 +test_gzip[plrabn12.txt-cramjam] 48,263.9040 (96.96) 50,260.6310 (54.22) 48,724.9557 (95.05) 550.9577 (14.67) 48,620.2370 (97.00) 470.5795 (100.54) 2;2 20.5234 (0.01) 20 1 +test_gzip[plrabn12.txt-gzip] 52,464.0520 (105.39) 54,261.8340 (58.53) 52,956.9974 (103.30) 505.1568 (13.45) 52,805.4230 (105.35) 561.5632 (119.97) 3;1 18.8832 (0.01) 19 1 +test_gzip[urls.10K-cramjam] 35,862.0130 (72.04) 38,657.0320 (41.70) 36,375.8052 (70.96) 524.4842 (13.96) 36,286.5185 (72.39) 441.9370 (94.42) 1;1 27.4908 (0.01) 26 1 +test_gzip[urls.10K-gzip] 39,871.9070 (80.10) 41,759.3410 (45.05) 40,245.7284 (78.51) 479.4244 (12.76) 40,118.9995 (80.04) 261.3920 (55.84) 2;3 24.8474 (0.01) 24 1 +--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- + ``` #### Snappy @@ -46,16 +57,34 @@ test_gzip[gzip-100] 886.4751 (203.94) 948.1273 (191.56) 909.5149 (204 `make bench-snappy` ```bash ------------------------------------------------------------------------------------------------------ benchmark: 6 tests ---------------------------------------------------------------------------------------------------- -Name (time in us) Min Max Mean StdDev Median IQR Outliers OPS Rounds Iterations ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ -test_snappy_raw[snappy-1] 494.4660 (1.0) 653.9200 (1.0) 503.0247 (1.0) 14.4888 (1.0) 496.6165 (1.0) 3.7050 (1.0) 265;384 1,987.9739 (1.0) 1862 1 -test_snappy_raw[cramjam-1] 794.4050 (1.61) 2,027.2320 (3.10) 1,260.1222 (2.51) 113.2127 (7.81) 1,222.9675 (2.46) 103.8910 (28.04) 94;53 793.5738 (0.40) 796 1 -test_snappy_raw[snappy-10] 5,251.1770 (10.62) 7,255.8170 (11.10) 5,430.7303 (10.80) 250.0667 (17.26) 5,365.4540 (10.80) 123.4770 (33.33) 14;17 184.1373 (0.09) 190 1 -test_snappy_raw[cramjam-10] 7,404.6830 (14.98) 12,739.4730 (19.48) 7,913.9786 (15.73) 747.0559 (51.56) 7,746.9320 (15.60) 258.1418 (69.67) 5;7 126.3587 (0.06) 69 1 -test_snappy_raw[snappy-100] 87,991.8670 (177.95) 89,916.7030 (137.50) 88,693.3820 (176.32) 638.0725 (44.04) 88,574.8745 (178.36) 650.9975 (175.71) 3;2 11.2748 (0.01) 12 1 -test_snappy_raw[cramjam-100] 138,267.2730 (279.63) 141,720.8140 (216.73) 139,295.9823 (276.92) 1,057.9672 (73.02) 139,120.8835 (280.14) 688.0510 (185.71) 1;1 7.1790 (0.00) 8 1 ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ +--------------------------------------------------------------------------------------------------------- benchmark: 24 tests ---------------------------------------------------------------------------------------------------------- +Name (time in us) Min Max Mean StdDev Median IQR Outliers OPS Rounds Iterations +---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- +test_snappy_raw[Mark.Twain-Tom.Sawyer.txt-cramjam] 52.3690 (3.40) 115.8890 (2.22) 55.2396 (3.43) 5.9556 (3.52) 53.4210 (3.39) 1.1660 (4.29) 1048;1401 18,102.9494 (0.29) 11589 1 +test_snappy_raw[Mark.Twain-Tom.Sawyer.txt-snappy] 52.6630 (3.41) 108.0780 (2.07) 54.2757 (3.37) 3.3904 (2.00) 53.5820 (3.40) 0.3935 (1.45) 488;1355 18,424.4486 (0.30) 12256 1 +test_snappy_raw[alice29.txt-cramjam] 614.1800 (39.82) 951.0760 (18.25) 632.5591 (39.32) 25.7672 (15.23) 621.4280 (39.41) 18.8097 (69.15) 173;112 1,580.8800 (0.03) 1565 1 +test_snappy_raw[alice29.txt-snappy] 600.9050 (38.96) 857.3690 (16.45) 616.9804 (38.35) 24.8116 (14.66) 604.3860 (38.33) 19.9527 (73.36) 164;90 1,620.7971 (0.03) 1391 1 +test_snappy_raw[asyoulik.txt-cramjam] 548.1430 (35.54) 820.2290 (15.74) 562.4624 (34.96) 21.9863 (12.99) 553.0150 (35.07) 15.2803 (56.18) 217;168 1,777.8965 (0.03) 1767 1 +test_snappy_raw[asyoulik.txt-snappy] 533.1530 (34.56) 712.1160 (13.66) 547.3970 (34.03) 23.3257 (13.78) 536.1730 (34.01) 16.1405 (59.34) 195;158 1,826.8277 (0.03) 1836 1 +test_snappy_raw[fireworks.jpeg-cramjam] 36.8510 (2.39) 80.3290 (1.54) 38.4149 (2.39) 3.3261 (1.97) 37.5030 (2.38) 0.9852 (3.62) 769;1143 26,031.5717 (0.42) 18833 1 +test_snappy_raw[fireworks.jpeg-snappy] 15.4250 (1.0) 52.1130 (1.0) 16.0880 (1.0) 1.6923 (1.0) 15.7670 (1.0) 0.2720 (1.0) 843;3054 62,158.2882 (1.0) 36288 1 +test_snappy_raw[geo.protodata-cramjam] 159.0690 (10.31) 277.0210 (5.32) 164.3288 (10.21) 10.5643 (6.24) 161.3640 (10.23) 1.3160 (4.84) 394;1085 6,085.3621 (0.10) 5532 1 +test_snappy_raw[geo.protodata-snappy] 143.0880 (9.28) 427.6350 (8.21) 149.2621 (9.28) 10.3206 (6.10) 146.8510 (9.31) 2.2190 (8.16) 423;863 6,699.6256 (0.11) 6144 1 +test_snappy_raw[html-cramjam] 168.1440 (10.90) 467.2520 (8.97) 174.6428 (10.86) 14.7798 (8.73) 170.3380 (10.80) 2.6872 (9.88) 364;676 5,725.9735 (0.09) 5397 1 +test_snappy_raw[html-snappy] 156.3440 (10.14) 280.2920 (5.38) 160.8994 (10.00) 9.7030 (5.73) 158.0980 (10.03) 1.1595 (4.26) 373;1257 6,215.0630 (0.10) 5811 1 +test_snappy_raw[html_x_4-cramjam] 694.2620 (45.01) 900.5190 (17.28) 711.4322 (44.22) 27.8857 (16.48) 698.9225 (44.33) 20.0220 (73.61) 116;84 1,405.6153 (0.02) 1034 1 +test_snappy_raw[html_x_4-snappy] 633.0930 (41.04) 864.6650 (16.59) 649.1615 (40.35) 27.1781 (16.06) 637.7115 (40.45) 17.9000 (65.81) 160;114 1,540.4487 (0.02) 1538 1 +test_snappy_raw[kppkn.gtb-cramjam] 516.7710 (33.50) 760.5490 (14.59) 530.4332 (32.97) 23.1890 (13.70) 520.5000 (33.01) 14.7900 (54.37) 184;165 1,885.2514 (0.03) 1811 1 +test_snappy_raw[kppkn.gtb-snappy] 503.7630 (32.66) 702.6630 (13.48) 516.1728 (32.08) 21.9923 (13.00) 505.8520 (32.08) 14.5700 (53.57) 214;193 1,937.3358 (0.03) 1944 1 +test_snappy_raw[lcet10.txt-cramjam] 1,641.4740 (106.42) 2,062.8950 (39.59) 1,676.7033 (104.22) 48.0968 (28.42) 1,655.1000 (104.97) 40.8570 (150.21) 75;57 596.4084 (0.01) 546 1 +test_snappy_raw[lcet10.txt-snappy] 1,590.3140 (103.10) 1,956.3550 (37.54) 1,626.9634 (101.13) 47.5634 (28.11) 1,600.7900 (101.53) 41.9140 (154.10) 97;60 614.6420 (0.01) 621 1 +test_snappy_raw[paper-100k.pdf-cramjam] 36.2280 (2.35) 80.2130 (1.54) 37.8268 (2.35) 3.4155 (2.02) 37.0410 (2.35) 0.5730 (2.11) 813;2607 26,436.3044 (0.43) 17202 1 +test_snappy_raw[paper-100k.pdf-snappy] 20.5150 (1.33) 213.3630 (4.09) 21.5959 (1.34) 2.5731 (1.52) 21.1570 (1.34) 0.3500 (1.29) 828;2983 46,304.9918 (0.74) 26395 1 +test_snappy_raw[plrabn12.txt-cramjam] 2,411.8190 (156.36) 3,147.9140 (60.41) 2,612.8756 (162.41) 67.9935 (40.18) 2,593.1220 (164.47) 85.0065 (312.52) 51;9 382.7201 (0.01) 364 1 +test_snappy_raw[plrabn12.txt-snappy] 2,186.4340 (141.75) 2,516.2830 (48.29) 2,231.8268 (138.73) 50.8453 (30.05) 2,214.3780 (140.44) 60.5810 (222.72) 68;13 448.0634 (0.01) 402 1 +test_snappy_raw[urls.10K-cramjam] 2,368.2700 (153.53) 2,713.3270 (52.07) 2,421.8313 (150.54) 58.8285 (34.76) 2,396.8985 (152.02) 66.5005 (244.49) 66;15 412.9107 (0.01) 376 1 +test_snappy_raw[urls.10K-snappy] 1,813.1410 (117.55) 2,218.1260 (42.56) 1,850.6340 (115.03) 49.7677 (29.41) 1,834.3030 (116.34) 43.2400 (158.97) 76;49 540.3553 (0.01) 464 1 +---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- ``` #### Lz4 @@ -63,16 +92,34 @@ test_snappy_raw[cramjam-100] 138,267.2730 (279.63) 141,720.8140 (216.73) `make bench-lz4` ```bash ---------------------------------------------------------------------------------------- benchmark: 6 tests -------------------------------------------------------------------------------------- -Name (time in ms) Min Max Mean StdDev Median IQR Outliers OPS Rounds Iterations -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- -test_lz4[cramjam-1] 2.2499 (1.0) 3.3305 (1.0) 2.3356 (1.0) 0.1162 (1.05) 2.3007 (1.0) 0.1039 (1.0) 34;17 428.1550 (1.0) 447 1 -test_lz4[python-lz4-1] 2.4250 (1.08) 3.7200 (1.12) 2.4957 (1.07) 0.1108 (1.0) 2.4622 (1.07) 0.1051 (1.01) 29;12 400.6873 (0.94) 391 1 -test_lz4[cramjam-10] 10.0083 (4.45) 19.6188 (5.89) 10.5178 (4.50) 1.5099 (13.62) 10.2067 (4.44) 0.2577 (2.48) 2;2 95.0770 (0.22) 43 1 -test_lz4[python-lz4-10] 26.3227 (11.70) 28.2148 (8.47) 26.8020 (11.48) 0.4879 (4.40) 26.6014 (11.56) 0.4864 (4.68) 5;2 37.3107 (0.09) 32 1 -test_lz4[cramjam-100] 180.7901 (80.36) 182.7235 (54.86) 181.7960 (77.84) 0.7742 (6.99) 181.8226 (79.03) 1.3456 (12.96) 2;0 5.5007 (0.01) 6 1 -test_lz4[python-lz4-100] 338.0236 (150.24) 341.9271 (102.66) 340.4745 (145.78) 1.4592 (13.17) 340.7395 (148.10) 1.2389 (11.93) 1;1 2.9371 (0.01) 5 1 -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- +---------------------------------------------------------------------------------------------------------- benchmark: 24 tests ---------------------------------------------------------------------------------------------------------- +Name (time in us) Min Max Mean StdDev Median IQR Outliers OPS Rounds Iterations +----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- +test_lz4[Mark.Twain-Tom.Sawyer.txt-cramjam] 203.4740 (1.0) 444.8800 (1.38) 224.6050 (1.06) 26.0675 (1.88) 216.5980 (1.05) 8.5017 (8.80) 365;607 4,452.2600 (0.94) 4369 1 +test_lz4[Mark.Twain-Tom.Sawyer.txt-python-lz4] 205.5300 (1.01) 323.3270 (1.0) 212.0422 (1.0) 13.9019 (1.0) 206.8320 (1.0) 3.3853 (3.50) 157;196 4,716.0415 (1.0) 1343 1 +test_lz4[alice29.txt-cramjam] 1,923.4740 (9.45) 2,223.4950 (6.88) 1,965.3029 (9.27) 47.7473 (3.43) 1,949.8210 (9.43) 52.7460 (54.60) 75;32 508.8274 (0.11) 522 1 +test_lz4[alice29.txt-python-lz4] 3,041.9810 (14.95) 3,775.3870 (11.68) 3,101.6142 (14.63) 75.2325 (5.41) 3,070.2935 (14.84) 86.3640 (89.40) 41;6 322.4128 (0.07) 284 1 +test_lz4[asyoulik.txt-cramjam] 1,513.2880 (7.44) 1,909.5500 (5.91) 1,547.3341 (7.30) 44.6617 (3.21) 1,522.1690 (7.36) 42.7083 (44.21) 93;45 646.2728 (0.14) 625 1 +test_lz4[asyoulik.txt-python-lz4] 2,721.3430 (13.37) 3,034.5050 (9.39) 2,775.2225 (13.09) 59.9928 (4.32) 2,750.2920 (13.30) 75.6480 (78.31) 60;9 360.3315 (0.08) 351 1 +test_lz4[fireworks.jpeg-cramjam] 302.6000 (1.49) 428.0990 (1.32) 309.0598 (1.46) 15.2582 (1.10) 303.5465 (1.47) 0.9660 (1.0) 187;514 3,235.6199 (0.69) 2132 1 +test_lz4[fireworks.jpeg-python-lz4] 2,648.8040 (13.02) 3,357.4280 (10.38) 2,728.6830 (12.87) 71.7825 (5.16) 2,706.7730 (13.09) 78.2895 (81.05) 53;11 366.4772 (0.08) 359 1 +test_lz4[geo.protodata-cramjam] 508.2790 (2.50) 646.2610 (2.00) 521.5591 (2.46) 20.3970 (1.47) 512.9110 (2.48) 9.2445 (9.57) 182;244 1,917.3284 (0.41) 1704 1 +test_lz4[geo.protodata-python-lz4] 690.1580 (3.39) 1,039.7180 (3.22) 711.8781 (3.36) 28.5339 (2.05) 700.7910 (3.39) 16.3645 (16.94) 111;108 1,404.7349 (0.30) 1136 1 +test_lz4[html-cramjam] 532.0860 (2.62) 692.3440 (2.14) 544.6823 (2.57) 22.7418 (1.64) 534.2530 (2.58) 15.3568 (15.90) 165;143 1,835.9326 (0.39) 1439 1 +test_lz4[html-python-lz4] 697.1870 (3.43) 1,348.5820 (4.17) 720.6965 (3.40) 58.3927 (4.20) 705.8270 (3.41) 19.6258 (20.32) 74;110 1,387.5467 (0.29) 1283 1 +test_lz4[html_x_4-cramjam] 2,250.3640 (11.06) 2,993.5320 (9.26) 2,294.9767 (10.82) 57.7055 (4.15) 2,278.1760 (11.01) 57.5988 (59.63) 39;9 435.7343 (0.09) 335 1 +test_lz4[html_x_4-python-lz4] 2,864.5650 (14.08) 3,763.0070 (11.64) 2,949.5807 (13.91) 102.1472 (7.35) 2,926.3090 (14.15) 86.7158 (89.77) 23;13 339.0312 (0.07) 305 1 +test_lz4[kppkn.gtb-cramjam] 1,825.6790 (8.97) 2,237.8240 (6.92) 1,862.1173 (8.78) 48.1581 (3.46) 1,849.8330 (8.94) 42.7253 (44.23) 51;29 537.0231 (0.11) 439 1 +test_lz4[kppkn.gtb-python-lz4] 3,231.7460 (15.88) 3,588.2730 (11.10) 3,316.1698 (15.64) 62.4040 (4.49) 3,294.2780 (15.93) 83.7080 (86.65) 56;9 301.5527 (0.06) 292 1 +test_lz4[lcet10.txt-cramjam] 5,081.3180 (24.97) 8,123.0820 (25.12) 5,204.8228 (24.55) 251.5433 (18.09) 5,151.7120 (24.91) 113.3202 (117.31) 7;11 192.1295 (0.04) 195 1 +test_lz4[lcet10.txt-python-lz4] 8,138.7970 (40.00) 10,127.4950 (31.32) 8,333.2891 (39.30) 218.4185 (15.71) 8,300.2250 (40.13) 161.9515 (167.65) 9;6 120.0006 (0.03) 117 1 +test_lz4[paper-100k.pdf-cramjam] 418.5770 (2.06) 689.9690 (2.13) 428.1164 (2.02) 21.2000 (1.52) 420.0800 (2.03) 4.1125 (4.26) 191;476 2,335.8133 (0.50) 2133 1 +test_lz4[paper-100k.pdf-python-lz4] 1,711.3010 (8.41) 2,172.5910 (6.72) 1,749.2066 (8.25) 45.5884 (3.28) 1,728.4740 (8.36) 41.2590 (42.71) 66;44 571.6878 (0.12) 538 1 +test_lz4[plrabn12.txt-cramjam] 6,176.6160 (30.36) 6,769.9650 (20.94) 6,291.9010 (29.67) 104.2639 (7.50) 6,270.1985 (30.32) 123.0515 (127.38) 36;6 158.9345 (0.03) 156 1 +test_lz4[plrabn12.txt-python-lz4] 11,555.2180 (56.79) 12,696.5330 (39.27) 11,776.3184 (55.54) 164.0822 (11.80) 11,730.5170 (56.72) 145.7985 (150.93) 15;3 84.9162 (0.02) 84 1 +test_lz4[urls.10K-cramjam] 6,161.1970 (30.28) 6,947.9270 (21.49) 6,294.6157 (29.69) 118.5858 (8.53) 6,283.8170 (30.38) 157.5450 (163.09) 36;4 158.8659 (0.03) 166 1 +test_lz4[urls.10K-python-lz4] 9,186.5620 (45.15) 9,727.7520 (30.09) 9,330.3774 (44.00) 97.1408 (6.99) 9,324.5380 (45.08) 114.7825 (118.82) 29;4 107.1768 (0.02) 105 1 +----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- ``` #### Brotli @@ -80,16 +127,34 @@ test_lz4[python-lz4-100] 338.0236 (150.24) 341.9271 (102.66) 340.4745 (1 `make bench-brotli` ```bash ------------------------------------------------------------------------------------------- benchmark: 6 tests ------------------------------------------------------------------------------------------ -Name (time in ms) Min Max Mean StdDev Median IQR Outliers OPS Rounds Iterations --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- -test_brotli[brotli-1] 109.6123 (1.0) 128.4139 (1.0) 117.3476 (1.0) 6.0469 (6.45) 116.8914 (1.0) 9.0987 (5.24) 2;0 8.5217 (1.0) 9 1 -test_brotli[cramjam-1] 142.7420 (1.30) 152.4250 (1.19) 145.7641 (1.24) 3.1478 (3.36) 145.2713 (1.24) 1.8672 (1.08) 1;1 6.8604 (0.81) 7 1 -test_brotli[brotli-5] 502.7034 (4.59) 531.9119 (4.14) 514.0489 (4.38) 10.7839 (11.50) 511.5030 (4.38) 9.1365 (5.26) 2;1 1.9453 (0.23) 5 1 -test_brotli[cramjam-5] 711.3392 (6.49) 738.9708 (5.75) 727.4237 (6.20) 10.4611 (11.15) 729.9179 (6.24) 13.3931 (7.71) 2;0 1.3747 (0.16) 5 1 -test_brotli[brotli-10] 964.5113 (8.80) 966.5836 (7.53) 965.6345 (8.23) 0.9380 (1.0) 965.8290 (8.26) 1.7363 (1.0) 2;0 1.0356 (0.12) 5 1 -test_brotli[cramjam-10] 1,405.5786 (12.82) 1,492.3061 (11.62) 1,440.4309 (12.27) 40.4699 (43.14) 1,418.5857 (12.14) 70.9391 (40.86) 1;0 0.6942 (0.08) 5 1 --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- +----------------------------------------------------------------------------------------------------- benchmark: 24 tests ------------------------------------------------------------------------------------------------------ +Name (time in ms) Min Max Mean StdDev Median IQR Outliers OPS Rounds Iterations +-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- +test_brotli[Mark.Twain-Tom.Sawyer.txt-brotli] 17.9007 (1.0) 18.5634 (1.0) 18.0894 (1.0) 0.1631 (1.0) 18.0193 (1.0) 0.1939 (1.0) 10;1 55.2809 (1.0) 43 1 +test_brotli[Mark.Twain-Tom.Sawyer.txt-cramjam] 19.0021 (1.06) 19.8885 (1.07) 19.2310 (1.06) 0.1936 (1.19) 19.1951 (1.07) 0.2085 (1.07) 15;2 51.9994 (0.94) 51 1 +test_brotli[alice29.txt-brotli] 220.5389 (12.32) 221.1390 (11.91) 220.7948 (12.21) 0.2183 (1.34) 220.7497 (12.25) 0.2151 (1.11) 2;0 4.5291 (0.08) 5 1 +test_brotli[alice29.txt-cramjam] 232.1295 (12.97) 233.8130 (12.60) 232.9461 (12.88) 0.7112 (4.36) 233.1537 (12.94) 1.1918 (6.15) 2;0 4.2928 (0.08) 5 1 +test_brotli[asyoulik.txt-brotli] 174.3166 (9.74) 175.6382 (9.46) 175.1187 (9.68) 0.5167 (3.17) 175.3066 (9.73) 0.8275 (4.27) 2;0 5.7104 (0.10) 6 1 +test_brotli[asyoulik.txt-cramjam] 184.5938 (10.31) 187.0546 (10.08) 185.4668 (10.25) 0.9035 (5.54) 185.3526 (10.29) 1.1405 (5.88) 1;0 5.3918 (0.10) 6 1 +test_brotli[fireworks.jpeg-brotli] 70.5355 (3.94) 82.0225 (4.42) 71.7829 (3.97) 2.9634 (18.17) 70.9972 (3.94) 0.5353 (2.76) 1;1 13.9309 (0.25) 14 1 +test_brotli[fireworks.jpeg-cramjam] 76.9092 (4.30) 81.3156 (4.38) 77.7946 (4.30) 1.2098 (7.42) 77.4907 (4.30) 0.8702 (4.49) 1;1 12.8544 (0.23) 13 1 +test_brotli[geo.protodata-brotli] 123.9892 (6.93) 126.4977 (6.81) 124.9959 (6.91) 1.0019 (6.14) 124.7437 (6.92) 1.6731 (8.63) 3;0 8.0003 (0.14) 8 1 +test_brotli[geo.protodata-cramjam] 127.8089 (7.14) 129.7215 (6.99) 128.3528 (7.10) 0.6489 (3.98) 128.1646 (7.11) 0.6682 (3.45) 1;1 7.7910 (0.14) 8 1 +test_brotli[html-brotli] 132.3877 (7.40) 139.4814 (7.51) 134.3966 (7.43) 2.8777 (17.64) 132.9534 (7.38) 3.0888 (15.93) 2;0 7.4407 (0.13) 8 1 +test_brotli[html-cramjam] 134.8224 (7.53) 140.8846 (7.59) 136.1176 (7.52) 1.9671 (12.06) 135.6059 (7.53) 0.7402 (3.82) 1;1 7.3466 (0.13) 8 1 +test_brotli[html_x_4-brotli] 161.5212 (9.02) 163.8326 (8.83) 162.3997 (8.98) 0.8996 (5.51) 161.8780 (8.98) 1.4229 (7.34) 1;0 6.1576 (0.11) 7 1 +test_brotli[html_x_4-cramjam] 169.5740 (9.47) 171.0375 (9.21) 170.2433 (9.41) 0.5199 (3.19) 170.1756 (9.44) 0.7178 (3.70) 2;0 5.8739 (0.11) 6 1 +test_brotli[kppkn.gtb-brotli] 417.5436 (23.33) 419.3681 (22.59) 418.4432 (23.13) 0.8296 (5.09) 418.6743 (23.23) 1.5177 (7.83) 3;0 2.3898 (0.04) 5 1 +test_brotli[kppkn.gtb-cramjam] 440.9632 (24.63) 443.1299 (23.87) 442.1863 (24.44) 1.1046 (6.77) 442.8029 (24.57) 2.0629 (10.64) 2;0 2.2615 (0.04) 5 1 +test_brotli[lcet10.txt-brotli] 689.7913 (38.53) 743.3864 (40.05) 717.3455 (39.66) 24.4643 (149.97) 729.2844 (40.47) 42.6345 (219.83) 3;0 1.3940 (0.03) 5 1 +test_brotli[lcet10.txt-cramjam] 721.1161 (40.28) 732.6687 (39.47) 724.4550 (40.05) 4.6831 (28.71) 723.2143 (40.14) 3.9332 (20.28) 1;1 1.3803 (0.02) 5 1 +test_brotli[paper-100k.pdf-brotli] 394.1195 (22.02) 396.6882 (21.37) 395.3076 (21.85) 1.1796 (7.23) 394.7834 (21.91) 2.1113 (10.89) 2;0 2.5297 (0.05) 5 1 +test_brotli[paper-100k.pdf-cramjam] 400.0918 (22.35) 403.0363 (21.71) 401.5485 (22.20) 1.2038 (7.38) 401.7684 (22.30) 1.9826 (10.22) 2;0 2.4904 (0.05) 5 1 +test_brotli[plrabn12.txt-brotli] 753.8846 (42.11) 758.9727 (40.89) 756.4733 (41.82) 2.1144 (12.96) 756.1968 (41.97) 3.5936 (18.53) 2;0 1.3219 (0.02) 5 1 +test_brotli[plrabn12.txt-cramjam] 794.5884 (44.39) 802.1071 (43.21) 796.4616 (44.03) 3.1963 (19.59) 795.1971 (44.13) 2.7926 (14.40) 1;1 1.2556 (0.02) 5 1 +test_brotli[urls.10K-brotli] 1,219.2465 (68.11) 1,227.4113 (66.12) 1,224.0802 (67.67) 3.1470 (19.29) 1,224.5238 (67.96) 4.2651 (21.99) 2;0 0.8169 (0.01) 5 1 +test_brotli[urls.10K-cramjam] 1,272.6277 (71.09) 1,285.8821 (69.27) 1,279.8358 (70.75) 5.4317 (33.30) 1,278.5339 (70.95) 8.5926 (44.30) 2;0 0.7814 (0.01) 5 1 +-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- ``` diff --git a/benchmarks/data/COPYING b/benchmarks/data/COPYING new file mode 100644 index 00000000..ae69a7b3 --- /dev/null +++ b/benchmarks/data/COPYING @@ -0,0 +1,23 @@ +Some of the benchmark data in in this directory is licensed thusly: + + - fireworks.jpeg is Copyright 2013 Steinar H. Gunderson, and + is licensed under the Creative Commons Attribution 3.0 license + (CC-BY-3.0). See https://creativecommons.org/licenses/by/3.0/ + for more information. + + - kppkn.gtb is taken from the Gaviota chess tablebase set, and + is licensed under the MIT License. See + https://sites.google.com/site/gaviotachessengine/Home/endgame-tablebases-1 + for more information. + + - paper-100k.pdf is an excerpt (bytes 92160 to 194560) from the paper + “Combinatorial Modeling of Chromatin Features Quantitatively Predicts DNA + Replication Timing in _Drosophila_” by Federico Comoglio and Renato Paro, + which is licensed under the CC-BY license. See + http://www.ploscompbiol.org/static/license for more ifnormation. + + - alice29.txt, asyoulik.txt, plrabn12.txt and lcet10.txt are from Project + Gutenberg. The first three have expired copyrights and are in the public + domain; the latter does not have expired copyright, but is still in the + public domain according to the license information + (http://www.gutenberg.org/ebooks/53). diff --git a/benchmarks/data/Mark.Twain-Tom.Sawyer.txt b/benchmarks/data/Mark.Twain-Tom.Sawyer.txt new file mode 100644 index 00000000..86a18750 --- /dev/null +++ b/benchmarks/data/Mark.Twain-Tom.Sawyer.txt @@ -0,0 +1,396 @@ +Produced by David Widger. The previous edition was updated by Jose +Menendez. + + + + + + THE ADVENTURES OF TOM SAWYER + BY + MARK TWAIN + (Samuel Langhorne Clemens) + + + + + P R E F A C E + +MOST of the adventures recorded in this book really occurred; one or +two were experiences of my own, the rest those of boys who were +schoolmates of mine. Huck Finn is drawn from life; Tom Sawyer also, but +not from an individual--he is a combination of the characteristics of +three boys whom I knew, and therefore belongs to the composite order of +architecture. + +The odd superstitions touched upon were all prevalent among children +and slaves in the West at the period of this story--that is to say, +thirty or forty years ago. + +Although my book is intended mainly for the entertainment of boys and +girls, I hope it will not be shunned by men and women on that account, +for part of my plan has been to try to pleasantly remind adults of what +they once were themselves, and of how they felt and thought and talked, +and what queer enterprises they sometimes engaged in. + + THE AUTHOR. + +HARTFORD, 1876. + + + + T O M S A W Y E R + + + +CHAPTER I + +"TOM!" + +No answer. + +"TOM!" + +No answer. + +"What's gone with that boy, I wonder? You TOM!" + +No answer. + +The old lady pulled her spectacles down and looked over them about the +room; then she put them up and looked out under them. She seldom or +never looked THROUGH them for so small a thing as a boy; they were her +state pair, the pride of her heart, and were built for "style," not +service--she could have seen through a pair of stove-lids just as well. +She looked perplexed for a moment, and then said, not fiercely, but +still loud enough for the furniture to hear: + +"Well, I lay if I get hold of you I'll--" + +She did not finish, for by this time she was bending down and punching +under the bed with the broom, and so she needed breath to punctuate the +punches with. She resurrected nothing but the cat. + +"I never did see the beat of that boy!" + +She went to the open door and stood in it and looked out among the +tomato vines and "jimpson" weeds that constituted the garden. No Tom. +So she lifted up her voice at an angle calculated for distance and +shouted: + +"Y-o-u-u TOM!" + +There was a slight noise behind her and she turned just in time to +seize a small boy by the slack of his roundabout and arrest his flight. + +"There! I might 'a' thought of that closet. What you been doing in +there?" + +"Nothing." + +"Nothing! Look at your hands. And look at your mouth. What IS that +truck?" + +"I don't know, aunt." + +"Well, I know. It's jam--that's what it is. Forty times I've said if +you didn't let that jam alone I'd skin you. Hand me that switch." + +The switch hovered in the air--the peril was desperate-- + +"My! Look behind you, aunt!" + +The old lady whirled round, and snatched her skirts out of danger. The +lad fled on the instant, scrambled up the high board-fence, and +disappeared over it. + +His aunt Polly stood surprised a moment, and then broke into a gentle +laugh. + +"Hang the boy, can't I never learn anything? Ain't he played me tricks +enough like that for me to be looking out for him by this time? But old +fools is the biggest fools there is. Can't learn an old dog new tricks, +as the saying is. But my goodness, he never plays them alike, two days, +and how is a body to know what's coming? He 'pears to know just how +long he can torment me before I get my dander up, and he knows if he +can make out to put me off for a minute or make me laugh, it's all down +again and I can't hit him a lick. I ain't doing my duty by that boy, +and that's the Lord's truth, goodness knows. Spare the rod and spile +the child, as the Good Book says. I'm a laying up sin and suffering for +us both, I know. He's full of the Old Scratch, but laws-a-me! he's my +own dead sister's boy, poor thing, and I ain't got the heart to lash +him, somehow. Every time I let him off, my conscience does hurt me so, +and every time I hit him my old heart most breaks. Well-a-well, man +that is born of woman is of few days and full of trouble, as the +Scripture says, and I reckon it's so. He'll play hookey this evening, * +and [* Southwestern for "afternoon"] I'll just be obleeged to make him +work, to-morrow, to punish him. It's mighty hard to make him work +Saturdays, when all the boys is having holiday, but he hates work more +than he hates anything else, and I've GOT to do some of my duty by him, +or I'll be the ruination of the child." + +Tom did play hookey, and he had a very good time. He got back home +barely in season to help Jim, the small colored boy, saw next-day's +wood and split the kindlings before supper--at least he was there in +time to tell his adventures to Jim while Jim did three-fourths of the +work. Tom's younger brother (or rather half-brother) Sid was already +through with his part of the work (picking up chips), for he was a +quiet boy, and had no adventurous, troublesome ways. + +While Tom was eating his supper, and stealing sugar as opportunity +offered, Aunt Polly asked him questions that were full of guile, and +very deep--for she wanted to trap him into damaging revealments. Like +many other simple-hearted souls, it was her pet vanity to believe she +was endowed with a talent for dark and mysterious diplomacy, and she +loved to contemplate her most transparent devices as marvels of low +cunning. Said she: + +"Tom, it was middling warm in school, warn't it?" + +"Yes'm." + +"Powerful warm, warn't it?" + +"Yes'm." + +"Didn't you want to go in a-swimming, Tom?" + +A bit of a scare shot through Tom--a touch of uncomfortable suspicion. +He searched Aunt Polly's face, but it told him nothing. So he said: + +"No'm--well, not very much." + +The old lady reached out her hand and felt Tom's shirt, and said: + +"But you ain't too warm now, though." And it flattered her to reflect +that she had discovered that the shirt was dry without anybody knowing +that that was what she had in her mind. But in spite of her, Tom knew +where the wind lay, now. So he forestalled what might be the next move: + +"Some of us pumped on our heads--mine's damp yet. See?" + +Aunt Polly was vexed to think she had overlooked that bit of +circumstantial evidence, and missed a trick. Then she had a new +inspiration: + +"Tom, you didn't have to undo your shirt collar where I sewed it, to +pump on your head, did you? Unbutton your jacket!" + +The trouble vanished out of Tom's face. He opened his jacket. His +shirt collar was securely sewed. + +"Bother! Well, go 'long with you. I'd made sure you'd played hookey +and been a-swimming. But I forgive ye, Tom. I reckon you're a kind of a +singed cat, as the saying is--better'n you look. THIS time." + +She was half sorry her sagacity had miscarried, and half glad that Tom +had stumbled into obedient conduct for once. + +But Sidney said: + +"Well, now, if I didn't think you sewed his collar with white thread, +but it's black." + +"Why, I did sew it with white! Tom!" + +But Tom did not wait for the rest. As he went out at the door he said: + +"Siddy, I'll lick you for that." + +In a safe place Tom examined two large needles which were thrust into +the lapels of his jacket, and had thread bound about them--one needle +carried white thread and the other black. He said: + +"She'd never noticed if it hadn't been for Sid. Confound it! sometimes +she sews it with white, and sometimes she sews it with black. I wish to +geeminy she'd stick to one or t'other--I can't keep the run of 'em. But +I bet you I'll lam Sid for that. I'll learn him!" + +He was not the Model Boy of the village. He knew the model boy very +well though--and loathed him. + +Within two minutes, or even less, he had forgotten all his troubles. +Not because his troubles were one whit less heavy and bitter to him +than a man's are to a man, but because a new and powerful interest bore +them down and drove them out of his mind for the time--just as men's +misfortunes are forgotten in the excitement of new enterprises. This +new interest was a valued novelty in whistling, which he had just +acquired from a negro, and he was suffering to practise it undisturbed. +It consisted in a peculiar bird-like turn, a sort of liquid warble, +produced by touching the tongue to the roof of the mouth at short +intervals in the midst of the music--the reader probably remembers how +to do it, if he has ever been a boy. Diligence and attention soon gave +him the knack of it, and he strode down the street with his mouth full +of harmony and his soul full of gratitude. He felt much as an +astronomer feels who has discovered a new planet--no doubt, as far as +strong, deep, unalloyed pleasure is concerned, the advantage was with +the boy, not the astronomer. + +The summer evenings were long. It was not dark, yet. Presently Tom +checked his whistle. A stranger was before him--a boy a shade larger +than himself. A new-comer of any age or either sex was an impressive +curiosity in the poor little shabby village of St. Petersburg. This boy +was well dressed, too--well dressed on a week-day. This was simply +astounding. His cap was a dainty thing, his close-buttoned blue cloth +roundabout was new and natty, and so were his pantaloons. He had shoes +on--and it was only Friday. He even wore a necktie, a bright bit of +ribbon. He had a citified air about him that ate into Tom's vitals. The +more Tom stared at the splendid marvel, the higher he turned up his +nose at his finery and the shabbier and shabbier his own outfit seemed +to him to grow. Neither boy spoke. If one moved, the other moved--but +only sidewise, in a circle; they kept face to face and eye to eye all +the time. Finally Tom said: + +"I can lick you!" + +"I'd like to see you try it." + +"Well, I can do it." + +"No you can't, either." + +"Yes I can." + +"No you can't." + +"I can." + +"You can't." + +"Can!" + +"Can't!" + +An uncomfortable pause. Then Tom said: + +"What's your name?" + +"'Tisn't any of your business, maybe." + +"Well I 'low I'll MAKE it my business." + +"Well why don't you?" + +"If you say much, I will." + +"Much--much--MUCH. There now." + +"Oh, you think you're mighty smart, DON'T you? I could lick you with +one hand tied behind me, if I wanted to." + +"Well why don't you DO it? You SAY you can do it." + +"Well I WILL, if you fool with me." + +"Oh yes--I've seen whole families in the same fix." + +"Smarty! You think you're SOME, now, DON'T you? Oh, what a hat!" + +"You can lump that hat if you don't like it. I dare you to knock it +off--and anybody that'll take a dare will suck eggs." + +"You're a liar!" + +"You're another." + +"You're a fighting liar and dasn't take it up." + +"Aw--take a walk!" + +"Say--if you give me much more of your sass I'll take and bounce a +rock off'n your head." + +"Oh, of COURSE you will." + +"Well I WILL." + +"Well why don't you DO it then? What do you keep SAYING you will for? +Why don't you DO it? It's because you're afraid." + +"I AIN'T afraid." + +"You are." + +"I ain't." + +"You are." + +Another pause, and more eying and sidling around each other. Presently +they were shoulder to shoulder. Tom said: + +"Get away from here!" + +"Go away yourself!" + +"I won't." + +"I won't either." + +So they stood, each with a foot placed at an angle as a brace, and +both shoving with might and main, and glowering at each other with +hate. But neither could get an advantage. After struggling till both +were hot and flushed, each relaxed his strain with watchful caution, +and Tom said: + +"You're a coward and a pup. I'll tell my big brother on you, and he +can thrash you with his little finger, and I'll make him do it, too." + +"What do I care for your big brother? I've got a brother that's bigger +than he is--and what's more, he can throw him over that fence, too." +[Both brothers were imaginary.] + +"That's a lie." + +"YOUR saying so don't make it so." + +Tom drew a line in the dust with his big toe, and said: + +"I dare you to step over that, and I'll lick you till you can't stand +up. Anybody that'll take a dare will steal sheep." + +The new boy stepped over promptly, and said: + +"Now you said you'd do it, now let's see you do it." + +"Don't you crowd me now; you better look out." + +"Well, you SAID you'd do it--why don't you do it?" + +"By jingo! for two cents I WILL do it." + +The new boy took two broad coppers out of his pocket and held them out +with derision. Tom struck them to the ground. In an instant both boys +were rolling and tumbling in the dirt, gripped together like cats; and +for the space of a minute they tugged and tore at each other's hair and +clothes, punched and scratched each other's nose, and covered +themselves with dust and glory. Presently the confusion took form, and +through the fog of battle Tom appeared, seated astride the new boy, and +pounding him with his fists. "Holler 'nuff!" said he. + +The boy only struggled to free himself. He was crying--mainly from rage. + +"Holler 'nuff!"--and the pounding went on. + +At last the stranger got out a smothered "'Nuff!" and Tom let him up +and said: + +"Now that'll learn you. Better look out who you're fooling with next +time." + +The new boy went off brushing the dust from his clothes, sobbing, +snuffling, and occasionally looking back and shaking his head and +threatening what he would do to Tom the "next time he caught him out." +To which Tom responded with jeers, and started off in high feather, and +as soon as his back was turned the new boy snatched up a stone, threw +it and hit him between the shoulders and then turned tail and ran like +an antelope. Tom chased the traitor home, and thus found out where he +lived. He then held a position at the gate for some time, daring the +enemy to come outside, but the enemy only made faces at him through the +window and declined. At last the enemy's mother appeared, and called +Tom a bad, vicious, vulgar child, and ordered him away. So he went +away; but he said he "'lowed" to "lay" for that boy. + +He got home pretty late that night, and when he climbed cautiously in +at the window, he uncovered an ambuscade, in the person of his aunt; +and when she saw the state his clothes were in her resolution to turn +his Saturday holiday into captivity at hard labor became adamantine in +its firmness. diff --git a/benchmarks/data/alice29.txt b/benchmarks/data/alice29.txt new file mode 100644 index 00000000..70336552 --- /dev/null +++ b/benchmarks/data/alice29.txt @@ -0,0 +1,3609 @@ + + + + + ALICE'S ADVENTURES IN WONDERLAND + + Lewis Carroll + + THE MILLENNIUM FULCRUM EDITION 2.9 + + + + + CHAPTER I + + Down the Rabbit-Hole + + + Alice was beginning to get very tired of sitting by her sister +on the bank, and of having nothing to do: once or twice she had +peeped into the book her sister was reading, but it had no +pictures or conversations in it, `and what is the use of a book,' +thought Alice `without pictures or conversation?' + + So she was considering in her own mind (as well as she could, +for the hot day made her feel very sleepy and stupid), whether +the pleasure of making a daisy-chain would be worth the trouble +of getting up and picking the daisies, when suddenly a White +Rabbit with pink eyes ran close by her. + + There was nothing so VERY remarkable in that; nor did Alice +think it so VERY much out of the way to hear the Rabbit say to +itself, `Oh dear! Oh dear! I shall be late!' (when she thought +it over afterwards, it occurred to her that she ought to have +wondered at this, but at the time it all seemed quite natural); +but when the Rabbit actually TOOK A WATCH OUT OF ITS WAISTCOAT- +POCKET, and looked at it, and then hurried on, Alice started to +her feet, for it flashed across her mind that she had never +before seen a rabbit with either a waistcoat-pocket, or a watch to +take out of it, and burning with curiosity, she ran across the +field after it, and fortunately was just in time to see it pop +down a large rabbit-hole under the hedge. + + In another moment down went Alice after it, never once +considering how in the world she was to get out again. + + The rabbit-hole went straight on like a tunnel for some way, +and then dipped suddenly down, so suddenly that Alice had not a +moment to think about stopping herself before she found herself +falling down a very deep well. + + Either the well was very deep, or she fell very slowly, for she +had plenty of time as she went down to look about her and to +wonder what was going to happen next. First, she tried to look +down and make out what she was coming to, but it was too dark to +see anything; then she looked at the sides of the well, and +noticed that they were filled with cupboards and book-shelves; +here and there she saw maps and pictures hung upon pegs. She +took down a jar from one of the shelves as she passed; it was +labelled `ORANGE MARMALADE', but to her great disappointment it +was empty: she did not like to drop the jar for fear of killing +somebody, so managed to put it into one of the cupboards as she +fell past it. + + `Well!' thought Alice to herself, `after such a fall as this, I +shall think nothing of tumbling down stairs! How brave they'll +all think me at home! Why, I wouldn't say anything about it, +even if I fell off the top of the house!' (Which was very likely +true.) + + Down, down, down. Would the fall NEVER come to an end! `I +wonder how many miles I've fallen by this time?' she said aloud. +`I must be getting somewhere near the centre of the earth. Let +me see: that would be four thousand miles down, I think--' (for, +you see, Alice had learnt several things of this sort in her +lessons in the schoolroom, and though this was not a VERY good +opportunity for showing off her knowledge, as there was no one to +listen to her, still it was good practice to say it over) `--yes, +that's about the right distance--but then I wonder what Latitude +or Longitude I've got to?' (Alice had no idea what Latitude was, +or Longitude either, but thought they were nice grand words to +say.) + + Presently she began again. `I wonder if I shall fall right +THROUGH the earth! How funny it'll seem to come out among the +people that walk with their heads downward! The Antipathies, I +think--' (she was rather glad there WAS no one listening, this +time, as it didn't sound at all the right word) `--but I shall +have to ask them what the name of the country is, you know. +Please, Ma'am, is this New Zealand or Australia?' (and she tried +to curtsey as she spoke--fancy CURTSEYING as you're falling +through the air! Do you think you could manage it?) `And what +an ignorant little girl she'll think me for asking! No, it'll +never do to ask: perhaps I shall see it written up somewhere.' + + Down, down, down. There was nothing else to do, so Alice soon +began talking again. `Dinah'll miss me very much to-night, I +should think!' (Dinah was the cat.) `I hope they'll remember +her saucer of milk at tea-time. Dinah my dear! I wish you were +down here with me! There are no mice in the air, I'm afraid, but +you might catch a bat, and that's very like a mouse, you know. +But do cats eat bats, I wonder?' And here Alice began to get +rather sleepy, and went on saying to herself, in a dreamy sort of +way, `Do cats eat bats? Do cats eat bats?' and sometimes, `Do +bats eat cats?' for, you see, as she couldn't answer either +question, it didn't much matter which way she put it. She felt +that she was dozing off, and had just begun to dream that she +was walking hand in hand with Dinah, and saying to her very +earnestly, `Now, Dinah, tell me the truth: did you ever eat a +bat?' when suddenly, thump! thump! down she came upon a heap of +sticks and dry leaves, and the fall was over. + + Alice was not a bit hurt, and she jumped up on to her feet in a +moment: she looked up, but it was all dark overhead; before her +was another long passage, and the White Rabbit was still in +sight, hurrying down it. There was not a moment to be lost: +away went Alice like the wind, and was just in time to hear it +say, as it turned a corner, `Oh my ears and whiskers, how late +it's getting!' She was close behind it when she turned the +corner, but the Rabbit was no longer to be seen: she found +herself in a long, low hall, which was lit up by a row of lamps +hanging from the roof. + + There were doors all round the hall, but they were all locked; +and when Alice had been all the way down one side and up the +other, trying every door, she walked sadly down the middle, +wondering how she was ever to get out again. + + Suddenly she came upon a little three-legged table, all made of +solid glass; there was nothing on it except a tiny golden key, +and Alice's first thought was that it might belong to one of the +doors of the hall; but, alas! either the locks were too large, or +the key was too small, but at any rate it would not open any of +them. However, on the second time round, she came upon a low +curtain she had not noticed before, and behind it was a little +door about fifteen inches high: she tried the little golden key +in the lock, and to her great delight it fitted! + + Alice opened the door and found that it led into a small +passage, not much larger than a rat-hole: she knelt down and +looked along the passage into the loveliest garden you ever saw. +How she longed to get out of that dark hall, and wander about +among those beds of bright flowers and those cool fountains, but +she could not even get her head though the doorway; `and even if +my head would go through,' thought poor Alice, `it would be of +very little use without my shoulders. Oh, how I wish +I could shut up like a telescope! I think I could, if I only +know how to begin.' For, you see, so many out-of-the-way things +had happened lately, that Alice had begun to think that very few +things indeed were really impossible. + + There seemed to be no use in waiting by the little door, so she +went back to the table, half hoping she might find another key on +it, or at any rate a book of rules for shutting people up like +telescopes: this time she found a little bottle on it, (`which +certainly was not here before,' said Alice,) and round the neck +of the bottle was a paper label, with the words `DRINK ME' +beautifully printed on it in large letters. + + It was all very well to say `Drink me,' but the wise little +Alice was not going to do THAT in a hurry. `No, I'll look +first,' she said, `and see whether it's marked "poison" or not'; +for she had read several nice little histories about children who +had got burnt, and eaten up by wild beasts and other unpleasant +things, all because they WOULD not remember the simple rules +their friends had taught them: such as, that a red-hot poker +will burn you if you hold it too long; and that if you cut your +finger VERY deeply with a knife, it usually bleeds; and she had +never forgotten that, if you drink much from a bottle marked +`poison,' it is almost certain to disagree with you, sooner or +later. + + However, this bottle was NOT marked `poison,' so Alice ventured +to taste it, and finding it very nice, (it had, in fact, a sort +of mixed flavour of cherry-tart, custard, pine-apple, roast +turkey, toffee, and hot buttered toast,) she very soon finished +it off. + + * * * * * * * + + * * * * * * + + * * * * * * * + + `What a curious feeling!' said Alice; `I must be shutting up +like a telescope.' + + And so it was indeed: she was now only ten inches high, and +her face brightened up at the thought that she was now the right +size for going though the little door into that lovely garden. +First, however, she waited for a few minutes to see if she was +going to shrink any further: she felt a little nervous about +this; `for it might end, you know,' said Alice to herself, `in my +going out altogether, like a candle. I wonder what I should be +like then?' And she tried to fancy what the flame of a candle is +like after the candle is blown out, for she could not remember +ever having seen such a thing. + + After a while, finding that nothing more happened, she decided +on going into the garden at once; but, alas for poor Alice! when +she got to the door, she found he had forgotten the little golden +key, and when she went back to the table for it, she found she +could not possibly reach it: she could see it quite plainly +through the glass, and she tried her best to climb up one of the +legs of the table, but it was too slippery; and when she had +tired herself out with trying, the poor little thing sat down and +cried. + + `Come, there's no use in crying like that!' said Alice to +herself, rather sharply; `I advise you to leave off this minute!' +She generally gave herself very good advice, (though she very +seldom followed it), and sometimes she scolded herself so +severely as to bring tears into her eyes; and once she remembered +trying to box her own ears for having cheated herself in a game +of croquet she was playing against herself, for this curious +child was very fond of pretending to be two people. `But it's no +use now,' thought poor Alice, `to pretend to be two people! Why, +there's hardly enough of me left to make ONE respectable +person!' + + Soon her eye fell on a little glass box that was lying under +the table: she opened it, and found in it a very small cake, on +which the words `EAT ME' were beautifully marked in currants. +`Well, I'll eat it,' said Alice, `and if it makes me grow larger, +I can reach the key; and if it makes me grow smaller, I can creep +under the door; so either way I'll get into the garden, and I +don't care which happens!' + + She ate a little bit, and said anxiously to herself, `Which +way? Which way?', holding her hand on the top of her head to +feel which way it was growing, and she was quite surprised to +find that she remained the same size: to be sure, this generally +happens when one eats cake, but Alice had got so much into the +way of expecting nothing but out-of-the-way things to happen, +that it seemed quite dull and stupid for life to go on in the +common way. + + So she set to work, and very soon finished off the cake. + + * * * * * * * + + * * * * * * + + * * * * * * * + + + + + CHAPTER II + + The Pool of Tears + + + `Curiouser and curiouser!' cried Alice (she was so much +surprised, that for the moment she quite forgot how to speak good +English); `now I'm opening out like the largest telescope that +ever was! Good-bye, feet!' (for when she looked down at her +feet, they seemed to be almost out of sight, they were getting so +far off). `Oh, my poor little feet, I wonder who will put on +your shoes and stockings for you now, dears? I'm sure _I_ shan't +be able! I shall be a great deal too far off to trouble myself +about you: you must manage the best way you can; --but I must be +kind to them,' thought Alice, `or perhaps they won't walk the +way I want to go! Let me see: I'll give them a new pair of +boots every Christmas.' + + And she went on planning to herself how she would manage it. +`They must go by the carrier,' she thought; `and how funny it'll +seem, sending presents to one's own feet! And how odd the +directions will look! + + ALICE'S RIGHT FOOT, ESQ. + HEARTHRUG, + NEAR THE FENDER, + (WITH ALICE'S LOVE). + +Oh dear, what nonsense I'm talking!' + + Just then her head struck against the roof of the hall: in +fact she was now more than nine feet high, and she at once took +up the little golden key and hurried off to the garden door. + + Poor Alice! It was as much as she could do, lying down on one +side, to look through into the garden with one eye; but to get +through was more hopeless than ever: she sat down and began to +cry again. + + `You ought to be ashamed of yourself,' said Alice, `a great +girl like you,' (she might well say this), `to go on crying in +this way! Stop this moment, I tell you!' But she went on all +the same, shedding gallons of tears, until there was a large pool +all round her, about four inches deep and reaching half down the +hall. + + After a time she heard a little pattering of feet in the +distance, and she hastily dried her eyes to see what was coming. +It was the White Rabbit returning, splendidly dressed, with a +pair of white kid gloves in one hand and a large fan in the +other: he came trotting along in a great hurry, muttering to +himself as he came, `Oh! the Duchess, the Duchess! Oh! won't she +be savage if I've kept her waiting!' Alice felt so desperate +that she was ready to ask help of any one; so, when the Rabbit +came near her, she began, in a low, timid voice, `If you please, +sir--' The Rabbit started violently, dropped the white kid +gloves and the fan, and skurried away into the darkness as hard +as he could go. + + Alice took up the fan and gloves, and, as the hall was very +hot, she kept fanning herself all the time she went on talking: +`Dear, dear! How queer everything is to-day! And yesterday +things went on just as usual. I wonder if I've been changed in +the night? Let me think: was I the same when I got up this +morning? I almost think I can remember feeling a little +different. But if I'm not the same, the next question is, Who in +the world am I? Ah, THAT'S the great puzzle!' And she began +thinking over all the children she knew that were of the same age +as herself, to see if she could have been changed for any of +them. + + `I'm sure I'm not Ada,' she said, `for her hair goes in such +long ringlets, and mine doesn't go in ringlets at all; and I'm +sure I can't be Mabel, for I know all sorts of things, and she, +oh! she knows such a very little! Besides, SHE'S she, and I'm I, +and--oh dear, how puzzling it all is! I'll try if I know all the +things I used to know. Let me see: four times five is twelve, +and four times six is thirteen, and four times seven is--oh dear! +I shall never get to twenty at that rate! However, the +Multiplication Table doesn't signify: let's try Geography. +London is the capital of Paris, and Paris is the capital of Rome, +and Rome--no, THAT'S all wrong, I'm certain! I must have been +changed for Mabel! I'll try and say "How doth the little--"' +and she crossed her hands on her lap as if she were saying lessons, +and began to repeat it, but her voice sounded hoarse and +strange, and the words did not come the same as they used to do:-- + + `How doth the little crocodile + Improve his shining tail, + And pour the waters of the Nile + On every golden scale! + + `How cheerfully he seems to grin, + How neatly spread his claws, + And welcome little fishes in + With gently smiling jaws!' + + `I'm sure those are not the right words,' said poor Alice, and +her eyes filled with tears again as she went on, `I must be Mabel +after all, and I shall have to go and live in that poky little +house, and have next to no toys to play with, and oh! ever so +many lessons to learn! No, I've made up my mind about it; if I'm +Mabel, I'll stay down here! It'll be no use their putting their +heads down and saying "Come up again, dear!" I shall only look +up and say "Who am I then? Tell me that first, and then, if I +like being that person, I'll come up: if not, I'll stay down +here till I'm somebody else"--but, oh dear!' cried Alice, with a +sudden burst of tears, `I do wish they WOULD put their heads +down! I am so VERY tired of being all alone here!' + + As she said this she looked down at her hands, and was +surprised to see that she had put on one of the Rabbit's little +white kid gloves while she was talking. `How CAN I have done +that?' she thought. `I must be growing small again.' She got up +and went to the table to measure herself by it, and found that, +as nearly as she could guess, she was now about two feet high, +and was going on shrinking rapidly: she soon found out that the +cause of this was the fan she was holding, and she dropped it +hastily, just in time to avoid shrinking away altogether. + +`That WAS a narrow escape!' said Alice, a good deal frightened at +the sudden change, but very glad to find herself still in +existence; `and now for the garden!' and she ran with all speed +back to the little door: but, alas! the little door was shut +again, and the little golden key was lying on the glass table as +before, `and things are worse than ever,' thought the poor child, +`for I never was so small as this before, never! And I declare +it's too bad, that it is!' + + As she said these words her foot slipped, and in another +moment, splash! she was up to her chin in salt water. He first +idea was that she had somehow fallen into the sea, `and in that +case I can go back by railway,' she said to herself. (Alice had +been to the seaside once in her life, and had come to the general +conclusion, that wherever you go to on the English coast you find +a number of bathing machines in the sea, some children digging in +the sand with wooden spades, then a row of lodging houses, and +behind them a railway station.) However, she soon made out that +she was in the pool of tears which she had wept when she was nine +feet high. + + `I wish I hadn't cried so much!' said Alice, as she swam about, +trying to find her way out. `I shall be punished for it now, I +suppose, by being drowned in my own tears! That WILL be a queer +thing, to be sure! However, everything is queer to-day.' + + Just then she heard something splashing about in the pool a +little way off, and she swam nearer to make out what it was: at +first she thought it must be a walrus or hippopotamus, but then +she remembered how small she was now, and she soon made out that +it was only a mouse that had slipped in like herself. + + `Would it be of any use, now,' thought Alice, `to speak to this +mouse? Everything is so out-of-the-way down here, that I should +think very likely it can talk: at any rate, there's no harm in +trying.' So she began: `O Mouse, do you know the way out of +this pool? I am very tired of swimming about here, O Mouse!' +(Alice thought this must be the right way of speaking to a mouse: +she had never done such a thing before, but she remembered having +seen in her brother's Latin Grammar, `A mouse--of a mouse--to a +mouse--a mouse--O mouse!' The Mouse looked at her rather +inquisitively, and seemed to her to wink with one of its little +eyes, but it said nothing. + + `Perhaps it doesn't understand English,' thought Alice; `I +daresay it's a French mouse, come over with William the +Conqueror.' (For, with all her knowledge of history, Alice had +no very clear notion how long ago anything had happened.) So she +began again: `Ou est ma chatte?' which was the first sentence in +her French lesson-book. The Mouse gave a sudden leap out of the +water, and seemed to quiver all over with fright. `Oh, I beg +your pardon!' cried Alice hastily, afraid that she had hurt the +poor animal's feelings. `I quite forgot you didn't like cats.' + + `Not like cats!' cried the Mouse, in a shrill, passionate +voice. `Would YOU like cats if you were me?' + + `Well, perhaps not,' said Alice in a soothing tone: `don't be +angry about it. And yet I wish I could show you our cat Dinah: +I think you'd take a fancy to cats if you could only see her. +She is such a dear quiet thing,' Alice went on, half to herself, +as she swam lazily about in the pool, `and she sits purring so +nicely by the fire, licking her paws and washing her face--and +she is such a nice soft thing to nurse--and she's such a capital +one for catching mice--oh, I beg your pardon!' cried Alice again, +for this time the Mouse was bristling all over, and she felt +certain it must be really offended. `We won't talk about her any +more if you'd rather not.' + + `We indeed!' cried the Mouse, who was trembling down to the end +of his tail. `As if I would talk on such a subject! Our family +always HATED cats: nasty, low, vulgar things! Don't let me hear +the name again!' + + `I won't indeed!' said Alice, in a great hurry to change the +subject of conversation. `Are you--are you fond--of--of dogs?' +The Mouse did not answer, so Alice went on eagerly: `There is +such a nice little dog near our house I should like to show you! +A little bright-eyed terrier, you know, with oh, such long curly +brown hair! And it'll fetch things when you throw them, and +it'll sit up and beg for its dinner, and all sorts of things--I +can't remember half of them--and it belongs to a farmer, you +know, and he says it's so useful, it's worth a hundred pounds! +He says it kills all the rats and--oh dear!' cried Alice in a +sorrowful tone, `I'm afraid I've offended it again!' For the +Mouse was swimming away from her as hard as it could go, and +making quite a commotion in the pool as it went. + + So she called softly after it, `Mouse dear! Do come back +again, and we won't talk about cats or dogs either, if you don't +like them!' When the Mouse heard this, it turned round and swam +slowly back to her: its face was quite pale (with passion, Alice +thought), and it said in a low trembling voice, `Let us get to +the shore, and then I'll tell you my history, and you'll +understand why it is I hate cats and dogs.' + + It was high time to go, for the pool was getting quite crowded +with the birds and animals that had fallen into it: there were a +Duck and a Dodo, a Lory and an Eaglet, and several other curious +creatures. Alice led the way, and the whole party swam to the +shore. + + + + CHAPTER III + + A Caucus-Race and a Long Tale + + + They were indeed a queer-looking party that assembled on the +bank--the birds with draggled feathers, the animals with their +fur clinging close to them, and all dripping wet, cross, and +uncomfortable. + + The first question of course was, how to get dry again: they +had a consultation about this, and after a few minutes it seemed +quite natural to Alice to find herself talking familiarly with +them, as if she had known them all her life. Indeed, she had +quite a long argument with the Lory, who at last turned sulky, +and would only say, `I am older than you, and must know better'; +and this Alice would not allow without knowing how old it was, +and, as the Lory positively refused to tell its age, there was no +more to be said. + + At last the Mouse, who seemed to be a person of authority among +them, called out, `Sit down, all of you, and listen to me! I'LL +soon make you dry enough!' They all sat down at once, in a large +ring, with the Mouse in the middle. Alice kept her eyes +anxiously fixed on it, for she felt sure she would catch a bad +cold if she did not get dry very soon. + + `Ahem!' said the Mouse with an important air, `are you all ready? +This is the driest thing I know. Silence all round, if you please! +"William the Conqueror, whose cause was favoured by the pope, was +soon submitted to by the English, who wanted leaders, and had been +of late much accustomed to usurpation and conquest. Edwin and +Morcar, the earls of Mercia and Northumbria--"' + + `Ugh!' said the Lory, with a shiver. + + `I beg your pardon!' said the Mouse, frowning, but very +politely: `Did you speak?' + + `Not I!' said the Lory hastily. + + `I thought you did,' said the Mouse. `--I proceed. "Edwin and +Morcar, the earls of Mercia and Northumbria, declared for him: +and even Stigand, the patriotic archbishop of Canterbury, found +it advisable--"' + + `Found WHAT?' said the Duck. + + `Found IT,' the Mouse replied rather crossly: `of course you +know what "it" means.' + + `I know what "it" means well enough, when I find a thing,' said +the Duck: `it's generally a frog or a worm. The question is, +what did the archbishop find?' + + The Mouse did not notice this question, but hurriedly went on, +`"--found it advisable to go with Edgar Atheling to meet William +and offer him the crown. William's conduct at first was +moderate. But the insolence of his Normans--" How are you +getting on now, my dear?' it continued, turning to Alice as it +spoke. + + `As wet as ever,' said Alice in a melancholy tone: `it doesn't +seem to dry me at all.' + + `In that case,' said the Dodo solemnly, rising to its feet, `I +move that the meeting adjourn, for the immediate adoption of more +energetic remedies--' + + `Speak English!' said the Eaglet. `I don't know the meaning of +half those long words, and, what's more, I don't believe you do +either!' And the Eaglet bent down its head to hide a smile: +some of the other birds tittered audibly. + + `What I was going to say,' said the Dodo in an offended tone, +`was, that the best thing to get us dry would be a Caucus-race.' + + `What IS a Caucus-race?' said Alice; not that she wanted much +to know, but the Dodo had paused as if it thought that SOMEBODY +ought to speak, and no one else seemed inclined to say anything. + + `Why,' said the Dodo, `the best way to explain it is to do it.' +(And, as you might like to try the thing yourself, some winter +day, I will tell you how the Dodo managed it.) + + First it marked out a race-course, in a sort of circle, (`the +exact shape doesn't matter,' it said,) and then all the party +were placed along the course, here and there. There was no `One, +two, three, and away,' but they began running when they liked, +and left off when they liked, so that it was not easy to know +when the race was over. However, when they had been running half +an hour or so, and were quite dry again, the Dodo suddenly called +out `The race is over!' and they all crowded round it, panting, +and asking, `But who has won?' + + This question the Dodo could not answer without a great deal of +thought, and it sat for a long time with one finger pressed upon +its forehead (the position in which you usually see Shakespeare, +in the pictures of him), while the rest waited in silence. At +last the Dodo said, `EVERYBODY has won, and all must have +prizes.' + + `But who is to give the prizes?' quite a chorus of voices +asked. + + `Why, SHE, of course,' said the Dodo, pointing to Alice with +one finger; and the whole party at once crowded round her, +calling out in a confused way, `Prizes! Prizes!' + + Alice had no idea what to do, and in despair she put her hand +in her pocket, and pulled out a box of comfits, (luckily the salt +water had not got into it), and handed them round as prizes. +There was exactly one a-piece all round. + + `But she must have a prize herself, you know,' said the Mouse. + + `Of course,' the Dodo replied very gravely. `What else have +you got in your pocket?' he went on, turning to Alice. + + `Only a thimble,' said Alice sadly. + + `Hand it over here,' said the Dodo. + + Then they all crowded round her once more, while the Dodo +solemnly presented the thimble, saying `We beg your acceptance of +this elegant thimble'; and, when it had finished this short +speech, they all cheered. + + Alice thought the whole thing very absurd, but they all looked +so grave that she did not dare to laugh; and, as she could not +think of anything to say, she simply bowed, and took the thimble, +looking as solemn as she could. + + The next thing was to eat the comfits: this caused some noise +and confusion, as the large birds complained that they could not +taste theirs, and the small ones choked and had to be patted on +the back. However, it was over at last, and they sat down again +in a ring, and begged the Mouse to tell them something more. + + `You promised to tell me your history, you know,' said Alice, +`and why it is you hate--C and D,' she added in a whisper, half +afraid that it would be offended again. + + `Mine is a long and a sad tale!' said the Mouse, turning to +Alice, and sighing. + + `It IS a long tail, certainly,' said Alice, looking down with +wonder at the Mouse's tail; `but why do you call it sad?' And +she kept on puzzling about it while the Mouse was speaking, so +that her idea of the tale was something like this:-- + + `Fury said to a + mouse, That he + met in the + house, + "Let us + both go to + law: I will + prosecute + YOU. --Come, + I'll take no + denial; We + must have a + trial: For + really this + morning I've + nothing + to do." + Said the + mouse to the + cur, "Such + a trial, + dear Sir, + With + no jury + or judge, + would be + wasting + our + breath." + "I'll be + judge, I'll + be jury," + Said + cunning + old Fury: + "I'll + try the + whole + cause, + and + condemn + you + to + death."' + + + `You are not attending!' said the Mouse to Alice severely. +`What are you thinking of?' + + `I beg your pardon,' said Alice very humbly: `you had got to +the fifth bend, I think?' + + `I had NOT!' cried the Mouse, sharply and very angrily. + + `A knot!' said Alice, always ready to make herself useful, and +looking anxiously about her. `Oh, do let me help to undo it!' + + `I shall do nothing of the sort,' said the Mouse, getting up +and walking away. `You insult me by talking such nonsense!' + + `I didn't mean it!' pleaded poor Alice. `But you're so easily +offended, you know!' + + The Mouse only growled in reply. + + `Please come back and finish your story!' Alice called after +it; and the others all joined in chorus, `Yes, please do!' but +the Mouse only shook its head impatiently, and walked a little +quicker. + + `What a pity it wouldn't stay!' sighed the Lory, as soon as it +was quite out of sight; and an old Crab took the opportunity of +saying to her daughter `Ah, my dear! Let this be a lesson to you +never to lose YOUR temper!' `Hold your tongue, Ma!' said the +young Crab, a little snappishly. `You're enough to try the +patience of an oyster!' + + `I wish I had our Dinah here, I know I do!' said Alice aloud, +addressing nobody in particular. `She'd soon fetch it back!' + + `And who is Dinah, if I might venture to ask the question?' +said the Lory. + + Alice replied eagerly, for she was always ready to talk about +her pet: `Dinah's our cat. And she's such a capital one for +catching mice you can't think! And oh, I wish you could see her +after the birds! Why, she'll eat a little bird as soon as look +at it!' + + This speech caused a remarkable sensation among the party. +Some of the birds hurried off at once: one the old Magpie began +wrapping itself up very carefully, remarking, `I really must be +getting home; the night-air doesn't suit my throat!' and a Canary +called out in a trembling voice to its children, `Come away, my +dears! It's high time you were all in bed!' On various pretexts +they all moved off, and Alice was soon left alone. + + `I wish I hadn't mentioned Dinah!' she said to herself in a +melancholy tone. `Nobody seems to like her, down here, and I'm +sure she's the best cat in the world! Oh, my dear Dinah! I +wonder if I shall ever see you any more!' And here poor Alice +began to cry again, for she felt very lonely and low-spirited. +In a little while, however, she again heard a little pattering of +footsteps in the distance, and she looked up eagerly, half hoping +that the Mouse had changed his mind, and was coming back to +finish his story. + + + + CHAPTER IV + + The Rabbit Sends in a Little Bill + + + It was the White Rabbit, trotting slowly back again, and +looking anxiously about as it went, as if it had lost something; +and she heard it muttering to itself `The Duchess! The Duchess! +Oh my dear paws! Oh my fur and whiskers! She'll get me +executed, as sure as ferrets are ferrets! Where CAN I have +dropped them, I wonder?' Alice guessed in a moment that it was +looking for the fan and the pair of white kid gloves, and she +very good-naturedly began hunting about for them, but they were +nowhere to be seen--everything seemed to have changed since her +swim in the pool, and the great hall, with the glass table and +the little door, had vanished completely. + + Very soon the Rabbit noticed Alice, as she went hunting about, +and called out to her in an angry tone, `Why, Mary Ann, what ARE +you doing out here? Run home this moment, and fetch me a pair of +gloves and a fan! Quick, now!' And Alice was so much frightened +that she ran off at once in the direction it pointed to, without +trying to explain the mistake it had made. + + `He took me for his housemaid,' she said to herself as she ran. +`How surprised he'll be when he finds out who I am! But I'd +better take him his fan and gloves--that is, if I can find them.' +As she said this, she came upon a neat little house, on the door +of which was a bright brass plate with the name `W. RABBIT' +engraved upon it. She went in without knocking, and hurried +upstairs, in great fear lest she should meet the real Mary Ann, +and be turned out of the house before she had found the fan and +gloves. + + `How queer it seems,' Alice said to herself, `to be going +messages for a rabbit! I suppose Dinah'll be sending me on +messages next!' And she began fancying the sort of thing that +would happen: `"Miss Alice! Come here directly, and get ready +for your walk!" "Coming in a minute, nurse! But I've got to see +that the mouse doesn't get out." Only I don't think,' Alice went +on, `that they'd let Dinah stop in the house if it began ordering +people about like that!' + + By this time she had found her way into a tidy little room with +a table in the window, and on it (as she had hoped) a fan and two +or three pairs of tiny white kid gloves: she took up the fan and +a pair of the gloves, and was just going to leave the room, when +her eye fell upon a little bottle that stood near the looking- +glass. There was no label this time with the words `DRINK ME,' +but nevertheless she uncorked it and put it to her lips. `I know +SOMETHING interesting is sure to happen,' she said to herself, +`whenever I eat or drink anything; so I'll just see what this +bottle does. I do hope it'll make me grow large again, for +really I'm quite tired of being such a tiny little thing!' + + It did so indeed, and much sooner than she had expected: +before she had drunk half the bottle, she found her head pressing +against the ceiling, and had to stoop to save her neck from being +broken. She hastily put down the bottle, saying to herself +`That's quite enough--I hope I shan't grow any more--As it is, I +can't get out at the door--I do wish I hadn't drunk quite so +much!' + + Alas! it was too late to wish that! She went on growing, and +growing, and very soon had to kneel down on the floor: in +another minute there was not even room for this, and she tried +the effect of lying down with one elbow against the door, and the +other arm curled round her head. Still she went on growing, and, +as a last resource, she put one arm out of the window, and one +foot up the chimney, and said to herself `Now I can do no more, +whatever happens. What WILL become of me?' + + Luckily for Alice, the little magic bottle had now had its full +effect, and she grew no larger: still it was very uncomfortable, +and, as there seemed to be no sort of chance of her ever getting +out of the room again, no wonder she felt unhappy. + + `It was much pleasanter at home,' thought poor Alice, `when one +wasn't always growing larger and smaller, and being ordered about +by mice and rabbits. I almost wish I hadn't gone down that +rabbit-hole--and yet--and yet--it's rather curious, you know, +this sort of life! I do wonder what CAN have happened to me! +When I used to read fairy-tales, I fancied that kind of thing +never happened, and now here I am in the middle of one! There +ought to be a book written about me, that there ought! And when +I grow up, I'll write one--but I'm grown up now,' she added in a +sorrowful tone; `at least there's no room to grow up any more +HERE.' + + `But then,' thought Alice, `shall I NEVER get any older than I +am now? That'll be a comfort, one way--never to be an old woman- +-but then--always to have lessons to learn! Oh, I shouldn't like +THAT!' + + `Oh, you foolish Alice!' she answered herself. `How can you +learn lessons in here? Why, there's hardly room for YOU, and no +room at all for any lesson-books!' + + And so she went on, taking first one side and then the other, +and making quite a conversation of it altogether; but after a few +minutes she heard a voice outside, and stopped to listen. + + `Mary Ann! Mary Ann!' said the voice. `Fetch me my gloves +this moment!' Then came a little pattering of feet on the +stairs. Alice knew it was the Rabbit coming to look for her, and +she trembled till she shook the house, quite forgetting that she +was now about a thousand times as large as the Rabbit, and had no +reason to be afraid of it. + + Presently the Rabbit came up to the door, and tried to open it; +but, as the door opened inwards, and Alice's elbow was pressed +hard against it, that attempt proved a failure. Alice heard it +say to itself `Then I'll go round and get in at the window.' + + `THAT you won't' thought Alice, and, after waiting till she +fancied she heard the Rabbit just under the window, she suddenly +spread out her hand, and made a snatch in the air. She did not +get hold of anything, but she heard a little shriek and a fall, +and a crash of broken glass, from which she concluded that it was +just possible it had fallen into a cucumber-frame, or something +of the sort. + + Next came an angry voice--the Rabbit's--`Pat! Pat! Where are +you?' And then a voice she had never heard before, `Sure then +I'm here! Digging for apples, yer honour!' + + `Digging for apples, indeed!' said the Rabbit angrily. `Here! +Come and help me out of THIS!' (Sounds of more broken glass.) + + `Now tell me, Pat, what's that in the window?' + + `Sure, it's an arm, yer honour!' (He pronounced it `arrum.') + + `An arm, you goose! Who ever saw one that size? Why, it +fills the whole window!' + + `Sure, it does, yer honour: but it's an arm for all that.' + + `Well, it's got no business there, at any rate: go and take it +away!' + + There was a long silence after this, and Alice could only hear +whispers now and then; such as, `Sure, I don't like it, yer +honour, at all, at all!' `Do as I tell you, you coward!' and at +last she spread out her hand again, and made another snatch in +the air. This time there were TWO little shrieks, and more +sounds of broken glass. `What a number of cucumber-frames there +must be!' thought Alice. `I wonder what they'll do next! As for +pulling me out of the window, I only wish they COULD! I'm sure I +don't want to stay in here any longer!' + + She waited for some time without hearing anything more: at +last came a rumbling of little cartwheels, and the sound of a +good many voice all talking together: she made out the words: +`Where's the other ladder?--Why, I hadn't to bring but one; +Bill's got the other--Bill! fetch it here, lad!--Here, put 'em up +at this corner--No, tie 'em together first--they don't reach half +high enough yet--Oh! they'll do well enough; don't be particular- +-Here, Bill! catch hold of this rope--Will the roof bear?--Mind +that loose slate--Oh, it's coming down! Heads below!' (a loud +crash)--`Now, who did that?--It was Bill, I fancy--Who's to go +down the chimney?--Nay, I shan't! YOU do it!--That I won't, +then!--Bill's to go down--Here, Bill! the master says you're to +go down the chimney!' + + `Oh! So Bill's got to come down the chimney, has he?' said +Alice to herself. `Shy, they seem to put everything upon Bill! +I wouldn't be in Bill's place for a good deal: this fireplace is +narrow, to be sure; but I THINK I can kick a little!' + + She drew her foot as far down the chimney as she could, and +waited till she heard a little animal (she couldn't guess of what +sort it was) scratching and scrambling about in the chimney close +above her: then, saying to herself `This is Bill,' she gave one +sharp kick, and waited to see what would happen next. + + The first thing she heard was a general chorus of `There goes +Bill!' then the Rabbit's voice along--`Catch him, you by the +hedge!' then silence, and then another confusion of voices--`Hold +up his head--Brandy now--Don't choke him--How was it, old fellow? +What happened to you? Tell us all about it!' + + Last came a little feeble, squeaking voice, (`That's Bill,' +thought Alice,) `Well, I hardly know--No more, thank ye; I'm +better now--but I'm a deal too flustered to tell you--all I know +is, something comes at me like a Jack-in-the-box, and up I goes +like a sky-rocket!' + + `So you did, old fellow!' said the others. + + `We must burn the house down!' said the Rabbit's voice; and +Alice called out as loud as she could, `If you do. I'll set +Dinah at you!' + + There was a dead silence instantly, and Alice thought to +herself, `I wonder what they WILL do next! If they had any +sense, they'd take the roof off.' After a minute or two, they +began moving about again, and Alice heard the Rabbit say, `A +barrowful will do, to begin with.' + + `A barrowful of WHAT?' thought Alice; but she had not long to +doubt, for the next moment a shower of little pebbles came +rattling in at the window, and some of them hit her in the face. +`I'll put a stop to this,' she said to herself, and shouted out, +`You'd better not do that again!' which produced another dead +silence. + + Alice noticed with some surprise that the pebbles were all +turning into little cakes as they lay on the floor, and a bright +idea came into her head. `If I eat one of these cakes,' she +thought, `it's sure to make SOME change in my size; and as it +can't possibly make me larger, it must make me smaller, I +suppose.' + + So she swallowed one of the cakes, and was delighted to find +that she began shrinking directly. As soon as she was small +enough to get through the door, she ran out of the house, and +found quite a crowd of little animals and birds waiting outside. +The poor little Lizard, Bill, was in the middle, being held up by +two guinea-pigs, who were giving it something out of a bottle. +They all made a rush at Alice the moment she appeared; but she +ran off as hard as she could, and soon found herself safe in a +thick wood. + + `The first thing I've got to do,' said Alice to herself, as she +wandered about in the wood, `is to grow to my right size again; +and the second thing is to find my way into that lovely garden. +I think that will be the best plan.' + + It sounded an excellent plan, no doubt, and very neatly and +simply arranged; the only difficulty was, that she had not the +smallest idea how to set about it; and while she was peering +about anxiously among the trees, a little sharp bark just over +her head made her look up in a great hurry. + + An enormous puppy was looking down at her with large round +eyes, and feebly stretching out one paw, trying to touch her. +`Poor little thing!' said Alice, in a coaxing tone, and she tried +hard to whistle to it; but she was terribly frightened all the +time at the thought that it might be hungry, in which case it +would be very likely to eat her up in spite of all her coaxing. + + Hardly knowing what she did, she picked up a little bit of +stick, and held it out to the puppy; whereupon the puppy jumped +into the air off all its feet at once, with a yelp of delight, +and rushed at the stick, and made believe to worry it; then Alice +dodged behind a great thistle, to keep herself from being run +over; and the moment she appeared on the other side, the puppy +made another rush at the stick, and tumbled head over heels in +its hurry to get hold of it; then Alice, thinking it was very +like having a game of play with a cart-horse, and expecting every +moment to be trampled under its feet, ran round the thistle +again; then the puppy began a series of short charges at the +stick, running a very little way forwards each time and a long +way back, and barking hoarsely all the while, till at last it sat +down a good way off, panting, with its tongue hanging out of its +mouth, and its great eyes half shut. + + This seemed to Alice a good opportunity for making her escape; +so she set off at once, and ran till she was quite tired and out +of breath, and till the puppy's bark sounded quite faint in the +distance. + + `And yet what a dear little puppy it was!' said Alice, as she +leant against a buttercup to rest herself, and fanned herself +with one of the leaves: `I should have liked teaching it tricks +very much, if--if I'd only been the right size to do it! Oh +dear! I'd nearly forgotten that I've got to grow up again! Let +me see--how IS it to be managed? I suppose I ought to eat or +drink something or other; but the great question is, what?' + + The great question certainly was, what? Alice looked all round +her at the flowers and the blades of grass, but she did not see +anything that looked like the right thing to eat or drink under +the circumstances. There was a large mushroom growing near her, +about the same height as herself; and when she had looked under +it, and on both sides of it, and behind it, it occurred to her +that she might as well look and see what was on the top of it. + + She stretched herself up on tiptoe, and peeped over the edge of +the mushroom, and her eyes immediately met those of a large +caterpillar, that was sitting on the top with its arms folded, +quietly smoking a long hookah, and taking not the smallest notice +of her or of anything else. + + + + CHAPTER V + + Advice from a Caterpillar + + + The Caterpillar and Alice looked at each other for some time in +silence: at last the Caterpillar took the hookah out of its +mouth, and addressed her in a languid, sleepy voice. + + `Who are YOU?' said the Caterpillar. + + This was not an encouraging opening for a conversation. Alice +replied, rather shyly, `I--I hardly know, sir, just at present-- +at least I know who I WAS when I got up this morning, but I think +I must have been changed several times since then.' + + `What do you mean by that?' said the Caterpillar sternly. +`Explain yourself!' + + `I can't explain MYSELF, I'm afraid, sir' said Alice, `because +I'm not myself, you see.' + + `I don't see,' said the Caterpillar. + + `I'm afraid I can't put it more clearly,' Alice replied very +politely, `for I can't understand it myself to begin with; and +being so many different sizes in a day is very confusing.' + + `It isn't,' said the Caterpillar. + + `Well, perhaps you haven't found it so yet,' said Alice; `but +when you have to turn into a chrysalis--you will some day, you +know--and then after that into a butterfly, I should think you'll +feel it a little queer, won't you?' + + `Not a bit,' said the Caterpillar. + + `Well, perhaps your feelings may be different,' said Alice; +`all I know is, it would feel very queer to ME.' + + `You!' said the Caterpillar contemptuously. `Who are YOU?' + + Which brought them back again to the beginning of the +conversation. Alice felt a little irritated at the Caterpillar's +making such VERY short remarks, and she drew herself up and said, +very gravely, `I think, you ought to tell me who YOU are, first.' + + `Why?' said the Caterpillar. + + Here was another puzzling question; and as Alice could not +think of any good reason, and as the Caterpillar seemed to be in +a VERY unpleasant state of mind, she turned away. + + `Come back!' the Caterpillar called after her. `I've something +important to say!' + + This sounded promising, certainly: Alice turned and came back +again. + + `Keep your temper,' said the Caterpillar. + + `Is that all?' said Alice, swallowing down her anger as well as +she could. + + `No,' said the Caterpillar. + + Alice thought she might as well wait, as she had nothing else +to do, and perhaps after all it might tell her something worth +hearing. For some minutes it puffed away without speaking, but +at last it unfolded its arms, took the hookah out of its mouth +again, and said, `So you think you're changed, do you?' + + `I'm afraid I am, sir,' said Alice; `I can't remember things as +I used--and I don't keep the same size for ten minutes together!' + + `Can't remember WHAT things?' said the Caterpillar. + + `Well, I've tried to say "HOW DOTH THE LITTLE BUSY BEE," but it +all came different!' Alice replied in a very melancholy voice. + + `Repeat, "YOU ARE OLD, FATHER WILLIAM,"' said the Caterpillar. + + Alice folded her hands, and began:-- + + `You are old, Father William,' the young man said, + `And your hair has become very white; + And yet you incessantly stand on your head-- + Do you think, at your age, it is right?' + + `In my youth,' Father William replied to his son, + `I feared it might injure the brain; + But, now that I'm perfectly sure I have none, + Why, I do it again and again.' + + `You are old,' said the youth, `as I mentioned before, + And have grown most uncommonly fat; + Yet you turned a back-somersault in at the door-- + Pray, what is the reason of that?' + + `In my youth,' said the sage, as he shook his grey locks, + `I kept all my limbs very supple + By the use of this ointment--one shilling the box-- + Allow me to sell you a couple?' + + `You are old,' said the youth, `and your jaws are too weak + For anything tougher than suet; + Yet you finished the goose, with the bones and the beak-- + Pray how did you manage to do it?' + + `In my youth,' said his father, `I took to the law, + And argued each case with my wife; + And the muscular strength, which it gave to my jaw, + Has lasted the rest of my life.' + + `You are old,' said the youth, `one would hardly suppose + That your eye was as steady as ever; + Yet you balanced an eel on the end of your nose-- + What made you so awfully clever?' + + `I have answered three questions, and that is enough,' + Said his father; `don't give yourself airs! + Do you think I can listen all day to such stuff? + Be off, or I'll kick you down stairs!' + + + `That is not said right,' said the Caterpillar. + + `Not QUITE right, I'm afraid,' said Alice, timidly; `some of the +words have got altered.' + + `It is wrong from beginning to end,' said the Caterpillar +decidedly, and there was silence for some minutes. + + The Caterpillar was the first to speak. + + `What size do you want to be?' it asked. + + `Oh, I'm not particular as to size,' Alice hastily replied; +`only one doesn't like changing so often, you know.' + + `I DON'T know,' said the Caterpillar. + + Alice said nothing: she had never been so much contradicted in +her life before, and she felt that she was losing her temper. + + `Are you content now?' said the Caterpillar. + + `Well, I should like to be a LITTLE larger, sir, if you +wouldn't mind,' said Alice: `three inches is such a wretched +height to be.' + + `It is a very good height indeed!' said the Caterpillar +angrily, rearing itself upright as it spoke (it was exactly three +inches high). + + `But I'm not used to it!' pleaded poor Alice in a piteous tone. +And she thought of herself, `I wish the creatures wouldn't be so +easily offended!' + + `You'll get used to it in time,' said the Caterpillar; and it +put the hookah into its mouth and began smoking again. + + This time Alice waited patiently until it chose to speak again. +In a minute or two the Caterpillar took the hookah out of its +mouth and yawned once or twice, and shook itself. Then it got +down off the mushroom, and crawled away in the grass, merely +remarking as it went, `One side will make you grow taller, and +the other side will make you grow shorter.' + + `One side of WHAT? The other side of WHAT?' thought Alice to +herself. + + `Of the mushroom,' said the Caterpillar, just as if she had +asked it aloud; and in another moment it was out of sight. + + Alice remained looking thoughtfully at the mushroom for a +minute, trying to make out which were the two sides of it; and as +it was perfectly round, she found this a very difficult question. +However, at last she stretched her arms round it as far as they +would go, and broke off a bit of the edge with each hand. + + `And now which is which?' she said to herself, and nibbled a +little of the right-hand bit to try the effect: the next moment +she felt a violent blow underneath her chin: it had struck her +foot! + + She was a good deal frightened by this very sudden change, but +she felt that there was no time to be lost, as she was shrinking +rapidly; so she set to work at once to eat some of the other bit. +Her chin was pressed so closely against her foot, that there was +hardly room to open her mouth; but she did it at last, and +managed to swallow a morsel of the lefthand bit. + + + * * * * * * * + + * * * * * * + + * * * * * * * + + `Come, my head's free at last!' said Alice in a tone of +delight, which changed into alarm in another moment, when she +found that her shoulders were nowhere to be found: all she could +see, when she looked down, was an immense length of neck, which +seemed to rise like a stalk out of a sea of green leaves that lay +far below her. + + `What CAN all that green stuff be?' said Alice. `And where +HAVE my shoulders got to? And oh, my poor hands, how is it I +can't see you?' She was moving them about as she spoke, but no +result seemed to follow, except a little shaking among the +distant green leaves. + + As there seemed to be no chance of getting her hands up to her +head, she tried to get her head down to them, and was delighted +to find that her neck would bend about easily in any direction, +like a serpent. She had just succeeded in curving it down into a +graceful zigzag, and was going to dive in among the leaves, which +she found to be nothing but the tops of the trees under which she +had been wandering, when a sharp hiss made her draw back in a +hurry: a large pigeon had flown into her face, and was beating +her violently with its wings. + + `Serpent!' screamed the Pigeon. + + `I'm NOT a serpent!' said Alice indignantly. `Let me alone!' + + `Serpent, I say again!' repeated the Pigeon, but in a more +subdued tone, and added with a kind of sob, `I've tried every +way, and nothing seems to suit them!' + + `I haven't the least idea what you're talking about,' said +Alice. + + `I've tried the roots of trees, and I've tried banks, and I've +tried hedges,' the Pigeon went on, without attending to her; `but +those serpents! There's no pleasing them!' + + Alice was more and more puzzled, but she thought there was no +use in saying anything more till the Pigeon had finished. + + `As if it wasn't trouble enough hatching the eggs,' said the +Pigeon; `but I must be on the look-out for serpents night and +day! Why, I haven't had a wink of sleep these three weeks!' + + `I'm very sorry you've been annoyed,' said Alice, who was +beginning to see its meaning. + + `And just as I'd taken the highest tree in the wood,' continued +the Pigeon, raising its voice to a shriek, `and just as I was +thinking I should be free of them at last, they must needs come +wriggling down from the sky! Ugh, Serpent!' + + `But I'm NOT a serpent, I tell you!' said Alice. `I'm a--I'm +a--' + + `Well! WHAT are you?' said the Pigeon. `I can see you're +trying to invent something!' + + `I--I'm a little girl,' said Alice, rather doubtfully, as she +remembered the number of changes she had gone through that day. + + `A likely story indeed!' said the Pigeon in a tone of the +deepest contempt. `I've seen a good many little girls in my +time, but never ONE with such a neck as that! No, no! You're a +serpent; and there's no use denying it. I suppose you'll be +telling me next that you never tasted an egg!' + + `I HAVE tasted eggs, certainly,' said Alice, who was a very +truthful child; `but little girls eat eggs quite as much as +serpents do, you know.' + + `I don't believe it,' said the Pigeon; `but if they do, why +then they're a kind of serpent, that's all I can say.' + + This was such a new idea to Alice, that she was quite silent +for a minute or two, which gave the Pigeon the opportunity of +adding, `You're looking for eggs, I know THAT well enough; and +what does it matter to me whether you're a little girl or a +serpent?' + + `It matters a good deal to ME,' said Alice hastily; `but I'm +not looking for eggs, as it happens; and if I was, I shouldn't +want YOURS: I don't like them raw.' + + `Well, be off, then!' said the Pigeon in a sulky tone, as it +settled down again into its nest. Alice crouched down among the +trees as well as she could, for her neck kept getting entangled +among the branches, and every now and then she had to stop and +untwist it. After a while she remembered that she still held the +pieces of mushroom in her hands, and she set to work very +carefully, nibbling first at one and then at the other, and +growing sometimes taller and sometimes shorter, until she had +succeeded in bringing herself down to her usual height. + + It was so long since she had been anything near the right size, +that it felt quite strange at first; but she got used to it in a +few minutes, and began talking to herself, as usual. `Come, +there's half my plan done now! How puzzling all these changes +are! I'm never sure what I'm going to be, from one minute to +another! However, I've got back to my right size: the next +thing is, to get into that beautiful garden--how IS that to be +done, I wonder?' As she said this, she came suddenly upon an +open place, with a little house in it about four feet high. +`Whoever lives there,' thought Alice, `it'll never do to come +upon them THIS size: why, I should frighten them out of their +wits!' So she began nibbling at the righthand bit again, and did +not venture to go near the house till she had brought herself +down to nine inches high. + + + + CHAPTER VI + + Pig and Pepper + + + For a minute or two she stood looking at the house, and +wondering what to do next, when suddenly a footman in livery came +running out of the wood--(she considered him to be a footman +because he was in livery: otherwise, judging by his face only, +she would have called him a fish)--and rapped loudly at the door +with his knuckles. It was opened by another footman in livery, +with a round face, and large eyes like a frog; and both footmen, +Alice noticed, had powdered hair that curled all over their +heads. She felt very curious to know what it was all about, and +crept a little way out of the wood to listen. + + The Fish-Footman began by producing from under his arm a great +letter, nearly as large as himself, and this he handed over to +the other, saying, in a solemn tone, `For the Duchess. An +invitation from the Queen to play croquet.' The Frog-Footman +repeated, in the same solemn tone, only changing the order of the +words a little, `From the Queen. An invitation for the Duchess +to play croquet.' + + Then they both bowed low, and their curls got entangled +together. + + Alice laughed so much at this, that she had to run back into +the wood for fear of their hearing her; and when she next peeped +out the Fish-Footman was gone, and the other was sitting on the +ground near the door, staring stupidly up into the sky. + + Alice went timidly up to the door, and knocked. + + `There's no sort of use in knocking,' said the Footman, `and +that for two reasons. First, because I'm on the same side of the +door as you are; secondly, because they're making such a noise +inside, no one could possibly hear you.' And certainly there was +a most extraordinary noise going on within--a constant howling +and sneezing, and every now and then a great crash, as if a dish +or kettle had been broken to pieces. + + `Please, then,' said Alice, `how am I to get in?' + + `There might be some sense in your knocking,' the Footman went +on without attending to her, `if we had the door between us. For +instance, if you were INSIDE, you might knock, and I could let +you out, you know.' He was looking up into the sky all the time +he was speaking, and this Alice thought decidedly uncivil. `But +perhaps he can't help it,' she said to herself; `his eyes are so +VERY nearly at the top of his head. But at any rate he might +answer questions.--How am I to get in?' she repeated, aloud. + + `I shall sit here,' the Footman remarked, `till tomorrow--' + + At this moment the door of the house opened, and a large plate +came skimming out, straight at the Footman's head: it just +grazed his nose, and broke to pieces against one of the trees +behind him. + + `--or next day, maybe,' the Footman continued in the same tone, +exactly as if nothing had happened. + + `How am I to get in?' asked Alice again, in a louder tone. + + `ARE you to get in at all?' said the Footman. `That's the +first question, you know.' + + It was, no doubt: only Alice did not like to be told so. +`It's really dreadful,' she muttered to herself, `the way all the +creatures argue. It's enough to drive one crazy!' + + The Footman seemed to think this a good opportunity for +repeating his remark, with variations. `I shall sit here,' he +said, `on and off, for days and days.' + + `But what am I to do?' said Alice. + + `Anything you like,' said the Footman, and began whistling. + + `Oh, there's no use in talking to him,' said Alice desperately: +`he's perfectly idiotic!' And she opened the door and went in. + + The door led right into a large kitchen, which was full of +smoke from one end to the other: the Duchess was sitting on a +three-legged stool in the middle, nursing a baby; the cook was +leaning over the fire, stirring a large cauldron which seemed to +be full of soup. + + `There's certainly too much pepper in that soup!' Alice said to +herself, as well as she could for sneezing. + + There was certainly too much of it in the air. Even the +Duchess sneezed occasionally; and as for the baby, it was +sneezing and howling alternately without a moment's pause. The +only things in the kitchen that did not sneeze, were the cook, +and a large cat which was sitting on the hearth and grinning from +ear to ear. + + `Please would you tell me,' said Alice, a little timidly, for +she was not quite sure whether it was good manners for her to +speak first, `why your cat grins like that?' + + `It's a Cheshire cat,' said the Duchess, `and that's why. +Pig!' + + She said the last word with such sudden violence that Alice +quite jumped; but she saw in another moment that it was addressed +to the baby, and not to her, so she took courage, and went on +again:-- + + `I didn't know that Cheshire cats always grinned; in fact, I +didn't know that cats COULD grin.' + + `They all can,' said the Duchess; `and most of 'em do.' + + `I don't know of any that do,' Alice said very politely, +feeling quite pleased to have got into a conversation. + + `You don't know much,' said the Duchess; `and that's a fact.' + + Alice did not at all like the tone of this remark, and thought +it would be as well to introduce some other subject of +conversation. While she was trying to fix on one, the cook took +the cauldron of soup off the fire, and at once set to work +throwing everything within her reach at the Duchess and the baby +--the fire-irons came first; then followed a shower of saucepans, +plates, and dishes. The Duchess took no notice of them even when +they hit her; and the baby was howling so much already, that it +was quite impossible to say whether the blows hurt it or not. + + `Oh, PLEASE mind what you're doing!' cried Alice, jumping up +and down in an agony of terror. `Oh, there goes his PRECIOUS +nose'; as an unusually large saucepan flew close by it, and very +nearly carried it off. + + `If everybody minded their own business,' the Duchess said in a +hoarse growl, `the world would go round a deal faster than it +does.' + + `Which would NOT be an advantage,' said Alice, who felt very +glad to get an opportunity of showing off a little of her +knowledge. `Just think of what work it would make with the day +and night! You see the earth takes twenty-four hours to turn +round on its axis--' + + `Talking of axes,' said the Duchess, `chop off her head!' + + Alice glanced rather anxiously at the cook, to see if she meant +to take the hint; but the cook was busily stirring the soup, and +seemed not to be listening, so she went on again: `Twenty-four +hours, I THINK; or is it twelve? I--' + + `Oh, don't bother ME,' said the Duchess; `I never could abide +figures!' And with that she began nursing her child again, +singing a sort of lullaby to it as she did so, and giving it a +violent shake at the end of every line: + + `Speak roughly to your little boy, + And beat him when he sneezes: + He only does it to annoy, + Because he knows it teases.' + + CHORUS. + + (In which the cook and the baby joined):-- + + `Wow! wow! wow!' + + While the Duchess sang the second verse of the song, she kept +tossing the baby violently up and down, and the poor little thing +howled so, that Alice could hardly hear the words:-- + + `I speak severely to my boy, + I beat him when he sneezes; + For he can thoroughly enjoy + The pepper when he pleases!' + + CHORUS. + + `Wow! wow! wow!' + + `Here! you may nurse it a bit, if you like!' the Duchess said +to Alice, flinging the baby at her as she spoke. `I must go and +get ready to play croquet with the Queen,' and she hurried out of +the room. The cook threw a frying-pan after her as she went out, +but it just missed her. + + Alice caught the baby with some difficulty, as it was a queer- +shaped little creature, and held out its arms and legs in all +directions, `just like a star-fish,' thought Alice. The poor +little thing was snorting like a steam-engine when she caught it, +and kept doubling itself up and straightening itself out again, +so that altogether, for the first minute or two, it was as much +as she could do to hold it. + + As soon as she had made out the proper way of nursing it, +(which was to twist it up into a sort of knot, and then keep +tight hold of its right ear and left foot, so as to prevent its +undoing itself,) she carried it out into the open air. `IF I +don't take this child away with me,' thought Alice, `they're sure +to kill it in a day or two: wouldn't it be murder to leave it +behind?' She said the last words out loud, and the little thing +grunted in reply (it had left off sneezing by this time). `Don't +grunt,' said Alice; `that's not at all a proper way of expressing +yourself.' + + The baby grunted again, and Alice looked very anxiously into +its face to see what was the matter with it. There could be no +doubt that it had a VERY turn-up nose, much more like a snout +than a real nose; also its eyes were getting extremely small for +a baby: altogether Alice did not like the look of the thing at +all. `But perhaps it was only sobbing,' she thought, and looked +into its eyes again, to see if there were any tears. + + No, there were no tears. `If you're going to turn into a pig, +my dear,' said Alice, seriously, `I'll have nothing more to do +with you. Mind now!' The poor little thing sobbed again (or +grunted, it was impossible to say which), and they went on for +some while in silence. + + Alice was just beginning to think to herself, `Now, what am I +to do with this creature when I get it home?' when it grunted +again, so violently, that she looked down into its face in some +alarm. This time there could be NO mistake about it: it was +neither more nor less than a pig, and she felt that it would be +quite absurd for her to carry it further. + + So she set the little creature down, and felt quite relieved to +see it trot away quietly into the wood. `If it had grown up,' +she said to herself, `it would have made a dreadfully ugly child: +but it makes rather a handsome pig, I think.' And she began +thinking over other children she knew, who might do very well as +pigs, and was just saying to herself, `if one only knew the right +way to change them--' when she was a little startled by seeing +the Cheshire Cat sitting on a bough of a tree a few yards off. + + The Cat only grinned when it saw Alice. It looked good- +natured, she thought: still it had VERY long claws and a great +many teeth, so she felt that it ought to be treated with respect. + + `Cheshire Puss,' she began, rather timidly, as she did not at +all know whether it would like the name: however, it only +grinned a little wider. `Come, it's pleased so far,' thought +Alice, and she went on. `Would you tell me, please, which way I +ought to go from here?' + + `That depends a good deal on where you want to get to,' said +the Cat. + + `I don't much care where--' said Alice. + + `Then it doesn't matter which way you go,' said the Cat. + + `--so long as I get SOMEWHERE,' Alice added as an explanation. + + `Oh, you're sure to do that,' said the Cat, `if you only walk +long enough.' + + Alice felt that this could not be denied, so she tried another +question. `What sort of people live about here?' + + `In THAT direction,' the Cat said, waving its right paw round, +`lives a Hatter: and in THAT direction,' waving the other paw, +`lives a March Hare. Visit either you like: they're both mad.' + + `But I don't want to go among mad people,' Alice remarked. + + `Oh, you can't help that,' said the Cat: `we're all mad here. +I'm mad. You're mad.' + + `How do you know I'm mad?' said Alice. + + `You must be,' said the Cat, `or you wouldn't have come here.' + + Alice didn't think that proved it at all; however, she went on +`And how do you know that you're mad?' + + `To begin with,' said the Cat, `a dog's not mad. You grant +that?' + + `I suppose so,' said Alice. + + `Well, then,' the Cat went on, `you see, a dog growls when it's +angry, and wags its tail when it's pleased. Now I growl when I'm +pleased, and wag my tail when I'm angry. Therefore I'm mad.' + + `I call it purring, not growling,' said Alice. + + `Call it what you like,' said the Cat. `Do you play croquet +with the Queen to-day?' + + `I should like it very much,' said Alice, `but I haven't been +invited yet.' + + `You'll see me there,' said the Cat, and vanished. + + Alice was not much surprised at this, she was getting so used +to queer things happening. While she was looking at the place +where it had been, it suddenly appeared again. + + `By-the-bye, what became of the baby?' said the Cat. `I'd +nearly forgotten to ask.' + + `It turned into a pig,' Alice quietly said, just as if it had +come back in a natural way. + + `I thought it would,' said the Cat, and vanished again. + + Alice waited a little, half expecting to see it again, but it +did not appear, and after a minute or two she walked on in the +direction in which the March Hare was said to live. `I've seen +hatters before,' she said to herself; `the March Hare will be +much the most interesting, and perhaps as this is May it won't be +raving mad--at least not so mad as it was in March.' As she said +this, she looked up, and there was the Cat again, sitting on a +branch of a tree. + + `Did you say pig, or fig?' said the Cat. + + `I said pig,' replied Alice; `and I wish you wouldn't keep +appearing and vanishing so suddenly: you make one quite giddy.' + + `All right,' said the Cat; and this time it vanished quite +slowly, beginning with the end of the tail, and ending with the +grin, which remained some time after the rest of it had gone. + + `Well! I've often seen a cat without a grin,' thought Alice; +`but a grin without a cat! It's the most curious thing I ever +say in my life!' + + She had not gone much farther before she came in sight of the +house of the March Hare: she thought it must be the right house, +because the chimneys were shaped like ears and the roof was +thatched with fur. It was so large a house, that she did not +like to go nearer till she had nibbled some more of the lefthand +bit of mushroom, and raised herself to about two feet high: even +then she walked up towards it rather timidly, saying to herself +`Suppose it should be raving mad after all! I almost wish I'd +gone to see the Hatter instead!' + + + + CHAPTER VII + + A Mad Tea-Party + + + There was a table set out under a tree in front of the house, +and the March Hare and the Hatter were having tea at it: a +Dormouse was sitting between them, fast asleep, and the other two +were using it as a cushion, resting their elbows on it, and the +talking over its head. `Very uncomfortable for the Dormouse,' +thought Alice; `only, as it's asleep, I suppose it doesn't mind.' + + The table was a large one, but the three were all crowded +together at one corner of it: `No room! No room!' they cried +out when they saw Alice coming. `There's PLENTY of room!' said +Alice indignantly, and she sat down in a large arm-chair at one +end of the table. + + `Have some wine,' the March Hare said in an encouraging tone. + + Alice looked all round the table, but there was nothing on it +but tea. `I don't see any wine,' she remarked. + + `There isn't any,' said the March Hare. + + `Then it wasn't very civil of you to offer it,' said Alice +angrily. + + `It wasn't very civil of you to sit down without being +invited,' said the March Hare. + + `I didn't know it was YOUR table,' said Alice; `it's laid for a +great many more than three.' + + `Your hair wants cutting,' said the Hatter. He had been +looking at Alice for some time with great curiosity, and this was +his first speech. + + `You should learn not to make personal remarks,' Alice said +with some severity; `it's very rude.' + + The Hatter opened his eyes very wide on hearing this; but all +he SAID was, `Why is a raven like a writing-desk?' + + `Come, we shall have some fun now!' thought Alice. `I'm glad +they've begun asking riddles.--I believe I can guess that,' she +added aloud. + + `Do you mean that you think you can find out the answer to it?' +said the March Hare. + + `Exactly so,' said Alice. + + `Then you should say what you mean,' the March Hare went on. + + `I do,' Alice hastily replied; `at least--at least I mean what +I say--that's the same thing, you know.' + + `Not the same thing a bit!' said the Hatter. `You might just +as well say that "I see what I eat" is the same thing as "I eat +what I see"!' + + `You might just as well say,' added the March Hare, `that "I +like what I get" is the same thing as "I get what I like"!' + + `You might just as well say,' added the Dormouse, who seemed to +be talking in his sleep, `that "I breathe when I sleep" is the +same thing as "I sleep when I breathe"!' + + `It IS the same thing with you,' said the Hatter, and here the +conversation dropped, and the party sat silent for a minute, +while Alice thought over all she could remember about ravens and +writing-desks, which wasn't much. + + The Hatter was the first to break the silence. `What day of +the month is it?' he said, turning to Alice: he had taken his +watch out of his pocket, and was looking at it uneasily, shaking +it every now and then, and holding it to his ear. + + Alice considered a little, and then said `The fourth.' + + `Two days wrong!' sighed the Hatter. `I told you butter +wouldn't suit the works!' he added looking angrily at the March +Hare. + + `It was the BEST butter,' the March Hare meekly replied. + + `Yes, but some crumbs must have got in as well,' the Hatter +grumbled: `you shouldn't have put it in with the bread-knife.' + + The March Hare took the watch and looked at it gloomily: then +he dipped it into his cup of tea, and looked at it again: but he +could think of nothing better to say than his first remark, `It +was the BEST butter, you know.' + + Alice had been looking over his shoulder with some curiosity. +`What a funny watch!' she remarked. `It tells the day of the +month, and doesn't tell what o'clock it is!' + + `Why should it?' muttered the Hatter. `Does YOUR watch tell +you what year it is?' + + `Of course not,' Alice replied very readily: `but that's +because it stays the same year for such a long time together.' + + `Which is just the case with MINE,' said the Hatter. + + Alice felt dreadfully puzzled. The Hatter's remark seemed to +have no sort of meaning in it, and yet it was certainly English. +`I don't quite understand you,' she said, as politely as she +could. + + `The Dormouse is asleep again,' said the Hatter, and he poured +a little hot tea upon its nose. + + The Dormouse shook its head impatiently, and said, without +opening its eyes, `Of course, of course; just what I was going to +remark myself.' + + `Have you guessed the riddle yet?' the Hatter said, turning to +Alice again. + + `No, I give it up,' Alice replied: `what's the answer?' + + `I haven't the slightest idea,' said the Hatter. + + `Nor I,' said the March Hare. + + Alice sighed wearily. `I think you might do something better +with the time,' she said, `than waste it in asking riddles that +have no answers.' + + `If you knew Time as well as I do,' said the Hatter, `you +wouldn't talk about wasting IT. It's HIM.' + + `I don't know what you mean,' said Alice. + + `Of course you don't!' the Hatter said, tossing his head +contemptuously. `I dare say you never even spoke to Time!' + + `Perhaps not,' Alice cautiously replied: `but I know I have to +beat time when I learn music.' + + `Ah! that accounts for it,' said the Hatter. `He won't stand +beating. Now, if you only kept on good terms with him, he'd do +almost anything you liked with the clock. For instance, suppose +it were nine o'clock in the morning, just time to begin lessons: +you'd only have to whisper a hint to Time, and round goes the +clock in a twinkling! Half-past one, time for dinner!' + + (`I only wish it was,' the March Hare said to itself in a +whisper.) + + `That would be grand, certainly,' said Alice thoughtfully: +`but then--I shouldn't be hungry for it, you know.' + + `Not at first, perhaps,' said the Hatter: `but you could keep +it to half-past one as long as you liked.' + + `Is that the way YOU manage?' Alice asked. + + The Hatter shook his head mournfully. `Not I!' he replied. +`We quarrelled last March--just before HE went mad, you know--' +(pointing with his tea spoon at the March Hare,) `--it was at the +great concert given by the Queen of Hearts, and I had to sing + + "Twinkle, twinkle, little bat! + How I wonder what you're at!" + +You know the song, perhaps?' + + `I've heard something like it,' said Alice. + + `It goes on, you know,' the Hatter continued, `in this way:-- + + "Up above the world you fly, + Like a tea-tray in the sky. + Twinkle, twinkle--"' + +Here the Dormouse shook itself, and began singing in its sleep +`Twinkle, twinkle, twinkle, twinkle--' and went on so long that +they had to pinch it to make it stop. + + `Well, I'd hardly finished the first verse,' said the Hatter, +`when the Queen jumped up and bawled out, "He's murdering the +time! Off with his head!"' + + `How dreadfully savage!' exclaimed Alice. + + `And ever since that,' the Hatter went on in a mournful tone, +`he won't do a thing I ask! It's always six o'clock now.' + + A bright idea came into Alice's head. `Is that the reason so +many tea-things are put out here?' she asked. + + `Yes, that's it,' said the Hatter with a sigh: `it's always +tea-time, and we've no time to wash the things between whiles.' + + `Then you keep moving round, I suppose?' said Alice. + + `Exactly so,' said the Hatter: `as the things get used up.' + + `But what happens when you come to the beginning again?' Alice +ventured to ask. + + `Suppose we change the subject,' the March Hare interrupted, +yawning. `I'm getting tired of this. I vote the young lady +tells us a story.' + + `I'm afraid I don't know one,' said Alice, rather alarmed at +the proposal. + + `Then the Dormouse shall!' they both cried. `Wake up, +Dormouse!' And they pinched it on both sides at once. + + The Dormouse slowly opened his eyes. `I wasn't asleep,' he +said in a hoarse, feeble voice: `I heard every word you fellows +were saying.' + + `Tell us a story!' said the March Hare. + + `Yes, please do!' pleaded Alice. + + `And be quick about it,' added the Hatter, `or you'll be asleep +again before it's done.' + + `Once upon a time there were three little sisters,' the +Dormouse began in a great hurry; `and their names were Elsie, +Lacie, and Tillie; and they lived at the bottom of a well--' + + `What did they live on?' said Alice, who always took a great +interest in questions of eating and drinking. + + `They lived on treacle,' said the Dormouse, after thinking a +minute or two. + + `They couldn't have done that, you know,' Alice gently +remarked; `they'd have been ill.' + + `So they were,' said the Dormouse; `VERY ill.' + + Alice tried to fancy to herself what such an extraordinary ways +of living would be like, but it puzzled her too much, so she went +on: `But why did they live at the bottom of a well?' + + `Take some more tea,' the March Hare said to Alice, very +earnestly. + + `I've had nothing yet,' Alice replied in an offended tone, `so +I can't take more.' + + `You mean you can't take LESS,' said the Hatter: `it's very +easy to take MORE than nothing.' + + `Nobody asked YOUR opinion,' said Alice. + + `Who's making personal remarks now?' the Hatter asked +triumphantly. + + Alice did not quite know what to say to this: so she helped +herself to some tea and bread-and-butter, and then turned to the +Dormouse, and repeated her question. `Why did they live at the +bottom of a well?' + + The Dormouse again took a minute or two to think about it, and +then said, `It was a treacle-well.' + + `There's no such thing!' Alice was beginning very angrily, but +the Hatter and the March Hare went `Sh! sh!' and the Dormouse +sulkily remarked, `If you can't be civil, you'd better finish the +story for yourself.' + + `No, please go on!' Alice said very humbly; `I won't interrupt +again. I dare say there may be ONE.' + + `One, indeed!' said the Dormouse indignantly. However, he +consented to go on. `And so these three little sisters--they +were learning to draw, you know--' + + `What did they draw?' said Alice, quite forgetting her promise. + + `Treacle,' said the Dormouse, without considering at all this +time. + + `I want a clean cup,' interrupted the Hatter: `let's all move +one place on.' + + He moved on as he spoke, and the Dormouse followed him: the +March Hare moved into the Dormouse's place, and Alice rather +unwillingly took the place of the March Hare. The Hatter was the +only one who got any advantage from the change: and Alice was a +good deal worse off than before, as the March Hare had just upset +the milk-jug into his plate. + + Alice did not wish to offend the Dormouse again, so she began +very cautiously: `But I don't understand. Where did they draw +the treacle from?' + + `You can draw water out of a water-well,' said the Hatter; `so +I should think you could draw treacle out of a treacle-well--eh, +stupid?' + + `But they were IN the well,' Alice said to the Dormouse, not +choosing to notice this last remark. + + `Of course they were', said the Dormouse; `--well in.' + + This answer so confused poor Alice, that she let the Dormouse +go on for some time without interrupting it. + + `They were learning to draw,' the Dormouse went on, yawning and +rubbing its eyes, for it was getting very sleepy; `and they drew +all manner of things--everything that begins with an M--' + + `Why with an M?' said Alice. + + `Why not?' said the March Hare. + + Alice was silent. + + The Dormouse had closed its eyes by this time, and was going +off into a doze; but, on being pinched by the Hatter, it woke up +again with a little shriek, and went on: `--that begins with an +M, such as mouse-traps, and the moon, and memory, and muchness-- +you know you say things are "much of a muchness"--did you ever +see such a thing as a drawing of a muchness?' + + `Really, now you ask me,' said Alice, very much confused, `I +don't think--' + + `Then you shouldn't talk,' said the Hatter. + + This piece of rudeness was more than Alice could bear: she got +up in great disgust, and walked off; the Dormouse fell asleep +instantly, and neither of the others took the least notice of her +going, though she looked back once or twice, half hoping that +they would call after her: the last time she saw them, they were +trying to put the Dormouse into the teapot. + + `At any rate I'll never go THERE again!' said Alice as she +picked her way through the wood. `It's the stupidest tea-party I +ever was at in all my life!' + + Just as she said this, she noticed that one of the trees had a +door leading right into it. `That's very curious!' she thought. +`But everything's curious today. I think I may as well go in at +once.' And in she went. + + Once more she found herself in the long hall, and close to the +little glass table. `Now, I'll manage better this time,' she +said to herself, and began by taking the little golden key, and +unlocking the door that led into the garden. Then she went to +work nibbling at the mushroom (she had kept a piece of it in her +pocked) till she was about a foot high: then she walked down the +little passage: and THEN--she found herself at last in the +beautiful garden, among the bright flower-beds and the cool +fountains. + + + + CHAPTER VIII + + The Queen's Croquet-Ground + + + A large rose-tree stood near the entrance of the garden: the +roses growing on it were white, but there were three gardeners at +it, busily painting them red. Alice thought this a very curious +thing, and she went nearer to watch them, and just as she came up +to them she heard one of them say, `Look out now, Five! Don't go +splashing paint over me like that!' + + `I couldn't help it,' said Five, in a sulky tone; `Seven jogged +my elbow.' + + On which Seven looked up and said, `That's right, Five! Always +lay the blame on others!' + + `YOU'D better not talk!' said Five. `I heard the Queen say only +yesterday you deserved to be beheaded!' + + `What for?' said the one who had spoken first. + + `That's none of YOUR business, Two!' said Seven. + + `Yes, it IS his business!' said Five, `and I'll tell him--it +was for bringing the cook tulip-roots instead of onions.' + + Seven flung down his brush, and had just begun `Well, of all +the unjust things--' when his eye chanced to fall upon Alice, as +she stood watching them, and he checked himself suddenly: the +others looked round also, and all of them bowed low. + + `Would you tell me,' said Alice, a little timidly, `why you are +painting those roses?' + + Five and Seven said nothing, but looked at Two. Two began in a +low voice, `Why the fact is, you see, Miss, this here ought to +have been a RED rose-tree, and we put a white one in by mistake; +and if the Queen was to find it out, we should all have our heads +cut off, you know. So you see, Miss, we're doing our best, afore +she comes, to--' At this moment Five, who had been anxiously +looking across the garden, called out `The Queen! The Queen!' +and the three gardeners instantly threw themselves flat upon +their faces. There was a sound of many footsteps, and Alice +looked round, eager to see the Queen. + + First came ten soldiers carrying clubs; these were all shaped +like the three gardeners, oblong and flat, with their hands and +feet at the corners: next the ten courtiers; these were +ornamented all over with diamonds, and walked two and two, as the +soldiers did. After these came the royal children; there were +ten of them, and the little dears came jumping merrily along hand +in hand, in couples: they were all ornamented with hearts. Next +came the guests, mostly Kings and Queens, and among them Alice +recognised the White Rabbit: it was talking in a hurried nervous +manner, smiling at everything that was said, and went by without +noticing her. Then followed the Knave of Hearts, carrying the +King's crown on a crimson velvet cushion; and, last of all this +grand procession, came THE KING AND QUEEN OF HEARTS. + + Alice was rather doubtful whether she ought not to lie down on +her face like the three gardeners, but she could not remember +every having heard of such a rule at processions; `and besides, +what would be the use of a procession,' thought she, `if people +had all to lie down upon their faces, so that they couldn't see +it?' So she stood still where she was, and waited. + + When the procession came opposite to Alice, they all stopped +and looked at her, and the Queen said severely `Who is this?' +She said it to the Knave of Hearts, who only bowed and smiled in +reply. + + `Idiot!' said the Queen, tossing her head impatiently; and, +turning to Alice, she went on, `What's your name, child?' + + `My name is Alice, so please your Majesty,' said Alice very +politely; but she added, to herself, `Why, they're only a pack of +cards, after all. I needn't be afraid of them!' + + `And who are THESE?' said the Queen, pointing to the three +gardeners who were lying round the rosetree; for, you see, as +they were lying on their faces, and the pattern on their backs +was the same as the rest of the pack, she could not tell whether +they were gardeners, or soldiers, or courtiers, or three of her +own children. + + `How should I know?' said Alice, surprised at her own courage. +`It's no business of MINE.' + + The Queen turned crimson with fury, and, after glaring at her +for a moment like a wild beast, screamed `Off with her head! +Off--' + + `Nonsense!' said Alice, very loudly and decidedly, and the +Queen was silent. + + The King laid his hand upon her arm, and timidly said +`Consider, my dear: she is only a child!' + + The Queen turned angrily away from him, and said to the Knave +`Turn them over!' + + The Knave did so, very carefully, with one foot. + + `Get up!' said the Queen, in a shrill, loud voice, and the +three gardeners instantly jumped up, and began bowing to the +King, the Queen, the royal children, and everybody else. + + `Leave off that!' screamed the Queen. `You make me giddy.' +And then, turning to the rose-tree, she went on, `What HAVE you +been doing here?' + + `May it please your Majesty,' said Two, in a very humble tone, +going down on one knee as he spoke, `we were trying--' + + `I see!' said the Queen, who had meanwhile been examining the +roses. `Off with their heads!' and the procession moved on, +three of the soldiers remaining behind to execute the unfortunate +gardeners, who ran to Alice for protection. + + `You shan't be beheaded!' said Alice, and she put them into a +large flower-pot that stood near. The three soldiers wandered +about for a minute or two, looking for them, and then quietly +marched off after the others. + + `Are their heads off?' shouted the Queen. + + `Their heads are gone, if it please your Majesty!' the soldiers +shouted in reply. + + `That's right!' shouted the Queen. `Can you play croquet?' + + The soldiers were silent, and looked at Alice, as the question +was evidently meant for her. + + `Yes!' shouted Alice. + + `Come on, then!' roared the Queen, and Alice joined the +procession, wondering very much what would happen next. + + `It's--it's a very fine day!' said a timid voice at her side. +She was walking by the White Rabbit, who was peeping anxiously +into her face. + + `Very,' said Alice: `--where's the Duchess?' + + `Hush! Hush!' said the Rabbit in a low, hurried tone. He +looked anxiously over his shoulder as he spoke, and then raised +himself upon tiptoe, put his mouth close to her ear, and +whispered `She's under sentence of execution.' + + `What for?' said Alice. + + `Did you say "What a pity!"?' the Rabbit asked. + + `No, I didn't,' said Alice: `I don't think it's at all a pity. +I said "What for?"' + + `She boxed the Queen's ears--' the Rabbit began. Alice gave a +little scream of laughter. `Oh, hush!' the Rabbit whispered in a +frightened tone. `The Queen will hear you! You see, she came +rather late, and the Queen said--' + + `Get to your places!' shouted the Queen in a voice of thunder, +and people began running about in all directions, tumbling up +against each other; however, they got settled down in a minute or +two, and the game began. Alice thought she had never seen such a +curious croquet-ground in her life; it was all ridges and +furrows; the balls were live hedgehogs, the mallets live +flamingoes, and the soldiers had to double themselves up and to +stand on their hands and feet, to make the arches. + + The chief difficulty Alice found at first was in managing her +flamingo: she succeeded in getting its body tucked away, +comfortably enough, under her arm, with its legs hanging down, +but generally, just as she had got its neck nicely straightened +out, and was going to give the hedgehog a blow with its head, it +WOULD twist itself round and look up in her face, with such a +puzzled expression that she could not help bursting out laughing: +and when she had got its head down, and was going to begin again, +it was very provoking to find that the hedgehog had unrolled +itself, and was in the act of crawling away: besides all this, +there was generally a ridge or furrow in the way wherever she +wanted to send the hedgehog to, and, as the doubled-up soldiers +were always getting up and walking off to other parts of the +ground, Alice soon came to the conclusion that it was a very +difficult game indeed. + + The players all played at once without waiting for turns, +quarrelling all the while, and fighting for the hedgehogs; and in +a very short time the Queen was in a furious passion, and went +stamping about, and shouting `Off with his head!' or `Off with +her head!' about once in a minute. + + Alice began to feel very uneasy: to be sure, she had not as +yet had any dispute with the Queen, but she knew that it might +happen any minute, `and then,' thought she, `what would become of +me? They're dreadfully fond of beheading people here; the great +wonder is, that there's any one left alive!' + + She was looking about for some way of escape, and wondering +whether she could get away without being seen, when she noticed a +curious appearance in the air: it puzzled her very much at +first, but, after watching it a minute or two, she made it out to +be a grin, and she said to herself `It's the Cheshire Cat: now I +shall have somebody to talk to.' + + `How are you getting on?' said the Cat, as soon as there was +mouth enough for it to speak with. + + Alice waited till the eyes appeared, and then nodded. `It's no +use speaking to it,' she thought, `till its ears have come, or at +least one of them.' In another minute the whole head appeared, +and then Alice put down her flamingo, and began an account of the +game, feeling very glad she had someone to listen to her. The +Cat seemed to think that there was enough of it now in sight, and +no more of it appeared. + + `I don't think they play at all fairly,' Alice began, in rather +a complaining tone, `and they all quarrel so dreadfully one can't +hear oneself speak--and they don't seem to have any rules in +particular; at least, if there are, nobody attends to them--and +you've no idea how confusing it is all the things being alive; +for instance, there's the arch I've got to go through next +walking about at the other end of the ground--and I should have +croqueted the Queen's hedgehog just now, only it ran away when it +saw mine coming!' + + `How do you like the Queen?' said the Cat in a low voice. + + `Not at all,' said Alice: `she's so extremely--' Just then +she noticed that the Queen was close behind her, listening: so +she went on, `--likely to win, that it's hardly worth while +finishing the game.' + + The Queen smiled and passed on. + + `Who ARE you talking to?' said the King, going up to Alice, and +looking at the Cat's head with great curiosity. + + `It's a friend of mine--a Cheshire Cat,' said Alice: `allow me +to introduce it.' + + `I don't like the look of it at all,' said the King: `however, +it may kiss my hand if it likes.' + + `I'd rather not,' the Cat remarked. + + `Don't be impertinent,' said the King, `and don't look at me +like that!' He got behind Alice as he spoke. + + `A cat may look at a king,' said Alice. `I've read that in +some book, but I don't remember where.' + + `Well, it must be removed,' said the King very decidedly, and +he called the Queen, who was passing at the moment, `My dear! I +wish you would have this cat removed!' + + The Queen had only one way of settling all difficulties, great +or small. `Off with his head!' she said, without even looking +round. + + `I'll fetch the executioner myself,' said the King eagerly, and +he hurried off. + + Alice thought she might as well go back, and see how the game +was going on, as she heard the Queen's voice in the distance, +screaming with passion. She had already heard her sentence three +of the players to be executed for having missed their turns, and +she did not like the look of things at all, as the game was in +such confusion that she never knew whether it was her turn or +not. So she went in search of her hedgehog. + + The hedgehog was engaged in a fight with another hedgehog, +which seemed to Alice an excellent opportunity for croqueting one +of them with the other: the only difficulty was, that her +flamingo was gone across to the other side of the garden, where +Alice could see it trying in a helpless sort of way to fly up +into a tree. + + By the time she had caught the flamingo and brought it back, +the fight was over, and both the hedgehogs were out of sight: +`but it doesn't matter much,' thought Alice, `as all the arches +are gone from this side of the ground.' So she tucked it away +under her arm, that it might not escape again, and went back for +a little more conversation with her friend. + + When she got back to the Cheshire Cat, she was surprised to +find quite a large crowd collected round it: there was a dispute +going on between the executioner, the King, and the Queen, who +were all talking at once, while all the rest were quite silent, +and looked very uncomfortable. + + The moment Alice appeared, she was appealed to by all three to +settle the question, and they repeated their arguments to her, +though, as they all spoke at once, she found it very hard indeed +to make out exactly what they said. + + The executioner's argument was, that you couldn't cut off a +head unless there was a body to cut it off from: that he had +never had to do such a thing before, and he wasn't going to begin +at HIS time of life. + + The King's argument was, that anything that had a head could be +beheaded, and that you weren't to talk nonsense. + + The Queen's argument was, that if something wasn't done about +it in less than no time she'd have everybody executed, all round. +(It was this last remark that had made the whole party look so +grave and anxious.) + + Alice could think of nothing else to say but `It belongs to the +Duchess: you'd better ask HER about it.' + + `She's in prison,' the Queen said to the executioner: `fetch +her here.' And the executioner went off like an arrow. + + The Cat's head began fading away the moment he was gone, and, +by the time he had come back with the Dutchess, it had entirely +disappeared; so the King and the executioner ran wildly up and +down looking for it, while the rest of the party went back to the game. + + + + CHAPTER IX + + The Mock Turtle's Story + + + `You can't think how glad I am to see you again, you dear old +thing!' said the Duchess, as she tucked her arm affectionately +into Alice's, and they walked off together. + + Alice was very glad to find her in such a pleasant temper, and +thought to herself that perhaps it was only the pepper that had +made her so savage when they met in the kitchen. + + `When I'M a Duchess,' she said to herself, (not in a very +hopeful tone though), `I won't have any pepper in my kitchen AT +ALL. Soup does very well without--Maybe it's always pepper that +makes people hot-tempered,' she went on, very much pleased at +having found out a new kind of rule, `and vinegar that makes them +sour--and camomile that makes them bitter--and--and barley-sugar +and such things that make children sweet-tempered. I only wish +people knew that: then they wouldn't be so stingy about it, you +know--' + + She had quite forgotten the Duchess by this time, and was a +little startled when she heard her voice close to her ear. +`You're thinking about something, my dear, and that makes you +forget to talk. I can't tell you just now what the moral of that +is, but I shall remember it in a bit.' + + `Perhaps it hasn't one,' Alice ventured to remark. + + `Tut, tut, child!' said the Duchess. `Everything's got a +moral, if only you can find it.' And she squeezed herself up +closer to Alice's side as she spoke. + + Alice did not much like keeping so close to her: first, +because the Duchess was VERY ugly; and secondly, because she was +exactly the right height to rest her chin upon Alice's shoulder, +and it was an uncomfortably sharp chin. However, she did not +like to be rude, so she bore it as well as she could. + + `The game's going on rather better now,' she said, by way of +keeping up the conversation a little. + + `'Tis so,' said the Duchess: `and the moral of that is--"Oh, +'tis love, 'tis love, that makes the world go round!"' + + `Somebody said,' Alice whispered, `that it's done by everybody +minding their own business!' + + `Ah, well! It means much the same thing,' said the Duchess, +digging her sharp little chin into Alice's shoulder as she added, +`and the moral of THAT is--"Take care of the sense, and the +sounds will take care of themselves."' + + `How fond she is of finding morals in things!' Alice thought to +herself. + + `I dare say you're wondering why I don't put my arm round your +waist,' the Duchess said after a pause: `the reason is, that I'm +doubtful about the temper of your flamingo. Shall I try the +experiment?' + + `HE might bite,' Alice cautiously replied, not feeling at all +anxious to have the experiment tried. + + `Very true,' said the Duchess: `flamingoes and mustard both +bite. And the moral of that is--"Birds of a feather flock +together."' + + `Only mustard isn't a bird,' Alice remarked. + + `Right, as usual,' said the Duchess: `what a clear way you +have of putting things!' + + `It's a mineral, I THINK,' said Alice. + + `Of course it is,' said the Duchess, who seemed ready to agree +to everything that Alice said; `there's a large mustard-mine near +here. And the moral of that is--"The more there is of mine, the +less there is of yours."' + + `Oh, I know!' exclaimed Alice, who had not attended to this +last remark, `it's a vegetable. It doesn't look like one, but it +is.' + + `I quite agree with you,' said the Duchess; `and the moral of +that is--"Be what you would seem to be"--or if you'd like it put +more simply--"Never imagine yourself not to be otherwise than +what it might appear to others that what you were or might have +been was not otherwise than what you had been would have appeared +to them to be otherwise."' + + `I think I should understand that better,' Alice said very +politely, `if I had it written down: but I can't quite follow it +as you say it.' + + `That's nothing to what I could say if I chose,' the Duchess +replied, in a pleased tone. + + `Pray don't trouble yourself to say it any longer than that,' +said Alice. + + `Oh, don't talk about trouble!' said the Duchess. `I make you +a present of everything I've said as yet.' + + `A cheap sort of present!' thought Alice. `I'm glad they don't +give birthday presents like that!' But she did not venture to +say it out loud. + + `Thinking again?' the Duchess asked, with another dig of her +sharp little chin. + + `I've a right to think,' said Alice sharply, for she was +beginning to feel a little worried. + + `Just about as much right,' said the Duchess, `as pigs have to +fly; and the m--' + + But here, to Alice's great surprise, the Duchess's voice died +away, even in the middle of her favourite word `moral,' and the +arm that was linked into hers began to tremble. Alice looked up, +and there stood the Queen in front of them, with her arms folded, +frowning like a thunderstorm. + + `A fine day, your Majesty!' the Duchess began in a low, weak +voice. + + `Now, I give you fair warning,' shouted the Queen, stamping on +the ground as she spoke; `either you or your head must be off, +and that in about half no time! Take your choice!' + + The Duchess took her choice, and was gone in a moment. + + `Let's go on with the game,' the Queen said to Alice; and Alice +was too much frightened to say a word, but slowly followed her +back to the croquet-ground. + + The other guests had taken advantage of the Queen's absence, +and were resting in the shade: however, the moment they saw her, +they hurried back to the game, the Queen merely remarking that a +moment's delay would cost them their lives. + + All the time they were playing the Queen never left off +quarrelling with the other players, and shouting `Off with his +head!' or `Off with her head!' Those whom she sentenced were +taken into custody by the soldiers, who of course had to leave +off being arches to do this, so that by the end of half an hour +or so there were no arches left, and all the players, except the +King, the Queen, and Alice, were in custody and under sentence of +execution. + + Then the Queen left off, quite out of breath, and said to +Alice, `Have you seen the Mock Turtle yet?' + + `No,' said Alice. `I don't even know what a Mock Turtle is.' + + `It's the thing Mock Turtle Soup is made from,' said the Queen. + + `I never saw one, or heard of one,' said Alice. + + `Come on, then,' said the Queen, `and he shall tell you his +history,' + + As they walked off together, Alice heard the King say in a low +voice, to the company generally, `You are all pardoned.' `Come, +THAT'S a good thing!' she said to herself, for she had felt quite +unhappy at the number of executions the Queen had ordered. + + They very soon came upon a Gryphon, lying fast asleep in the +sun. (IF you don't know what a Gryphon is, look at the picture.) +`Up, lazy thing!' said the Queen, `and take this young lady to +see the Mock Turtle, and to hear his history. I must go back and +see after some executions I have ordered'; and she walked off, +leaving Alice alone with the Gryphon. Alice did not quite like +the look of the creature, but on the whole she thought it would +be quite as safe to stay with it as to go after that savage +Queen: so she waited. + + The Gryphon sat up and rubbed its eyes: then it watched the +Queen till she was out of sight: then it chuckled. `What fun!' +said the Gryphon, half to itself, half to Alice. + + `What IS the fun?' said Alice. + + `Why, SHE,' said the Gryphon. `It's all her fancy, that: they +never executes nobody, you know. Come on!' + + `Everybody says "come on!" here,' thought Alice, as she went +slowly after it: `I never was so ordered about in all my life, +never!' + + They had not gone far before they saw the Mock Turtle in the +distance, sitting sad and lonely on a little ledge of rock, and, +as they came nearer, Alice could hear him sighing as if his heart +would break. She pitied him deeply. `What is his sorrow?' she +asked the Gryphon, and the Gryphon answered, very nearly in the +same words as before, `It's all his fancy, that: he hasn't got +no sorrow, you know. Come on!' + + So they went up to the Mock Turtle, who looked at them with +large eyes full of tears, but said nothing. + + `This here young lady,' said the Gryphon, `she wants for to +know your history, she do.' + + `I'll tell it her,' said the Mock Turtle in a deep, hollow +tone: `sit down, both of you, and don't speak a word till I've +finished.' + + So they sat down, and nobody spoke for some minutes. Alice +thought to herself, `I don't see how he can EVEN finish, if he +doesn't begin.' But she waited patiently. + + `Once,' said the Mock Turtle at last, with a deep sigh, `I was +a real Turtle.' + + These words were followed by a very long silence, broken only +by an occasional exclamation of `Hjckrrh!' from the Gryphon, and +the constant heavy sobbing of the Mock Turtle. Alice was very +nearly getting up and saying, `Thank you, sir, for your +interesting story,' but she could not help thinking there MUST be +more to come, so she sat still and said nothing. + + `When we were little,' the Mock Turtle went on at last, more +calmly, though still sobbing a little now and then, `we went to +school in the sea. The master was an old Turtle--we used to call +him Tortoise--' + + `Why did you call him Tortoise, if he wasn't one?' Alice asked. + + `We called him Tortoise because he taught us,' said the Mock +Turtle angrily: `really you are very dull!' + + `You ought to be ashamed of yourself for asking such a simple +question,' added the Gryphon; and then they both sat silent and +looked at poor Alice, who felt ready to sink into the earth. At +last the Gryphon said to the Mock Turtle, `Drive on, old fellow! +Don't be all day about it!' and he went on in these words: + + `Yes, we went to school in the sea, though you mayn't believe +it--' + + `I never said I didn't!' interrupted Alice. + + `You did,' said the Mock Turtle. + + `Hold your tongue!' added the Gryphon, before Alice could speak +again. The Mock Turtle went on. + + `We had the best of educations--in fact, we went to school +every day--' + + `I'VE been to a day-school, too,' said Alice; `you needn't be +so proud as all that.' + + `With extras?' asked the Mock Turtle a little anxiously. + + `Yes,' said Alice, `we learned French and music.' + + `And washing?' said the Mock Turtle. + + `Certainly not!' said Alice indignantly. + + `Ah! then yours wasn't a really good school,' said the Mock +Turtle in a tone of great relief. `Now at OURS they had at the +end of the bill, "French, music, AND WASHING--extra."' + + `You couldn't have wanted it much,' said Alice; `living at the +bottom of the sea.' + + `I couldn't afford to learn it.' said the Mock Turtle with a +sigh. `I only took the regular course.' + + `What was that?' inquired Alice. + + `Reeling and Writhing, of course, to begin with,' the Mock +Turtle replied; `and then the different branches of Arithmetic-- +Ambition, Distraction, Uglification, and Derision.' + + `I never heard of "Uglification,"' Alice ventured to say. `What +is it?' + + The Gryphon lifted up both its paws in surprise. `What! Never +heard of uglifying!' it exclaimed. `You know what to beautify +is, I suppose?' + + `Yes,' said Alice doubtfully: `it means--to--make--anything-- +prettier.' + + `Well, then,' the Gryphon went on, `if you don't know what to +uglify is, you ARE a simpleton.' + + Alice did not feel encouraged to ask any more questions about +it, so she turned to the Mock Turtle, and said `What else had you +to learn?' + + `Well, there was Mystery,' the Mock Turtle replied, counting +off the subjects on his flappers, `--Mystery, ancient and modern, +with Seaography: then Drawling--the Drawling-master was an old +conger-eel, that used to come once a week: HE taught us +Drawling, Stretching, and Fainting in Coils.' + + `What was THAT like?' said Alice. + + `Well, I can't show it you myself,' the Mock Turtle said: `I'm +too stiff. And the Gryphon never learnt it.' + + `Hadn't time,' said the Gryphon: `I went to the Classics +master, though. He was an old crab, HE was.' + + `I never went to him,' the Mock Turtle said with a sigh: `he +taught Laughing and Grief, they used to say.' + + `So he did, so he did,' said the Gryphon, sighing in his turn; +and both creatures hid their faces in their paws. + + `And how many hours a day did you do lessons?' said Alice, in a +hurry to change the subject. + + `Ten hours the first day,' said the Mock Turtle: `nine the +next, and so on.' + + `What a curious plan!' exclaimed Alice. + + `That's the reason they're called lessons,' the Gryphon +remarked: `because they lessen from day to day.' + + This was quite a new idea to Alice, and she thought it over a +little before she made her next remark. `Then the eleventh day +must have been a holiday?' + + `Of course it was,' said the Mock Turtle. + + `And how did you manage on the twelfth?' Alice went on eagerly. + + `That's enough about lessons,' the Gryphon interrupted in a +very decided tone: `tell her something about the games now.' + + + + CHAPTER X + + The Lobster Quadrille + + + The Mock Turtle sighed deeply, and drew the back of one flapper +across his eyes. He looked at Alice, and tried to speak, but for +a minute or two sobs choked his voice. `Same as if he had a bone +in his throat,' said the Gryphon: and it set to work shaking him +and punching him in the back. At last the Mock Turtle recovered +his voice, and, with tears running down his cheeks, he went on +again:-- + + `You may not have lived much under the sea--' (`I haven't,' +said Alice)--`and perhaps you were never even introduced to a lobster--' +(Alice began to say `I once tasted--' but checked herself hastily, +and said `No, never') `--so you can have no idea what a delightful +thing a Lobster Quadrille is!' + + `No, indeed,' said Alice. `What sort of a dance is it?' + + `Why,' said the Gryphon, `you first form into a line along the +sea-shore--' + + `Two lines!' cried the Mock Turtle. `Seals, turtles, salmon, +and so on; then, when you've cleared all the jelly-fish out of +the way--' + + `THAT generally takes some time,' interrupted the Gryphon. + + `--you advance twice--' + + `Each with a lobster as a partner!' cried the Gryphon. + + `Of course,' the Mock Turtle said: `advance twice, set to +partners--' + + `--change lobsters, and retire in same order,' continued the +Gryphon. + + `Then, you know,' the Mock Turtle went on, `you throw the--' + + `The lobsters!' shouted the Gryphon, with a bound into the air. + + `--as far out to sea as you can--' + + `Swim after them!' screamed the Gryphon. + + `Turn a somersault in the sea!' cried the Mock Turtle, +capering wildly about. + + `Back to land again, and that's all the first figure,' said the +Mock Turtle, suddenly dropping his voice; and the two creatures, +who had been jumping about like mad things all this time, sat +down again very sadly and quietly, and looked at Alice. + + `It must be a very pretty dance,' said Alice timidly. + + `Would you like to see a little of it?' said the Mock Turtle. + + `Very much indeed,' said Alice. + + `Come, let's try the first figure!' said the Mock Turtle to the +Gryphon. `We can do without lobsters, you know. Which shall +sing?' + + `Oh, YOU sing,' said the Gryphon. `I've forgotten the words.' + + So they began solemnly dancing round and round Alice, every now +and then treading on her toes when they passed too close, and +waving their forepaws to mark the time, while the Mock Turtle +sang this, very slowly and sadly:-- + + +`"Will you walk a little faster?" said a whiting to a snail. +"There's a porpoise close behind us, and he's treading on my + tail. +See how eagerly the lobsters and the turtles all advance! +They are waiting on the shingle--will you come and join the +dance? + +Will you, won't you, will you, won't you, will you join the +dance? +Will you, won't you, will you, won't you, won't you join the +dance? + + +"You can really have no notion how delightful it will be +When they take us up and throw us, with the lobsters, out to + sea!" +But the snail replied "Too far, too far!" and gave a look + askance-- +Said he thanked the whiting kindly, but he would not join the + dance. + Would not, could not, would not, could not, would not join + the dance. + Would not, could not, would not, could not, could not join + the dance. + +`"What matters it how far we go?" his scaly friend replied. +"There is another shore, you know, upon the other side. +The further off from England the nearer is to France-- +Then turn not pale, beloved snail, but come and join the dance. + + Will you, won't you, will you, won't you, will you join the + dance? + Will you, won't you, will you, won't you, won't you join the + dance?"' + + + + `Thank you, it's a very interesting dance to watch,' said +Alice, feeling very glad that it was over at last: `and I do so +like that curious song about the whiting!' + + `Oh, as to the whiting,' said the Mock Turtle, `they--you've +seen them, of course?' + + `Yes,' said Alice, `I've often seen them at dinn--' she +checked herself hastily. + + `I don't know where Dinn may be,' said the Mock Turtle, `but +if you've seen them so often, of course you know what they're +like.' + + `I believe so,' Alice replied thoughtfully. `They have their +tails in their mouths--and they're all over crumbs.' + + `You're wrong about the crumbs,' said the Mock Turtle: +`crumbs would all wash off in the sea. But they HAVE their tails +in their mouths; and the reason is--' here the Mock Turtle +yawned and shut his eyes.--`Tell her about the reason and all +that,' he said to the Gryphon. + + `The reason is,' said the Gryphon, `that they WOULD go with +the lobsters to the dance. So they got thrown out to sea. So +they had to fall a long way. So they got their tails fast in +their mouths. So they couldn't get them out again. That's all.' + + `Thank you,' said Alice, `it's very interesting. I never knew +so much about a whiting before.' + + `I can tell you more than that, if you like,' said the +Gryphon. `Do you know why it's called a whiting?' + + `I never thought about it,' said Alice. `Why?' + + `IT DOES THE BOOTS AND SHOES.' the Gryphon replied very +solemnly. + + Alice was thoroughly puzzled. `Does the boots and shoes!' she +repeated in a wondering tone. + + `Why, what are YOUR shoes done with?' said the Gryphon. `I +mean, what makes them so shiny?' + + Alice looked down at them, and considered a little before she +gave her answer. `They're done with blacking, I believe.' + + `Boots and shoes under the sea,' the Gryphon went on in a deep +voice, `are done with a whiting. Now you know.' + + `And what are they made of?' Alice asked in a tone of great +curiosity. + + `Soles and eels, of course,' the Gryphon replied rather +impatiently: `any shrimp could have told you that.' + + `If I'd been the whiting,' said Alice, whose thoughts were +still running on the song, `I'd have said to the porpoise, "Keep +back, please: we don't want YOU with us!"' + + `They were obliged to have him with them,' the Mock Turtle +said: `no wise fish would go anywhere without a porpoise.' + + `Wouldn't it really?' said Alice in a tone of great surprise. + + `Of course not,' said the Mock Turtle: `why, if a fish came +to ME, and told me he was going a journey, I should say "With +what porpoise?"' + + `Don't you mean "purpose"?' said Alice. + + `I mean what I say,' the Mock Turtle replied in an offended +tone. And the Gryphon added `Come, let's hear some of YOUR +adventures.' + + `I could tell you my adventures--beginning from this morning,' +said Alice a little timidly: `but it's no use going back to +yesterday, because I was a different person then.' + + `Explain all that,' said the Mock Turtle. + + `No, no! The adventures first,' said the Gryphon in an +impatient tone: `explanations take such a dreadful time.' + + So Alice began telling them her adventures from the time when +she first saw the White Rabbit. She was a little nervous about +it just at first, the two creatures got so close to her, one on +each side, and opened their eyes and mouths so VERY wide, but she +gained courage as she went on. Her listeners were perfectly +quiet till she got to the part about her repeating `YOU ARE OLD, +FATHER WILLIAM,' to the Caterpillar, and the words all coming +different, and then the Mock Turtle drew a long breath, and said +`That's very curious.' + + `It's all about as curious as it can be,' said the Gryphon. + + `It all came different!' the Mock Turtle repeated +thoughtfully. `I should like to hear her try and repeat +something now. Tell her to begin.' He looked at the Gryphon as +if he thought it had some kind of authority over Alice. + + `Stand up and repeat "'TIS THE VOICE OF THE SLUGGARD,"' said +the Gryphon. + + `How the creatures order one about, and make one repeat +lessons!' thought Alice; `I might as well be at school at once.' +However, she got up, and began to repeat it, but her head was so +full of the Lobster Quadrille, that she hardly knew what she was +saying, and the words came very queer indeed:-- + + `'Tis the voice of the Lobster; I heard him declare, + "You have baked me too brown, I must sugar my hair." + As a duck with its eyelids, so he with his nose + Trims his belt and his buttons, and turns out his toes.' + + [later editions continued as follows + When the sands are all dry, he is gay as a lark, + And will talk in contemptuous tones of the Shark, + But, when the tide rises and sharks are around, + His voice has a timid and tremulous sound.] + + `That's different from what I used to say when I was a child,' +said the Gryphon. + + `Well, I never heard it before,' said the Mock Turtle; `but it +sounds uncommon nonsense.' + + Alice said nothing; she had sat down with her face in her +hands, wondering if anything would EVER happen in a natural way +again. + + `I should like to have it explained,' said the Mock Turtle. + + `She can't explain it,' said the Gryphon hastily. `Go on with +the next verse.' + + `But about his toes?' the Mock Turtle persisted. `How COULD +he turn them out with his nose, you know?' + + `It's the first position in dancing.' Alice said; but was +dreadfully puzzled by the whole thing, and longed to change the +subject. + + `Go on with the next verse,' the Gryphon repeated impatiently: +`it begins "I passed by his garden."' + + Alice did not dare to disobey, though she felt sure it would +all come wrong, and she went on in a trembling voice:-- + + `I passed by his garden, and marked, with one eye, + How the Owl and the Panther were sharing a pie--' + + [later editions continued as follows + The Panther took pie-crust, and gravy, and meat, + While the Owl had the dish as its share of the treat. + When the pie was all finished, the Owl, as a boon, + Was kindly permitted to pocket the spoon: + While the Panther received knife and fork with a growl, + And concluded the banquet--] + + `What IS the use of repeating all that stuff,' the Mock Turtle +interrupted, `if you don't explain it as you go on? It's by far +the most confusing thing I ever heard!' + + `Yes, I think you'd better leave off,' said the Gryphon: and +Alice was only too glad to do so. + + `Shall we try another figure of the Lobster Quadrille?' the +Gryphon went on. `Or would you like the Mock Turtle to sing you +a song?' + + `Oh, a song, please, if the Mock Turtle would be so kind,' +Alice replied, so eagerly that the Gryphon said, in a rather +offended tone, `Hm! No accounting for tastes! Sing her "Turtle +Soup," will you, old fellow?' + + The Mock Turtle sighed deeply, and began, in a voice sometimes +choked with sobs, to sing this:-- + + + `Beautiful Soup, so rich and green, + Waiting in a hot tureen! + Who for such dainties would not stoop? + Soup of the evening, beautiful Soup! + Soup of the evening, beautiful Soup! + Beau--ootiful Soo--oop! + Beau--ootiful Soo--oop! + Soo--oop of the e--e--evening, + Beautiful, beautiful Soup! + + `Beautiful Soup! Who cares for fish, + Game, or any other dish? + Who would not give all else for two p + ennyworth only of beautiful Soup? + Pennyworth only of beautiful Soup? + Beau--ootiful Soo--oop! + Beau--ootiful Soo--oop! + Soo--oop of the e--e--evening, + Beautiful, beauti--FUL SOUP!' + + `Chorus again!' cried the Gryphon, and the Mock Turtle had +just begun to repeat it, when a cry of `The trial's beginning!' +was heard in the distance. + + `Come on!' cried the Gryphon, and, taking Alice by the hand, +it hurried off, without waiting for the end of the song. + + `What trial is it?' Alice panted as she ran; but the Gryphon +only answered `Come on!' and ran the faster, while more and more +faintly came, carried on the breeze that followed them, the +melancholy words:-- + + `Soo--oop of the e--e--evening, + Beautiful, beautiful Soup!' + + + + CHAPTER XI + + Who Stole the Tarts? + + + The King and Queen of Hearts were seated on their throne when +they arrived, with a great crowd assembled about them--all sorts +of little birds and beasts, as well as the whole pack of cards: +the Knave was standing before them, in chains, with a soldier on +each side to guard him; and near the King was the White Rabbit, +with a trumpet in one hand, and a scroll of parchment in the +other. In the very middle of the court was a table, with a large +dish of tarts upon it: they looked so good, that it made Alice +quite hungry to look at them--`I wish they'd get the trial done,' +she thought, `and hand round the refreshments!' But there seemed +to be no chance of this, so she began looking at everything about +her, to pass away the time. + + Alice had never been in a court of justice before, but she had +read about them in books, and she was quite pleased to find that +she knew the name of nearly everything there. `That's the +judge,' she said to herself, `because of his great wig.' + + The judge, by the way, was the King; and as he wore his crown +over the wig, (look at the frontispiece if you want to see how he +did it,) he did not look at all comfortable, and it was certainly +not becoming. + + `And that's the jury-box,' thought Alice, `and those twelve +creatures,' (she was obliged to say `creatures,' you see, because +some of them were animals, and some were birds,) `I suppose they +are the jurors.' She said this last word two or three times over +to herself, being rather proud of it: for she thought, and +rightly too, that very few little girls of her age knew the +meaning of it at all. However, `jury-men' would have done just +as well. + + The twelve jurors were all writing very busily on slates. +`What are they doing?' Alice whispered to the Gryphon. `They +can't have anything to put down yet, before the trial's begun.' + + `They're putting down their names,' the Gryphon whispered in +reply, `for fear they should forget them before the end of the +trial.' + + `Stupid things!' Alice began in a loud, indignant voice, but +she stopped hastily, for the White Rabbit cried out, `Silence in +the court!' and the King put on his spectacles and looked +anxiously round, to make out who was talking. + + Alice could see, as well as if she were looking over their +shoulders, that all the jurors were writing down `stupid things!' +on their slates, and she could even make out that one of them +didn't know how to spell `stupid,' and that he had to ask his +neighbour to tell him. `A nice muddle their slates'll be in +before the trial's over!' thought Alice. + + One of the jurors had a pencil that squeaked. This of course, +Alice could not stand, and she went round the court and got +behind him, and very soon found an opportunity of taking it +away. She did it so quickly that the poor little juror (it was +Bill, the Lizard) could not make out at all what had become of +it; so, after hunting all about for it, he was obliged to write +with one finger for the rest of the day; and this was of very +little use, as it left no mark on the slate. + + `Herald, read the accusation!' said the King. + + On this the White Rabbit blew three blasts on the trumpet, and +then unrolled the parchment scroll, and read as follows:-- + + `The Queen of Hearts, she made some tarts, + All on a summer day: + The Knave of Hearts, he stole those tarts, + And took them quite away!' + + `Consider your verdict,' the King said to the jury. + + `Not yet, not yet!' the Rabbit hastily interrupted. `There's +a great deal to come before that!' + + `Call the first witness,' said the King; and the White Rabbit +blew three blasts on the trumpet, and called out, `First +witness!' + + The first witness was the Hatter. He came in with a teacup in +one hand and a piece of bread-and-butter in the other. `I beg +pardon, your Majesty,' he began, `for bringing these in: but I +hadn't quite finished my tea when I was sent for.' + + `You ought to have finished,' said the King. `When did you +begin?' + + The Hatter looked at the March Hare, who had followed him into +the court, arm-in-arm with the Dormouse. `Fourteenth of March, I +think it was,' he said. + + `Fifteenth,' said the March Hare. + + `Sixteenth,' added the Dormouse. + + `Write that down,' the King said to the jury, and the jury +eagerly wrote down all three dates on their slates, and then +added them up, and reduced the answer to shillings and pence. + + `Take off your hat,' the King said to the Hatter. + + `It isn't mine,' said the Hatter. + + `Stolen!' the King exclaimed, turning to the jury, who +instantly made a memorandum of the fact. + + `I keep them to sell,' the Hatter added as an explanation; +`I've none of my own. I'm a hatter.' + + Here the Queen put on her spectacles, and began staring at the +Hatter, who turned pale and fidgeted. + + `Give your evidence,' said the King; `and don't be nervous, or +I'll have you executed on the spot.' + + This did not seem to encourage the witness at all: he kept +shifting from one foot to the other, looking uneasily at the +Queen, and in his confusion he bit a large piece out of his +teacup instead of the bread-and-butter. + + Just at this moment Alice felt a very curious sensation, which +puzzled her a good deal until she made out what it was: she was +beginning to grow larger again, and she thought at first she +would get up and leave the court; but on second thoughts she +decided to remain where she was as long as there was room for +her. + + `I wish you wouldn't squeeze so.' said the Dormouse, who was +sitting next to her. `I can hardly breathe.' + + `I can't help it,' said Alice very meekly: `I'm growing.' + + `You've no right to grow here,' said the Dormouse. + + `Don't talk nonsense,' said Alice more boldly: `you know +you're growing too.' + + `Yes, but I grow at a reasonable pace,' said the Dormouse: +`not in that ridiculous fashion.' And he got up very sulkily +and crossed over to the other side of the court. + + All this time the Queen had never left off staring at the +Hatter, and, just as the Dormouse crossed the court, she said to +one of the officers of the court, `Bring me the list of the +singers in the last concert!' on which the wretched Hatter +trembled so, that he shook both his shoes off. + + `Give your evidence,' the King repeated angrily, `or I'll have +you executed, whether you're nervous or not.' + + `I'm a poor man, your Majesty,' the Hatter began, in a +trembling voice, `--and I hadn't begun my tea--not above a week +or so--and what with the bread-and-butter getting so thin--and +the twinkling of the tea--' + + `The twinkling of the what?' said the King. + + `It began with the tea,' the Hatter replied. + + `Of course twinkling begins with a T!' said the King sharply. +`Do you take me for a dunce? Go on!' + + `I'm a poor man,' the Hatter went on, `and most things +twinkled after that--only the March Hare said--' + + `I didn't!' the March Hare interrupted in a great hurry. + + `You did!' said the Hatter. + + `I deny it!' said the March Hare. + + `He denies it,' said the King: `leave out that part.' + + `Well, at any rate, the Dormouse said--' the Hatter went on, +looking anxiously round to see if he would deny it too: but the +Dormouse denied nothing, being fast asleep. + + `After that,' continued the Hatter, `I cut some more bread- +and-butter--' + + `But what did the Dormouse say?' one of the jury asked. + + `That I can't remember,' said the Hatter. + + `You MUST remember,' remarked the King, `or I'll have you +executed.' + + The miserable Hatter dropped his teacup and bread-and-butter, +and went down on one knee. `I'm a poor man, your Majesty,' he +began. + + `You're a very poor speaker,' said the King. + + Here one of the guinea-pigs cheered, and was immediately +suppressed by the officers of the court. (As that is rather a +hard word, I will just explain to you how it was done. They had +a large canvas bag, which tied up at the mouth with strings: +into this they slipped the guinea-pig, head first, and then sat +upon it.) + + `I'm glad I've seen that done,' thought Alice. `I've so often +read in the newspapers, at the end of trials, "There was some +attempts at applause, which was immediately suppressed by the +officers of the court," and I never understood what it meant +till now.' + + `If that's all you know about it, you may stand down,' +continued the King. + + `I can't go no lower,' said the Hatter: `I'm on the floor, as +it is.' + + `Then you may SIT down,' the King replied. + + Here the other guinea-pig cheered, and was suppressed. + + `Come, that finished the guinea-pigs!' thought Alice. `Now we +shall get on better.' + + `I'd rather finish my tea,' said the Hatter, with an anxious +look at the Queen, who was reading the list of singers. + + `You may go,' said the King, and the Hatter hurriedly left the +court, without even waiting to put his shoes on. + + `--and just take his head off outside,' the Queen added to one +of the officers: but the Hatter was out of sight before the +officer could get to the door. + + `Call the next witness!' said the King. + + The next witness was the Duchess's cook. She carried the +pepper-box in her hand, and Alice guessed who it was, even before +she got into the court, by the way the people near the door began +sneezing all at once. + + `Give your evidence,' said the King. + + `Shan't,' said the cook. + + The King looked anxiously at the White Rabbit, who said in a +low voice, `Your Majesty must cross-examine THIS witness.' + + `Well, if I must, I must,' the King said, with a melancholy +air, and, after folding his arms and frowning at the cook till +his eyes were nearly out of sight, he said in a deep voice, `What +are tarts made of?' + + `Pepper, mostly,' said the cook. + + `Treacle,' said a sleepy voice behind her. + + `Collar that Dormouse,' the Queen shrieked out. `Behead that +Dormouse! Turn that Dormouse out of court! Suppress him! Pinch +him! Off with his whiskers!' + + For some minutes the whole court was in confusion, getting the +Dormouse turned out, and, by the time they had settled down +again, the cook had disappeared. + + `Never mind!' said the King, with an air of great relief. +`Call the next witness.' And he added in an undertone to the +Queen, `Really, my dear, YOU must cross-examine the next witness. +It quite makes my forehead ache!' + + Alice watched the White Rabbit as he fumbled over the list, +feeling very curious to see what the next witness would be like, +`--for they haven't got much evidence YET,' she said to herself. +Imagine her surprise, when the White Rabbit read out, at the top +of his shrill little voice, the name `Alice!' + + + + CHAPTER XII + + Alice's Evidence + + + `Here!' cried Alice, quite forgetting in the flurry of the +moment how large she had grown in the last few minutes, and she +jumped up in such a hurry that she tipped over the jury-box with +the edge of her skirt, upsetting all the jurymen on to the heads +of the crowd below, and there they lay sprawling about, reminding +her very much of a globe of goldfish she had accidentally upset +the week before. + + `Oh, I BEG your pardon!' she exclaimed in a tone of great +dismay, and began picking them up again as quickly as she could, +for the accident of the goldfish kept running in her head, and +she had a vague sort of idea that they must be collected at once +and put back into the jury-box, or they would die. + + `The trial cannot proceed,' said the King in a very grave +voice, `until all the jurymen are back in their proper places-- +ALL,' he repeated with great emphasis, looking hard at Alice as +he said do. + + Alice looked at the jury-box, and saw that, in her haste, she +had put the Lizard in head downwards, and the poor little thing +was waving its tail about in a melancholy way, being quite unable +to move. She soon got it out again, and put it right; `not that +it signifies much,' she said to herself; `I should think it +would be QUITE as much use in the trial one way up as the other.' + + As soon as the jury had a little recovered from the shock of +being upset, and their slates and pencils had been found and +handed back to them, they set to work very diligently to write +out a history of the accident, all except the Lizard, who seemed +too much overcome to do anything but sit with its mouth open, +gazing up into the roof of the court. + + `What do you know about this business?' the King said to +Alice. + + `Nothing,' said Alice. + + `Nothing WHATEVER?' persisted the King. + + `Nothing whatever,' said Alice. + + `That's very important,' the King said, turning to the jury. +They were just beginning to write this down on their slates, when +the White Rabbit interrupted: `UNimportant, your Majesty means, +of course,' he said in a very respectful tone, but frowning and +making faces at him as he spoke. + + `UNimportant, of course, I meant,' the King hastily said, and +went on to himself in an undertone, `important--unimportant-- +unimportant--important--' as if he were trying which word +sounded best. + + Some of the jury wrote it down `important,' and some +`unimportant.' Alice could see this, as she was near enough to +look over their slates; `but it doesn't matter a bit,' she +thought to herself. + + At this moment the King, who had been for some time busily +writing in his note-book, cackled out `Silence!' and read out +from his book, `Rule Forty-two. ALL PERSONS MORE THAN A MILE +HIGH TO LEAVE THE COURT.' + + Everybody looked at Alice. + + `I'M not a mile high,' said Alice. + + `You are,' said the King. + + `Nearly two miles high,' added the Queen. + + `Well, I shan't go, at any rate,' said Alice: `besides, +that's not a regular rule: you invented it just now.' + + `It's the oldest rule in the book,' said the King. + + `Then it ought to be Number One,' said Alice. + + The King turned pale, and shut his note-book hastily. +`Consider your verdict,' he said to the jury, in a low, trembling +voice. + + `There's more evidence to come yet, please your Majesty,' said +the White Rabbit, jumping up in a great hurry; `this paper has +just been picked up.' + + `What's in it?' said the Queen. + + `I haven't opened it yet,' said the White Rabbit, `but it seems +to be a letter, written by the prisoner to--to somebody.' + + `It must have been that,' said the King, `unless it was +written to nobody, which isn't usual, you know.' + + `Who is it directed to?' said one of the jurymen. + + `It isn't directed at all,' said the White Rabbit; `in fact, +there's nothing written on the OUTSIDE.' He unfolded the paper +as he spoke, and added `It isn't a letter, after all: it's a set +of verses.' + + `Are they in the prisoner's handwriting?' asked another of +they jurymen. + + `No, they're not,' said the White Rabbit, `and that's the +queerest thing about it.' (The jury all looked puzzled.) + + `He must have imitated somebody else's hand,' said the King. +(The jury all brightened up again.) + + `Please your Majesty,' said the Knave, `I didn't write it, and +they can't prove I did: there's no name signed at the end.' + + `If you didn't sign it,' said the King, `that only makes the +matter worse. You MUST have meant some mischief, or else you'd +have signed your name like an honest man.' + + There was a general clapping of hands at this: it was the +first really clever thing the King had said that day. + + `That PROVES his guilt,' said the Queen. + + `It proves nothing of the sort!' said Alice. `Why, you don't +even know what they're about!' + + `Read them,' said the King. + + The White Rabbit put on his spectacles. `Where shall I begin, +please your Majesty?' he asked. + + `Begin at the beginning,' the King said gravely, `and go on +till you come to the end: then stop.' + + These were the verses the White Rabbit read:-- + + `They told me you had been to her, + And mentioned me to him: + She gave me a good character, + But said I could not swim. + + He sent them word I had not gone + (We know it to be true): + If she should push the matter on, + What would become of you? + + I gave her one, they gave him two, + You gave us three or more; + They all returned from him to you, + Though they were mine before. + + If I or she should chance to be + Involved in this affair, + He trusts to you to set them free, + Exactly as we were. + + My notion was that you had been + (Before she had this fit) + An obstacle that came between + Him, and ourselves, and it. + + Don't let him know she liked them best, + For this must ever be + A secret, kept from all the rest, + Between yourself and me.' + + `That's the most important piece of evidence we've heard yet,' +said the King, rubbing his hands; `so now let the jury--' + + `If any one of them can explain it,' said Alice, (she had +grown so large in the last few minutes that she wasn't a bit +afraid of interrupting him,) `I'll give him sixpence. _I_ don't +believe there's an atom of meaning in it.' + + The jury all wrote down on their slates, `SHE doesn't believe +there's an atom of meaning in it,' but none of them attempted to +explain the paper. + + `If there's no meaning in it,' said the King, `that saves a +world of trouble, you know, as we needn't try to find any. And +yet I don't know,' he went on, spreading out the verses on his +knee, and looking at them with one eye; `I seem to see some +meaning in them, after all. "--SAID I COULD NOT SWIM--" you +can't swim, can you?' he added, turning to the Knave. + + The Knave shook his head sadly. `Do I look like it?' he said. +(Which he certainly did NOT, being made entirely of cardboard.) + + `All right, so far,' said the King, and he went on muttering +over the verses to himself: `"WE KNOW IT TO BE TRUE--" that's +the jury, of course-- "I GAVE HER ONE, THEY GAVE HIM TWO--" why, +that must be what he did with the tarts, you know--' + + `But, it goes on "THEY ALL RETURNED FROM HIM TO YOU,"' said +Alice. + + `Why, there they are!' said the King triumphantly, pointing to +the tarts on the table. `Nothing can be clearer than THAT. +Then again--"BEFORE SHE HAD THIS FIT--" you never had fits, my +dear, I think?' he said to the Queen. + + `Never!' said the Queen furiously, throwing an inkstand at the +Lizard as she spoke. (The unfortunate little Bill had left off +writing on his slate with one finger, as he found it made no +mark; but he now hastily began again, using the ink, that was +trickling down his face, as long as it lasted.) + + `Then the words don't FIT you,' said the King, looking round +the court with a smile. There was a dead silence. + + `It's a pun!' the King added in an offended tone, and +everybody laughed, `Let the jury consider their verdict,' the +King said, for about the twentieth time that day. + + `No, no!' said the Queen. `Sentence first--verdict afterwards.' + + `Stuff and nonsense!' said Alice loudly. `The idea of having +the sentence first!' + + `Hold your tongue!' said the Queen, turning purple. + + `I won't!' said Alice. + + `Off with her head!' the Queen shouted at the top of her voice. +Nobody moved. + + `Who cares for you?' said Alice, (she had grown to her full +size by this time.) `You're nothing but a pack of cards!' + + At this the whole pack rose up into the air, and came flying +down upon her: she gave a little scream, half of fright and half +of anger, and tried to beat them off, and found herself lying on +the bank, with her head in the lap of her sister, who was gently +brushing away some dead leaves that had fluttered down from the +trees upon her face. + + `Wake up, Alice dear!' said her sister; `Why, what a long +sleep you've had!' + + `Oh, I've had such a curious dream!' said Alice, and she told +her sister, as well as she could remember them, all these strange +Adventures of hers that you have just been reading about; and +when she had finished, her sister kissed her, and said, `It WAS a +curious dream, dear, certainly: but now run in to your tea; it's +getting late.' So Alice got up and ran off, thinking while she +ran, as well she might, what a wonderful dream it had been. + + But her sister sat still just as she left her, leaning her +head on her hand, watching the setting sun, and thinking of +little Alice and all her wonderful Adventures, till she too began +dreaming after a fashion, and this was her dream:-- + + First, she dreamed of little Alice herself, and once again the +tiny hands were clasped upon her knee, and the bright eager eyes +were looking up into hers--she could hear the very tones of her +voice, and see that queer little toss of her head to keep back +the wandering hair that WOULD always get into her eyes--and +still as she listened, or seemed to listen, the whole place +around her became alive the strange creatures of her little +sister's dream. + + The long grass rustled at her feet as the White Rabbit hurried +by--the frightened Mouse splashed his way through the +neighbouring pool--she could hear the rattle of the teacups as +the March Hare and his friends shared their never-ending meal, +and the shrill voice of the Queen ordering off her unfortunate +guests to execution--once more the pig-baby was sneezing on the +Duchess's knee, while plates and dishes crashed around it--once +more the shriek of the Gryphon, the squeaking of the Lizard's +slate-pencil, and the choking of the suppressed guinea-pigs, +filled the air, mixed up with the distant sobs of the miserable +Mock Turtle. + + So she sat on, with closed eyes, and half believed herself in +Wonderland, though she knew she had but to open them again, and +all would change to dull reality--the grass would be only +rustling in the wind, and the pool rippling to the waving of the +reeds--the rattling teacups would change to tinkling sheep- +bells, and the Queen's shrill cries to the voice of the shepherd +boy--and the sneeze of the baby, the shriek of the Gryphon, and +all thy other queer noises, would change (she knew) to the +confused clamour of the busy farm-yard--while the lowing of the +cattle in the distance would take the place of the Mock Turtle's +heavy sobs. + + Lastly, she pictured to herself how this same little sister of +hers would, in the after-time, be herself a grown woman; and how +she would keep, through all her riper years, the simple and +loving heart of her childhood: and how she would gather about +her other little children, and make THEIR eyes bright and eager +with many a strange tale, perhaps even with the dream of +Wonderland of long ago: and how she would feel with all their +simple sorrows, and find a pleasure in all their simple joys, +remembering her own child-life, and the happy summer days. + + THE END + \ No newline at end of file diff --git a/benchmarks/data/asyoulik.txt b/benchmarks/data/asyoulik.txt new file mode 100644 index 00000000..88dc7b60 --- /dev/null +++ b/benchmarks/data/asyoulik.txt @@ -0,0 +1,4122 @@ + AS YOU LIKE IT + + + DRAMATIS PERSONAE + + +DUKE SENIOR living in banishment. + +DUKE FREDERICK his brother, an usurper of his dominions. + + +AMIENS | + | lords attending on the banished duke. +JAQUES | + + +LE BEAU a courtier attending upon Frederick. + +CHARLES wrestler to Frederick. + + +OLIVER | + | +JAQUES (JAQUES DE BOYS:) | sons of Sir Rowland de Boys. + | +ORLANDO | + + +ADAM | + | servants to Oliver. +DENNIS | + + +TOUCHSTONE a clown. + +SIR OLIVER MARTEXT a vicar. + + +CORIN | + | shepherds. +SILVIUS | + + +WILLIAM a country fellow in love with Audrey. + + A person representing HYMEN. (HYMEN:) + +ROSALIND daughter to the banished duke. + +CELIA daughter to Frederick. + +PHEBE a shepherdess. + +AUDREY a country wench. + + Lords, pages, and attendants, &c. + (Forester:) + (A Lord:) + (First Lord:) + (Second Lord:) + (First Page:) + (Second Page:) + + +SCENE Oliver's house; Duke Frederick's court; and the + Forest of Arden. + + + + + AS YOU LIKE IT + + +ACT I + + + +SCENE I Orchard of Oliver's house. + + + [Enter ORLANDO and ADAM] + +ORLANDO As I remember, Adam, it was upon this fashion + bequeathed me by will but poor a thousand crowns, + and, as thou sayest, charged my brother, on his + blessing, to breed me well: and there begins my + sadness. My brother Jaques he keeps at school, and + report speaks goldenly of his profit: for my part, + he keeps me rustically at home, or, to speak more + properly, stays me here at home unkept; for call you + that keeping for a gentleman of my birth, that + differs not from the stalling of an ox? His horses + are bred better; for, besides that they are fair + with their feeding, they are taught their manage, + and to that end riders dearly hired: but I, his + brother, gain nothing under him but growth; for the + which his animals on his dunghills are as much + bound to him as I. Besides this nothing that he so + plentifully gives me, the something that nature gave + me his countenance seems to take from me: he lets + me feed with his hinds, bars me the place of a + brother, and, as much as in him lies, mines my + gentility with my education. This is it, Adam, that + grieves me; and the spirit of my father, which I + think is within me, begins to mutiny against this + servitude: I will no longer endure it, though yet I + know no wise remedy how to avoid it. + +ADAM Yonder comes my master, your brother. + +ORLANDO Go apart, Adam, and thou shalt hear how he will + shake me up. + + [Enter OLIVER] + +OLIVER Now, sir! what make you here? + +ORLANDO Nothing: I am not taught to make any thing. + +OLIVER What mar you then, sir? + +ORLANDO Marry, sir, I am helping you to mar that which God + made, a poor unworthy brother of yours, with idleness. + +OLIVER Marry, sir, be better employed, and be naught awhile. + +ORLANDO Shall I keep your hogs and eat husks with them? + What prodigal portion have I spent, that I should + come to such penury? + +OLIVER Know you where your are, sir? + +ORLANDO O, sir, very well; here in your orchard. + +OLIVER Know you before whom, sir? + +ORLANDO Ay, better than him I am before knows me. I know + you are my eldest brother; and, in the gentle + condition of blood, you should so know me. The + courtesy of nations allows you my better, in that + you are the first-born; but the same tradition + takes not away my blood, were there twenty brothers + betwixt us: I have as much of my father in me as + you; albeit, I confess, your coming before me is + nearer to his reverence. + +OLIVER What, boy! + +ORLANDO Come, come, elder brother, you are too young in this. + +OLIVER Wilt thou lay hands on me, villain? + +ORLANDO I am no villain; I am the youngest son of Sir + Rowland de Boys; he was my father, and he is thrice + a villain that says such a father begot villains. + Wert thou not my brother, I would not take this hand + from thy throat till this other had pulled out thy + tongue for saying so: thou hast railed on thyself. + +ADAM Sweet masters, be patient: for your father's + remembrance, be at accord. + +OLIVER Let me go, I say. + +ORLANDO I will not, till I please: you shall hear me. My + father charged you in his will to give me good + education: you have trained me like a peasant, + obscuring and hiding from me all gentleman-like + qualities. The spirit of my father grows strong in + me, and I will no longer endure it: therefore allow + me such exercises as may become a gentleman, or + give me the poor allottery my father left me by + testament; with that I will go buy my fortunes. + +OLIVER And what wilt thou do? beg, when that is spent? + Well, sir, get you in: I will not long be troubled + with you; you shall have some part of your will: I + pray you, leave me. + +ORLANDO I will no further offend you than becomes me for my good. + +OLIVER Get you with him, you old dog. + +ADAM Is 'old dog' my reward? Most true, I have lost my + teeth in your service. God be with my old master! + he would not have spoke such a word. + + [Exeunt ORLANDO and ADAM] + +OLIVER Is it even so? begin you to grow upon me? I will + physic your rankness, and yet give no thousand + crowns neither. Holla, Dennis! + + [Enter DENNIS] + +DENNIS Calls your worship? + +OLIVER Was not Charles, the duke's wrestler, here to speak with me? + +DENNIS So please you, he is here at the door and importunes + access to you. + +OLIVER Call him in. + + [Exit DENNIS] + + 'Twill be a good way; and to-morrow the wrestling is. + + [Enter CHARLES] + +CHARLES Good morrow to your worship. + +OLIVER Good Monsieur Charles, what's the new news at the + new court? + +CHARLES There's no news at the court, sir, but the old news: + that is, the old duke is banished by his younger + brother the new duke; and three or four loving lords + have put themselves into voluntary exile with him, + whose lands and revenues enrich the new duke; + therefore he gives them good leave to wander. + +OLIVER Can you tell if Rosalind, the duke's daughter, be + banished with her father? + +CHARLES O, no; for the duke's daughter, her cousin, so loves + her, being ever from their cradles bred together, + that she would have followed her exile, or have died + to stay behind her. She is at the court, and no + less beloved of her uncle than his own daughter; and + never two ladies loved as they do. + +OLIVER Where will the old duke live? + +CHARLES They say he is already in the forest of Arden, and + a many merry men with him; and there they live like + the old Robin Hood of England: they say many young + gentlemen flock to him every day, and fleet the time + carelessly, as they did in the golden world. + +OLIVER What, you wrestle to-morrow before the new duke? + +CHARLES Marry, do I, sir; and I came to acquaint you with a + matter. I am given, sir, secretly to understand + that your younger brother Orlando hath a disposition + to come in disguised against me to try a fall. + To-morrow, sir, I wrestle for my credit; and he that + escapes me without some broken limb shall acquit him + well. Your brother is but young and tender; and, + for your love, I would be loath to foil him, as I + must, for my own honour, if he come in: therefore, + out of my love to you, I came hither to acquaint you + withal, that either you might stay him from his + intendment or brook such disgrace well as he shall + run into, in that it is a thing of his own search + and altogether against my will. + +OLIVER Charles, I thank thee for thy love to me, which + thou shalt find I will most kindly requite. I had + myself notice of my brother's purpose herein and + have by underhand means laboured to dissuade him from + it, but he is resolute. I'll tell thee, Charles: + it is the stubbornest young fellow of France, full + of ambition, an envious emulator of every man's + good parts, a secret and villanous contriver against + me his natural brother: therefore use thy + discretion; I had as lief thou didst break his neck + as his finger. And thou wert best look to't; for if + thou dost him any slight disgrace or if he do not + mightily grace himself on thee, he will practise + against thee by poison, entrap thee by some + treacherous device and never leave thee till he + hath ta'en thy life by some indirect means or other; + for, I assure thee, and almost with tears I speak + it, there is not one so young and so villanous this + day living. I speak but brotherly of him; but + should I anatomize him to thee as he is, I must + blush and weep and thou must look pale and wonder. + +CHARLES I am heartily glad I came hither to you. If he come + to-morrow, I'll give him his payment: if ever he go + alone again, I'll never wrestle for prize more: and + so God keep your worship! + +OLIVER Farewell, good Charles. + + [Exit CHARLES] + + Now will I stir this gamester: I hope I shall see + an end of him; for my soul, yet I know not why, + hates nothing more than he. Yet he's gentle, never + schooled and yet learned, full of noble device, of + all sorts enchantingly beloved, and indeed so much + in the heart of the world, and especially of my own + people, who best know him, that I am altogether + misprised: but it shall not be so long; this + wrestler shall clear all: nothing remains but that + I kindle the boy thither; which now I'll go about. + + [Exit] + + + + + AS YOU LIKE IT + + +ACT I + + + +SCENE II Lawn before the Duke's palace. + + + [Enter CELIA and ROSALIND] + +CELIA I pray thee, Rosalind, sweet my coz, be merry. + +ROSALIND Dear Celia, I show more mirth than I am mistress of; + and would you yet I were merrier? Unless you could + teach me to forget a banished father, you must not + learn me how to remember any extraordinary pleasure. + +CELIA Herein I see thou lovest me not with the full weight + that I love thee. If my uncle, thy banished father, + had banished thy uncle, the duke my father, so thou + hadst been still with me, I could have taught my + love to take thy father for mine: so wouldst thou, + if the truth of thy love to me were so righteously + tempered as mine is to thee. + +ROSALIND Well, I will forget the condition of my estate, to + rejoice in yours. + +CELIA You know my father hath no child but I, nor none is + like to have: and, truly, when he dies, thou shalt + be his heir, for what he hath taken away from thy + father perforce, I will render thee again in + affection; by mine honour, I will; and when I break + that oath, let me turn monster: therefore, my + sweet Rose, my dear Rose, be merry. + +ROSALIND From henceforth I will, coz, and devise sports. Let + me see; what think you of falling in love? + +CELIA Marry, I prithee, do, to make sport withal: but + love no man in good earnest; nor no further in sport + neither than with safety of a pure blush thou mayst + in honour come off again. + +ROSALIND What shall be our sport, then? + +CELIA Let us sit and mock the good housewife Fortune from + her wheel, that her gifts may henceforth be bestowed equally. + +ROSALIND I would we could do so, for her benefits are + mightily misplaced, and the bountiful blind woman + doth most mistake in her gifts to women. + +CELIA 'Tis true; for those that she makes fair she scarce + makes honest, and those that she makes honest she + makes very ill-favouredly. + +ROSALIND Nay, now thou goest from Fortune's office to + Nature's: Fortune reigns in gifts of the world, + not in the lineaments of Nature. + + [Enter TOUCHSTONE] + +CELIA No? when Nature hath made a fair creature, may she + not by Fortune fall into the fire? Though Nature + hath given us wit to flout at Fortune, hath not + Fortune sent in this fool to cut off the argument? + +ROSALIND Indeed, there is Fortune too hard for Nature, when + Fortune makes Nature's natural the cutter-off of + Nature's wit. + +CELIA Peradventure this is not Fortune's work neither, but + Nature's; who perceiveth our natural wits too dull + to reason of such goddesses and hath sent this + natural for our whetstone; for always the dulness of + the fool is the whetstone of the wits. How now, + wit! whither wander you? + +TOUCHSTONE Mistress, you must come away to your father. + +CELIA Were you made the messenger? + +TOUCHSTONE No, by mine honour, but I was bid to come for you. + +ROSALIND Where learned you that oath, fool? + +TOUCHSTONE Of a certain knight that swore by his honour they + were good pancakes and swore by his honour the + mustard was naught: now I'll stand to it, the + pancakes were naught and the mustard was good, and + yet was not the knight forsworn. + +CELIA How prove you that, in the great heap of your + knowledge? + +ROSALIND Ay, marry, now unmuzzle your wisdom. + +TOUCHSTONE Stand you both forth now: stroke your chins, and + swear by your beards that I am a knave. + +CELIA By our beards, if we had them, thou art. + +TOUCHSTONE By my knavery, if I had it, then I were; but if you + swear by that that is not, you are not forsworn: no + more was this knight swearing by his honour, for he + never had any; or if he had, he had sworn it away + before ever he saw those pancakes or that mustard. + +CELIA Prithee, who is't that thou meanest? + +TOUCHSTONE One that old Frederick, your father, loves. + +CELIA My father's love is enough to honour him: enough! + speak no more of him; you'll be whipped for taxation + one of these days. + +TOUCHSTONE The more pity, that fools may not speak wisely what + wise men do foolishly. + +CELIA By my troth, thou sayest true; for since the little + wit that fools have was silenced, the little foolery + that wise men have makes a great show. Here comes + Monsieur Le Beau. + +ROSALIND With his mouth full of news. + +CELIA Which he will put on us, as pigeons feed their young. + +ROSALIND Then shall we be news-crammed. + +CELIA All the better; we shall be the more marketable. + + [Enter LE BEAU] + + Bon jour, Monsieur Le Beau: what's the news? + +LE BEAU Fair princess, you have lost much good sport. + +CELIA Sport! of what colour? + +LE BEAU What colour, madam! how shall I answer you? + +ROSALIND As wit and fortune will. + +TOUCHSTONE Or as the Destinies decree. + +CELIA Well said: that was laid on with a trowel. + +TOUCHSTONE Nay, if I keep not my rank,-- + +ROSALIND Thou losest thy old smell. + +LE BEAU You amaze me, ladies: I would have told you of good + wrestling, which you have lost the sight of. + +ROSALIND You tell us the manner of the wrestling. + +LE BEAU I will tell you the beginning; and, if it please + your ladyships, you may see the end; for the best is + yet to do; and here, where you are, they are coming + to perform it. + +CELIA Well, the beginning, that is dead and buried. + +LE BEAU There comes an old man and his three sons,-- + +CELIA I could match this beginning with an old tale. + +LE BEAU Three proper young men, of excellent growth and presence. + +ROSALIND With bills on their necks, 'Be it known unto all men + by these presents.' + +LE BEAU The eldest of the three wrestled with Charles, the + duke's wrestler; which Charles in a moment threw him + and broke three of his ribs, that there is little + hope of life in him: so he served the second, and + so the third. Yonder they lie; the poor old man, + their father, making such pitiful dole over them + that all the beholders take his part with weeping. + +ROSALIND Alas! + +TOUCHSTONE But what is the sport, monsieur, that the ladies + have lost? + +LE BEAU Why, this that I speak of. + +TOUCHSTONE Thus men may grow wiser every day: it is the first + time that ever I heard breaking of ribs was sport + for ladies. + +CELIA Or I, I promise thee. + +ROSALIND But is there any else longs to see this broken music + in his sides? is there yet another dotes upon + rib-breaking? Shall we see this wrestling, cousin? + +LE BEAU You must, if you stay here; for here is the place + appointed for the wrestling, and they are ready to + perform it. + +CELIA Yonder, sure, they are coming: let us now stay and see it. + + [Flourish. Enter DUKE FREDERICK, Lords, ORLANDO, + CHARLES, and Attendants] + +DUKE FREDERICK Come on: since the youth will not be entreated, his + own peril on his forwardness. + +ROSALIND Is yonder the man? + +LE BEAU Even he, madam. + +CELIA Alas, he is too young! yet he looks successfully. + +DUKE FREDERICK How now, daughter and cousin! are you crept hither + to see the wrestling? + +ROSALIND Ay, my liege, so please you give us leave. + +DUKE FREDERICK You will take little delight in it, I can tell you; + there is such odds in the man. In pity of the + challenger's youth I would fain dissuade him, but he + will not be entreated. Speak to him, ladies; see if + you can move him. + +CELIA Call him hither, good Monsieur Le Beau. + +DUKE FREDERICK Do so: I'll not be by. + +LE BEAU Monsieur the challenger, the princesses call for you. + +ORLANDO I attend them with all respect and duty. + +ROSALIND Young man, have you challenged Charles the wrestler? + +ORLANDO No, fair princess; he is the general challenger: I + come but in, as others do, to try with him the + strength of my youth. + +CELIA Young gentleman, your spirits are too bold for your + years. You have seen cruel proof of this man's + strength: if you saw yourself with your eyes or + knew yourself with your judgment, the fear of your + adventure would counsel you to a more equal + enterprise. We pray you, for your own sake, to + embrace your own safety and give over this attempt. + +ROSALIND Do, young sir; your reputation shall not therefore + be misprised: we will make it our suit to the duke + that the wrestling might not go forward. + +ORLANDO I beseech you, punish me not with your hard + thoughts; wherein I confess me much guilty, to deny + so fair and excellent ladies any thing. But let + your fair eyes and gentle wishes go with me to my + trial: wherein if I be foiled, there is but one + shamed that was never gracious; if killed, but one + dead that was willing to be so: I shall do my + friends no wrong, for I have none to lament me, the + world no injury, for in it I have nothing; only in + the world I fill up a place, which may be better + supplied when I have made it empty. + +ROSALIND The little strength that I have, I would it were with you. + +CELIA And mine, to eke out hers. + +ROSALIND Fare you well: pray heaven I be deceived in you! + +CELIA Your heart's desires be with you! + +CHARLES Come, where is this young gallant that is so + desirous to lie with his mother earth? + +ORLANDO Ready, sir; but his will hath in it a more modest working. + +DUKE FREDERICK You shall try but one fall. + +CHARLES No, I warrant your grace, you shall not entreat him + to a second, that have so mightily persuaded him + from a first. + +ORLANDO An you mean to mock me after, you should not have + mocked me before: but come your ways. + +ROSALIND Now Hercules be thy speed, young man! + +CELIA I would I were invisible, to catch the strong + fellow by the leg. + + [They wrestle] + +ROSALIND O excellent young man! + +CELIA If I had a thunderbolt in mine eye, I can tell who + should down. + + [Shout. CHARLES is thrown] + +DUKE FREDERICK No more, no more. + +ORLANDO Yes, I beseech your grace: I am not yet well breathed. + +DUKE FREDERICK How dost thou, Charles? + +LE BEAU He cannot speak, my lord. + +DUKE FREDERICK Bear him away. What is thy name, young man? + +ORLANDO Orlando, my liege; the youngest son of Sir Rowland de Boys. + +DUKE FREDERICK I would thou hadst been son to some man else: + The world esteem'd thy father honourable, + But I did find him still mine enemy: + Thou shouldst have better pleased me with this deed, + Hadst thou descended from another house. + But fare thee well; thou art a gallant youth: + I would thou hadst told me of another father. + + [Exeunt DUKE FREDERICK, train, and LE BEAU] + +CELIA Were I my father, coz, would I do this? + +ORLANDO I am more proud to be Sir Rowland's son, + His youngest son; and would not change that calling, + To be adopted heir to Frederick. + +ROSALIND My father loved Sir Rowland as his soul, + And all the world was of my father's mind: + Had I before known this young man his son, + I should have given him tears unto entreaties, + Ere he should thus have ventured. + +CELIA Gentle cousin, + Let us go thank him and encourage him: + My father's rough and envious disposition + Sticks me at heart. Sir, you have well deserved: + If you do keep your promises in love + But justly, as you have exceeded all promise, + Your mistress shall be happy. + +ROSALIND Gentleman, + + [Giving him a chain from her neck] + + Wear this for me, one out of suits with fortune, + That could give more, but that her hand lacks means. + Shall we go, coz? + +CELIA Ay. Fare you well, fair gentleman. + +ORLANDO Can I not say, I thank you? My better parts + Are all thrown down, and that which here stands up + Is but a quintain, a mere lifeless block. + +ROSALIND He calls us back: my pride fell with my fortunes; + I'll ask him what he would. Did you call, sir? + Sir, you have wrestled well and overthrown + More than your enemies. + +CELIA Will you go, coz? + +ROSALIND Have with you. Fare you well. + + [Exeunt ROSALIND and CELIA] + +ORLANDO What passion hangs these weights upon my tongue? + I cannot speak to her, yet she urged conference. + O poor Orlando, thou art overthrown! + Or Charles or something weaker masters thee. + + [Re-enter LE BEAU] + +LE BEAU Good sir, I do in friendship counsel you + To leave this place. Albeit you have deserved + High commendation, true applause and love, + Yet such is now the duke's condition + That he misconstrues all that you have done. + The duke is humorous; what he is indeed, + More suits you to conceive than I to speak of. + +ORLANDO I thank you, sir: and, pray you, tell me this: + Which of the two was daughter of the duke + That here was at the wrestling? + +LE BEAU Neither his daughter, if we judge by manners; + But yet indeed the lesser is his daughter + The other is daughter to the banish'd duke, + And here detain'd by her usurping uncle, + To keep his daughter company; whose loves + Are dearer than the natural bond of sisters. + But I can tell you that of late this duke + Hath ta'en displeasure 'gainst his gentle niece, + Grounded upon no other argument + But that the people praise her for her virtues + And pity her for her good father's sake; + And, on my life, his malice 'gainst the lady + Will suddenly break forth. Sir, fare you well: + Hereafter, in a better world than this, + I shall desire more love and knowledge of you. + +ORLANDO I rest much bounden to you: fare you well. + + [Exit LE BEAU] + + Thus must I from the smoke into the smother; + From tyrant duke unto a tyrant brother: + But heavenly Rosalind! + + [Exit] + + + + + AS YOU LIKE IT + + +ACT I + + + +SCENE III A room in the palace. + + + [Enter CELIA and ROSALIND] + +CELIA Why, cousin! why, Rosalind! Cupid have mercy! not a word? + +ROSALIND Not one to throw at a dog. + +CELIA No, thy words are too precious to be cast away upon + curs; throw some of them at me; come, lame me with reasons. + +ROSALIND Then there were two cousins laid up; when the one + should be lamed with reasons and the other mad + without any. + +CELIA But is all this for your father? + +ROSALIND No, some of it is for my child's father. O, how + full of briers is this working-day world! + +CELIA They are but burs, cousin, thrown upon thee in + holiday foolery: if we walk not in the trodden + paths our very petticoats will catch them. + +ROSALIND I could shake them off my coat: these burs are in my heart. + +CELIA Hem them away. + +ROSALIND I would try, if I could cry 'hem' and have him. + +CELIA Come, come, wrestle with thy affections. + +ROSALIND O, they take the part of a better wrestler than myself! + +CELIA O, a good wish upon you! you will try in time, in + despite of a fall. But, turning these jests out of + service, let us talk in good earnest: is it + possible, on such a sudden, you should fall into so + strong a liking with old Sir Rowland's youngest son? + +ROSALIND The duke my father loved his father dearly. + +CELIA Doth it therefore ensue that you should love his son + dearly? By this kind of chase, I should hate him, + for my father hated his father dearly; yet I hate + not Orlando. + +ROSALIND No, faith, hate him not, for my sake. + +CELIA Why should I not? doth he not deserve well? + +ROSALIND Let me love him for that, and do you love him + because I do. Look, here comes the duke. + +CELIA With his eyes full of anger. + + [Enter DUKE FREDERICK, with Lords] + +DUKE FREDERICK Mistress, dispatch you with your safest haste + And get you from our court. + +ROSALIND Me, uncle? + +DUKE FREDERICK You, cousin + Within these ten days if that thou be'st found + So near our public court as twenty miles, + Thou diest for it. + +ROSALIND I do beseech your grace, + Let me the knowledge of my fault bear with me: + If with myself I hold intelligence + Or have acquaintance with mine own desires, + If that I do not dream or be not frantic,-- + As I do trust I am not--then, dear uncle, + Never so much as in a thought unborn + Did I offend your highness. + +DUKE FREDERICK Thus do all traitors: + If their purgation did consist in words, + They are as innocent as grace itself: + Let it suffice thee that I trust thee not. + +ROSALIND Yet your mistrust cannot make me a traitor: + Tell me whereon the likelihood depends. + +DUKE FREDERICK Thou art thy father's daughter; there's enough. + +ROSALIND So was I when your highness took his dukedom; + So was I when your highness banish'd him: + Treason is not inherited, my lord; + Or, if we did derive it from our friends, + What's that to me? my father was no traitor: + Then, good my liege, mistake me not so much + To think my poverty is treacherous. + +CELIA Dear sovereign, hear me speak. + +DUKE FREDERICK Ay, Celia; we stay'd her for your sake, + Else had she with her father ranged along. + +CELIA I did not then entreat to have her stay; + It was your pleasure and your own remorse: + I was too young that time to value her; + But now I know her: if she be a traitor, + Why so am I; we still have slept together, + Rose at an instant, learn'd, play'd, eat together, + And wheresoever we went, like Juno's swans, + Still we went coupled and inseparable. + +DUKE FREDERICK She is too subtle for thee; and her smoothness, + Her very silence and her patience + Speak to the people, and they pity her. + Thou art a fool: she robs thee of thy name; + And thou wilt show more bright and seem more virtuous + When she is gone. Then open not thy lips: + Firm and irrevocable is my doom + Which I have pass'd upon her; she is banish'd. + +CELIA Pronounce that sentence then on me, my liege: + I cannot live out of her company. + +DUKE FREDERICK You are a fool. You, niece, provide yourself: + If you outstay the time, upon mine honour, + And in the greatness of my word, you die. + + [Exeunt DUKE FREDERICK and Lords] + +CELIA O my poor Rosalind, whither wilt thou go? + Wilt thou change fathers? I will give thee mine. + I charge thee, be not thou more grieved than I am. + +ROSALIND I have more cause. + +CELIA Thou hast not, cousin; + Prithee be cheerful: know'st thou not, the duke + Hath banish'd me, his daughter? + +ROSALIND That he hath not. + +CELIA No, hath not? Rosalind lacks then the love + Which teacheth thee that thou and I am one: + Shall we be sunder'd? shall we part, sweet girl? + No: let my father seek another heir. + Therefore devise with me how we may fly, + Whither to go and what to bear with us; + And do not seek to take your change upon you, + To bear your griefs yourself and leave me out; + For, by this heaven, now at our sorrows pale, + Say what thou canst, I'll go along with thee. + +ROSALIND Why, whither shall we go? + +CELIA To seek my uncle in the forest of Arden. + +ROSALIND Alas, what danger will it be to us, + Maids as we are, to travel forth so far! + Beauty provoketh thieves sooner than gold. + +CELIA I'll put myself in poor and mean attire + And with a kind of umber smirch my face; + The like do you: so shall we pass along + And never stir assailants. + +ROSALIND Were it not better, + Because that I am more than common tall, + That I did suit me all points like a man? + A gallant curtle-axe upon my thigh, + A boar-spear in my hand; and--in my heart + Lie there what hidden woman's fear there will-- + We'll have a swashing and a martial outside, + As many other mannish cowards have + That do outface it with their semblances. + +CELIA What shall I call thee when thou art a man? + +ROSALIND I'll have no worse a name than Jove's own page; + And therefore look you call me Ganymede. + But what will you be call'd? + +CELIA Something that hath a reference to my state + No longer Celia, but Aliena. + +ROSALIND But, cousin, what if we assay'd to steal + The clownish fool out of your father's court? + Would he not be a comfort to our travel? + +CELIA He'll go along o'er the wide world with me; + Leave me alone to woo him. Let's away, + And get our jewels and our wealth together, + Devise the fittest time and safest way + To hide us from pursuit that will be made + After my flight. Now go we in content + To liberty and not to banishment. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT II + + + +SCENE I The Forest of Arden. + + + [Enter DUKE SENIOR, AMIENS, and two or three Lords, + like foresters] + +DUKE SENIOR Now, my co-mates and brothers in exile, + Hath not old custom made this life more sweet + Than that of painted pomp? Are not these woods + More free from peril than the envious court? + Here feel we but the penalty of Adam, + The seasons' difference, as the icy fang + And churlish chiding of the winter's wind, + Which, when it bites and blows upon my body, + Even till I shrink with cold, I smile and say + 'This is no flattery: these are counsellors + That feelingly persuade me what I am.' + Sweet are the uses of adversity, + Which, like the toad, ugly and venomous, + Wears yet a precious jewel in his head; + And this our life exempt from public haunt + Finds tongues in trees, books in the running brooks, + Sermons in stones and good in every thing. + I would not change it. + +AMIENS Happy is your grace, + That can translate the stubbornness of fortune + Into so quiet and so sweet a style. + +DUKE SENIOR Come, shall we go and kill us venison? + And yet it irks me the poor dappled fools, + Being native burghers of this desert city, + Should in their own confines with forked heads + Have their round haunches gored. + +First Lord Indeed, my lord, + The melancholy Jaques grieves at that, + And, in that kind, swears you do more usurp + Than doth your brother that hath banish'd you. + To-day my Lord of Amiens and myself + Did steal behind him as he lay along + Under an oak whose antique root peeps out + Upon the brook that brawls along this wood: + To the which place a poor sequester'd stag, + That from the hunter's aim had ta'en a hurt, + Did come to languish, and indeed, my lord, + The wretched animal heaved forth such groans + That their discharge did stretch his leathern coat + Almost to bursting, and the big round tears + Coursed one another down his innocent nose + In piteous chase; and thus the hairy fool + Much marked of the melancholy Jaques, + Stood on the extremest verge of the swift brook, + Augmenting it with tears. + +DUKE SENIOR But what said Jaques? + Did he not moralize this spectacle? + +First Lord O, yes, into a thousand similes. + First, for his weeping into the needless stream; + 'Poor deer,' quoth he, 'thou makest a testament + As worldlings do, giving thy sum of more + To that which had too much:' then, being there alone, + Left and abandon'd of his velvet friends, + ''Tis right:' quoth he; 'thus misery doth part + The flux of company:' anon a careless herd, + Full of the pasture, jumps along by him + And never stays to greet him; 'Ay' quoth Jaques, + 'Sweep on, you fat and greasy citizens; + 'Tis just the fashion: wherefore do you look + Upon that poor and broken bankrupt there?' + Thus most invectively he pierceth through + The body of the country, city, court, + Yea, and of this our life, swearing that we + Are mere usurpers, tyrants and what's worse, + To fright the animals and to kill them up + In their assign'd and native dwelling-place. + +DUKE SENIOR And did you leave him in this contemplation? + +Second Lord We did, my lord, weeping and commenting + Upon the sobbing deer. + +DUKE SENIOR Show me the place: + I love to cope him in these sullen fits, + For then he's full of matter. + +First Lord I'll bring you to him straight. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT II + + + +SCENE II A room in the palace. + + + [Enter DUKE FREDERICK, with Lords] + +DUKE FREDERICK Can it be possible that no man saw them? + It cannot be: some villains of my court + Are of consent and sufferance in this. + +First Lord I cannot hear of any that did see her. + The ladies, her attendants of her chamber, + Saw her abed, and in the morning early + They found the bed untreasured of their mistress. + +Second Lord My lord, the roynish clown, at whom so oft + Your grace was wont to laugh, is also missing. + Hisperia, the princess' gentlewoman, + Confesses that she secretly o'erheard + Your daughter and her cousin much commend + The parts and graces of the wrestler + That did but lately foil the sinewy Charles; + And she believes, wherever they are gone, + That youth is surely in their company. + +DUKE FREDERICK Send to his brother; fetch that gallant hither; + If he be absent, bring his brother to me; + I'll make him find him: do this suddenly, + And let not search and inquisition quail + To bring again these foolish runaways. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT II + + + +SCENE III Before OLIVER'S house. + + + [Enter ORLANDO and ADAM, meeting] + +ORLANDO Who's there? + +ADAM What, my young master? O, my gentle master! + O my sweet master! O you memory + Of old Sir Rowland! why, what make you here? + Why are you virtuous? why do people love you? + And wherefore are you gentle, strong and valiant? + Why would you be so fond to overcome + The bonny priser of the humorous duke? + Your praise is come too swiftly home before you. + Know you not, master, to some kind of men + Their graces serve them but as enemies? + No more do yours: your virtues, gentle master, + Are sanctified and holy traitors to you. + O, what a world is this, when what is comely + Envenoms him that bears it! + +ORLANDO Why, what's the matter? + +ADAM O unhappy youth! + Come not within these doors; within this roof + The enemy of all your graces lives: + Your brother--no, no brother; yet the son-- + Yet not the son, I will not call him son + Of him I was about to call his father-- + Hath heard your praises, and this night he means + To burn the lodging where you use to lie + And you within it: if he fail of that, + He will have other means to cut you off. + I overheard him and his practises. + This is no place; this house is but a butchery: + Abhor it, fear it, do not enter it. + +ORLANDO Why, whither, Adam, wouldst thou have me go? + +ADAM No matter whither, so you come not here. + +ORLANDO What, wouldst thou have me go and beg my food? + Or with a base and boisterous sword enforce + A thievish living on the common road? + This I must do, or know not what to do: + Yet this I will not do, do how I can; + I rather will subject me to the malice + Of a diverted blood and bloody brother. + +ADAM But do not so. I have five hundred crowns, + The thrifty hire I saved under your father, + Which I did store to be my foster-nurse + When service should in my old limbs lie lame + And unregarded age in corners thrown: + Take that, and He that doth the ravens feed, + Yea, providently caters for the sparrow, + Be comfort to my age! Here is the gold; + And all this I give you. Let me be your servant: + Though I look old, yet I am strong and lusty; + For in my youth I never did apply + Hot and rebellious liquors in my blood, + Nor did not with unbashful forehead woo + The means of weakness and debility; + Therefore my age is as a lusty winter, + Frosty, but kindly: let me go with you; + I'll do the service of a younger man + In all your business and necessities. + +ORLANDO O good old man, how well in thee appears + The constant service of the antique world, + When service sweat for duty, not for meed! + Thou art not for the fashion of these times, + Where none will sweat but for promotion, + And having that, do choke their service up + Even with the having: it is not so with thee. + But, poor old man, thou prunest a rotten tree, + That cannot so much as a blossom yield + In lieu of all thy pains and husbandry + But come thy ways; well go along together, + And ere we have thy youthful wages spent, + We'll light upon some settled low content. + +ADAM Master, go on, and I will follow thee, + To the last gasp, with truth and loyalty. + From seventeen years till now almost fourscore + Here lived I, but now live here no more. + At seventeen years many their fortunes seek; + But at fourscore it is too late a week: + Yet fortune cannot recompense me better + Than to die well and not my master's debtor. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT II + + + +SCENE IV The Forest of Arden. + + + [Enter ROSALIND for Ganymede, CELIA for Aliena, + and TOUCHSTONE] + +ROSALIND O Jupiter, how weary are my spirits! + +TOUCHSTONE I care not for my spirits, if my legs were not weary. + +ROSALIND I could find in my heart to disgrace my man's + apparel and to cry like a woman; but I must comfort + the weaker vessel, as doublet and hose ought to show + itself courageous to petticoat: therefore courage, + good Aliena! + +CELIA I pray you, bear with me; I cannot go no further. + +TOUCHSTONE For my part, I had rather bear with you than bear + you; yet I should bear no cross if I did bear you, + for I think you have no money in your purse. + +ROSALIND Well, this is the forest of Arden. + +TOUCHSTONE Ay, now am I in Arden; the more fool I; when I was + at home, I was in a better place: but travellers + must be content. + +ROSALIND Ay, be so, good Touchstone. + + [Enter CORIN and SILVIUS] + + Look you, who comes here; a young man and an old in + solemn talk. + +CORIN That is the way to make her scorn you still. + +SILVIUS O Corin, that thou knew'st how I do love her! + +CORIN I partly guess; for I have loved ere now. + +SILVIUS No, Corin, being old, thou canst not guess, + Though in thy youth thou wast as true a lover + As ever sigh'd upon a midnight pillow: + But if thy love were ever like to mine-- + As sure I think did never man love so-- + How many actions most ridiculous + Hast thou been drawn to by thy fantasy? + +CORIN Into a thousand that I have forgotten. + +SILVIUS O, thou didst then ne'er love so heartily! + If thou remember'st not the slightest folly + That ever love did make thee run into, + Thou hast not loved: + Or if thou hast not sat as I do now, + Wearying thy hearer in thy mistress' praise, + Thou hast not loved: + Or if thou hast not broke from company + Abruptly, as my passion now makes me, + Thou hast not loved. + O Phebe, Phebe, Phebe! + + [Exit] + +ROSALIND Alas, poor shepherd! searching of thy wound, + I have by hard adventure found mine own. + +TOUCHSTONE And I mine. I remember, when I was in love I broke + my sword upon a stone and bid him take that for + coming a-night to Jane Smile; and I remember the + kissing of her batlet and the cow's dugs that her + pretty chopt hands had milked; and I remember the + wooing of a peascod instead of her, from whom I took + two cods and, giving her them again, said with + weeping tears 'Wear these for my sake.' We that are + true lovers run into strange capers; but as all is + mortal in nature, so is all nature in love mortal in folly. + +ROSALIND Thou speakest wiser than thou art ware of. + +TOUCHSTONE Nay, I shall ne'er be ware of mine own wit till I + break my shins against it. + +ROSALIND Jove, Jove! this shepherd's passion + Is much upon my fashion. + +TOUCHSTONE And mine; but it grows something stale with me. + +CELIA I pray you, one of you question yond man + If he for gold will give us any food: + I faint almost to death. + +TOUCHSTONE Holla, you clown! + +ROSALIND Peace, fool: he's not thy kinsman. + +CORIN Who calls? + +TOUCHSTONE Your betters, sir. + +CORIN Else are they very wretched. + +ROSALIND Peace, I say. Good even to you, friend. + +CORIN And to you, gentle sir, and to you all. + +ROSALIND I prithee, shepherd, if that love or gold + Can in this desert place buy entertainment, + Bring us where we may rest ourselves and feed: + Here's a young maid with travel much oppress'd + And faints for succor. + +CORIN Fair sir, I pity her + And wish, for her sake more than for mine own, + My fortunes were more able to relieve her; + But I am shepherd to another man + And do not shear the fleeces that I graze: + My master is of churlish disposition + And little recks to find the way to heaven + By doing deeds of hospitality: + Besides, his cote, his flocks and bounds of feed + Are now on sale, and at our sheepcote now, + By reason of his absence, there is nothing + That you will feed on; but what is, come see. + And in my voice most welcome shall you be. + +ROSALIND What is he that shall buy his flock and pasture? + +CORIN That young swain that you saw here but erewhile, + That little cares for buying any thing. + +ROSALIND I pray thee, if it stand with honesty, + Buy thou the cottage, pasture and the flock, + And thou shalt have to pay for it of us. + +CELIA And we will mend thy wages. I like this place. + And willingly could waste my time in it. + +CORIN Assuredly the thing is to be sold: + Go with me: if you like upon report + The soil, the profit and this kind of life, + I will your very faithful feeder be + And buy it with your gold right suddenly. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT II + + + +SCENE V The Forest. + + + [Enter AMIENS, JAQUES, and others] + + SONG. +AMIENS Under the greenwood tree + Who loves to lie with me, + And turn his merry note + Unto the sweet bird's throat, + Come hither, come hither, come hither: + Here shall he see No enemy + But winter and rough weather. + +JAQUES More, more, I prithee, more. + +AMIENS It will make you melancholy, Monsieur Jaques. + +JAQUES I thank it. More, I prithee, more. I can suck + melancholy out of a song, as a weasel sucks eggs. + More, I prithee, more. + +AMIENS My voice is ragged: I know I cannot please you. + +JAQUES I do not desire you to please me; I do desire you to + sing. Come, more; another stanzo: call you 'em stanzos? + +AMIENS What you will, Monsieur Jaques. + +JAQUES Nay, I care not for their names; they owe me + nothing. Will you sing? + +AMIENS More at your request than to please myself. + +JAQUES Well then, if ever I thank any man, I'll thank you; + but that they call compliment is like the encounter + of two dog-apes, and when a man thanks me heartily, + methinks I have given him a penny and he renders me + the beggarly thanks. Come, sing; and you that will + not, hold your tongues. + +AMIENS Well, I'll end the song. Sirs, cover the while; the + duke will drink under this tree. He hath been all + this day to look you. + +JAQUES And I have been all this day to avoid him. He is + too disputable for my company: I think of as many + matters as he, but I give heaven thanks and make no + boast of them. Come, warble, come. + + SONG. + Who doth ambition shun + + [All together here] + + And loves to live i' the sun, + Seeking the food he eats + And pleased with what he gets, + Come hither, come hither, come hither: + Here shall he see No enemy + But winter and rough weather. + +JAQUES I'll give you a verse to this note that I made + yesterday in despite of my invention. + +AMIENS And I'll sing it. + +JAQUES Thus it goes:-- + + If it do come to pass + That any man turn ass, + Leaving his wealth and ease, + A stubborn will to please, + Ducdame, ducdame, ducdame: + Here shall he see + Gross fools as he, + An if he will come to me. + +AMIENS What's that 'ducdame'? + +JAQUES 'Tis a Greek invocation, to call fools into a + circle. I'll go sleep, if I can; if I cannot, I'll + rail against all the first-born of Egypt. + +AMIENS And I'll go seek the duke: his banquet is prepared. + + [Exeunt severally] + + + + + AS YOU LIKE IT + + +ACT II + + + +SCENE VI The forest. + + + [Enter ORLANDO and ADAM] + +ADAM Dear master, I can go no further. O, I die for food! + Here lie I down, and measure out my grave. Farewell, + kind master. + +ORLANDO Why, how now, Adam! no greater heart in thee? Live + a little; comfort a little; cheer thyself a little. + If this uncouth forest yield any thing savage, I + will either be food for it or bring it for food to + thee. Thy conceit is nearer death than thy powers. + For my sake be comfortable; hold death awhile at + the arm's end: I will here be with thee presently; + and if I bring thee not something to eat, I will + give thee leave to die: but if thou diest before I + come, thou art a mocker of my labour. Well said! + thou lookest cheerly, and I'll be with thee quickly. + Yet thou liest in the bleak air: come, I will bear + thee to some shelter; and thou shalt not die for + lack of a dinner, if there live any thing in this + desert. Cheerly, good Adam! + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT II + + + +SCENE VII The forest. + + + [A table set out. Enter DUKE SENIOR, AMIENS, and + Lords like outlaws] + +DUKE SENIOR I think he be transform'd into a beast; + For I can no where find him like a man. + +First Lord My lord, he is but even now gone hence: + Here was he merry, hearing of a song. + +DUKE SENIOR If he, compact of jars, grow musical, + We shall have shortly discord in the spheres. + Go, seek him: tell him I would speak with him. + + [Enter JAQUES] + +First Lord He saves my labour by his own approach. + +DUKE SENIOR Why, how now, monsieur! what a life is this, + That your poor friends must woo your company? + What, you look merrily! + +JAQUES A fool, a fool! I met a fool i' the forest, + A motley fool; a miserable world! + As I do live by food, I met a fool + Who laid him down and bask'd him in the sun, + And rail'd on Lady Fortune in good terms, + In good set terms and yet a motley fool. + 'Good morrow, fool,' quoth I. 'No, sir,' quoth he, + 'Call me not fool till heaven hath sent me fortune:' + And then he drew a dial from his poke, + And, looking on it with lack-lustre eye, + Says very wisely, 'It is ten o'clock: + Thus we may see,' quoth he, 'how the world wags: + 'Tis but an hour ago since it was nine, + And after one hour more 'twill be eleven; + And so, from hour to hour, we ripe and ripe, + And then, from hour to hour, we rot and rot; + And thereby hangs a tale.' When I did hear + The motley fool thus moral on the time, + My lungs began to crow like chanticleer, + That fools should be so deep-contemplative, + And I did laugh sans intermission + An hour by his dial. O noble fool! + A worthy fool! Motley's the only wear. + +DUKE SENIOR What fool is this? + +JAQUES O worthy fool! One that hath been a courtier, + And says, if ladies be but young and fair, + They have the gift to know it: and in his brain, + Which is as dry as the remainder biscuit + After a voyage, he hath strange places cramm'd + With observation, the which he vents + In mangled forms. O that I were a fool! + I am ambitious for a motley coat. + +DUKE SENIOR Thou shalt have one. + +JAQUES It is my only suit; + Provided that you weed your better judgments + Of all opinion that grows rank in them + That I am wise. I must have liberty + Withal, as large a charter as the wind, + To blow on whom I please; for so fools have; + And they that are most galled with my folly, + They most must laugh. And why, sir, must they so? + The 'why' is plain as way to parish church: + He that a fool doth very wisely hit + Doth very foolishly, although he smart, + Not to seem senseless of the bob: if not, + The wise man's folly is anatomized + Even by the squandering glances of the fool. + Invest me in my motley; give me leave + To speak my mind, and I will through and through + Cleanse the foul body of the infected world, + If they will patiently receive my medicine. + +DUKE SENIOR Fie on thee! I can tell what thou wouldst do. + +JAQUES What, for a counter, would I do but good? + +DUKE SENIOR Most mischievous foul sin, in chiding sin: + For thou thyself hast been a libertine, + As sensual as the brutish sting itself; + And all the embossed sores and headed evils, + That thou with licence of free foot hast caught, + Wouldst thou disgorge into the general world. + +JAQUES Why, who cries out on pride, + That can therein tax any private party? + Doth it not flow as hugely as the sea, + Till that the weary very means do ebb? + What woman in the city do I name, + When that I say the city-woman bears + The cost of princes on unworthy shoulders? + Who can come in and say that I mean her, + When such a one as she such is her neighbour? + Or what is he of basest function + That says his bravery is not of my cost, + Thinking that I mean him, but therein suits + His folly to the mettle of my speech? + There then; how then? what then? Let me see wherein + My tongue hath wrong'd him: if it do him right, + Then he hath wrong'd himself; if he be free, + Why then my taxing like a wild-goose flies, + Unclaim'd of any man. But who comes here? + + [Enter ORLANDO, with his sword drawn] + +ORLANDO Forbear, and eat no more. + +JAQUES Why, I have eat none yet. + +ORLANDO Nor shalt not, till necessity be served. + +JAQUES Of what kind should this cock come of? + +DUKE SENIOR Art thou thus bolden'd, man, by thy distress, + Or else a rude despiser of good manners, + That in civility thou seem'st so empty? + +ORLANDO You touch'd my vein at first: the thorny point + Of bare distress hath ta'en from me the show + Of smooth civility: yet am I inland bred + And know some nurture. But forbear, I say: + He dies that touches any of this fruit + Till I and my affairs are answered. + +JAQUES An you will not be answered with reason, I must die. + +DUKE SENIOR What would you have? Your gentleness shall force + More than your force move us to gentleness. + +ORLANDO I almost die for food; and let me have it. + +DUKE SENIOR Sit down and feed, and welcome to our table. + +ORLANDO Speak you so gently? Pardon me, I pray you: + I thought that all things had been savage here; + And therefore put I on the countenance + Of stern commandment. But whate'er you are + That in this desert inaccessible, + Under the shade of melancholy boughs, + Lose and neglect the creeping hours of time + If ever you have look'd on better days, + If ever been where bells have knoll'd to church, + If ever sat at any good man's feast, + If ever from your eyelids wiped a tear + And know what 'tis to pity and be pitied, + Let gentleness my strong enforcement be: + In the which hope I blush, and hide my sword. + +DUKE SENIOR True is it that we have seen better days, + And have with holy bell been knoll'd to church + And sat at good men's feasts and wiped our eyes + Of drops that sacred pity hath engender'd: + And therefore sit you down in gentleness + And take upon command what help we have + That to your wanting may be minister'd. + +ORLANDO Then but forbear your food a little while, + Whiles, like a doe, I go to find my fawn + And give it food. There is an old poor man, + Who after me hath many a weary step + Limp'd in pure love: till he be first sufficed, + Oppress'd with two weak evils, age and hunger, + I will not touch a bit. + +DUKE SENIOR Go find him out, + And we will nothing waste till you return. + +ORLANDO I thank ye; and be blest for your good comfort! + + [Exit] + +DUKE SENIOR Thou seest we are not all alone unhappy: + This wide and universal theatre + Presents more woeful pageants than the scene + Wherein we play in. + +JAQUES All the world's a stage, + And all the men and women merely players: + They have their exits and their entrances; + And one man in his time plays many parts, + His acts being seven ages. At first the infant, + Mewling and puking in the nurse's arms. + And then the whining school-boy, with his satchel + And shining morning face, creeping like snail + Unwillingly to school. And then the lover, + Sighing like furnace, with a woeful ballad + Made to his mistress' eyebrow. Then a soldier, + Full of strange oaths and bearded like the pard, + Jealous in honour, sudden and quick in quarrel, + Seeking the bubble reputation + Even in the cannon's mouth. And then the justice, + In fair round belly with good capon lined, + With eyes severe and beard of formal cut, + Full of wise saws and modern instances; + And so he plays his part. The sixth age shifts + Into the lean and slipper'd pantaloon, + With spectacles on nose and pouch on side, + His youthful hose, well saved, a world too wide + For his shrunk shank; and his big manly voice, + Turning again toward childish treble, pipes + And whistles in his sound. Last scene of all, + That ends this strange eventful history, + Is second childishness and mere oblivion, + Sans teeth, sans eyes, sans taste, sans everything. + + [Re-enter ORLANDO, with ADAM] + +DUKE SENIOR Welcome. Set down your venerable burthen, + And let him feed. + +ORLANDO I thank you most for him. + +ADAM So had you need: + I scarce can speak to thank you for myself. + +DUKE SENIOR Welcome; fall to: I will not trouble you + As yet, to question you about your fortunes. + Give us some music; and, good cousin, sing. + + SONG. +AMIENS Blow, blow, thou winter wind. + Thou art not so unkind + As man's ingratitude; + Thy tooth is not so keen, + Because thou art not seen, + Although thy breath be rude. + Heigh-ho! sing, heigh-ho! unto the green holly: + Most friendship is feigning, most loving mere folly: + Then, heigh-ho, the holly! + This life is most jolly. + Freeze, freeze, thou bitter sky, + That dost not bite so nigh + As benefits forgot: + Though thou the waters warp, + Thy sting is not so sharp + As friend remember'd not. + Heigh-ho! sing, &c. + +DUKE SENIOR If that you were the good Sir Rowland's son, + As you have whisper'd faithfully you were, + And as mine eye doth his effigies witness + Most truly limn'd and living in your face, + Be truly welcome hither: I am the duke + That loved your father: the residue of your fortune, + Go to my cave and tell me. Good old man, + Thou art right welcome as thy master is. + Support him by the arm. Give me your hand, + And let me all your fortunes understand. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT III + + + +SCENE I A room in the palace. + + + [Enter DUKE FREDERICK, Lords, and OLIVER] + +DUKE FREDERICK Not see him since? Sir, sir, that cannot be: + But were I not the better part made mercy, + I should not seek an absent argument + Of my revenge, thou present. But look to it: + Find out thy brother, wheresoe'er he is; + Seek him with candle; bring him dead or living + Within this twelvemonth, or turn thou no more + To seek a living in our territory. + Thy lands and all things that thou dost call thine + Worth seizure do we seize into our hands, + Till thou canst quit thee by thy brothers mouth + Of what we think against thee. + +OLIVER O that your highness knew my heart in this! + I never loved my brother in my life. + +DUKE FREDERICK More villain thou. Well, push him out of doors; + And let my officers of such a nature + Make an extent upon his house and lands: + Do this expediently and turn him going. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT III + + + +SCENE II The forest. + + + [Enter ORLANDO, with a paper] + +ORLANDO Hang there, my verse, in witness of my love: + And thou, thrice-crowned queen of night, survey + With thy chaste eye, from thy pale sphere above, + Thy huntress' name that my full life doth sway. + O Rosalind! these trees shall be my books + And in their barks my thoughts I'll character; + That every eye which in this forest looks + Shall see thy virtue witness'd every where. + Run, run, Orlando; carve on every tree + The fair, the chaste and unexpressive she. + + [Exit] + + [Enter CORIN and TOUCHSTONE] + +CORIN And how like you this shepherd's life, Master Touchstone? + +TOUCHSTONE Truly, shepherd, in respect of itself, it is a good + life, but in respect that it is a shepherd's life, + it is naught. In respect that it is solitary, I + like it very well; but in respect that it is + private, it is a very vile life. Now, in respect it + is in the fields, it pleaseth me well; but in + respect it is not in the court, it is tedious. As + is it a spare life, look you, it fits my humour well; + but as there is no more plenty in it, it goes much + against my stomach. Hast any philosophy in thee, shepherd? + +CORIN No more but that I know the more one sickens the + worse at ease he is; and that he that wants money, + means and content is without three good friends; + that the property of rain is to wet and fire to + burn; that good pasture makes fat sheep, and that a + great cause of the night is lack of the sun; that + he that hath learned no wit by nature nor art may + complain of good breeding or comes of a very dull kindred. + +TOUCHSTONE Such a one is a natural philosopher. Wast ever in + court, shepherd? + +CORIN No, truly. + +TOUCHSTONE Then thou art damned. + +CORIN Nay, I hope. + +TOUCHSTONE Truly, thou art damned like an ill-roasted egg, all + on one side. + +CORIN For not being at court? Your reason. + +TOUCHSTONE Why, if thou never wast at court, thou never sawest + good manners; if thou never sawest good manners, + then thy manners must be wicked; and wickedness is + sin, and sin is damnation. Thou art in a parlous + state, shepherd. + +CORIN Not a whit, Touchstone: those that are good manners + at the court are as ridiculous in the country as the + behavior of the country is most mockable at the + court. You told me you salute not at the court, but + you kiss your hands: that courtesy would be + uncleanly, if courtiers were shepherds. + +TOUCHSTONE Instance, briefly; come, instance. + +CORIN Why, we are still handling our ewes, and their + fells, you know, are greasy. + +TOUCHSTONE Why, do not your courtier's hands sweat? and is not + the grease of a mutton as wholesome as the sweat of + a man? Shallow, shallow. A better instance, I say; come. + +CORIN Besides, our hands are hard. + +TOUCHSTONE Your lips will feel them the sooner. Shallow again. + A more sounder instance, come. + +CORIN And they are often tarred over with the surgery of + our sheep: and would you have us kiss tar? The + courtier's hands are perfumed with civet. + +TOUCHSTONE Most shallow man! thou worms-meat, in respect of a + good piece of flesh indeed! Learn of the wise, and + perpend: civet is of a baser birth than tar, the + very uncleanly flux of a cat. Mend the instance, shepherd. + +CORIN You have too courtly a wit for me: I'll rest. + +TOUCHSTONE Wilt thou rest damned? God help thee, shallow man! + God make incision in thee! thou art raw. + +CORIN Sir, I am a true labourer: I earn that I eat, get + that I wear, owe no man hate, envy no man's + happiness, glad of other men's good, content with my + harm, and the greatest of my pride is to see my ewes + graze and my lambs suck. + +TOUCHSTONE That is another simple sin in you, to bring the ewes + and the rams together and to offer to get your + living by the copulation of cattle; to be bawd to a + bell-wether, and to betray a she-lamb of a + twelvemonth to a crooked-pated, old, cuckoldly ram, + out of all reasonable match. If thou beest not + damned for this, the devil himself will have no + shepherds; I cannot see else how thou shouldst + 'scape. + +CORIN Here comes young Master Ganymede, my new mistress's brother. + + [Enter ROSALIND, with a paper, reading] + +ROSALIND From the east to western Ind, + No jewel is like Rosalind. + Her worth, being mounted on the wind, + Through all the world bears Rosalind. + All the pictures fairest lined + Are but black to Rosalind. + Let no fair be kept in mind + But the fair of Rosalind. + +TOUCHSTONE I'll rhyme you so eight years together, dinners and + suppers and sleeping-hours excepted: it is the + right butter-women's rank to market. + +ROSALIND Out, fool! + +TOUCHSTONE For a taste: + If a hart do lack a hind, + Let him seek out Rosalind. + If the cat will after kind, + So be sure will Rosalind. + Winter garments must be lined, + So must slender Rosalind. + They that reap must sheaf and bind; + Then to cart with Rosalind. + Sweetest nut hath sourest rind, + Such a nut is Rosalind. + He that sweetest rose will find + Must find love's prick and Rosalind. + This is the very false gallop of verses: why do you + infect yourself with them? + +ROSALIND Peace, you dull fool! I found them on a tree. + +TOUCHSTONE Truly, the tree yields bad fruit. + +ROSALIND I'll graff it with you, and then I shall graff it + with a medlar: then it will be the earliest fruit + i' the country; for you'll be rotten ere you be half + ripe, and that's the right virtue of the medlar. + +TOUCHSTONE You have said; but whether wisely or no, let the + forest judge. + + [Enter CELIA, with a writing] + +ROSALIND Peace! Here comes my sister, reading: stand aside. + +CELIA [Reads] + + Why should this a desert be? + For it is unpeopled? No: + Tongues I'll hang on every tree, + That shall civil sayings show: + Some, how brief the life of man + Runs his erring pilgrimage, + That the stretching of a span + Buckles in his sum of age; + Some, of violated vows + 'Twixt the souls of friend and friend: + But upon the fairest boughs, + Or at every sentence end, + Will I Rosalinda write, + Teaching all that read to know + The quintessence of every sprite + Heaven would in little show. + Therefore Heaven Nature charged + That one body should be fill'd + With all graces wide-enlarged: + Nature presently distill'd + Helen's cheek, but not her heart, + Cleopatra's majesty, + Atalanta's better part, + Sad Lucretia's modesty. + Thus Rosalind of many parts + By heavenly synod was devised, + Of many faces, eyes and hearts, + To have the touches dearest prized. + Heaven would that she these gifts should have, + And I to live and die her slave. + +ROSALIND O most gentle pulpiter! what tedious homily of love + have you wearied your parishioners withal, and never + cried 'Have patience, good people!' + +CELIA How now! back, friends! Shepherd, go off a little. + Go with him, sirrah. + +TOUCHSTONE Come, shepherd, let us make an honourable retreat; + though not with bag and baggage, yet with scrip and scrippage. + + [Exeunt CORIN and TOUCHSTONE] + +CELIA Didst thou hear these verses? + +ROSALIND O, yes, I heard them all, and more too; for some of + them had in them more feet than the verses would bear. + +CELIA That's no matter: the feet might bear the verses. + +ROSALIND Ay, but the feet were lame and could not bear + themselves without the verse and therefore stood + lamely in the verse. + +CELIA But didst thou hear without wondering how thy name + should be hanged and carved upon these trees? + +ROSALIND I was seven of the nine days out of the wonder + before you came; for look here what I found on a + palm-tree. I was never so be-rhymed since + Pythagoras' time, that I was an Irish rat, which I + can hardly remember. + +CELIA Trow you who hath done this? + +ROSALIND Is it a man? + +CELIA And a chain, that you once wore, about his neck. + Change you colour? + +ROSALIND I prithee, who? + +CELIA O Lord, Lord! it is a hard matter for friends to + meet; but mountains may be removed with earthquakes + and so encounter. + +ROSALIND Nay, but who is it? + +CELIA Is it possible? + +ROSALIND Nay, I prithee now with most petitionary vehemence, + tell me who it is. + +CELIA O wonderful, wonderful, and most wonderful + wonderful! and yet again wonderful, and after that, + out of all hooping! + +ROSALIND Good my complexion! dost thou think, though I am + caparisoned like a man, I have a doublet and hose in + my disposition? One inch of delay more is a + South-sea of discovery; I prithee, tell me who is it + quickly, and speak apace. I would thou couldst + stammer, that thou mightst pour this concealed man + out of thy mouth, as wine comes out of a narrow- + mouthed bottle, either too much at once, or none at + all. I prithee, take the cork out of thy mouth that + may drink thy tidings. + +CELIA So you may put a man in your belly. + +ROSALIND Is he of God's making? What manner of man? Is his + head worth a hat, or his chin worth a beard? + +CELIA Nay, he hath but a little beard. + +ROSALIND Why, God will send more, if the man will be + thankful: let me stay the growth of his beard, if + thou delay me not the knowledge of his chin. + +CELIA It is young Orlando, that tripped up the wrestler's + heels and your heart both in an instant. + +ROSALIND Nay, but the devil take mocking: speak, sad brow and + true maid. + +CELIA I' faith, coz, 'tis he. + +ROSALIND Orlando? + +CELIA Orlando. + +ROSALIND Alas the day! what shall I do with my doublet and + hose? What did he when thou sawest him? What said + he? How looked he? Wherein went he? What makes + him here? Did he ask for me? Where remains he? + How parted he with thee? and when shalt thou see + him again? Answer me in one word. + +CELIA You must borrow me Gargantua's mouth first: 'tis a + word too great for any mouth of this age's size. To + say ay and no to these particulars is more than to + answer in a catechism. + +ROSALIND But doth he know that I am in this forest and in + man's apparel? Looks he as freshly as he did the + day he wrestled? + +CELIA It is as easy to count atomies as to resolve the + propositions of a lover; but take a taste of my + finding him, and relish it with good observance. + I found him under a tree, like a dropped acorn. + +ROSALIND It may well be called Jove's tree, when it drops + forth such fruit. + +CELIA Give me audience, good madam. + +ROSALIND Proceed. + +CELIA There lay he, stretched along, like a wounded knight. + +ROSALIND Though it be pity to see such a sight, it well + becomes the ground. + +CELIA Cry 'holla' to thy tongue, I prithee; it curvets + unseasonably. He was furnished like a hunter. + +ROSALIND O, ominous! he comes to kill my heart. + +CELIA I would sing my song without a burden: thou bringest + me out of tune. + +ROSALIND Do you not know I am a woman? when I think, I must + speak. Sweet, say on. + +CELIA You bring me out. Soft! comes he not here? + + [Enter ORLANDO and JAQUES] + +ROSALIND 'Tis he: slink by, and note him. + +JAQUES I thank you for your company; but, good faith, I had + as lief have been myself alone. + +ORLANDO And so had I; but yet, for fashion sake, I thank you + too for your society. + +JAQUES God be wi' you: let's meet as little as we can. + +ORLANDO I do desire we may be better strangers. + +JAQUES I pray you, mar no more trees with writing + love-songs in their barks. + +ORLANDO I pray you, mar no more of my verses with reading + them ill-favouredly. + +JAQUES Rosalind is your love's name? + +ORLANDO Yes, just. + +JAQUES I do not like her name. + +ORLANDO There was no thought of pleasing you when she was + christened. + +JAQUES What stature is she of? + +ORLANDO Just as high as my heart. + +JAQUES You are full of pretty answers. Have you not been + acquainted with goldsmiths' wives, and conned them + out of rings? + +ORLANDO Not so; but I answer you right painted cloth, from + whence you have studied your questions. + +JAQUES You have a nimble wit: I think 'twas made of + Atalanta's heels. Will you sit down with me? and + we two will rail against our mistress the world and + all our misery. + +ORLANDO I will chide no breather in the world but myself, + against whom I know most faults. + +JAQUES The worst fault you have is to be in love. + +ORLANDO 'Tis a fault I will not change for your best virtue. + I am weary of you. + +JAQUES By my troth, I was seeking for a fool when I found + you. + +ORLANDO He is drowned in the brook: look but in, and you + shall see him. + +JAQUES There I shall see mine own figure. + +ORLANDO Which I take to be either a fool or a cipher. + +JAQUES I'll tarry no longer with you: farewell, good + Signior Love. + +ORLANDO I am glad of your departure: adieu, good Monsieur + Melancholy. + + [Exit JAQUES] + +ROSALIND [Aside to CELIA] I will speak to him, like a saucy + lackey and under that habit play the knave with him. + Do you hear, forester? + +ORLANDO Very well: what would you? + +ROSALIND I pray you, what is't o'clock? + +ORLANDO You should ask me what time o' day: there's no clock + in the forest. + +ROSALIND Then there is no true lover in the forest; else + sighing every minute and groaning every hour would + detect the lazy foot of Time as well as a clock. + +ORLANDO And why not the swift foot of Time? had not that + been as proper? + +ROSALIND By no means, sir: Time travels in divers paces with + divers persons. I'll tell you who Time ambles + withal, who Time trots withal, who Time gallops + withal and who he stands still withal. + +ORLANDO I prithee, who doth he trot withal? + +ROSALIND Marry, he trots hard with a young maid between the + contract of her marriage and the day it is + solemnized: if the interim be but a se'nnight, + Time's pace is so hard that it seems the length of + seven year. + +ORLANDO Who ambles Time withal? + +ROSALIND With a priest that lacks Latin and a rich man that + hath not the gout, for the one sleeps easily because + he cannot study, and the other lives merrily because + he feels no pain, the one lacking the burden of lean + and wasteful learning, the other knowing no burden + of heavy tedious penury; these Time ambles withal. + +ORLANDO Who doth he gallop withal? + +ROSALIND With a thief to the gallows, for though he go as + softly as foot can fall, he thinks himself too soon there. + +ORLANDO Who stays it still withal? + +ROSALIND With lawyers in the vacation, for they sleep between + term and term and then they perceive not how Time moves. + +ORLANDO Where dwell you, pretty youth? + +ROSALIND With this shepherdess, my sister; here in the + skirts of the forest, like fringe upon a petticoat. + +ORLANDO Are you native of this place? + +ROSALIND As the cony that you see dwell where she is kindled. + +ORLANDO Your accent is something finer than you could + purchase in so removed a dwelling. + +ROSALIND I have been told so of many: but indeed an old + religious uncle of mine taught me to speak, who was + in his youth an inland man; one that knew courtship + too well, for there he fell in love. I have heard + him read many lectures against it, and I thank God + I am not a woman, to be touched with so many + giddy offences as he hath generally taxed their + whole sex withal. + +ORLANDO Can you remember any of the principal evils that he + laid to the charge of women? + +ROSALIND There were none principal; they were all like one + another as half-pence are, every one fault seeming + monstrous till his fellow fault came to match it. + +ORLANDO I prithee, recount some of them. + +ROSALIND No, I will not cast away my physic but on those that + are sick. There is a man haunts the forest, that + abuses our young plants with carving 'Rosalind' on + their barks; hangs odes upon hawthorns and elegies + on brambles, all, forsooth, deifying the name of + Rosalind: if I could meet that fancy-monger I would + give him some good counsel, for he seems to have the + quotidian of love upon him. + +ORLANDO I am he that is so love-shaked: I pray you tell me + your remedy. + +ROSALIND There is none of my uncle's marks upon you: he + taught me how to know a man in love; in which cage + of rushes I am sure you are not prisoner. + +ORLANDO What were his marks? + +ROSALIND A lean cheek, which you have not, a blue eye and + sunken, which you have not, an unquestionable + spirit, which you have not, a beard neglected, + which you have not; but I pardon you for that, for + simply your having in beard is a younger brother's + revenue: then your hose should be ungartered, your + bonnet unbanded, your sleeve unbuttoned, your shoe + untied and every thing about you demonstrating a + careless desolation; but you are no such man; you + are rather point-device in your accoutrements as + loving yourself than seeming the lover of any other. + +ORLANDO Fair youth, I would I could make thee believe I love. + +ROSALIND Me believe it! you may as soon make her that you + love believe it; which, I warrant, she is apter to + do than to confess she does: that is one of the + points in the which women still give the lie to + their consciences. But, in good sooth, are you he + that hangs the verses on the trees, wherein Rosalind + is so admired? + +ORLANDO I swear to thee, youth, by the white hand of + Rosalind, I am that he, that unfortunate he. + +ROSALIND But are you so much in love as your rhymes speak? + +ORLANDO Neither rhyme nor reason can express how much. + +ROSALIND Love is merely a madness, and, I tell you, deserves + as well a dark house and a whip as madmen do: and + the reason why they are not so punished and cured + is, that the lunacy is so ordinary that the whippers + are in love too. Yet I profess curing it by counsel. + +ORLANDO Did you ever cure any so? + +ROSALIND Yes, one, and in this manner. He was to imagine me + his love, his mistress; and I set him every day to + woo me: at which time would I, being but a moonish + youth, grieve, be effeminate, changeable, longing + and liking, proud, fantastical, apish, shallow, + inconstant, full of tears, full of smiles, for every + passion something and for no passion truly any + thing, as boys and women are for the most part + cattle of this colour; would now like him, now loathe + him; then entertain him, then forswear him; now weep + for him, then spit at him; that I drave my suitor + from his mad humour of love to a living humour of + madness; which was, to forswear the full stream of + the world, and to live in a nook merely monastic. + And thus I cured him; and this way will I take upon + me to wash your liver as clean as a sound sheep's + heart, that there shall not be one spot of love in't. + +ORLANDO I would not be cured, youth. + +ROSALIND I would cure you, if you would but call me Rosalind + and come every day to my cote and woo me. + +ORLANDO Now, by the faith of my love, I will: tell me + where it is. + +ROSALIND Go with me to it and I'll show it you and by the way + you shall tell me where in the forest you live. + Will you go? + +ORLANDO With all my heart, good youth. + +ROSALIND Nay you must call me Rosalind. Come, sister, will you go? + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT III + + + +SCENE III The forest. + + + [Enter TOUCHSTONE and AUDREY; JAQUES behind] + +TOUCHSTONE Come apace, good Audrey: I will fetch up your + goats, Audrey. And how, Audrey? am I the man yet? + doth my simple feature content you? + +AUDREY Your features! Lord warrant us! what features! + +TOUCHSTONE I am here with thee and thy goats, as the most + capricious poet, honest Ovid, was among the Goths. + +JAQUES [Aside] O knowledge ill-inhabited, worse than Jove + in a thatched house! + +TOUCHSTONE When a man's verses cannot be understood, nor a + man's good wit seconded with the forward child + Understanding, it strikes a man more dead than a + great reckoning in a little room. Truly, I would + the gods had made thee poetical. + +AUDREY I do not know what 'poetical' is: is it honest in + deed and word? is it a true thing? + +TOUCHSTONE No, truly; for the truest poetry is the most + feigning; and lovers are given to poetry, and what + they swear in poetry may be said as lovers they do feign. + +AUDREY Do you wish then that the gods had made me poetical? + +TOUCHSTONE I do, truly; for thou swearest to me thou art + honest: now, if thou wert a poet, I might have some + hope thou didst feign. + +AUDREY Would you not have me honest? + +TOUCHSTONE No, truly, unless thou wert hard-favoured; for + honesty coupled to beauty is to have honey a sauce to sugar. + +JAQUES [Aside] A material fool! + +AUDREY Well, I am not fair; and therefore I pray the gods + make me honest. + +TOUCHSTONE Truly, and to cast away honesty upon a foul slut + were to put good meat into an unclean dish. + +AUDREY I am not a slut, though I thank the gods I am foul. + +TOUCHSTONE Well, praised be the gods for thy foulness! + sluttishness may come hereafter. But be it as it may + be, I will marry thee, and to that end I have been + with Sir Oliver Martext, the vicar of the next + village, who hath promised to meet me in this place + of the forest and to couple us. + +JAQUES [Aside] I would fain see this meeting. + +AUDREY Well, the gods give us joy! + +TOUCHSTONE Amen. A man may, if he were of a fearful heart, + stagger in this attempt; for here we have no temple + but the wood, no assembly but horn-beasts. But what + though? Courage! As horns are odious, they are + necessary. It is said, 'many a man knows no end of + his goods:' right; many a man has good horns, and + knows no end of them. Well, that is the dowry of + his wife; 'tis none of his own getting. Horns? + Even so. Poor men alone? No, no; the noblest deer + hath them as huge as the rascal. Is the single man + therefore blessed? No: as a walled town is more + worthier than a village, so is the forehead of a + married man more honourable than the bare brow of a + bachelor; and by how much defence is better than no + skill, by so much is a horn more precious than to + want. Here comes Sir Oliver. + + [Enter SIR OLIVER MARTEXT] + + Sir Oliver Martext, you are well met: will you + dispatch us here under this tree, or shall we go + with you to your chapel? + +SIR OLIVER MARTEXT Is there none here to give the woman? + +TOUCHSTONE I will not take her on gift of any man. + +SIR OLIVER MARTEXT Truly, she must be given, or the marriage is not lawful. + +JAQUES [Advancing] + + Proceed, proceed I'll give her. + +TOUCHSTONE Good even, good Master What-ye-call't: how do you, + sir? You are very well met: God 'ild you for your + last company: I am very glad to see you: even a + toy in hand here, sir: nay, pray be covered. + +JAQUES Will you be married, motley? + +TOUCHSTONE As the ox hath his bow, sir, the horse his curb and + the falcon her bells, so man hath his desires; and + as pigeons bill, so wedlock would be nibbling. + +JAQUES And will you, being a man of your breeding, be + married under a bush like a beggar? Get you to + church, and have a good priest that can tell you + what marriage is: this fellow will but join you + together as they join wainscot; then one of you will + prove a shrunk panel and, like green timber, warp, warp. + +TOUCHSTONE [Aside] I am not in the mind but I were better to be + married of him than of another: for he is not like + to marry me well; and not being well married, it + will be a good excuse for me hereafter to leave my wife. + +JAQUES Go thou with me, and let me counsel thee. + +TOUCHSTONE 'Come, sweet Audrey: + We must be married, or we must live in bawdry. + Farewell, good Master Oliver: not,-- + O sweet Oliver, + O brave Oliver, + Leave me not behind thee: but,-- + Wind away, + Begone, I say, + I will not to wedding with thee. + + [Exeunt JAQUES, TOUCHSTONE and AUDREY] + +SIR OLIVER MARTEXT 'Tis no matter: ne'er a fantastical knave of them + all shall flout me out of my calling. + + [Exit] + + + + + AS YOU LIKE IT + + +ACT III + + + +SCENE IV The forest. + + + [Enter ROSALIND and CELIA] + +ROSALIND Never talk to me; I will weep. + +CELIA Do, I prithee; but yet have the grace to consider + that tears do not become a man. + +ROSALIND But have I not cause to weep? + +CELIA As good cause as one would desire; therefore weep. + +ROSALIND His very hair is of the dissembling colour. + +CELIA Something browner than Judas's marry, his kisses are + Judas's own children. + +ROSALIND I' faith, his hair is of a good colour. + +CELIA An excellent colour: your chestnut was ever the only colour. + +ROSALIND And his kissing is as full of sanctity as the touch + of holy bread. + +CELIA He hath bought a pair of cast lips of Diana: a nun + of winter's sisterhood kisses not more religiously; + the very ice of chastity is in them. + +ROSALIND But why did he swear he would come this morning, and + comes not? + +CELIA Nay, certainly, there is no truth in him. + +ROSALIND Do you think so? + +CELIA Yes; I think he is not a pick-purse nor a + horse-stealer, but for his verity in love, I do + think him as concave as a covered goblet or a + worm-eaten nut. + +ROSALIND Not true in love? + +CELIA Yes, when he is in; but I think he is not in. + +ROSALIND You have heard him swear downright he was. + +CELIA 'Was' is not 'is:' besides, the oath of a lover is + no stronger than the word of a tapster; they are + both the confirmer of false reckonings. He attends + here in the forest on the duke your father. + +ROSALIND I met the duke yesterday and had much question with + him: he asked me of what parentage I was; I told + him, of as good as he; so he laughed and let me go. + But what talk we of fathers, when there is such a + man as Orlando? + +CELIA O, that's a brave man! he writes brave verses, + speaks brave words, swears brave oaths and breaks + them bravely, quite traverse, athwart the heart of + his lover; as a puisny tilter, that spurs his horse + but on one side, breaks his staff like a noble + goose: but all's brave that youth mounts and folly + guides. Who comes here? + + [Enter CORIN] + +CORIN Mistress and master, you have oft inquired + After the shepherd that complain'd of love, + Who you saw sitting by me on the turf, + Praising the proud disdainful shepherdess + That was his mistress. + +CELIA Well, and what of him? + +CORIN If you will see a pageant truly play'd, + Between the pale complexion of true love + And the red glow of scorn and proud disdain, + Go hence a little and I shall conduct you, + If you will mark it. + +ROSALIND O, come, let us remove: + The sight of lovers feedeth those in love. + Bring us to this sight, and you shall say + I'll prove a busy actor in their play. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT III + + + +SCENE V Another part of the forest. + + + [Enter SILVIUS and PHEBE] + +SILVIUS Sweet Phebe, do not scorn me; do not, Phebe; + Say that you love me not, but say not so + In bitterness. The common executioner, + Whose heart the accustom'd sight of death makes hard, + Falls not the axe upon the humbled neck + But first begs pardon: will you sterner be + Than he that dies and lives by bloody drops? + + [Enter ROSALIND, CELIA, and CORIN, behind] + +PHEBE I would not be thy executioner: + I fly thee, for I would not injure thee. + Thou tell'st me there is murder in mine eye: + 'Tis pretty, sure, and very probable, + That eyes, that are the frail'st and softest things, + Who shut their coward gates on atomies, + Should be call'd tyrants, butchers, murderers! + Now I do frown on thee with all my heart; + And if mine eyes can wound, now let them kill thee: + Now counterfeit to swoon; why now fall down; + Or if thou canst not, O, for shame, for shame, + Lie not, to say mine eyes are murderers! + Now show the wound mine eye hath made in thee: + Scratch thee but with a pin, and there remains + Some scar of it; lean but upon a rush, + The cicatrice and capable impressure + Thy palm some moment keeps; but now mine eyes, + Which I have darted at thee, hurt thee not, + Nor, I am sure, there is no force in eyes + That can do hurt. + +SILVIUS O dear Phebe, + If ever,--as that ever may be near,-- + You meet in some fresh cheek the power of fancy, + Then shall you know the wounds invisible + That love's keen arrows make. + +PHEBE But till that time + Come not thou near me: and when that time comes, + Afflict me with thy mocks, pity me not; + As till that time I shall not pity thee. + +ROSALIND And why, I pray you? Who might be your mother, + That you insult, exult, and all at once, + Over the wretched? What though you have no beauty,-- + As, by my faith, I see no more in you + Than without candle may go dark to bed-- + Must you be therefore proud and pitiless? + Why, what means this? Why do you look on me? + I see no more in you than in the ordinary + Of nature's sale-work. 'Od's my little life, + I think she means to tangle my eyes too! + No, faith, proud mistress, hope not after it: + 'Tis not your inky brows, your black silk hair, + Your bugle eyeballs, nor your cheek of cream, + That can entame my spirits to your worship. + You foolish shepherd, wherefore do you follow her, + Like foggy south puffing with wind and rain? + You are a thousand times a properer man + Than she a woman: 'tis such fools as you + That makes the world full of ill-favour'd children: + 'Tis not her glass, but you, that flatters her; + And out of you she sees herself more proper + Than any of her lineaments can show her. + But, mistress, know yourself: down on your knees, + And thank heaven, fasting, for a good man's love: + For I must tell you friendly in your ear, + Sell when you can: you are not for all markets: + Cry the man mercy; love him; take his offer: + Foul is most foul, being foul to be a scoffer. + So take her to thee, shepherd: fare you well. + +PHEBE Sweet youth, I pray you, chide a year together: + I had rather hear you chide than this man woo. + +ROSALIND He's fallen in love with your foulness and she'll + fall in love with my anger. If it be so, as fast as + she answers thee with frowning looks, I'll sauce her + with bitter words. Why look you so upon me? + +PHEBE For no ill will I bear you. + +ROSALIND I pray you, do not fall in love with me, + For I am falser than vows made in wine: + Besides, I like you not. If you will know my house, + 'Tis at the tuft of olives here hard by. + Will you go, sister? Shepherd, ply her hard. + Come, sister. Shepherdess, look on him better, + And be not proud: though all the world could see, + None could be so abused in sight as he. + Come, to our flock. + + [Exeunt ROSALIND, CELIA and CORIN] + +PHEBE Dead Shepherd, now I find thy saw of might, + 'Who ever loved that loved not at first sight?' + +SILVIUS Sweet Phebe,-- + +PHEBE Ha, what say'st thou, Silvius? + +SILVIUS Sweet Phebe, pity me. + +PHEBE Why, I am sorry for thee, gentle Silvius. + +SILVIUS Wherever sorrow is, relief would be: + If you do sorrow at my grief in love, + By giving love your sorrow and my grief + Were both extermined. + +PHEBE Thou hast my love: is not that neighbourly? + +SILVIUS I would have you. + +PHEBE Why, that were covetousness. + Silvius, the time was that I hated thee, + And yet it is not that I bear thee love; + But since that thou canst talk of love so well, + Thy company, which erst was irksome to me, + I will endure, and I'll employ thee too: + But do not look for further recompense + Than thine own gladness that thou art employ'd. + +SILVIUS So holy and so perfect is my love, + And I in such a poverty of grace, + That I shall think it a most plenteous crop + To glean the broken ears after the man + That the main harvest reaps: loose now and then + A scatter'd smile, and that I'll live upon. + +PHEBE Know'st now the youth that spoke to me erewhile? + +SILVIUS Not very well, but I have met him oft; + And he hath bought the cottage and the bounds + That the old carlot once was master of. + +PHEBE Think not I love him, though I ask for him: + 'Tis but a peevish boy; yet he talks well; + But what care I for words? yet words do well + When he that speaks them pleases those that hear. + It is a pretty youth: not very pretty: + But, sure, he's proud, and yet his pride becomes him: + He'll make a proper man: the best thing in him + Is his complexion; and faster than his tongue + Did make offence his eye did heal it up. + He is not very tall; yet for his years he's tall: + His leg is but so so; and yet 'tis well: + There was a pretty redness in his lip, + A little riper and more lusty red + Than that mix'd in his cheek; 'twas just the difference + Between the constant red and mingled damask. + There be some women, Silvius, had they mark'd him + In parcels as I did, would have gone near + To fall in love with him; but, for my part, + I love him not nor hate him not; and yet + I have more cause to hate him than to love him: + For what had he to do to chide at me? + He said mine eyes were black and my hair black: + And, now I am remember'd, scorn'd at me: + I marvel why I answer'd not again: + But that's all one; omittance is no quittance. + I'll write to him a very taunting letter, + And thou shalt bear it: wilt thou, Silvius? + +SILVIUS Phebe, with all my heart. + +PHEBE I'll write it straight; + The matter's in my head and in my heart: + I will be bitter with him and passing short. + Go with me, Silvius. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT IV + + + +SCENE I The forest. + + + [Enter ROSALIND, CELIA, and JAQUES] + +JAQUES I prithee, pretty youth, let me be better acquainted + with thee. + +ROSALIND They say you are a melancholy fellow. + +JAQUES I am so; I do love it better than laughing. + +ROSALIND Those that are in extremity of either are abominable + fellows and betray themselves to every modern + censure worse than drunkards. + +JAQUES Why, 'tis good to be sad and say nothing. + +ROSALIND Why then, 'tis good to be a post. + +JAQUES I have neither the scholar's melancholy, which is + emulation, nor the musician's, which is fantastical, + nor the courtier's, which is proud, nor the + soldier's, which is ambitious, nor the lawyer's, + which is politic, nor the lady's, which is nice, nor + the lover's, which is all these: but it is a + melancholy of mine own, compounded of many simples, + extracted from many objects, and indeed the sundry's + contemplation of my travels, in which my often + rumination wraps me m a most humorous sadness. + +ROSALIND A traveller! By my faith, you have great reason to + be sad: I fear you have sold your own lands to see + other men's; then, to have seen much and to have + nothing, is to have rich eyes and poor hands. + +JAQUES Yes, I have gained my experience. + +ROSALIND And your experience makes you sad: I had rather have + a fool to make me merry than experience to make me + sad; and to travel for it too! + + [Enter ORLANDO] + +ORLANDO Good day and happiness, dear Rosalind! + +JAQUES Nay, then, God be wi' you, an you talk in blank verse. + + [Exit] + +ROSALIND Farewell, Monsieur Traveller: look you lisp and + wear strange suits, disable all the benefits of your + own country, be out of love with your nativity and + almost chide God for making you that countenance you + are, or I will scarce think you have swam in a + gondola. Why, how now, Orlando! where have you been + all this while? You a lover! An you serve me such + another trick, never come in my sight more. + +ORLANDO My fair Rosalind, I come within an hour of my promise. + +ROSALIND Break an hour's promise in love! He that will + divide a minute into a thousand parts and break but + a part of the thousandth part of a minute in the + affairs of love, it may be said of him that Cupid + hath clapped him o' the shoulder, but I'll warrant + him heart-whole. + +ORLANDO Pardon me, dear Rosalind. + +ROSALIND Nay, an you be so tardy, come no more in my sight: I + had as lief be wooed of a snail. + +ORLANDO Of a snail? + +ROSALIND Ay, of a snail; for though he comes slowly, he + carries his house on his head; a better jointure, + I think, than you make a woman: besides he brings + his destiny with him. + +ORLANDO What's that? + +ROSALIND Why, horns, which such as you are fain to be + beholding to your wives for: but he comes armed in + his fortune and prevents the slander of his wife. + +ORLANDO Virtue is no horn-maker; and my Rosalind is virtuous. + +ROSALIND And I am your Rosalind. + +CELIA It pleases him to call you so; but he hath a + Rosalind of a better leer than you. + +ROSALIND Come, woo me, woo me, for now I am in a holiday + humour and like enough to consent. What would you + say to me now, an I were your very very Rosalind? + +ORLANDO I would kiss before I spoke. + +ROSALIND Nay, you were better speak first, and when you were + gravelled for lack of matter, you might take + occasion to kiss. Very good orators, when they are + out, they will spit; and for lovers lacking--God + warn us!--matter, the cleanliest shift is to kiss. + +ORLANDO How if the kiss be denied? + +ROSALIND Then she puts you to entreaty, and there begins new matter. + +ORLANDO Who could be out, being before his beloved mistress? + +ROSALIND Marry, that should you, if I were your mistress, or + I should think my honesty ranker than my wit. + +ORLANDO What, of my suit? + +ROSALIND Not out of your apparel, and yet out of your suit. + Am not I your Rosalind? + +ORLANDO I take some joy to say you are, because I would be + talking of her. + +ROSALIND Well in her person I say I will not have you. + +ORLANDO Then in mine own person I die. + +ROSALIND No, faith, die by attorney. The poor world is + almost six thousand years old, and in all this time + there was not any man died in his own person, + videlicit, in a love-cause. Troilus had his brains + dashed out with a Grecian club; yet he did what he + could to die before, and he is one of the patterns + of love. Leander, he would have lived many a fair + year, though Hero had turned nun, if it had not been + for a hot midsummer night; for, good youth, he went + but forth to wash him in the Hellespont and being + taken with the cramp was drowned and the foolish + coroners of that age found it was 'Hero of Sestos.' + But these are all lies: men have died from time to + time and worms have eaten them, but not for love. + +ORLANDO I would not have my right Rosalind of this mind, + for, I protest, her frown might kill me. + +ROSALIND By this hand, it will not kill a fly. But come, now + I will be your Rosalind in a more coming-on + disposition, and ask me what you will. I will grant + it. + +ORLANDO Then love me, Rosalind. + +ROSALIND Yes, faith, will I, Fridays and Saturdays and all. + +ORLANDO And wilt thou have me? + +ROSALIND Ay, and twenty such. + +ORLANDO What sayest thou? + +ROSALIND Are you not good? + +ORLANDO I hope so. + +ROSALIND Why then, can one desire too much of a good thing? + Come, sister, you shall be the priest and marry us. + Give me your hand, Orlando. What do you say, sister? + +ORLANDO Pray thee, marry us. + +CELIA I cannot say the words. + +ROSALIND You must begin, 'Will you, Orlando--' + +CELIA Go to. Will you, Orlando, have to wife this Rosalind? + +ORLANDO I will. + +ROSALIND Ay, but when? + +ORLANDO Why now; as fast as she can marry us. + +ROSALIND Then you must say 'I take thee, Rosalind, for wife.' + +ORLANDO I take thee, Rosalind, for wife. + +ROSALIND I might ask you for your commission; but I do take + thee, Orlando, for my husband: there's a girl goes + before the priest; and certainly a woman's thought + runs before her actions. + +ORLANDO So do all thoughts; they are winged. + +ROSALIND Now tell me how long you would have her after you + have possessed her. + +ORLANDO For ever and a day. + +ROSALIND Say 'a day,' without the 'ever.' No, no, Orlando; + men are April when they woo, December when they wed: + maids are May when they are maids, but the sky + changes when they are wives. I will be more jealous + of thee than a Barbary cock-pigeon over his hen, + more clamorous than a parrot against rain, more + new-fangled than an ape, more giddy in my desires + than a monkey: I will weep for nothing, like Diana + in the fountain, and I will do that when you are + disposed to be merry; I will laugh like a hyen, and + that when thou art inclined to sleep. + +ORLANDO But will my Rosalind do so? + +ROSALIND By my life, she will do as I do. + +ORLANDO O, but she is wise. + +ROSALIND Or else she could not have the wit to do this: the + wiser, the waywarder: make the doors upon a woman's + wit and it will out at the casement; shut that and + 'twill out at the key-hole; stop that, 'twill fly + with the smoke out at the chimney. + +ORLANDO A man that had a wife with such a wit, he might say + 'Wit, whither wilt?' + +ROSALIND Nay, you might keep that cheque for it till you met + your wife's wit going to your neighbour's bed. + +ORLANDO And what wit could wit have to excuse that? + +ROSALIND Marry, to say she came to seek you there. You shall + never take her without her answer, unless you take + her without her tongue. O, that woman that cannot + make her fault her husband's occasion, let her + never nurse her child herself, for she will breed + it like a fool! + +ORLANDO For these two hours, Rosalind, I will leave thee. + +ROSALIND Alas! dear love, I cannot lack thee two hours. + +ORLANDO I must attend the duke at dinner: by two o'clock I + will be with thee again. + +ROSALIND Ay, go your ways, go your ways; I knew what you + would prove: my friends told me as much, and I + thought no less: that flattering tongue of yours + won me: 'tis but one cast away, and so, come, + death! Two o'clock is your hour? + +ORLANDO Ay, sweet Rosalind. + +ROSALIND By my troth, and in good earnest, and so God mend + me, and by all pretty oaths that are not dangerous, + if you break one jot of your promise or come one + minute behind your hour, I will think you the most + pathetical break-promise and the most hollow lover + and the most unworthy of her you call Rosalind that + may be chosen out of the gross band of the + unfaithful: therefore beware my censure and keep + your promise. + +ORLANDO With no less religion than if thou wert indeed my + Rosalind: so adieu. + +ROSALIND Well, Time is the old justice that examines all such + offenders, and let Time try: adieu. + + [Exit ORLANDO] + +CELIA You have simply misused our sex in your love-prate: + we must have your doublet and hose plucked over your + head, and show the world what the bird hath done to + her own nest. + +ROSALIND O coz, coz, coz, my pretty little coz, that thou + didst know how many fathom deep I am in love! But + it cannot be sounded: my affection hath an unknown + bottom, like the bay of Portugal. + +CELIA Or rather, bottomless, that as fast as you pour + affection in, it runs out. + +ROSALIND No, that same wicked bastard of Venus that was begot + of thought, conceived of spleen and born of madness, + that blind rascally boy that abuses every one's eyes + because his own are out, let him be judge how deep I + am in love. I'll tell thee, Aliena, I cannot be out + of the sight of Orlando: I'll go find a shadow and + sigh till he come. + +CELIA And I'll sleep. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT IV + + + +SCENE II The forest. + + + [Enter JAQUES, Lords, and Foresters] + +JAQUES Which is he that killed the deer? + +A Lord Sir, it was I. + +JAQUES Let's present him to the duke, like a Roman + conqueror; and it would do well to set the deer's + horns upon his head, for a branch of victory. Have + you no song, forester, for this purpose? + +Forester Yes, sir. + +JAQUES Sing it: 'tis no matter how it be in tune, so it + make noise enough. + + SONG. +Forester What shall he have that kill'd the deer? + His leather skin and horns to wear. + Then sing him home; + + [The rest shall bear this burden] + + Take thou no scorn to wear the horn; + It was a crest ere thou wast born: + Thy father's father wore it, + And thy father bore it: + The horn, the horn, the lusty horn + Is not a thing to laugh to scorn. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT IV + + + +SCENE III The forest. + + + [Enter ROSALIND and CELIA] + +ROSALIND How say you now? Is it not past two o'clock? and + here much Orlando! + +CELIA I warrant you, with pure love and troubled brain, he + hath ta'en his bow and arrows and is gone forth to + sleep. Look, who comes here. + + [Enter SILVIUS] + +SILVIUS My errand is to you, fair youth; + My gentle Phebe bid me give you this: + I know not the contents; but, as I guess + By the stern brow and waspish action + Which she did use as she was writing of it, + It bears an angry tenor: pardon me: + I am but as a guiltless messenger. + +ROSALIND Patience herself would startle at this letter + And play the swaggerer; bear this, bear all: + She says I am not fair, that I lack manners; + She calls me proud, and that she could not love me, + Were man as rare as phoenix. 'Od's my will! + Her love is not the hare that I do hunt: + Why writes she so to me? Well, shepherd, well, + This is a letter of your own device. + +SILVIUS No, I protest, I know not the contents: + Phebe did write it. + +ROSALIND Come, come, you are a fool + And turn'd into the extremity of love. + I saw her hand: she has a leathern hand. + A freestone-colour'd hand; I verily did think + That her old gloves were on, but 'twas her hands: + She has a huswife's hand; but that's no matter: + I say she never did invent this letter; + This is a man's invention and his hand. + +SILVIUS Sure, it is hers. + +ROSALIND Why, 'tis a boisterous and a cruel style. + A style for-challengers; why, she defies me, + Like Turk to Christian: women's gentle brain + Could not drop forth such giant-rude invention + Such Ethiope words, blacker in their effect + Than in their countenance. Will you hear the letter? + +SILVIUS So please you, for I never heard it yet; + Yet heard too much of Phebe's cruelty. + +ROSALIND She Phebes me: mark how the tyrant writes. + + [Reads] + + Art thou god to shepherd turn'd, + That a maiden's heart hath burn'd? + Can a woman rail thus? + +SILVIUS Call you this railing? + +ROSALIND [Reads] + + Why, thy godhead laid apart, + Warr'st thou with a woman's heart? + Did you ever hear such railing? + Whiles the eye of man did woo me, + That could do no vengeance to me. + Meaning me a beast. + If the scorn of your bright eyne + Have power to raise such love in mine, + Alack, in me what strange effect + Would they work in mild aspect! + Whiles you chid me, I did love; + How then might your prayers move! + He that brings this love to thee + Little knows this love in me: + And by him seal up thy mind; + Whether that thy youth and kind + Will the faithful offer take + Of me and all that I can make; + Or else by him my love deny, + And then I'll study how to die. + +SILVIUS Call you this chiding? + +CELIA Alas, poor shepherd! + +ROSALIND Do you pity him? no, he deserves no pity. Wilt + thou love such a woman? What, to make thee an + instrument and play false strains upon thee! not to + be endured! Well, go your way to her, for I see + love hath made thee a tame snake, and say this to + her: that if she love me, I charge her to love + thee; if she will not, I will never have her unless + thou entreat for her. If you be a true lover, + hence, and not a word; for here comes more company. + + [Exit SILVIUS] + + [Enter OLIVER] + +OLIVER Good morrow, fair ones: pray you, if you know, + Where in the purlieus of this forest stands + A sheep-cote fenced about with olive trees? + +CELIA West of this place, down in the neighbour bottom: + The rank of osiers by the murmuring stream + Left on your right hand brings you to the place. + But at this hour the house doth keep itself; + There's none within. + +OLIVER If that an eye may profit by a tongue, + Then should I know you by description; + Such garments and such years: 'The boy is fair, + Of female favour, and bestows himself + Like a ripe sister: the woman low + And browner than her brother.' Are not you + The owner of the house I did inquire for? + +CELIA It is no boast, being ask'd, to say we are. + +OLIVER Orlando doth commend him to you both, + And to that youth he calls his Rosalind + He sends this bloody napkin. Are you he? + +ROSALIND I am: what must we understand by this? + +OLIVER Some of my shame; if you will know of me + What man I am, and how, and why, and where + This handkercher was stain'd. + +CELIA I pray you, tell it. + +OLIVER When last the young Orlando parted from you + He left a promise to return again + Within an hour, and pacing through the forest, + Chewing the food of sweet and bitter fancy, + Lo, what befell! he threw his eye aside, + And mark what object did present itself: + Under an oak, whose boughs were moss'd with age + And high top bald with dry antiquity, + A wretched ragged man, o'ergrown with hair, + Lay sleeping on his back: about his neck + A green and gilded snake had wreathed itself, + Who with her head nimble in threats approach'd + The opening of his mouth; but suddenly, + Seeing Orlando, it unlink'd itself, + And with indented glides did slip away + Into a bush: under which bush's shade + A lioness, with udders all drawn dry, + Lay couching, head on ground, with catlike watch, + When that the sleeping man should stir; for 'tis + The royal disposition of that beast + To prey on nothing that doth seem as dead: + This seen, Orlando did approach the man + And found it was his brother, his elder brother. + +CELIA O, I have heard him speak of that same brother; + And he did render him the most unnatural + That lived amongst men. + +OLIVER And well he might so do, + For well I know he was unnatural. + +ROSALIND But, to Orlando: did he leave him there, + Food to the suck'd and hungry lioness? + +OLIVER Twice did he turn his back and purposed so; + But kindness, nobler ever than revenge, + And nature, stronger than his just occasion, + Made him give battle to the lioness, + Who quickly fell before him: in which hurtling + From miserable slumber I awaked. + +CELIA Are you his brother? + +ROSALIND Wast you he rescued? + +CELIA Was't you that did so oft contrive to kill him? + +OLIVER 'Twas I; but 'tis not I I do not shame + To tell you what I was, since my conversion + So sweetly tastes, being the thing I am. + +ROSALIND But, for the bloody napkin? + +OLIVER By and by. + When from the first to last betwixt us two + Tears our recountments had most kindly bathed, + As how I came into that desert place:-- + In brief, he led me to the gentle duke, + Who gave me fresh array and entertainment, + Committing me unto my brother's love; + Who led me instantly unto his cave, + There stripp'd himself, and here upon his arm + The lioness had torn some flesh away, + Which all this while had bled; and now he fainted + And cried, in fainting, upon Rosalind. + Brief, I recover'd him, bound up his wound; + And, after some small space, being strong at heart, + He sent me hither, stranger as I am, + To tell this story, that you might excuse + His broken promise, and to give this napkin + Dyed in his blood unto the shepherd youth + That he in sport doth call his Rosalind. + + [ROSALIND swoons] + +CELIA Why, how now, Ganymede! sweet Ganymede! + +OLIVER Many will swoon when they do look on blood. + +CELIA There is more in it. Cousin Ganymede! + +OLIVER Look, he recovers. + +ROSALIND I would I were at home. + +CELIA We'll lead you thither. + I pray you, will you take him by the arm? + +OLIVER Be of good cheer, youth: you a man! you lack a + man's heart. + +ROSALIND I do so, I confess it. Ah, sirrah, a body would + think this was well counterfeited! I pray you, tell + your brother how well I counterfeited. Heigh-ho! + +OLIVER This was not counterfeit: there is too great + testimony in your complexion that it was a passion + of earnest. + +ROSALIND Counterfeit, I assure you. + +OLIVER Well then, take a good heart and counterfeit to be a man. + +ROSALIND So I do: but, i' faith, I should have been a woman by right. + +CELIA Come, you look paler and paler: pray you, draw + homewards. Good sir, go with us. + +OLIVER That will I, for I must bear answer back + How you excuse my brother, Rosalind. + +ROSALIND I shall devise something: but, I pray you, commend + my counterfeiting to him. Will you go? + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT V + + + +SCENE I The forest. + + + [Enter TOUCHSTONE and AUDREY] + +TOUCHSTONE We shall find a time, Audrey; patience, gentle Audrey. + +AUDREY Faith, the priest was good enough, for all the old + gentleman's saying. + +TOUCHSTONE A most wicked Sir Oliver, Audrey, a most vile + Martext. But, Audrey, there is a youth here in the + forest lays claim to you. + +AUDREY Ay, I know who 'tis; he hath no interest in me in + the world: here comes the man you mean. + +TOUCHSTONE It is meat and drink to me to see a clown: by my + troth, we that have good wits have much to answer + for; we shall be flouting; we cannot hold. + + [Enter WILLIAM] + +WILLIAM Good even, Audrey. + +AUDREY God ye good even, William. + +WILLIAM And good even to you, sir. + +TOUCHSTONE Good even, gentle friend. Cover thy head, cover thy + head; nay, prithee, be covered. How old are you, friend? + +WILLIAM Five and twenty, sir. + +TOUCHSTONE A ripe age. Is thy name William? + +WILLIAM William, sir. + +TOUCHSTONE A fair name. Wast born i' the forest here? + +WILLIAM Ay, sir, I thank God. + +TOUCHSTONE 'Thank God;' a good answer. Art rich? + +WILLIAM Faith, sir, so so. + +TOUCHSTONE 'So so' is good, very good, very excellent good; and + yet it is not; it is but so so. Art thou wise? + +WILLIAM Ay, sir, I have a pretty wit. + +TOUCHSTONE Why, thou sayest well. I do now remember a saying, + 'The fool doth think he is wise, but the wise man + knows himself to be a fool.' The heathen + philosopher, when he had a desire to eat a grape, + would open his lips when he put it into his mouth; + meaning thereby that grapes were made to eat and + lips to open. You do love this maid? + +WILLIAM I do, sir. + +TOUCHSTONE Give me your hand. Art thou learned? + +WILLIAM No, sir. + +TOUCHSTONE Then learn this of me: to have, is to have; for it + is a figure in rhetoric that drink, being poured out + of a cup into a glass, by filling the one doth empty + the other; for all your writers do consent that ipse + is he: now, you are not ipse, for I am he. + +WILLIAM Which he, sir? + +TOUCHSTONE He, sir, that must marry this woman. Therefore, you + clown, abandon,--which is in the vulgar leave,--the + society,--which in the boorish is company,--of this + female,--which in the common is woman; which + together is, abandon the society of this female, or, + clown, thou perishest; or, to thy better + understanding, diest; or, to wit I kill thee, make + thee away, translate thy life into death, thy + liberty into bondage: I will deal in poison with + thee, or in bastinado, or in steel; I will bandy + with thee in faction; I will o'errun thee with + policy; I will kill thee a hundred and fifty ways: + therefore tremble and depart. + +AUDREY Do, good William. + +WILLIAM God rest you merry, sir. + + [Exit] + + [Enter CORIN] + +CORIN Our master and mistress seeks you; come, away, away! + +TOUCHSTONE Trip, Audrey! trip, Audrey! I attend, I attend. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT V + + + +SCENE II The forest. + + + [Enter ORLANDO and OLIVER] + +ORLANDO Is't possible that on so little acquaintance you + should like her? that but seeing you should love + her? and loving woo? and, wooing, she should + grant? and will you persever to enjoy her? + +OLIVER Neither call the giddiness of it in question, the + poverty of her, the small acquaintance, my sudden + wooing, nor her sudden consenting; but say with me, + I love Aliena; say with her that she loves me; + consent with both that we may enjoy each other: it + shall be to your good; for my father's house and all + the revenue that was old Sir Rowland's will I + estate upon you, and here live and die a shepherd. + +ORLANDO You have my consent. Let your wedding be to-morrow: + thither will I invite the duke and all's contented + followers. Go you and prepare Aliena; for look + you, here comes my Rosalind. + + [Enter ROSALIND] + +ROSALIND God save you, brother. + +OLIVER And you, fair sister. + + [Exit] + +ROSALIND O, my dear Orlando, how it grieves me to see thee + wear thy heart in a scarf! + +ORLANDO It is my arm. + +ROSALIND I thought thy heart had been wounded with the claws + of a lion. + +ORLANDO Wounded it is, but with the eyes of a lady. + +ROSALIND Did your brother tell you how I counterfeited to + swoon when he showed me your handkerchief? + +ORLANDO Ay, and greater wonders than that. + +ROSALIND O, I know where you are: nay, 'tis true: there was + never any thing so sudden but the fight of two rams + and Caesar's thrasonical brag of 'I came, saw, and + overcame:' for your brother and my sister no sooner + met but they looked, no sooner looked but they + loved, no sooner loved but they sighed, no sooner + sighed but they asked one another the reason, no + sooner knew the reason but they sought the remedy; + and in these degrees have they made a pair of stairs + to marriage which they will climb incontinent, or + else be incontinent before marriage: they are in + the very wrath of love and they will together; clubs + cannot part them. + +ORLANDO They shall be married to-morrow, and I will bid the + duke to the nuptial. But, O, how bitter a thing it + is to look into happiness through another man's + eyes! By so much the more shall I to-morrow be at + the height of heart-heaviness, by how much I shall + think my brother happy in having what he wishes for. + +ROSALIND Why then, to-morrow I cannot serve your turn for Rosalind? + +ORLANDO I can live no longer by thinking. + +ROSALIND I will weary you then no longer with idle talking. + Know of me then, for now I speak to some purpose, + that I know you are a gentleman of good conceit: I + speak not this that you should bear a good opinion + of my knowledge, insomuch I say I know you are; + neither do I labour for a greater esteem than may in + some little measure draw a belief from you, to do + yourself good and not to grace me. Believe then, if + you please, that I can do strange things: I have, + since I was three year old, conversed with a + magician, most profound in his art and yet not + damnable. If you do love Rosalind so near the heart + as your gesture cries it out, when your brother + marries Aliena, shall you marry her: I know into + what straits of fortune she is driven; and it is + not impossible to me, if it appear not inconvenient + to you, to set her before your eyes tomorrow human + as she is and without any danger. + +ORLANDO Speakest thou in sober meanings? + +ROSALIND By my life, I do; which I tender dearly, though I + say I am a magician. Therefore, put you in your + best array: bid your friends; for if you will be + married to-morrow, you shall, and to Rosalind, if you will. + + [Enter SILVIUS and PHEBE] + + Look, here comes a lover of mine and a lover of hers. + +PHEBE Youth, you have done me much ungentleness, + To show the letter that I writ to you. + +ROSALIND I care not if I have: it is my study + To seem despiteful and ungentle to you: + You are there followed by a faithful shepherd; + Look upon him, love him; he worships you. + +PHEBE Good shepherd, tell this youth what 'tis to love. + +SILVIUS It is to be all made of sighs and tears; + And so am I for Phebe. + +PHEBE And I for Ganymede. + +ORLANDO And I for Rosalind. + +ROSALIND And I for no woman. + +SILVIUS It is to be all made of faith and service; + And so am I for Phebe. + +PHEBE And I for Ganymede. + +ORLANDO And I for Rosalind. + +ROSALIND And I for no woman. + +SILVIUS It is to be all made of fantasy, + All made of passion and all made of wishes, + All adoration, duty, and observance, + All humbleness, all patience and impatience, + All purity, all trial, all observance; + And so am I for Phebe. + +PHEBE And so am I for Ganymede. + +ORLANDO And so am I for Rosalind. + +ROSALIND And so am I for no woman. + +PHEBE If this be so, why blame you me to love you? + +SILVIUS If this be so, why blame you me to love you? + +ORLANDO If this be so, why blame you me to love you? + +ROSALIND Who do you speak to, 'Why blame you me to love you?' + +ORLANDO To her that is not here, nor doth not hear. + +ROSALIND Pray you, no more of this; 'tis like the howling + of Irish wolves against the moon. + + [To SILVIUS] + + I will help you, if I can: + + [To PHEBE] + + I would love you, if I could. To-morrow meet me all together. + + [To PHEBE] + + I will marry you, if ever I marry woman, and I'll be + married to-morrow: + + [To ORLANDO] + + I will satisfy you, if ever I satisfied man, and you + shall be married to-morrow: + + [To SILVIUS] + + I will content you, if what pleases you contents + you, and you shall be married to-morrow. + + [To ORLANDO] + + As you love Rosalind, meet: + + [To SILVIUS] + + as you love Phebe, meet: and as I love no woman, + I'll meet. So fare you well: I have left you commands. + +SILVIUS I'll not fail, if I live. + +PHEBE Nor I. + +ORLANDO Nor I. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT V + + + +SCENE III The forest. + + + [Enter TOUCHSTONE and AUDREY] + +TOUCHSTONE To-morrow is the joyful day, Audrey; to-morrow will + we be married. + +AUDREY I do desire it with all my heart; and I hope it is + no dishonest desire to desire to be a woman of the + world. Here comes two of the banished duke's pages. + + [Enter two Pages] + +First Page Well met, honest gentleman. + +TOUCHSTONE By my troth, well met. Come, sit, sit, and a song. + +Second Page We are for you: sit i' the middle. + +First Page Shall we clap into't roundly, without hawking or + spitting or saying we are hoarse, which are the only + prologues to a bad voice? + +Second Page I'faith, i'faith; and both in a tune, like two + gipsies on a horse. + + SONG. + It was a lover and his lass, + With a hey, and a ho, and a hey nonino, + That o'er the green corn-field did pass + In the spring time, the only pretty ring time, + When birds do sing, hey ding a ding, ding: + Sweet lovers love the spring. + + Between the acres of the rye, + With a hey, and a ho, and a hey nonino + These pretty country folks would lie, + In spring time, &c. + + This carol they began that hour, + With a hey, and a ho, and a hey nonino, + How that a life was but a flower + In spring time, &c. + + And therefore take the present time, + With a hey, and a ho, and a hey nonino; + For love is crowned with the prime + In spring time, &c. + +TOUCHSTONE Truly, young gentlemen, though there was no great + matter in the ditty, yet the note was very + untuneable. + +First Page You are deceived, sir: we kept time, we lost not our time. + +TOUCHSTONE By my troth, yes; I count it but time lost to hear + such a foolish song. God be wi' you; and God mend + your voices! Come, Audrey. + + [Exeunt] + + + + + AS YOU LIKE IT + + +ACT V + + + +SCENE IV The forest. + + + [Enter DUKE SENIOR, AMIENS, JAQUES, ORLANDO, OLIVER, + and CELIA] + +DUKE SENIOR Dost thou believe, Orlando, that the boy + Can do all this that he hath promised? + +ORLANDO I sometimes do believe, and sometimes do not; + As those that fear they hope, and know they fear. + + [Enter ROSALIND, SILVIUS, and PHEBE] + +ROSALIND Patience once more, whiles our compact is urged: + You say, if I bring in your Rosalind, + You will bestow her on Orlando here? + +DUKE SENIOR That would I, had I kingdoms to give with her. + +ROSALIND And you say, you will have her, when I bring her? + +ORLANDO That would I, were I of all kingdoms king. + +ROSALIND You say, you'll marry me, if I be willing? + +PHEBE That will I, should I die the hour after. + +ROSALIND But if you do refuse to marry me, + You'll give yourself to this most faithful shepherd? + +PHEBE So is the bargain. + +ROSALIND You say, that you'll have Phebe, if she will? + +SILVIUS Though to have her and death were both one thing. + +ROSALIND I have promised to make all this matter even. + Keep you your word, O duke, to give your daughter; + You yours, Orlando, to receive his daughter: + Keep your word, Phebe, that you'll marry me, + Or else refusing me, to wed this shepherd: + Keep your word, Silvius, that you'll marry her. + If she refuse me: and from hence I go, + To make these doubts all even. + + [Exeunt ROSALIND and CELIA] + +DUKE SENIOR I do remember in this shepherd boy + Some lively touches of my daughter's favour. + +ORLANDO My lord, the first time that I ever saw him + Methought he was a brother to your daughter: + But, my good lord, this boy is forest-born, + And hath been tutor'd in the rudiments + Of many desperate studies by his uncle, + Whom he reports to be a great magician, + Obscured in the circle of this forest. + + [Enter TOUCHSTONE and AUDREY] + +JAQUES There is, sure, another flood toward, and these + couples are coming to the ark. Here comes a pair of + very strange beasts, which in all tongues are called fools. + +TOUCHSTONE Salutation and greeting to you all! + +JAQUES Good my lord, bid him welcome: this is the + motley-minded gentleman that I have so often met in + the forest: he hath been a courtier, he swears. + +TOUCHSTONE If any man doubt that, let him put me to my + purgation. I have trod a measure; I have flattered + a lady; I have been politic with my friend, smooth + with mine enemy; I have undone three tailors; I have + had four quarrels, and like to have fought one. + +JAQUES And how was that ta'en up? + +TOUCHSTONE Faith, we met, and found the quarrel was upon the + seventh cause. + +JAQUES How seventh cause? Good my lord, like this fellow. + +DUKE SENIOR I like him very well. + +TOUCHSTONE God 'ild you, sir; I desire you of the like. I + press in here, sir, amongst the rest of the country + copulatives, to swear and to forswear: according as + marriage binds and blood breaks: a poor virgin, + sir, an ill-favoured thing, sir, but mine own; a poor + humour of mine, sir, to take that that no man else + will: rich honesty dwells like a miser, sir, in a + poor house; as your pearl in your foul oyster. + +DUKE SENIOR By my faith, he is very swift and sententious. + +TOUCHSTONE According to the fool's bolt, sir, and such dulcet diseases. + +JAQUES But, for the seventh cause; how did you find the + quarrel on the seventh cause? + +TOUCHSTONE Upon a lie seven times removed:--bear your body more + seeming, Audrey:--as thus, sir. I did dislike the + cut of a certain courtier's beard: he sent me word, + if I said his beard was not cut well, he was in the + mind it was: this is called the Retort Courteous. + If I sent him word again 'it was not well cut,' he + would send me word, he cut it to please himself: + this is called the Quip Modest. If again 'it was + not well cut,' he disabled my judgment: this is + called the Reply Churlish. If again 'it was not + well cut,' he would answer, I spake not true: this + is called the Reproof Valiant. If again 'it was not + well cut,' he would say I lied: this is called the + Counter-cheque Quarrelsome: and so to the Lie + Circumstantial and the Lie Direct. + +JAQUES And how oft did you say his beard was not well cut? + +TOUCHSTONE I durst go no further than the Lie Circumstantial, + nor he durst not give me the Lie Direct; and so we + measured swords and parted. + +JAQUES Can you nominate in order now the degrees of the lie? + +TOUCHSTONE O sir, we quarrel in print, by the book; as you have + books for good manners: I will name you the degrees. + The first, the Retort Courteous; the second, the + Quip Modest; the third, the Reply Churlish; the + fourth, the Reproof Valiant; the fifth, the + Countercheque Quarrelsome; the sixth, the Lie with + Circumstance; the seventh, the Lie Direct. All + these you may avoid but the Lie Direct; and you may + avoid that too, with an If. I knew when seven + justices could not take up a quarrel, but when the + parties were met themselves, one of them thought but + of an If, as, 'If you said so, then I said so;' and + they shook hands and swore brothers. Your If is the + only peacemaker; much virtue in If. + +JAQUES Is not this a rare fellow, my lord? he's as good at + any thing and yet a fool. + +DUKE SENIOR He uses his folly like a stalking-horse and under + the presentation of that he shoots his wit. + + [Enter HYMEN, ROSALIND, and CELIA] + + [Still Music] + +HYMEN Then is there mirth in heaven, + When earthly things made even + Atone together. + Good duke, receive thy daughter + Hymen from heaven brought her, + Yea, brought her hither, + That thou mightst join her hand with his + Whose heart within his bosom is. + +ROSALIND [To DUKE SENIOR] To you I give myself, for I am yours. + + [To ORLANDO] + + To you I give myself, for I am yours. + +DUKE SENIOR If there be truth in sight, you are my daughter. + +ORLANDO If there be truth in sight, you are my Rosalind. + +PHEBE If sight and shape be true, + Why then, my love adieu! + +ROSALIND I'll have no father, if you be not he: + I'll have no husband, if you be not he: + Nor ne'er wed woman, if you be not she. + +HYMEN Peace, ho! I bar confusion: + 'Tis I must make conclusion + Of these most strange events: + Here's eight that must take hands + To join in Hymen's bands, + If truth holds true contents. + You and you no cross shall part: + You and you are heart in heart + You to his love must accord, + Or have a woman to your lord: + You and you are sure together, + As the winter to foul weather. + Whiles a wedlock-hymn we sing, + Feed yourselves with questioning; + That reason wonder may diminish, + How thus we met, and these things finish. + + SONG. + Wedding is great Juno's crown: + O blessed bond of board and bed! + 'Tis Hymen peoples every town; + High wedlock then be honoured: + Honour, high honour and renown, + To Hymen, god of every town! + +DUKE SENIOR O my dear niece, welcome thou art to me! + Even daughter, welcome, in no less degree. + +PHEBE I will not eat my word, now thou art mine; + Thy faith my fancy to thee doth combine. + + [Enter JAQUES DE BOYS] + +JAQUES DE BOYS Let me have audience for a word or two: + I am the second son of old Sir Rowland, + That bring these tidings to this fair assembly. + Duke Frederick, hearing how that every day + Men of great worth resorted to this forest, + Address'd a mighty power; which were on foot, + In his own conduct, purposely to take + His brother here and put him to the sword: + And to the skirts of this wild wood he came; + Where meeting with an old religious man, + After some question with him, was converted + Both from his enterprise and from the world, + His crown bequeathing to his banish'd brother, + And all their lands restored to them again + That were with him exiled. This to be true, + I do engage my life. + +DUKE SENIOR Welcome, young man; + Thou offer'st fairly to thy brothers' wedding: + To one his lands withheld, and to the other + A land itself at large, a potent dukedom. + First, in this forest, let us do those ends + That here were well begun and well begot: + And after, every of this happy number + That have endured shrewd days and nights with us + Shall share the good of our returned fortune, + According to the measure of their states. + Meantime, forget this new-fall'n dignity + And fall into our rustic revelry. + Play, music! And you, brides and bridegrooms all, + With measure heap'd in joy, to the measures fall. + +JAQUES Sir, by your patience. If I heard you rightly, + The duke hath put on a religious life + And thrown into neglect the pompous court? + +JAQUES DE BOYS He hath. + +JAQUES To him will I : out of these convertites + There is much matter to be heard and learn'd. + + [To DUKE SENIOR] + + You to your former honour I bequeath; + Your patience and your virtue well deserves it: + + [To ORLANDO] + + You to a love that your true faith doth merit: + + [To OLIVER] + + You to your land and love and great allies: + + [To SILVIUS] + + You to a long and well-deserved bed: + + [To TOUCHSTONE] + + And you to wrangling; for thy loving voyage + Is but for two months victuall'd. So, to your pleasures: + I am for other than for dancing measures. + +DUKE SENIOR Stay, Jaques, stay. + +JAQUES To see no pastime I what you would have + I'll stay to know at your abandon'd cave. + + [Exit] + +DUKE SENIOR Proceed, proceed: we will begin these rites, + As we do trust they'll end, in true delights. + + [A dance] + + + + + AS YOU LIKE IT + + EPILOGUE + + +ROSALIND It is not the fashion to see the lady the epilogue; + but it is no more unhandsome than to see the lord + the prologue. If it be true that good wine needs + no bush, 'tis true that a good play needs no + epilogue; yet to good wine they do use good bushes, + and good plays prove the better by the help of good + epilogues. What a case am I in then, that am + neither a good epilogue nor cannot insinuate with + you in the behalf of a good play! I am not + furnished like a beggar, therefore to beg will not + become me: my way is to conjure you; and I'll begin + with the women. I charge you, O women, for the love + you bear to men, to like as much of this play as + please you: and I charge you, O men, for the love + you bear to women--as I perceive by your simpering, + none of you hates them--that between you and the + women the play may please. If I were a woman I + would kiss as many of you as had beards that pleased + me, complexions that liked me and breaths that I + defied not: and, I am sure, as many as have good + beards or good faces or sweet breaths will, for my + kind offer, when I make curtsy, bid me farewell. + + [Exeunt] diff --git a/benchmarks/data/fireworks.jpeg b/benchmarks/data/fireworks.jpeg new file mode 100644 index 0000000000000000000000000000000000000000..078cf1755dc0853e97ad30fc7af4d6af0b67047e GIT binary patch literal 123093 zcmb5Vc~leG7cE>FNq|5q%pjN)Ac9Q}7zT&=&+u3*1}BG?ll$*QASw_E1bKp-oIFWh zUO`c2azrI%lA_Xo@Bh2Wf0zGvm26ie$Pxbg#{ZlB+X;XK^l3~d1_c6W5QPCz|4IP8 z|G%p!oUFh9$4~&8fWhMBh&XxK`MqQSg~tA87&$Z+hXPbkXb`|)X*fK^TF%)!jGzL= z6VnQ7RBam7^jY_%Qw!>g@^o7t4VUnQbi2IcThZyghxBDbb(zt>m{|I(}=@g)3s zSjiax&ETj)(fGdr@3GCE6oM!8d~O0wPpcbta*tFz@bKg47M*`Qv#xA=lfMJOA}un_*6b#DSE6pDTK#IpC1SXC-9tU-aiu-rJN;uS 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l\'informatique avec 01Informatique, L\'Ordinateur Individuel, Micro Hebdo, D\351cision Informatique et 01R\351seaux\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\t\r\n\t\t\r\n\t\r\n\t\r\n\t\t\r\n\t\t\r\n\t\r\n
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Derni\350re mise \340 jour de cette page : lundi 8 novembre 2004  |  16:45
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\"\"
Imagerie 
\"\"\n\t\t\t\t\t\t\t\tLG L1720B\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
332.89 €
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Ordinateurs 
\"\"\n\t\t\t\t\t\t\t\tAcer Veriton 7600G\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
705 €
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Ordinateurs 
\"\"\n\t\t\t\t\t\t\t\tShuttle SN95G5\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
375 €
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Composants 
\"\"\n\t\t\t\t\t\t\t\tAsus A7N8X-E Deluxe\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
91.99 €
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Composants 
\"\"\n\t\t\t\t\t\t\t\tThermalright SP-94\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
49 €
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\"\"
1 \">\"PC Look
2 \">\"Atelier Informatique
3 \">\"Zanax Multim\351dia
4 \">\"MISTEROOPS
5 \">\"168 Golden Avenue
6 \">\"microchoix
7 \">\"e-Soph
8 \">\"PC Price Club
9 \">\"PC 77
10 \">\"Web In Informatique
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CD et DVD bient\364t insensibles aux rayures
OpenOffice gagne son service
La messagerie en cinq minutes selon Ipswitch
> toutes les news


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Recevez chaque jour l\'actualit\351 des produits et des promos
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Entreprise
\r\n\t\t\t\tQuand le billet papier s\'envole vers la d\351mat\351rialisation


Trucs et astuces
\r\n\t\t\t\tD\351pannez Windows XP


Conso
\r\n\t\t\t\tVos photos sur papier imprimante ou labo ?


Produits & Tests
\r\n\t\t\t\t5 programmes d\222encodage vid\351o gratuits


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\r\nPortable
\r\nUn nouvel ultra portable r\351alis\351 par Nec
\r\n\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \t\r\nLe Versa S940 a un format r\351duit, mais ses performances sont \340 la hauteur.
\r\n\340 partir de 1663 \200\r\n		\r\n
\r\nPortable
\r\nAsus pr\351sente trois petits nouveaux dans la gamme A3N
\r\n\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \t\r\nCes trois portables Centrino int\350grent, entre autres, une webcam et un contr\364leur Wi-Fi.
\r\n\340 partir de 1346 \200\r\n
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BON PLAN
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\r\nLes derni\350res technologies INTEL dans un nouveau design pour ce shuttle haut de gamme, pour un prix abordable.
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publicit\351
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\r\n\t\t\t\tMini-PC
\r\n\t\t\t\tPda / Tablets-PC
\r\n\t\t\t\tApple
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\r\n\tPortable Toshiba consacre deux gammes de machines au multim\351dia
\r\n\tEquipement haut de gamme et Windows Media Center sont au menu de ces portables \340 vocation multim\351dia.

\r\n\tOrdinateur Arriv\351e d\'un Power Mac G5 d\'entr\351e de gamme
\r\n\tLa firme \340 la pomme propose une station de travail \351volutive et relativement abordable.

\r\n\tPC Alienware propose deux machines au look \351trange
\r\n\tAurora et Area 51 sont deux gammes d\'ordinateurs enti\350rement configurables.

\r\n\tPortable Trois nouveaux iBook G4 chez Apple
\r\n\tChez Apple, les portables gagnent en vitesse et communiquent sans fil en standard.

\r\n\t\t\t\t> toutes les news\r\n\t\t\t
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\r\n Voici un portable autonome et puissant gr\342ce \340 la technologie Intel Centrino.
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\r\n Ce mini PC est une solution int\351ressante pour les utilisateurs poss\351dant d\351j\340 un \351cran.
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\r\n Voici un portable complet et pourtant relativement l\351ger.
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\r\nLes graveurs de DVD
\r\nQuel graveur choisir ? Quel type de format ? Quelle vitesse ? Double couche ou simple couche ? Voici tout ce qu\'il faut savoir pour faire le bon choix.
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\r\n\t\t\t\tChoisir une r\351gion
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Un d\351partement
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Un arrondissement
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\r\n\t\t\t\tRecherche directe
\r\n\t\t\t\trechercher une ville
et/ou une boutique
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\r\n\t\t\t\t \r\n\t\t\t\t\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\t\r\n\t\t\t\t
Recherche avanc\351e
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Bureautique
\r\n\t\t\t\tTraducteur, organiseur...

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Multim\351dia
\r\n\t\t\t\tPhoto, audio, vid\351o...

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Utilitaires
\r\n\t\t\t\tAntivirus, pilotes, gravure...

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Personnaliser son PC
\r\n\t\t\t\tEcrans de veille, th\350mes...

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D\351veloppement
\r\n\t\t\t\tCr\351ation de logiciels, BDD...

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Jeux
\r\n\t\t\t\tAction, simulation...

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Internet
\r\n\t\t\t\tUtilitaires, email, FTP...

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\r\n\t\t\t\tHumour, culture...

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\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\nMicro Achat : Ordinateurs, PDA - Toute l\'informatique avec 01Informatique, L\'Ordinateur Individuel, Micro Hebdo, D\351cision Informatique et 01R\351seaux\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\t\r\n\t\t\r\n\t\r\n\t\r\n\t\t\r\n\t\t\r\n\t\r\n
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Derni\350re mise \340 jour de cette page : lundi 8 novembre 2004  |  16:45
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\"\"
Imagerie 
\"\"\n\t\t\t\t\t\t\t\tLG L1720B\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
332.89 €
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Ordinateurs 
\"\"\n\t\t\t\t\t\t\t\tAcer Veriton 7600G\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
705 €
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Ordinateurs 
\"\"\n\t\t\t\t\t\t\t\tShuttle SN95G5\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
375 €
\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t
Composants 
\"\"\n\t\t\t\t\t\t\t\tAsus A7N8X-E Deluxe\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
91.99 €
\n\t\t\t\t\t\t\t\t
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Composants 
\"\"\n\t\t\t\t\t\t\t\tThermalright SP-94\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
49 €
\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t
\"\"
1 \">\"PC Look
2 \">\"Atelier Informatique
3 \">\"Zanax Multim\351dia
4 \">\"MISTEROOPS
5 \">\"168 Golden Avenue
6 \">\"microchoix
7 \">\"e-Soph
8 \">\"PC Price Club
9 \">\"PC 77
10 \">\"Web In Informatique
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\r\n \r\n\r\n\r\n\r\n\r\n\r\n
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\r\n\r\n\r\n \r\n \r\n\t\r\n\t\t\r\n\t\t\r\n\t\t\r\n\t\r\n
\r\n\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\t\t\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t

CD et DVD bient\364t insensibles aux rayures
OpenOffice gagne son service
La messagerie en cinq minutes selon Ipswitch
> toutes les news


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\r\n \r\n\r\n\r\n\r\n\t\r\n\t\t\r\n\t\t\r\n\t\t\r\n\t\r\n\t\r\n\t\t\r\n\t\t\r\n\t\t\r\n\t\t\r\n\t\r\n\t\r\n\t\t\r\n\t\t\r\n\t\t\r\n\t\r\n
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Recevez chaque jour l\'actualit\351 des produits et des promos
\r\n\t\t\t\t\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\t\r\n\t\t\t\t


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Entreprise
\r\n\t\t\t\tQuand le billet papier s\'envole vers la d\351mat\351rialisation


Trucs et astuces
\r\n\t\t\t\tD\351pannez Windows XP


Conso
\r\n\t\t\t\tVos photos sur papier imprimante ou labo ?


Produits & Tests
\r\n\t\t\t\t5 programmes d\222encodage vid\351o gratuits


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\r\nPortable
\r\nUn nouvel ultra portable r\351alis\351 par Nec
\r\n\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \t\r\nLe Versa S940 a un format r\351duit, mais ses performances sont \340 la hauteur.
\r\n\340 partir de 1663 \200\r\n		\r\n
\r\nPortable
\r\nAsus pr\351sente trois petits nouveaux dans la gamme A3N
\r\n\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \t\r\nCes trois portables Centrino int\350grent, entre autres, une webcam et un contr\364leur Wi-Fi.
\r\n\340 partir de 1346 \200\r\n
\r\n		 \r\n\t\r\n\t\r\n\t\r\n \t\r\n\t\r\n\t\r\n \t\r\n\t\r\n\t
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BON PLAN
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\r\nLes derni\350res technologies INTEL dans un nouveau design pour ce shuttle haut de gamme, pour un prix abordable.
\r\n

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\r\n\340 partir de
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415 \200
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publicit\351
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\r\n\t\t\t\tDesktops
\r\n\t\t\t\tPortables
\r\n\t\t\t\tMini-PC
\r\n\t\t\t\tPda / Tablets-PC
\r\n\t\t\t\tApple
\r\n\t\t\t\tGPS
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\r\n\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\t\r\n\t\t\t\t


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\r\n\tPortable Toshiba consacre deux gammes de machines au multim\351dia
\r\n\tEquipement haut de gamme et Windows Media Center sont au menu de ces portables \340 vocation multim\351dia.

\r\n\tOrdinateur Arriv\351e d\'un Power Mac G5 d\'entr\351e de gamme
\r\n\tLa firme \340 la pomme propose une station de travail \351volutive et relativement abordable.

\r\n\tPC Alienware propose deux machines au look \351trange
\r\n\tAurora et Area 51 sont deux gammes d\'ordinateurs enti\350rement configurables.

\r\n\tPortable Trois nouveaux iBook G4 chez Apple
\r\n\tChez Apple, les portables gagnent en vitesse et communiquent sans fil en standard.

\r\n\t\t\t\t> toutes les news\r\n\t\t\t
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\r\n\r\n\t\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \tAsus A3N15-C Pro
\r\n Voici un portable autonome et puissant gr\342ce \340 la technologie Intel Centrino.
\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t
\r\n\t1170 \200
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\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \tSoltek EQ3702A Miroir
\r\n Ce mini PC est une solution int\351ressante pour les utilisateurs poss\351dant d\351j\340 un \351cran.
\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t
\r\n\t559 \200
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\r\n\t\t\t\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \tIBM ThinkPad R51
\r\n Voici un portable complet et pourtant relativement l\351ger.
\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t
\r\n\t1299 \200
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\r\n\t\t\t\t> toutes les promos\r\n\t\t
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\r\n\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \t\r\n
\r\n
\r\nLes graveurs de DVD
\r\nQuel graveur choisir ? Quel type de format ? Quelle vitesse ? Double couche ou simple couche ? Voici tout ce qu\'il faut savoir pour faire le bon choix.
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\r\n		 \r\n\r\n\r\n\t\r\n\t\t\r\n\r\n\r\n \t\r\n
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\r\n\t\t\t\t

\r\n\t\t\t\tChoisir une r\351gion
\r\n\r\n
Un d\351partement
\r\n\r\n
\r\n
Un arrondissement
\r\n\r\n
\r\n
\r\n\t\t\t\tRecherche directe
\r\n\t\t\t\trechercher une ville
et/ou une boutique
\r\n\t\t\t\t

\r\n\t\t\t\t \r\n\t\t\t\t\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\t\r\n\t\t\t\t
Recherche avanc\351e
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\r\n\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t
Bureautique
\r\n\t\t\t\tTraducteur, organiseur...

\r\n\t\t\t\t

Multim\351dia
\r\n\t\t\t\tPhoto, audio, vid\351o...

\r\n\t\t\t\t

Utilitaires
\r\n\t\t\t\tAntivirus, pilotes, gravure...

\r\n\t\t\t\t

Personnaliser son PC
\r\n\t\t\t\tEcrans de veille, th\350mes...

\r\n\t\t\t\t

D\351veloppement
\r\n\t\t\t\tCr\351ation de logiciels, BDD...

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Jeux
\r\n\t\t\t\tAction, simulation...

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Internet
\r\n\t\t\t\tUtilitaires, email, FTP...

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Loisirs
\r\n\t\t\t\tHumour, culture...

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\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\nMicro Achat : Ordinateurs, PDA - Toute l\'informatique avec 01Informatique, L\'Ordinateur Individuel, Micro Hebdo, D\351cision Informatique et 01R\351seaux\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\t\r\n\t\t\r\n\t\r\n\t\r\n\t\t\r\n\t\t\r\n\t\r\n
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Derni\350re mise \340 jour de cette page : lundi 8 novembre 2004  |  16:45
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\"\"
Imagerie 
\"\"\n\t\t\t\t\t\t\t\tLG L1720B\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
332.89 €
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Ordinateurs 
\"\"\n\t\t\t\t\t\t\t\tAcer Veriton 7600G\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
705 €
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Ordinateurs 
\"\"\n\t\t\t\t\t\t\t\tShuttle SN95G5\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
375 €
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Composants 
\"\"\n\t\t\t\t\t\t\t\tAsus A7N8X-E Deluxe\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
91.99 €
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Composants 
\"\"\n\t\t\t\t\t\t\t\tThermalright SP-94\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
49 €
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\"\"
1 \">\"PC Look
2 \">\"Atelier Informatique
3 \">\"Zanax Multim\351dia
4 \">\"MISTEROOPS
5 \">\"168 Golden Avenue
6 \">\"microchoix
7 \">\"e-Soph
8 \">\"PC Price Club
9 \">\"PC 77
10 \">\"Web In Informatique
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CD et DVD bient\364t insensibles aux rayures
OpenOffice gagne son service
La messagerie en cinq minutes selon Ipswitch
> toutes les news


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Recevez chaque jour l\'actualit\351 des produits et des promos
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Entreprise
\r\n\t\t\t\tQuand le billet papier s\'envole vers la d\351mat\351rialisation


Trucs et astuces
\r\n\t\t\t\tD\351pannez Windows XP


Conso
\r\n\t\t\t\tVos photos sur papier imprimante ou labo ?


Produits & Tests
\r\n\t\t\t\t5 programmes d\222encodage vid\351o gratuits


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\r\nPortable
\r\nUn nouvel ultra portable r\351alis\351 par Nec
\r\n\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \t\r\nLe Versa S940 a un format r\351duit, mais ses performances sont \340 la hauteur.
\r\n\340 partir de 1663 \200\r\n		\r\n
\r\nPortable
\r\nAsus pr\351sente trois petits nouveaux dans la gamme A3N
\r\n\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \t\r\nCes trois portables Centrino int\350grent, entre autres, une webcam et un contr\364leur Wi-Fi.
\r\n\340 partir de 1346 \200\r\n
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BON PLAN
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\r\nLes derni\350res technologies INTEL dans un nouveau design pour ce shuttle haut de gamme, pour un prix abordable.
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415 \200
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publicit\351
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\r\n\t\t\t\tMini-PC
\r\n\t\t\t\tPda / Tablets-PC
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\r\n\tPortable Toshiba consacre deux gammes de machines au multim\351dia
\r\n\tEquipement haut de gamme et Windows Media Center sont au menu de ces portables \340 vocation multim\351dia.

\r\n\tOrdinateur Arriv\351e d\'un Power Mac G5 d\'entr\351e de gamme
\r\n\tLa firme \340 la pomme propose une station de travail \351volutive et relativement abordable.

\r\n\tPC Alienware propose deux machines au look \351trange
\r\n\tAurora et Area 51 sont deux gammes d\'ordinateurs enti\350rement configurables.

\r\n\tPortable Trois nouveaux iBook G4 chez Apple
\r\n\tChez Apple, les portables gagnent en vitesse et communiquent sans fil en standard.

\r\n\t\t\t\t> toutes les news\r\n\t\t\t
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\r\n Voici un portable autonome et puissant gr\342ce \340 la technologie Intel Centrino.
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\r\n Ce mini PC est une solution int\351ressante pour les utilisateurs poss\351dant d\351j\340 un \351cran.
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\r\n\t559 \200
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\r\n Voici un portable complet et pourtant relativement l\351ger.
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\r\n\t1299 \200
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\r\nLes graveurs de DVD
\r\nQuel graveur choisir ? Quel type de format ? Quelle vitesse ? Double couche ou simple couche ? Voici tout ce qu\'il faut savoir pour faire le bon choix.
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\r\n\t\t\t\tChoisir une r\351gion
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Un d\351partement
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Un arrondissement
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\r\n\t\t\t\tRecherche directe
\r\n\t\t\t\trechercher une ville
et/ou une boutique
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\r\n\t\t\t\t \r\n\t\t\t\t\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\t\r\n\t\t\t\t
Recherche avanc\351e
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Bureautique
\r\n\t\t\t\tTraducteur, organiseur...

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Multim\351dia
\r\n\t\t\t\tPhoto, audio, vid\351o...

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Utilitaires
\r\n\t\t\t\tAntivirus, pilotes, gravure...

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Personnaliser son PC
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D\351veloppement
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\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\nMicro Achat : Ordinateurs, PDA - Toute l\'informatique avec 01Informatique, L\'Ordinateur Individuel, Micro Hebdo, D\351cision Informatique et 01R\351seaux\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\t\r\n\t\t\r\n\t\r\n\t\r\n\t\t\r\n\t\t\r\n\t\r\n
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Derni\350re mise \340 jour de cette page : lundi 8 novembre 2004  |  16:45
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Imagerie 
\"\"\n\t\t\t\t\t\t\t\tLG L1720B\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
332.89 €
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\"\"\n\t\t\t\t\t\t\t\tAcer Veriton 7600G\n\t\t\t\t\t\t\t\t
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705 €
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Ordinateurs 
\"\"\n\t\t\t\t\t\t\t\tShuttle SN95G5\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
375 €
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Composants 
\"\"\n\t\t\t\t\t\t\t\tAsus A7N8X-E Deluxe\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
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Composants 
\"\"\n\t\t\t\t\t\t\t\tThermalright SP-94\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
49 €
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\"\"
1 \">\"PC Look
2 \">\"Atelier Informatique
3 \">\"Zanax Multim\351dia
4 \">\"MISTEROOPS
5 \">\"168 Golden Avenue
6 \">\"microchoix
7 \">\"e-Soph
8 \">\"PC Price Club
9 \">\"PC 77
10 \">\"Web In Informatique
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CD et DVD bient\364t insensibles aux rayures
OpenOffice gagne son service
La messagerie en cinq minutes selon Ipswitch
> toutes les news


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Recevez chaque jour l\'actualit\351 des produits et des promos
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Entreprise
\r\n\t\t\t\tQuand le billet papier s\'envole vers la d\351mat\351rialisation


Trucs et astuces
\r\n\t\t\t\tD\351pannez Windows XP


Conso
\r\n\t\t\t\tVos photos sur papier imprimante ou labo ?


Produits & Tests
\r\n\t\t\t\t5 programmes d\222encodage vid\351o gratuits


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\r\nPortable
\r\nUn nouvel ultra portable r\351alis\351 par Nec
\r\n\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \t\r\nLe Versa S940 a un format r\351duit, mais ses performances sont \340 la hauteur.
\r\n\340 partir de 1663 \200\r\n		\r\n
\r\nPortable
\r\nAsus pr\351sente trois petits nouveaux dans la gamme A3N
\r\n\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t
\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \t\r\nCes trois portables Centrino int\350grent, entre autres, une webcam et un contr\364leur Wi-Fi.
\r\n\340 partir de 1346 \200\r\n
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BON PLAN
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\r\nLes derni\350res technologies INTEL dans un nouveau design pour ce shuttle haut de gamme, pour un prix abordable.
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publicit\351
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\r\n\tPortable Toshiba consacre deux gammes de machines au multim\351dia
\r\n\tEquipement haut de gamme et Windows Media Center sont au menu de ces portables \340 vocation multim\351dia.

\r\n\tOrdinateur Arriv\351e d\'un Power Mac G5 d\'entr\351e de gamme
\r\n\tLa firme \340 la pomme propose une station de travail \351volutive et relativement abordable.

\r\n\tPC Alienware propose deux machines au look \351trange
\r\n\tAurora et Area 51 sont deux gammes d\'ordinateurs enti\350rement configurables.

\r\n\tPortable Trois nouveaux iBook G4 chez Apple
\r\n\tChez Apple, les portables gagnent en vitesse et communiquent sans fil en standard.

\r\n\t\t\t\t> toutes les news\r\n\t\t\t
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\r\n Voici un portable autonome et puissant gr\342ce \340 la technologie Intel Centrino.
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\r\n Ce mini PC est une solution int\351ressante pour les utilisateurs poss\351dant d\351j\340 un \351cran.
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\r\n\t559 \200
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\r\n Voici un portable complet et pourtant relativement l\351ger.
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\r\nLes graveurs de DVD
\r\nQuel graveur choisir ? Quel type de format ? Quelle vitesse ? Double couche ou simple couche ? Voici tout ce qu\'il faut savoir pour faire le bon choix.
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\r\n\t\t\t\tChoisir une r\351gion
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Un d\351partement
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Un arrondissement
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\r\n\t\t\t\tRecherche directe
\r\n\t\t\t\trechercher une ville
et/ou une boutique
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Recherche avanc\351e
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Bureautique
\r\n\t\t\t\tTraducteur, organiseur...

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Multim\351dia
\r\n\t\t\t\tPhoto, audio, vid\351o...

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Utilitaires
\r\n\t\t\t\tAntivirus, pilotes, gravure...

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Personnaliser son PC
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D\351veloppement
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Internet
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\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\nMicro Achat : Ordinateurs, PDA - Toute l\'informatique avec 01Informatique, L\'Ordinateur Individuel, Micro Hebdo, D\351cision Informatique et 01R\351seaux\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\t\r\n\t\t\r\n\t\r\n\t\r\n\t\t\r\n\t\t\r\n\t\r\n
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Derni\350re mise \340 jour de cette page : lundi 8 novembre 2004  |  16:45
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\"\"
Imagerie 
\"\"\n\t\t\t\t\t\t\t\tLG L1720B\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
332.89 €
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Ordinateurs 
\"\"\n\t\t\t\t\t\t\t\tAcer Veriton 7600G\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
705 €
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Ordinateurs 
\"\"\n\t\t\t\t\t\t\t\tShuttle SN95G5\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
375 €
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Composants 
\"\"\n\t\t\t\t\t\t\t\tAsus A7N8X-E Deluxe\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
91.99 €
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Composants 
\"\"\n\t\t\t\t\t\t\t\tThermalright SP-94\n\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\340 partir de\n\t\t\t\t\t\t\t\t\t
49 €
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\"\"
1 \">\"PC Look
2 \">\"Atelier Informatique
3 \">\"Zanax Multim\351dia
4 \">\"MISTEROOPS
5 \">\"168 Golden Avenue
6 \">\"microchoix
7 \">\"e-Soph
8 \">\"PC Price Club
9 \">\"PC 77
10 \">\"Web In Informatique
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CD et DVD bient\364t insensibles aux rayures
OpenOffice gagne son service
La messagerie en cinq minutes selon Ipswitch
> toutes les news


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Recevez chaque jour l\'actualit\351 des produits et des promos
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Entreprise
\r\n\t\t\t\tQuand le billet papier s\'envole vers la d\351mat\351rialisation


Trucs et astuces
\r\n\t\t\t\tD\351pannez Windows XP


Conso
\r\n\t\t\t\tVos photos sur papier imprimante ou labo ?


Produits & Tests
\r\n\t\t\t\t5 programmes d\222encodage vid\351o gratuits


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\r\nUn nouvel ultra portable r\351alis\351 par Nec
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\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \t\r\nLe Versa S940 a un format r\351duit, mais ses performances sont \340 la hauteur.
\r\n\340 partir de 1663 \200\r\n		\r\n
\r\nPortable
\r\nAsus pr\351sente trois petits nouveaux dans la gamme A3N
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\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \t\r\nCes trois portables Centrino int\350grent, entre autres, une webcam et un contr\364leur Wi-Fi.
\r\n\340 partir de 1346 \200\r\n
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BON PLAN
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\r\nLes derni\350res technologies INTEL dans un nouveau design pour ce shuttle haut de gamme, pour un prix abordable.
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publicit\351
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\r\n\t\r\n\t\t\r\n\t\r\n\t\r\n\t\t\t\t\r\n\t\r\n\t\r\n\t\t\t\t\r\n\t\r\n\t\r\n\t\t\t\t\r\n\t\r\n\t\r\n\t\t\t\t\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t
\r\n\tPortable Toshiba consacre deux gammes de machines au multim\351dia
\r\n\tEquipement haut de gamme et Windows Media Center sont au menu de ces portables \340 vocation multim\351dia.

\r\n\tOrdinateur Arriv\351e d\'un Power Mac G5 d\'entr\351e de gamme
\r\n\tLa firme \340 la pomme propose une station de travail \351volutive et relativement abordable.

\r\n\tPC Alienware propose deux machines au look \351trange
\r\n\tAurora et Area 51 sont deux gammes d\'ordinateurs enti\350rement configurables.

\r\n\tPortable Trois nouveaux iBook G4 chez Apple
\r\n\tChez Apple, les portables gagnent en vitesse et communiquent sans fil en standard.

\r\n\t\t\t\t> toutes les news\r\n\t\t\t
\r\n
\r\n		 \r\n
\r\n\r\n\r\n\r\n\r\n

\r\n\r\n\t\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \tAsus A3N15-C Pro
\r\n Voici un portable autonome et puissant gr\342ce \340 la technologie Intel Centrino.
\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t
\r\n\t1170 \200
\r\n
\r\n\t\t\t\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \tSoltek EQ3702A Miroir
\r\n Ce mini PC est une solution int\351ressante pour les utilisateurs poss\351dant d\351j\340 un \351cran.
\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t
\r\n\t559 \200
\r\n
\r\n\t\t\t\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \tIBM ThinkPad R51
\r\n Voici un portable complet et pourtant relativement l\351ger.
\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t\r\n\t
\r\n\t1299 \200
\r\n
\r\n\t\t\t\t\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
\r\n\t\t\t\t> toutes les promos\r\n\t\t
\r\n
\r\n\t\t\r\n\t\t\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\t\t\r\n\t\t
\r\n\r\n\t\r\n\t\t\r\n\t\t\r\n\t\r\n

\r\n		 \r\n\r\n\t\r\n\t\t\r\n\t\r\n

\r\n
\r\n\t\t\r\n\t\t\r\n\t\t\t\r\n\t\t\r\n\t\t\r\n\t\t
\r\n\t\t\t\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\t\t\t
\r\n\t\t\t\r\n\t\t\t\t\r\n\r\n\r\n\r\n \r\n\r\n\r\n \r\n\r\n\r\n\r\n\r\n\t\t\r\n\t\t
\r\n
\r\n\r\n\t\r\n\t\t\r\n\t\t\r\n\t\r\n\t\r\n\t\t\r\n\t\r\n
\r\n\t\t
\r\n\t\r\n\r\n
\r\n\r\n\t\t\t\t\t \t \t\t\t\t\t\t\t\t\t\t\t\t\t\r\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t \t \t\r\n
\r\n
\r\nLes graveurs de DVD
\r\nQuel graveur choisir ? Quel type de format ? Quelle vitesse ? Double couche ou simple couche ? Voici tout ce qu\'il faut savoir pour faire le bon choix.
\r\n\t\t\t\t\t\t
\r\n\t\t
\r\n		 \r\n
\r\n\r\n\t\r\n\t\t\r\n\t\t\r\n\t\r\n\t\r\n\t\t\r\n\t\r\n
\r\n\t\t
\r\n		 \r\n\r\n\r\n\t\r\n\t\t\r\n\r\n\r\n \t\r\n
\r\n\t\t
\r\n\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t
\r\n\t\t\t\t

\r\n\t\t\t\tChoisir une r\351gion
\r\n\r\n
Un d\351partement
\r\n\r\n
\r\n
Un arrondissement
\r\n\r\n
\r\n
\r\n\t\t\t\tRecherche directe
\r\n\t\t\t\trechercher une ville
et/ou une boutique
\r\n\t\t\t\t

\r\n\t\t\t\t \r\n\t\t\t\t\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t\r\n\t\t\t\t\t\r\n\t\t\t\t
Recherche avanc\351e
\r\n\t\t\t\t
\r\n\t\t\t\t
\r\n\t\t\t\t
\r\n\t\t		\r\n
\r\n\r\n\t\r\n\t\t\r\n\t\r\n\t\r\n\t\t\r\n\t\r\n\t\r\n\t\t\r\n\t\r\n
\r\n\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t\t\r\n\t\t\t\r\n\t\t
Bureautique
\r\n\t\t\t\tTraducteur, organiseur...

\r\n\t\t\t\t

Multim\351dia
\r\n\t\t\t\tPhoto, audio, vid\351o...

\r\n\t\t\t\t

Utilitaires
\r\n\t\t\t\tAntivirus, pilotes, gravure...

\r\n\t\t\t\t

Personnaliser son PC
\r\n\t\t\t\tEcrans de veille, th\350mes...

\r\n\t\t\t\t

D\351veloppement
\r\n\t\t\t\tCr\351ation de logiciels, BDD...

\r\n\t\t\t\t

Jeux
\r\n\t\t\t\tAction, simulation...

\r\n\t\t\t\t

Internet
\r\n\t\t\t\tUtilitaires, email, FTP...

\r\n\t\t\t\t

Loisirs
\r\n\t\t\t\tHumour, culture...

\r\n\t\t\t\t
\r\n\t\t
\r\n
\r\n
\r\n\t\t\r\n\t\t\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\t\t\r\n\t\t
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\r\n\t\t\r\n\t\t\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\t\t\r\n\t\t
\r\n\t\t		\r\n\t\t\r\n\t\t\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\t\t\t\t\r\n\t\t\t
\r\n\t\t\t
\r\n\r\n\t\t
\r\n\t\t\t\r\n\r\n\r\n\r\n\r\n\r\n
\r\n
\r\n
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*** *** *** ****** *** *** *** + + + TABLE OF CONTENTS + + +Acknowledgements + +Introduction + +Proceedings + Welcome + Prosser Gifford and Carl Fleischhauer + + Session I. Content in a New Form: Who Will Use It and What Will They Do? + James Daly (Moderator) + Avra Michelson, Overview + Susan H. Veccia, User Evaluation + Joanne Freeman, Beyond the Scholar + Discussion + + Session II. Show and Tell + Jacqueline Hess (Moderator) + Elli Mylonas, Perseus Project + Discussion + Eric M. Calaluca, Patrologia Latina Database + Carl Fleischhauer and Ricky Erway, American Memory + Discussion + Dorothy Twohig, The Papers of George Washington + Discussion + Maria L. Lebron, The Online Journal of Current Clinical Trials + Discussion + Lynne K. Personius, Cornell mathematics books + Discussion + + Session III. Distribution, Networks, and Networking: + Options for Dissemination + Robert G. Zich (Moderator) + Clifford A. Lynch + Discussion + Howard Besser + Discussion + Ronald L. Larsen + Edwin B. Brownrigg + Discussion + + Session IV. Image Capture, Text Capture, Overview of Text and + Image Storage Formats + William L. Hooton (Moderator) + A) Principal Methods for Image Capture of Text: + direct scanning, use of microform + Anne R. Kenney + Pamela Q.J. Andre + Judith A. Zidar + Donald J. Waters + Discussion + B) Special Problems: bound volumes, conservation, + reproducing printed halftones + George Thoma + Carl Fleischhauer + Discussion + C) Image Standards and Implications for Preservation + Jean Baronas + Patricia Battin + Discussion + D) Text Conversion: OCR vs. rekeying, standards of accuracy + and use of imperfect texts, service bureaus + Michael Lesk + Ricky Erway + Judith A. Zidar + Discussion + + Session V. Approaches to Preparing Electronic Texts + Susan Hockey (Moderator) + Stuart Weibel + Discussion + C.M. Sperberg-McQueen + Discussion + Eric M. Calaluca + Discussion + + Session VI. Copyright Issues + Marybeth Peters + + Session VII. Conclusion + Prosser Gifford (Moderator) + General discussion + +Appendix I: Program + +Appendix II: Abstracts + +Appendix III: Directory of Participants + + + *** *** *** ****** *** *** *** + + + Acknowledgements + +I would like to thank Carl Fleischhauer and Prosser Gifford for the +opportunity to learn about areas of human activity unknown to me a scant +ten months ago, and the David and Lucile Packard Foundation for +supporting that opportunity. The help given by others is acknowledged on +a separate page. + + 19 October 1992 + + + *** *** *** ****** *** *** *** + + + INTRODUCTION + +The Workshop on Electronic Texts (1) drew together representatives of +various projects and interest groups to compare ideas, beliefs, +experiences, and, in particular, methods of placing and presenting +historical textual materials in computerized form. Most attendees gained +much in insight and outlook from the event. But the assembly did not +form a new nation, or, to put it another way, the diversity of projects +and interests was too great to draw the representatives into a cohesive, +action-oriented body.(2) + +Everyone attending the Workshop shared an interest in preserving and +providing access to historical texts. But within this broad field the +attendees represented a variety of formal, informal, figurative, and +literal groups, with many individuals belonging to more than one. These +groups may be defined roughly according to the following topics or +activities: + +* Imaging +* Searchable coded texts +* National and international computer networks +* CD-ROM production and dissemination +* Methods and technology for converting older paper materials into +electronic form +* Study of the use of digital materials by scholars and others + +This summary is arranged thematically and does not follow the actual +sequence of presentations. + +NOTES: + (1) In this document, the phrase electronic text is used to mean + any computerized reproduction or version of a document, book, + article, or manuscript (including images), and not merely a machine- + readable or machine-searchable text. + + (2) The Workshop was held at the Library of Congress on 9-10 June + 1992, with funding from the David and Lucile Packard Foundation. + The document that follows represents a summary of the presentations + made at the Workshop and was compiled by James DALY. This + introduction was written by DALY and Carl FLEISCHHAUER. + + +PRESERVATION AND IMAGING + +Preservation, as that term is used by archivists,(3) was most explicitly +discussed in the context of imaging. Anne KENNEY and Lynne PERSONIUS +explained how the concept of a faithful copy and the user-friendliness of +the traditional book have guided their project at Cornell University.(4) +Although interested in computerized dissemination, participants in the +Cornell project are creating digital image sets of older books in the +public domain as a source for a fresh paper facsimile or, in a future +phase, microfilm. The books returned to the library shelves are +high-quality and useful replacements on acid-free paper that should last +a long time. To date, the Cornell project has placed little or no +emphasis on creating searchable texts; one would not be surprised to find +that the project participants view such texts as new editions, and thus +not as faithful reproductions. + +In her talk on preservation, Patricia BATTIN struck an ecumenical and +flexible note as she endorsed the creation and dissemination of a variety +of types of digital copies. Do not be too narrow in defining what counts +as a preservation element, BATTIN counseled; for the present, at least, +digital copies made with preservation in mind cannot be as narrowly +standardized as, say, microfilm copies with the same objective. Setting +standards precipitously can inhibit creativity, but delay can result in +chaos, she advised. + +In part, BATTIN's position reflected the unsettled nature of image-format +standards, and attendees could hear echoes of this unsettledness in the +comments of various speakers. For example, Jean BARONAS reviewed the +status of several formal standards moving through committees of experts; +and Clifford LYNCH encouraged the use of a new guideline for transmitting +document images on Internet. Testimony from participants in the National +Agricultural Library's (NAL) Text Digitization Program and LC's American +Memory project highlighted some of the challenges to the actual creation +or interchange of images, including difficulties in converting +preservation microfilm to digital form. Donald WATERS reported on the +progress of a master plan for a project at Yale University to convert +books on microfilm to digital image sets, Project Open Book (POB). + +The Workshop offered rather less of an imaging practicum than planned, +but "how-to" hints emerge at various points, for example, throughout +KENNEY's presentation and in the discussion of arcana such as +thresholding and dithering offered by George THOMA and FLEISCHHAUER. + +NOTES: + (3) Although there is a sense in which any reproductions of + historical materials preserve the human record, specialists in the + field have developed particular guidelines for the creation of + acceptable preservation copies. + + (4) Titles and affiliations of presenters are given at the + beginning of their respective talks and in the Directory of + Participants (Appendix III). + + +THE MACHINE-READABLE TEXT: MARKUP AND USE + +The sections of the Workshop that dealt with machine-readable text tended +to be more concerned with access and use than with preservation, at least +in the narrow technical sense. Michael SPERBERG-McQUEEN made a forceful +presentation on the Text Encoding Initiative's (TEI) implementation of +the Standard Generalized Markup Language (SGML). His ideas were echoed +by Susan HOCKEY, Elli MYLONAS, and Stuart WEIBEL. While the +presentations made by the TEI advocates contained no practicum, their +discussion focused on the value of the finished product, what the +European Community calls reusability, but what may also be termed +durability. They argued that marking up--that is, coding--a text in a +well-conceived way will permit it to be moved from one computer +environment to another, as well as to be used by various users. Two +kinds of markup were distinguished: 1) procedural markup, which +describes the features of a text (e.g., dots on a page), and 2) +descriptive markup, which describes the structure or elements of a +document (e.g., chapters, paragraphs, and front matter). + +The TEI proponents emphasized the importance of texts to scholarship. +They explained how heavily coded (and thus analyzed and annotated) texts +can underlie research, play a role in scholarly communication, and +facilitate classroom teaching. SPERBERG-McQUEEN reminded listeners that +a written or printed item (e.g., a particular edition of a book) is +merely a representation of the abstraction we call a text. To concern +ourselves with faithfully reproducing a printed instance of the text, +SPERBERG-McQUEEN argued, is to concern ourselves with the representation +of a representation ("images as simulacra for the text"). The TEI proponents' +interest in images tends to focus on corollary materials for use in teaching, +for example, photographs of the Acropolis to accompany a Greek text. + +By the end of the Workshop, SPERBERG-McQUEEN confessed to having been +converted to a limited extent to the view that electronic images +constitute a promising alternative to microfilming; indeed, an +alternative probably superior to microfilming. But he was not convinced +that electronic images constitute a serious attempt to represent text in +electronic form. HOCKEY and MYLONAS also conceded that their experience +at the Pierce Symposium the previous week at Georgetown University and +the present conference at the Library of Congress had compelled them to +reevaluate their perspective on the usefulness of text as images. +Attendees could see that the text and image advocates were in +constructive tension, so to say. + +Three nonTEI presentations described approaches to preparing +machine-readable text that are less rigorous and thus less expensive. In +the case of the Papers of George Washington, Dorothy TWOHIG explained +that the digital version will provide a not-quite-perfect rendering of +the transcribed text--some 135,000 documents, available for research +during the decades while the perfect or print version is completed. +Members of the American Memory team and the staff of NAL's Text +Digitization Program (see below) also outlined a middle ground concerning +searchable texts. In the case of American Memory, contractors produce +texts with about 99-percent accuracy that serve as "browse" or +"reference" versions of written or printed originals. End users who need +faithful copies or perfect renditions must refer to accompanying sets of +digital facsimile images or consult copies of the originals in a nearby +library or archive. American Memory staff argued that the high cost of +producing 100-percent accurate copies would prevent LC from offering +access to large parts of its collections. + + +THE MACHINE-READABLE TEXT: METHODS OF CONVERSION + +Although the Workshop did not include a systematic examination of the +methods for converting texts from paper (or from facsimile images) into +machine-readable form, nevertheless, various speakers touched upon this +matter. For example, WEIBEL reported that OCLC has experimented with a +merging of multiple optical character recognition systems that will +reduce errors from an unacceptable rate of 5 characters out of every +l,000 to an unacceptable rate of 2 characters out of every l,000. + +Pamela ANDRE presented an overview of NAL's Text Digitization Program and +Judith ZIDAR discussed the technical details. ZIDAR explained how NAL +purchased hardware and software capable of performing optical character +recognition (OCR) and text conversion and used its own staff to convert +texts. The process, ZIDAR said, required extensive editing and project +staff found themselves considering alternatives, including rekeying +and/or creating abstracts or summaries of texts. NAL reckoned costs at +$7 per page. By way of contrast, Ricky ERWAY explained that American +Memory had decided from the start to contract out conversion to external +service bureaus. The criteria used to select these contractors were cost +and quality of results, as opposed to methods of conversion. ERWAY noted +that historical documents or books often do not lend themselves to OCR. +Bound materials represent a special problem. In her experience, quality +control--inspecting incoming materials, counting errors in samples--posed +the most time-consuming aspect of contracting out conversion. ERWAY +reckoned American Memory's costs at $4 per page, but cautioned that fewer +cost-elements had been included than in NAL's figure. + + +OPTIONS FOR DISSEMINATION + +The topic of dissemination proper emerged at various points during the +Workshop. At the session devoted to national and international computer +networks, LYNCH, Howard BESSER, Ronald LARSEN, and Edwin BROWNRIGG +highlighted the virtues of Internet today and of the network that will +evolve from Internet. Listeners could discern in these narratives a +vision of an information democracy in which millions of citizens freely +find and use what they need. LYNCH noted that a lack of standards +inhibits disseminating multimedia on the network, a topic also discussed +by BESSER. LARSEN addressed the issues of network scalability and +modularity and commented upon the difficulty of anticipating the effects +of growth in orders of magnitude. BROWNRIGG talked about the ability of +packet radio to provide certain links in a network without the need for +wiring. However, the presenters also called attention to the +shortcomings and incongruities of present-day computer networks. For +example: 1) Network use is growing dramatically, but much network +traffic consists of personal communication (E-mail). 2) Large bodies of +information are available, but a user's ability to search across their +entirety is limited. 3) There are significant resources for science and +technology, but few network sources provide content in the humanities. +4) Machine-readable texts are commonplace, but the capability of the +system to deal with images (let alone other media formats) lags behind. +A glimpse of a multimedia future for networks, however, was provided by +Maria LEBRON in her overview of the Online Journal of Current Clinical +Trials (OJCCT), and the process of scholarly publishing on-line. + +The contrasting form of the CD-ROM disk was never systematically +analyzed, but attendees could glean an impression from several of the +show-and-tell presentations. The Perseus and American Memory examples +demonstrated recently published disks, while the descriptions of the +IBYCUS version of the Papers of George Washington and Chadwyck-Healey's +Patrologia Latina Database (PLD) told of disks to come. According to +Eric CALALUCA, PLD's principal focus has been on converting Jacques-Paul +Migne's definitive collection of Latin texts to machine-readable form. +Although everyone could share the network advocates' enthusiasm for an +on-line future, the possibility of rolling up one's sleeves for a session +with a CD-ROM containing both textual materials and a powerful retrieval +engine made the disk seem an appealing vessel indeed. The overall +discussion suggested that the transition from CD-ROM to on-line networked +access may prove far slower and more difficult than has been anticipated. + + +WHO ARE THE USERS AND WHAT DO THEY DO? + +Although concerned with the technicalities of production, the Workshop +never lost sight of the purposes and uses of electronic versions of +textual materials. As noted above, those interested in imaging discussed +the problematical matter of digital preservation, while the TEI proponents +described how machine-readable texts can be used in research. This latter +topic received thorough treatment in the paper read by Avra MICHELSON. +She placed the phenomenon of electronic texts within the context of +broader trends in information technology and scholarly communication. + +Among other things, MICHELSON described on-line conferences that +represent a vigorous and important intellectual forum for certain +disciplines. Internet now carries more than 700 conferences, with about +80 percent of these devoted to topics in the social sciences and the +humanities. Other scholars use on-line networks for "distance learning." +Meanwhile, there has been a tremendous growth in end-user computing; +professors today are less likely than their predecessors to ask the +campus computer center to process their data. Electronic texts are one +key to these sophisticated applications, MICHELSON reported, and more and +more scholars in the humanities now work in an on-line environment. +Toward the end of the Workshop, Michael LESK presented a corollary to +MICHELSON's talk, reporting the results of an experiment that compared +the work of one group of chemistry students using traditional printed +texts and two groups using electronic sources. The experiment +demonstrated that in the event one does not know what to read, one needs +the electronic systems; the electronic systems hold no advantage at the +moment if one knows what to read, but neither do they impose a penalty. + +DALY provided an anecdotal account of the revolutionizing impact of the +new technology on his previous methods of research in the field of classics. +His account, by extrapolation, served to illustrate in part the arguments +made by MICHELSON concerning the positive effects of the sudden and radical +transformation being wrought in the ways scholars work. + +Susan VECCIA and Joanne FREEMAN delineated the use of electronic +materials outside the university. The most interesting aspect of their +use, FREEMAN said, could be seen as a paradox: teachers in elementary +and secondary schools requested access to primary source materials but, +at the same time, found that "primariness" itself made these materials +difficult for their students to use. + + +OTHER TOPICS + +Marybeth PETERS reviewed copyright law in the United States and offered +advice during a lively discussion of this subject. But uncertainty +remains concerning the price of copyright in a digital medium, because a +solution remains to be worked out concerning management and synthesis of +copyrighted and out-of-copyright pieces of a database. + +As moderator of the final session of the Workshop, Prosser GIFFORD directed +discussion to future courses of action and the potential role of LC in +advancing them. Among the recommendations that emerged were the following: + + * Workshop participants should 1) begin to think about working + with image material, but structure and digitize it in such a + way that at a later stage it can be interpreted into text, and + 2) find a common way to build text and images together so that + they can be used jointly at some stage in the future, with + appropriate network support, because that is how users will want + to access these materials. The Library might encourage attempts + to bring together people who are working on texts and images. + + * A network version of American Memory should be developed or + consideration should be given to making the data in it + available to people interested in doing network multimedia. + Given the current dearth of digital data that is appealing and + unencumbered by extremely complex rights problems, developing a + network version of American Memory could do much to help make + network multimedia a reality. + + * Concerning the thorny issue of electronic deposit, LC should + initiate a catalytic process in terms of distributed + responsibility, that is, bring together the distributed + organizations and set up a study group to look at all the + issues related to electronic deposit and see where we as a + nation should move. For example, LC might attempt to persuade + one major library in each state to deal with its state + equivalent publisher, which might produce a cooperative project + that would be equitably distributed around the country, and one + in which LC would be dealing with a minimal number of publishers + and minimal copyright problems. LC must also deal with the + concept of on-line publishing, determining, among other things, + how serials such as OJCCT might be deposited for copyright. + + * Since a number of projects are planning to carry out + preservation by creating digital images that will end up in + on-line or near-line storage at some institution, LC might play + a helpful role, at least in the near term, by accelerating how + to catalog that information into the Research Library Information + Network (RLIN) and then into OCLC, so that it would be accessible. + This would reduce the possibility of multiple institutions digitizing + the same work. + + +CONCLUSION + +The Workshop was valuable because it brought together partisans from +various groups and provided an occasion to compare goals and methods. +The more committed partisans frequently communicate with others in their +groups, but less often across group boundaries. The Workshop was also +valuable to attendees--including those involved with American Memory--who +came less committed to particular approaches or concepts. These +attendees learned a great deal, and plan to select and employ elements of +imaging, text-coding, and networked distribution that suit their +respective projects and purposes. + +Still, reality rears its ugly head: no breakthrough has been achieved. +On the imaging side, one confronts a proliferation of competing +data-interchange standards and a lack of consensus on the role of digital +facsimiles in preservation. In the realm of machine-readable texts, one +encounters a reasonably mature standard but methodological difficulties +and high costs. These latter problems, of course, represent a special +impediment to the desire, as it is sometimes expressed in the popular +press, "to put the [contents of the] Library of Congress on line." In +the words of one participant, there was "no solution to the economic +problems--the projects that are out there are surviving, but it is going +to be a lot of work to transform the information industry, and so far the +investment to do that is not forthcoming" (LESK, per litteras). + + + *** *** *** ****** *** *** *** + + + PROCEEDINGS + + +WELCOME + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +GIFFORD * Origin of Workshop in current Librarian's desire to make LC's +collections more widely available * Desiderata arising from the prospect +of greater interconnectedness * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +After welcoming participants on behalf of the Library of Congress, +American Memory (AM), and the National Demonstration Lab, Prosser +GIFFORD, director for scholarly programs, Library of Congress, located +the origin of the Workshop on Electronic Texts in a conversation he had +had considerably more than a year ago with Carl FLEISCHHAUER concerning +some of the issues faced by AM. On the assumption that numerous other +people were asking the same questions, the decision was made to bring +together as many of these people as possible to ask the same questions +together. In a deeper sense, GIFFORD said, the origin of the Workshop +lay in the desire of the current Librarian of Congress, James H. +Billington, to make the collections of the Library, especially those +offering unique or unusual testimony on aspects of the American +experience, available to a much wider circle of users than those few +people who can come to Washington to use them. This meant that the +emphasis of AM, from the outset, has been on archival collections of the +basic material, and on making these collections themselves available, +rather than selected or heavily edited products. + +From AM's emphasis followed the questions with which the Workshop began: +who will use these materials, and in what form will they wish to use +them. But an even larger issue deserving mention, in GIFFORD's view, was +the phenomenal growth in Internet connectivity. He expressed the hope +that the prospect of greater interconnectedness than ever before would +lead to: 1) much more cooperative and mutually supportive endeavors; 2) +development of systems of shared and distributed responsibilities to +avoid duplication and to ensure accuracy and preservation of unique +materials; and 3) agreement on the necessary standards and development of +the appropriate directories and indices to make navigation +straightforward among the varied resources that are, and increasingly +will be, available. In this connection, GIFFORD requested that +participants reflect from the outset upon the sorts of outcomes they +thought the Workshop might have. Did those present constitute a group +with sufficient common interests to propose a next step or next steps, +and if so, what might those be? They would return to these questions the +following afternoon. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +FLEISCHHAUER * Core of Workshop concerns preparation and production of +materials * Special challenge in conversion of textual materials * +Quality versus quantity * Do the several groups represented share common +interests? * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Carl FLEISCHHAUER, coordinator, American Memory, Library of Congress, +emphasized that he would attempt to represent the people who perform some +of the work of converting or preparing materials and that the core of +the Workshop had to do with preparation and production. FLEISCHHAUER +then drew a distinction between the long term, when many things would be +available and connected in the ways that GIFFORD described, and the short +term, in which AM not only has wrestled with the issue of what is the +best course to pursue but also has faced a variety of technical +challenges. + +FLEISCHHAUER remarked AM's endeavors to deal with a wide range of library +formats, such as motion picture collections, sound-recording collections, +and pictorial collections of various sorts, especially collections of +photographs. In the course of these efforts, AM kept coming back to +textual materials--manuscripts or rare printed matter, bound materials, +etc. Text posed the greatest conversion challenge of all. Thus, the +genesis of the Workshop, which reflects the problems faced by AM. These +problems include physical problems. For example, those in the library +and archive business deal with collections made up of fragile and rare +manuscript items, bound materials, especially the notoriously brittle +bound materials of the late nineteenth century. These are precious +cultural artifacts, however, as well as interesting sources of +information, and LC desires to retain and conserve them. AM needs to +handle things without damaging them. Guillotining a book to run it +through a sheet feeder must be avoided at all costs. + +Beyond physical problems, issues pertaining to quality arose. For +example, the desire to provide users with a searchable text is affected +by the question of acceptable level of accuracy. One hundred percent +accuracy is tremendously expensive. On the other hand, the output of +optical character recognition (OCR) can be tremendously inaccurate. +Although AM has attempted to find a middle ground, uncertainty persists +as to whether or not it has discovered the right solution. + +Questions of quality arose concerning images as well. FLEISCHHAUER +contrasted the extremely high level of quality of the digital images in +the Cornell Xerox Project with AM's efforts to provide a browse-quality +or access-quality image, as opposed to an archival or preservation image. +FLEISCHHAUER therefore welcomed the opportunity to compare notes. + +FLEISCHHAUER observed in passing that conversations he had had about +networks have begun to signal that for various forms of media a +determination may be made that there is a browse-quality item, or a +distribution-and-access-quality item that may coexist in some systems +with a higher quality archival item that would be inconvenient to send +through the network because of its size. FLEISCHHAUER referred, of +course, to images more than to searchable text. + +As AM considered those questions, several conceptual issues arose: ought +AM occasionally to reproduce materials entirely through an image set, at +other times, entirely through a text set, and in some cases, a mix? +There probably would be times when the historical authenticity of an +artifact would require that its image be used. An image might be +desirable as a recourse for users if one could not provide 100-percent +accurate text. Again, AM wondered, as a practical matter, if a +distinction could be drawn between rare printed matter that might exist +in multiple collections--that is, in ten or fifteen libraries. In such +cases, the need for perfect reproduction would be less than for unique +items. Implicit in his remarks, FLEISCHHAUER conceded, was the admission +that AM has been tilting strongly towards quantity and drawing back a +little from perfect quality. That is, it seemed to AM that society would +be better served if more things were distributed by LC--even if they were +not quite perfect--than if fewer things, perfectly represented, were +distributed. This was stated as a proposition to be tested, with +responses to be gathered from users. + +In thinking about issues related to reproduction of materials and seeing +other people engaged in parallel activities, AM deemed it useful to +convene a conference. Hence, the Workshop. FLEISCHHAUER thereupon +surveyed the several groups represented: 1) the world of images (image +users and image makers); 2) the world of text and scholarship and, within +this group, those concerned with language--FLEISCHHAUER confessed to finding +delightful irony in the fact that some of the most advanced thinkers on +computerized texts are those dealing with ancient Greek and Roman materials; +3) the network world; and 4) the general world of library science, which +includes people interested in preservation and cataloging. + +FLEISCHHAUER concluded his remarks with special thanks to the David and +Lucile Packard Foundation for its support of the meeting, the American +Memory group, the Office for Scholarly Programs, the National +Demonstration Lab, and the Office of Special Events. He expressed the +hope that David Woodley Packard might be able to attend, noting that +Packard's work and the work of the foundation had sponsored a number of +projects in the text area. + + ****** + +SESSION I. CONTENT IN A NEW FORM: WHO WILL USE IT AND WHAT WILL THEY DO? + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DALY * Acknowledgements * A new Latin authors disk * Effects of the new +technology on previous methods of research * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Serving as moderator, James DALY acknowledged the generosity of all the +presenters for giving of their time, counsel, and patience in planning +the Workshop, as well as of members of the American Memory project and +other Library of Congress staff, and the David and Lucile Packard +Foundation and its executive director, Colburn S. Wilbur. + +DALY then recounted his visit in March to the Center for Electronic Texts +in the Humanities (CETH) and the Department of Classics at Rutgers +University, where an old friend, Lowell Edmunds, introduced him to the +department's IBYCUS scholarly personal computer, and, in particular, the +new Latin CD-ROM, containing, among other things, almost all classical +Latin literary texts through A.D. 200. Packard Humanities Institute +(PHI), Los Altos, California, released this disk late in 1991, with a +nominal triennial licensing fee. + +Playing with the disk for an hour or so at Rutgers brought home to DALY +at once the revolutionizing impact of the new technology on his previous +methods of research. Had this disk been available two or three years +earlier, DALY contended, when he was engaged in preparing a commentary on +Book 10 of Virgil's Aeneid for Cambridge University Press, he would not +have required a forty-eight-square-foot table on which to spread the +numerous, most frequently consulted items, including some ten or twelve +concordances to key Latin authors, an almost equal number of lexica to +authors who lacked concordances, and where either lexica or concordances +were lacking, numerous editions of authors antedating and postdating Virgil. + +Nor, when checking each of the average six to seven words contained in +the Virgilian hexameter for its usage elsewhere in Virgil's works or +other Latin authors, would DALY have had to maintain the laborious +mechanical process of flipping through these concordances, lexica, and +editions each time. Nor would he have had to frequent as often the +Milton S. Eisenhower Library at the Johns Hopkins University to consult +the Thesaurus Linguae Latinae. Instead of devoting countless hours, or +the bulk of his research time, to gathering data concerning Virgil's use +of words, DALY--now freed by PHI's Latin authors disk from the +tyrannical, yet in some ways paradoxically happy scholarly drudgery-- +would have been able to devote that same bulk of time to analyzing and +interpreting Virgilian verbal usage. + +Citing Theodore Brunner, Gregory Crane, Elli MYLONAS, and Avra MICHELSON, +DALY argued that this reversal in his style of work, made possible by the +new technology, would perhaps have resulted in better, more productive +research. Indeed, even in the course of his browsing the Latin authors +disk at Rutgers, its powerful search, retrieval, and highlighting +capabilities suggested to him several new avenues of research into +Virgil's use of sound effects. This anecdotal account, DALY maintained, +may serve to illustrate in part the sudden and radical transformation +being wrought in the ways scholars work. + + ****** + +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +MICHELSON * Elements related to scholarship and technology * Electronic +texts within the context of broader trends within information technology +and scholarly communication * Evaluation of the prospects for the use of +electronic texts * Relationship of electronic texts to processes of +scholarly communication in humanities research * New exchange formats +created by scholars * Projects initiated to increase scholarly access to +converted text * Trend toward making electronic resources available +through research and education networks * Changes taking place in +scholarly communication among humanities scholars * Network-mediated +scholarship transforming traditional scholarly practices * Key +information technology trends affecting the conduct of scholarly +communication over the next decade * The trend toward end-user computing +* The trend toward greater connectivity * Effects of these trends * Key +transformations taking place * Summary of principal arguments * +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Avra MICHELSON, Archival Research and Evaluation Staff, National Archives +and Records Administration (NARA), argued that establishing who will use +electronic texts and what they will use them for involves a consideration +of both information technology and scholarship trends. This +consideration includes several elements related to scholarship and +technology: 1) the key trends in information technology that are most +relevant to scholarship; 2) the key trends in the use of currently +available technology by scholars in the nonscientific community; and 3) +the relationship between these two very distinct but interrelated trends. +The investment in understanding this relationship being made by +information providers, technologists, and public policy developers, as +well as by scholars themselves, seems to be pervasive and growing, +MICHELSON contended. She drew on collaborative work with Jeff Rothenberg +on the scholarly use of technology. + +MICHELSON sought to place the phenomenon of electronic texts within the +context of broader trends within information technology and scholarly +communication. She argued that electronic texts are of most use to +researchers to the extent that the researchers' working context (i.e., +their relevant bibliographic sources, collegial feedback, analytic tools, +notes, drafts, etc.), along with their field's primary and secondary +sources, also is accessible in electronic form and can be integrated in +ways that are unique to the on-line environment. + +Evaluation of the prospects for the use of electronic texts includes two +elements: 1) an examination of the ways in which researchers currently +are using electronic texts along with other electronic resources, and 2) +an analysis of key information technology trends that are affecting the +long-term conduct of scholarly communication. MICHELSON limited her +discussion of the use of electronic texts to the practices of humanists +and noted that the scientific community was outside the panel's overview. + +MICHELSON examined the nature of the current relationship of electronic +texts in particular, and electronic resources in general, to what she +maintained were, essentially, five processes of scholarly communication +in humanities research. Researchers 1) identify sources, 2) communicate +with their colleagues, 3) interpret and analyze data, 4) disseminate +their research findings, and 5) prepare curricula to instruct the next +generation of scholars and students. This examination would produce a +clearer understanding of the synergy among these five processes that +fuels the tendency of the use of electronic resources for one process to +stimulate its use for other processes of scholarly communication. + +For the first process of scholarly communication, the identification of +sources, MICHELSON remarked the opportunity scholars now enjoy to +supplement traditional word-of-mouth searches for sources among their +colleagues with new forms of electronic searching. So, for example, +instead of having to visit the library, researchers are able to explore +descriptions of holdings in their offices. Furthermore, if their own +institutions' holdings prove insufficient, scholars can access more than +200 major American library catalogues over Internet, including the +universities of California, Michigan, Pennsylvania, and Wisconsin. +Direct access to the bibliographic databases offers intellectual +empowerment to scholars by presenting a comprehensive means of browsing +through libraries from their homes and offices at their convenience. + +The second process of communication involves communication among +scholars. Beyond the most common methods of communication, scholars are +using E-mail and a variety of new electronic communications formats +derived from it for further academic interchange. E-mail exchanges are +growing at an astonishing rate, reportedly 15 percent a month. They +currently constitute approximately half the traffic on research and +education networks. Moreover, the global spread of E-mail has been so +rapid that it is now possible for American scholars to use it to +communicate with colleagues in close to 140 other countries. + +Other new exchange formats created by scholars and operating on Internet +include more than 700 conferences, with about 80 percent of these devoted +to topics in the social sciences and humanities. The rate of growth of +these scholarly electronic conferences also is astonishing. From l990 to +l991, 200 new conferences were identified on Internet. From October 1991 +to June 1992, an additional 150 conferences in the social sciences and +humanities were added to this directory of listings. Scholars have +established conferences in virtually every field, within every different +discipline. For example, there are currently close to 600 active social +science and humanities conferences on topics such as art and +architecture, ethnomusicology, folklore, Japanese culture, medical +education, and gifted and talented education. The appeal to scholars of +communicating through these conferences is that, unlike any other medium, +electronic conferences today provide a forum for global communication +with peers at the front end of the research process. + +Interpretation and analysis of sources constitutes the third process of +scholarly communication that MICHELSON discussed in terms of texts and +textual resources. The methods used to analyze sources fall somewhere on +a continuum from quantitative analysis to qualitative analysis. +Typically, evidence is culled and evaluated using methods drawn from both +ends of this continuum. At one end, quantitative analysis involves the +use of mathematical processes such as a count of frequencies and +distributions of occurrences or, on a higher level, regression analysis. +At the other end of the continuum, qualitative analysis typically +involves nonmathematical processes oriented toward language +interpretation or the building of theory. Aspects of this work involve +the processing--either manual or computational--of large and sometimes +massive amounts of textual sources, although the use of nontextual +sources as evidence, such as photographs, sound recordings, film footage, +and artifacts, is significant as well. + +Scholars have discovered that many of the methods of interpretation and +analysis that are related to both quantitative and qualitative methods +are processes that can be performed by computers. For example, computers +can count. They can count brush strokes used in a Rembrandt painting or +perform regression analysis for understanding cause and effect. By means +of advanced technologies, computers can recognize patterns, analyze text, +and model concepts. Furthermore, computers can complete these processes +faster with more sources and with greater precision than scholars who +must rely on manual interpretation of data. But if scholars are to use +computers for these processes, source materials must be in a form +amenable to computer-assisted analysis. For this reason many scholars, +once they have identified the sources that are key to their research, are +converting them to machine-readable form. Thus, a representative example +of the numerous textual conversion projects organized by scholars around +the world in recent years to support computational text analysis is the +TLG, the Thesaurus Linguae Graecae. This project is devoted to +converting the extant ancient texts of classical Greece. (Editor's note: +according to the TLG Newsletter of May l992, TLG was in use in thirty-two +different countries. This figure updates MICHELSON's previous count by one.) + +The scholars performing these conversions have been asked to recognize +that the electronic sources they are converting for one use possess value +for other research purposes as well. As a result, during the past few +years, humanities scholars have initiated a number of projects to +increase scholarly access to converted text. So, for example, the Text +Encoding Initiative (TEI), about which more is said later in the program, +was established as an effort by scholars to determine standard elements +and methods for encoding machine-readable text for electronic exchange. +In a second effort to facilitate the sharing of converted text, scholars +have created a new institution, the Center for Electronic Texts in the +Humanities (CETH). The center estimates that there are 8,000 series of +source texts in the humanities that have been converted to +machine-readable form worldwide. CETH is undertaking an international +search for converted text in the humanities, compiling it into an +electronic library, and preparing bibliographic descriptions of the +sources for the Research Libraries Information Network's (RLIN) +machine-readable data file. The library profession has begun to initiate +large conversion projects as well, such as American Memory. + +While scholars have been making converted text available to one another, +typically on disk or on CD-ROM, the clear trend is toward making these +resources available through research and education networks. Thus, the +American and French Research on the Treasury of the French Language +(ARTFL) and the Dante Project are already available on Internet. +MICHELSON summarized this section on interpretation and analysis by +noting that: 1) increasing numbers of humanities scholars in the library +community are recognizing the importance to the advancement of +scholarship of retrospective conversion of source materials in the arts +and humanities; and 2) there is a growing realization that making the +sources available on research and education networks maximizes their +usefulness for the analysis performed by humanities scholars. + +The fourth process of scholarly communication is dissemination of +research findings, that is, publication. Scholars are using existing +research and education networks to engineer a new type of publication: +scholarly-controlled journals that are electronically produced and +disseminated. Although such journals are still emerging as a +communication format, their number has grown, from approximately twelve +to thirty-six during the past year (July 1991 to June 1992). Most of +these electronic scholarly journals are devoted to topics in the +humanities. As with network conferences, scholarly enthusiasm for these +electronic journals stems from the medium's unique ability to advance +scholarship in a way that no other medium can do by supporting global +feedback and interchange, practically in real time, early in the research +process. Beyond scholarly journals, MICHELSON remarked the delivery of +commercial full-text products, such as articles in professional journals, +newsletters, magazines, wire services, and reference sources. These are +being delivered via on-line local library catalogues, especially through +CD-ROMs. Furthermore, according to MICHELSON, there is general optimism +that the copyright and fees issues impeding the delivery of full text on +existing research and education networks soon will be resolved. + +The final process of scholarly communication is curriculum development +and instruction, and this involves the use of computer information +technologies in two areas. The first is the development of +computer-oriented instructional tools, which includes simulations, +multimedia applications, and computer tools that are used to assist in +the analysis of sources in the classroom, etc. The Perseus Project, a +database that provides a multimedia curriculum on classical Greek +civilization, is a good example of the way in which entire curricula are +being recast using information technologies. It is anticipated that the +current difficulty in exchanging electronically computer-based +instructional software, which in turn makes it difficult for one scholar +to build upon the work of others, will be resolved before too long. +Stand-alone curricular applications that involve electronic text will be +sharable through networks, reinforcing their significance as intellectual +products as well as instructional tools. + +The second aspect of electronic learning involves the use of research and +education networks for distance education programs. Such programs +interactively link teachers with students in geographically scattered +locations and rely on the availability of electronic instructional +resources. Distance education programs are gaining wide appeal among +state departments of education because of their demonstrated capacity to +bring advanced specialized course work and an array of experts to many +classrooms. A recent report found that at least 32 states operated at +least one statewide network for education in 1991, with networks under +development in many of the remaining states. + +MICHELSON summarized this section by noting two striking changes taking +place in scholarly communication among humanities scholars. First is the +extent to which electronic text in particular, and electronic resources +in general, are being infused into each of the five processes described +above. As mentioned earlier, there is a certain synergy at work here. +The use of electronic resources for one process tends to stimulate its +use for other processes, because the chief course of movement is toward a +comprehensive on-line working context for humanities scholars that +includes on-line availability of key bibliographies, scholarly feedback, +sources, analytical tools, and publications. MICHELSON noted further +that the movement toward a comprehensive on-line working context for +humanities scholars is not new. In fact, it has been underway for more +than forty years in the humanities, since Father Roberto Busa began +developing an electronic concordance of the works of Saint Thomas Aquinas +in 1949. What we are witnessing today, MICHELSON contended, is not the +beginning of this on-line transition but, for at least some humanities +scholars, the turning point in the transition from a print to an +electronic working context. Coinciding with the on-line transition, the +second striking change is the extent to which research and education +networks are becoming the new medium of scholarly communication. The +existing Internet and the pending National Education and Research Network +(NREN) represent the new meeting ground where scholars are going for +bibliographic information, scholarly dialogue and feedback, the most +current publications in their field, and high-level educational +offerings. Traditional scholarly practices are undergoing tremendous +transformations as a result of the emergence and growing prominence of +what is called network-mediated scholarship. + +MICHELSON next turned to the second element of the framework she proposed +at the outset of her talk for evaluating the prospects for electronic +text, namely the key information technology trends affecting the conduct +of scholarly communication over the next decade: 1) end-user computing +and 2) connectivity. + +End-user computing means that the person touching the keyboard, or +performing computations, is the same as the person who initiates or +consumes the computation. The emergence of personal computers, along +with a host of other forces, such as ubiquitous computing, advances in +interface design, and the on-line transition, is prompting the consumers +of computation to do their own computing, and is thus rendering obsolete +the traditional distinction between end users and ultimate users. + +The trend toward end-user computing is significant to consideration of +the prospects for electronic texts because it means that researchers are +becoming more adept at doing their own computations and, thus, more +competent in the use of electronic media. By avoiding programmer +intermediaries, computation is becoming central to the researcher's +thought process. This direct involvement in computing is changing the +researcher's perspective on the nature of research itself, that is, the +kinds of questions that can be posed, the analytical methodologies that +can be used, the types and amount of sources that are appropriate for +analyses, and the form in which findings are presented. The trend toward +end-user computing means that, increasingly, electronic media and +computation are being infused into all processes of humanities +scholarship, inspiring remarkable transformations in scholarly +communication. + +The trend toward greater connectivity suggests that researchers are using +computation increasingly in network environments. Connectivity is +important to scholarship because it erases the distance that separates +students from teachers and scholars from their colleagues, while allowing +users to access remote databases, share information in many different +media, connect to their working context wherever they are, and +collaborate in all phases of research. + +The combination of the trend toward end-user computing and the trend +toward connectivity suggests that the scholarly use of electronic +resources, already evident among some researchers, will soon become an +established feature of scholarship. The effects of these trends, along +with ongoing changes in scholarly practices, point to a future in which +humanities researchers will use computation and electronic communication +to help them formulate ideas, access sources, perform research, +collaborate with colleagues, seek peer review, publish and disseminate +results, and engage in many other professional and educational activities. + +In summary, MICHELSON emphasized four points: 1) A portion of humanities +scholars already consider electronic texts the preferred format for +analysis and dissemination. 2) Scholars are using these electronic +texts, in conjunction with other electronic resources, in all the +processes of scholarly communication. 3) The humanities scholars' +working context is in the process of changing from print technology to +electronic technology, in many ways mirroring transformations that have +occurred or are occurring within the scientific community. 4) These +changes are occurring in conjunction with the development of a new +communication medium: research and education networks that are +characterized by their capacity to advance scholarship in a wholly unique +way. + +MICHELSON also reiterated her three principal arguments: l) Electronic +texts are best understood in terms of the relationship to other +electronic resources and the growing prominence of network-mediated +scholarship. 2) The prospects for electronic texts lie in their capacity +to be integrated into the on-line network of electronic resources that +comprise the new working context for scholars. 3) Retrospective conversion +of portions of the scholarly record should be a key strategy as information +providers respond to changes in scholarly communication practices. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +VECCIA * AM's evaluation project and public users of electronic resources +* AM and its design * Site selection and evaluating the Macintosh +implementation of AM * Characteristics of the six public libraries +selected * Characteristics of AM's users in these libraries * Principal +ways AM is being used * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Susan VECCIA, team leader, and Joanne FREEMAN, associate coordinator, +American Memory, Library of Congress, gave a joint presentation. First, +by way of introduction, VECCIA explained her and FREEMAN's roles in +American Memory (AM). Serving principally as an observer, VECCIA has +assisted with the evaluation project of AM, placing AM collections in a +variety of different sites around the country and helping to organize and +implement that project. FREEMAN has been an associate coordinator of AM +and has been involved principally with the interpretative materials, +preparing some of the electronic exhibits and printed historical +information that accompanies AM and that is requested by users. VECCIA +and FREEMAN shared anecdotal observations concerning AM with public users +of electronic resources. Notwithstanding a fairly structured evaluation +in progress, both VECCIA and FREEMAN chose not to report on specifics in +terms of numbers, etc., because they felt it was too early in the +evaluation project to do so. + +AM is an electronic archive of primary source materials from the Library +of Congress, selected collections representing a variety of formats-- +photographs, graphic arts, recorded sound, motion pictures, broadsides, +and soon, pamphlets and books. In terms of the design of this system, +the interpretative exhibits have been kept separate from the primary +resources, with good reason. Accompanying this collection are printed +documentation and user guides, as well as guides that FREEMAN prepared for +teachers so that they may begin using the content of the system at once. + +VECCIA described the evaluation project before talking about the public +users of AM, limiting her remarks to public libraries, because FREEMAN +would talk more specifically about schools from kindergarten to twelfth +grade (K-12). Having started in spring 1991, the evaluation currently +involves testing of the Macintosh implementation of AM. Since the +primary goal of this evaluation is to determine the most appropriate +audience or audiences for AM, very different sites were selected. This +makes evaluation difficult because of the varying degrees of technology +literacy among the sites. AM is situated in forty-four locations, of +which six are public libraries and sixteen are schools. Represented +among the schools are elementary, junior high, and high schools. +District offices also are involved in the evaluation, which will +conclude in summer 1993. + +VECCIA focused the remainder of her talk on the six public libraries, one +of which doubles as a state library. They represent a range of +geographic areas and a range of demographic characteristics. For +example, three are located in urban settings, two in rural settings, and +one in a suburban setting. A range of technical expertise is to be found +among these facilities as well. For example, one is an "Apple library of +the future," while two others are rural one-room libraries--in one, AM +sits at the front desk next to a tractor manual. + +All public libraries have been extremely enthusiastic, supportive, and +appreciative of the work that AM has been doing. VECCIA characterized +various users: Most users in public libraries describe themselves as +general readers; of the students who use AM in the public libraries, +those in fourth grade and above seem most interested. Public libraries +in rural sites tend to attract retired people, who have been highly +receptive to AM. Users tend to fall into two additional categories: +people interested in the content and historical connotations of these +primary resources, and those fascinated by the technology. The format +receiving the most comments has been motion pictures. The adult users in +public libraries are more comfortable with IBM computers, whereas young +people seem comfortable with either IBM or Macintosh, although most of +them seem to come from a Macintosh background. This same tendency is +found in the schools. + +What kinds of things do users do with AM? In a public library there are +two main goals or ways that AM is being used: as an individual learning +tool, and as a leisure activity. Adult learning was one area that VECCIA +would highlight as a possible application for a tool such as AM. She +described a patron of a rural public library who comes in every day on +his lunch hour and literally reads AM, methodically going through the +collection image by image. At the end of his hour he makes an electronic +bookmark, puts it in his pocket, and returns to work. The next day he +comes in and resumes where he left off. Interestingly, this man had +never been in the library before he used AM. In another small, rural +library, the coordinator reports that AM is a popular activity for some +of the older, retired people in the community, who ordinarily would not +use "those things,"--computers. Another example of adult learning in +public libraries is book groups, one of which, in particular, is using AM +as part of its reading on industrialization, integration, and urbanization +in the early 1900s. + +One library reports that a family is using AM to help educate their +children. In another instance, individuals from a local museum came in +to use AM to prepare an exhibit on toys of the past. These two examples +emphasize the mission of the public library as a cultural institution, +reaching out to people who do not have the same resources available to +those who live in a metropolitan area or have access to a major library. +One rural library reports that junior high school students in large +numbers came in one afternoon to use AM for entertainment. A number of +public libraries reported great interest among postcard collectors in the +Detroit collection, which was essentially a collection of images used on +postcards around the turn of the century. Train buffs are similarly +interested because that was a time of great interest in railroading. +People, it was found, relate to things that they know of firsthand. For +example, in both rural public libraries where AM was made available, +observers reported that the older people with personal remembrances of +the turn of the century were gravitating to the Detroit collection. +These examples served to underscore MICHELSON's observation re the +integration of electronic tools and ideas--that people learn best when +the material relates to something they know. + +VECCIA made the final point that in many cases AM serves as a +public-relations tool for the public libraries that are testing it. In +one case, AM is being used as a vehicle to secure additional funding for +the library. In another case, AM has served as an inspiration to the +staff of a major local public library in the South to think about ways to +make its own collection of photographs more accessible to the public. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +FREEMAN * AM and archival electronic resources in a school environment * +Questions concerning context * Questions concerning the electronic format +itself * Computer anxiety * Access and availability of the system * +Hardware * Strengths gained through the use of archival resources in +schools * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Reiterating an observation made by VECCIA, that AM is an archival +resource made up of primary materials with very little interpretation, +FREEMAN stated that the project has attempted to bridge the gap between +these bare primary materials and a school environment, and in that cause +has created guided introductions to AM collections. Loud demand from the +educational community, chiefly from teachers working with the upper +grades of elementary school through high school, greeted the announcement +that AM would be tested around the country. + +FREEMAN reported not only on what was learned about AM in a school +environment, but also on several universal questions that were raised +concerning archival electronic resources in schools. She discussed +several strengths of this type of material in a school environment as +opposed to a highly structured resource that offers a limited number of +paths to follow. + +FREEMAN first raised several questions about using AM in a school +environment. There is often some difficulty in developing a sense of +what the system contains. Many students sit down at a computer resource +and assume that, because AM comes from the Library of Congress, all of +American history is now at their fingertips. As a result of that sort of +mistaken judgment, some students are known to conclude that AM contains +nothing of use to them when they look for one or two things and do not +find them. It is difficult to discover that middle ground where one has +a sense of what the system contains. Some students grope toward the idea +of an archive, a new idea to them, since they have not previously +experienced what it means to have access to a vast body of somewhat +random information. + +Other questions raised by FREEMAN concerned the electronic format itself. +For instance, in a school environment it is often difficult both for +teachers and students to gain a sense of what it is they are viewing. +They understand that it is a visual image, but they do not necessarily +know that it is a postcard from the turn of the century, a panoramic +photograph, or even machine-readable text of an eighteenth-century +broadside, a twentieth-century printed book, or a nineteenth-century +diary. That distinction is often difficult for people in a school +environment to grasp. Because of that, it occasionally becomes difficult +to draw conclusions from what one is viewing. + +FREEMAN also noted the obvious fear of the computer, which constitutes a +difficulty in using an electronic resource. Though students in general +did not suffer from this anxiety, several older students feared that they +were computer-illiterate, an assumption that became self-fulfilling when +they searched for something but failed to find it. FREEMAN said she +believed that some teachers also fear computer resources, because they +believe they lack complete control. FREEMAN related the example of +teachers shooing away students because it was not their time to use the +system. This was a case in which the situation had to be extremely +structured so that the teachers would not feel that they had lost their +grasp on what the system contained. + +A final question raised by FREEMAN concerned access and availability of +the system. She noted the occasional existence of a gap in communication +between school librarians and teachers. Often AM sits in a school +library and the librarian is the person responsible for monitoring the +system. Teachers do not always take into their world new library +resources about which the librarian is excited. Indeed, at the sites +where AM had been used most effectively within a library, the librarian +was required to go to specific teachers and instruct them in its use. As +a result, several AM sites will have in-service sessions over a summer, +in the hope that perhaps, with a more individualized link, teachers will +be more likely to use the resource. + +A related issue in the school context concerned the number of +workstations available at any one location. Centralization of equipment +at the district level, with teachers invited to download things and walk +away with them, proved unsuccessful because the hours these offices were +open were also school hours. + +Another issue was hardware. As VECCIA observed, a range of sites exists, +some technologically advanced and others essentially acquiring their +first computer for the primary purpose of using it in conjunction with +AM's testing. Users at technologically sophisticated sites want even +more sophisticated hardware, so that they can perform even more +sophisticated tasks with the materials in AM. But once they acquire a +newer piece of hardware, they must learn how to use that also; at an +unsophisticated site it takes an extremely long time simply to become +accustomed to the computer, not to mention the program offered with the +computer. All of these small issues raise one large question, namely, +are systems like AM truly rewarding in a school environment, or do they +simply act as innovative toys that do little more than spark interest? + +FREEMAN contended that the evaluation project has revealed several strengths +that were gained through the use of archival resources in schools, including: + + * Psychic rewards from using AM as a vast, rich database, with + teachers assigning various projects to students--oral presentations, + written reports, a documentary, a turn-of-the-century newspaper-- + projects that start with the materials in AM but are completed using + other resources; AM thus is used as a research tool in conjunction + with other electronic resources, as well as with books and items in + the library where the system is set up. + + * Students are acquiring computer literacy in a humanities context. + + * This sort of system is overcoming the isolation between disciplines + that often exists in schools. For example, many English teachers are + requiring their students to write papers on historical topics + represented in AM. Numerous teachers have reported that their + students are learning critical thinking skills using the system. + + * On a broader level, AM is introducing primary materials, not only + to students but also to teachers, in an environment where often + simply none exist--an exciting thing for the students because it + helps them learn to conduct research, to interpret, and to draw + their own conclusions. In learning to conduct research and what it + means, students are motivated to seek knowledge. That relates to + another positive outcome--a high level of personal involvement of + students with the materials in this system and greater motivation to + conduct their own research and draw their own conclusions. + + * Perhaps the most ironic strength of these kinds of archival + electronic resources is that many of the teachers AM interviewed + were desperate, it is no exaggeration to say, not only for primary + materials but for unstructured primary materials. These would, they + thought, foster personally motivated research, exploration, and + excitement in their students. Indeed, these materials have done + just that. Ironically, however, this lack of structure produces + some of the confusion to which the newness of these kinds of + resources may also contribute. The key to effective use of archival + products in a school environment is a clear, effective introduction + to the system and to what it contains. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Nothing known, quantitatively, about the number of +humanities scholars who must see the original versus those who would +settle for an edited transcript, or about the ways in which humanities +scholars are using information technology * Firm conclusions concerning +the manner and extent of the use of supporting materials in print +provided by AM to await completion of evaluative study * A listener's +reflections on additional applications of electronic texts * Role of +electronic resources in teaching elementary research skills to students * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +During the discussion that followed the presentations by MICHELSON, +VECCIA, and FREEMAN, additional points emerged. + +LESK asked if MICHELSON could give any quantitative estimate of the +number of humanities scholars who must see or want to see the original, +or the best possible version of the material, versus those who typically +would settle for an edited transcript. While unable to provide a figure, +she offered her impressions as an archivist who has done some reference +work and has discussed this issue with other archivists who perform +reference, that those who use archives and those who use primary sources +for what would be considered very high-level scholarly research, as +opposed to, say, undergraduate papers, were few in number, especially +given the public interest in using primary sources to conduct +genealogical or avocational research and the kind of professional +research done by people in private industry or the federal government. +More important in MICHELSON's view was that, quantitatively, nothing is +known about the ways in which, for example, humanities scholars are using +information technology. No studies exist to offer guidance in creating +strategies. The most recent study was conducted in 1985 by the American +Council of Learned Societies (ACLS), and what it showed was that 50 +percent of humanities scholars at that time were using computers. That +constitutes the extent of our knowledge. + +Concerning AM's strategy for orienting people toward the scope of +electronic resources, FREEMAN could offer no hard conclusions at this +point, because she and her colleagues were still waiting to see, +particularly in the schools, what has been made of their efforts. Within +the system, however, AM has provided what are called electronic exhibits- +-such as introductions to time periods and materials--and these are +intended to offer a student user a sense of what a broadside is and what +it might tell her or him. But FREEMAN conceded that the project staff +would have to talk with students next year, after teachers have had a +summer to use the materials, and attempt to discover what the students +were learning from the materials. In addition, FREEMAN described +supporting materials in print provided by AM at the request of local +teachers during a meeting held at LC. These included time lines, +bibliographies, and other materials that could be reproduced on a +photocopier in a classroom. Teachers could walk away with and use these, +and in this way gain a better understanding of the contents. But again, +reaching firm conclusions concerning the manner and extent of their use +would have to wait until next year. + +As to the changes she saw occurring at the National Archives and Records +Administration (NARA) as a result of the increasing emphasis on +technology in scholarly research, MICHELSON stated that NARA at this +point was absorbing the report by her and Jeff Rothenberg addressing +strategies for the archival profession in general, although not for the +National Archives specifically. NARA is just beginning to establish its +role and what it can do. In terms of changes and initiatives that NARA +can take, no clear response could be given at this time. + +GREENFIELD remarked two trends mentioned in the session. Reflecting on +DALY's opening comments on how he could have used a Latin collection of +text in an electronic form, he said that at first he thought most scholars +would be unwilling to do that. But as he thought of that in terms of the +original meaning of research--that is, having already mastered these texts, +researching them for critical and comparative purposes--for the first time, +the electronic format made a lot of sense. GREENFIELD could envision +growing numbers of scholars learning the new technologies for that very +aspect of their scholarship and for convenience's sake. + +Listening to VECCIA and FREEMAN, GREENFIELD thought of an additional +application of electronic texts. He realized that AM could be used as a +guide to lead someone to original sources. Students cannot be expected +to have mastered these sources, things they have never known about +before. Thus, AM is leading them, in theory, to a vast body of +information and giving them a superficial overview of it, enabling them +to select parts of it. GREENFIELD asked if any evidence exists that this +resource will indeed teach the new user, the K-12 students, how to do +research. Scholars already know how to do research and are applying +these new tools. But he wondered why students would go beyond picking +out things that were most exciting to them. + +FREEMAN conceded the correctness of GREENFIELD's observation as applied +to a school environment. The risk is that a student would sit down at a +system, play with it, find some things of interest, and then walk away. +But in the relatively controlled situation of a school library, much will +depend on the instructions a teacher or a librarian gives a student. She +viewed the situation not as one of fine-tuning research skills but of +involving students at a personal level in understanding and researching +things. Given the guidance one can receive at school, it then becomes +possible to teach elementary research skills to students, which in fact +one particular librarian said she was teaching her fifth graders. +FREEMAN concluded that introducing the idea of following one's own path +of inquiry, which is essentially what research entails, involves more +than teaching specific skills. To these comments VECCIA added the +observation that the individual teacher and the use of a creative +resource, rather than AM itself, seemed to make the key difference. +Some schools and some teachers are making excellent use of the nature +of critical thinking and teaching skills, she said. + +Concurring with these remarks, DALY closed the session with the thought that +the more that producers produced for teachers and for scholars to use with +their students, the more successful their electronic products would prove. + + ****** + +SESSION II. SHOW AND TELL + +Jacqueline HESS, director, National Demonstration Laboratory, served as +moderator of the "show-and-tell" session. She noted that a +question-and-answer period would follow each presentation. + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +MYLONAS * Overview and content of Perseus * Perseus' primary materials +exist in a system-independent, archival form * A concession * Textual +aspects of Perseus * Tools to use with the Greek text * Prepared indices +and full-text searches in Perseus * English-Greek word search leads to +close study of words and concepts * Navigating Perseus by tracing down +indices * Using the iconography to perform research * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Elli MYLONAS, managing editor, Perseus Project, Harvard University, first +gave an overview of Perseus, a large, collaborative effort based at +Harvard University but with contributors and collaborators located at +numerous universities and colleges in the United States (e.g., Bowdoin, +Maryland, Pomona, Chicago, Virginia). Funded primarily by the +Annenberg/CPB Project, with additional funding from Apple, Harvard, and +the Packard Humanities Institute, among others, Perseus is a multimedia, +hypertextual database for teaching and research on classical Greek +civilization, which was released in February 1992 in version 1.0 and +distributed by Yale University Press. + +Consisting entirely of primary materials, Perseus includes ancient Greek +texts and translations of those texts; catalog entries--that is, museum +catalog entries, not library catalog entries--on vases, sites, coins, +sculpture, and archaeological objects; maps; and a dictionary, among +other sources. The number of objects and the objects for which catalog +entries exist are accompanied by thousands of color images, which +constitute a major feature of the database. Perseus contains +approximately 30 megabytes of text, an amount that will double in +subsequent versions. In addition to these primary materials, the Perseus +Project has been building tools for using them, making access and +navigation easier, the goal being to build part of the electronic +environment discussed earlier in the morning in which students or +scholars can work with their sources. + +The demonstration of Perseus will show only a fraction of the real work +that has gone into it, because the project had to face the dilemma of +what to enter when putting something into machine-readable form: should +one aim for very high quality or make concessions in order to get the +material in? Since Perseus decided to opt for very high quality, all of +its primary materials exist in a system-independent--insofar as it is +possible to be system-independent--archival form. Deciding what that +archival form would be and attaining it required much work and thought. +For example, all the texts are marked up in SGML, which will be made +compatible with the guidelines of the Text Encoding Initiative (TEI) when +they are issued. + +Drawings are postscript files, not meeting international standards, but +at least designed to go across platforms. Images, or rather the real +archival forms, consist of the best available slides, which are being +digitized. Much of the catalog material exists in database form--a form +that the average user could use, manipulate, and display on a personal +computer, but only at great cost. Thus, this is where the concession +comes in: All of this rich, well-marked-up information is stripped of +much of its content; the images are converted into bit-maps and the text +into small formatted chunks. All this information can then be imported +into HyperCard and run on a mid-range Macintosh, which is what Perseus +users have. This fact has made it possible for Perseus to attain wide +use fairly rapidly. Without those archival forms the HyperCard version +being demonstrated could not be made easily, and the project could not +have the potential to move to other forms and machines and software as +they appear, none of which information is in Perseus on the CD. + +Of the numerous multimedia aspects of Perseus, MYLONAS focused on the +textual. Part of what makes Perseus such a pleasure to use, MYLONAS +said, is this effort at seamless integration and the ability to move +around both visual and textual material. Perseus also made the decision +not to attempt to interpret its material any more than one interprets by +selecting. But, MYLONAS emphasized, Perseus is not courseware: No +syllabus exists. There is no effort to define how one teaches a topic +using Perseus, although the project may eventually collect papers by +people who have used it to teach. Rather, Perseus aims to provide +primary material in a kind of electronic library, an electronic sandbox, +so to say, in which students and scholars who are working on this +material can explore by themselves. With that, MYLONAS demonstrated +Perseus, beginning with the Perseus gateway, the first thing one sees +upon opening Perseus--an effort in part to solve the contextualizing +problem--which tells the user what the system contains. + +MYLONAS demonstrated only a very small portion, beginning with primary +texts and running off the CD-ROM. Having selected Aeschylus' Prometheus +Bound, which was viewable in Greek and English pretty much in the same +segments together, MYLONAS demonstrated tools to use with the Greek text, +something not possible with a book: looking up the dictionary entry form +of an unfamiliar word in Greek after subjecting it to Perseus' +morphological analysis for all the texts. After finding out about a +word, a user may then decide to see if it is used anywhere else in Greek. +Because vast amounts of indexing support all of the primary material, one +can find out where else all forms of a particular Greek word appear-- +often not a trivial matter because Greek is highly inflected. Further, +since the story of Prometheus has to do with the origins of sacrifice, a +user may wish to study and explore sacrifice in Greek literature; by +typing sacrifice into a small window, a user goes to the English-Greek +word list--something one cannot do without the computer (Perseus has +indexed the definitions of its dictionary)--the string sacrifice appears +in the definitions of these sixty-five words. One may then find out +where any of those words is used in the work(s) of a particular author. +The English definitions are not lemmatized. + +All of the indices driving this kind of usage were originally devised for +speed, MYLONAS observed; in other words, all that kind of information-- +all forms of all words, where they exist, the dictionary form they belong +to--were collected into databases, which will expedite searching. Then +it was discovered that one can do things searching in these databases +that could not be done searching in the full texts. Thus, although there +are full-text searches in Perseus, much of the work is done behind the +scenes, using prepared indices. Re the indexing that is done behind the +scenes, MYLONAS pointed out that without the SGML forms of the text, it +could not be done effectively. Much of this indexing is based on the +structures that are made explicit by the SGML tagging. + +It was found that one of the things many of Perseus' non-Greek-reading +users do is start from the dictionary and then move into the close study +of words and concepts via this kind of English-Greek word search, by which +means they might select a concept. This exercise has been assigned to +students in core courses at Harvard--to study a concept by looking for the +English word in the dictionary, finding the Greek words, and then finding +the words in the Greek but, of course, reading across in the English. +That tells them a great deal about what a translation means as well. + +Should one also wish to see images that have to do with sacrifice, that +person would go to the object key word search, which allows one to +perform a similar kind of index retrieval on the database of +archaeological objects. Without words, pictures are useless; Perseus has +not reached the point where it can do much with images that are not +cataloged. Thus, although it is possible in Perseus with text and images +to navigate by knowing where one wants to end up--for example, a +red-figure vase from the Boston Museum of Fine Arts--one can perform this +kind of navigation very easily by tracing down indices. MYLONAS +illustrated several generic scenes of sacrifice on vases. The features +demonstrated derived from Perseus 1.0; version 2.0 will implement even +better means of retrieval. + +MYLONAS closed by looking at one of the pictures and noting again that +one can do a great deal of research using the iconography as well as the +texts. For instance, students in a core course at Harvard this year were +highly interested in Greek concepts of foreigners and representations of +non-Greeks. So they performed a great deal of research, both with texts +(e.g., Herodotus) and with iconography on vases and coins, on how the +Greeks portrayed non-Greeks. At the same time, art historians who study +iconography were also interested, and were able to use this material. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Indexing and searchability of all English words in Perseus * +Several features of Perseus 1.0 * Several levels of customization +possible * Perseus used for general education * Perseus' effects on +education * Contextual information in Perseus * Main challenge and +emphasis of Perseus * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Several points emerged in the discussion that followed MYLONAS's presentation. + +Although MYLONAS had not demonstrated Perseus' ability to cross-search +documents, she confirmed that all English words in Perseus are indexed +and can be searched. So, for example, sacrifice could have been searched +in all texts, the historical essay, and all the catalogue entries with +their descriptions--in short, in all of Perseus. + +Boolean logic is not in Perseus 1.0 but will be added to the next +version, although an effort is being made not to restrict Perseus to a +database in which one just performs searching, Boolean or otherwise. It +is possible to move laterally through the documents by selecting a word +one is interested in and selecting an area of information one is +interested in and trying to look that word up in that area. + +Since Perseus was developed in HyperCard, several levels of customization +are possible. Simple authoring tools exist that allow one to create +annotated paths through the information, which are useful for note-taking +and for guided tours for teaching purposes and for expository writing. +With a little more ingenuity it is possible to begin to add or substitute +material in Perseus. + +Perseus has not been used so much for classics education as for general +education, where it seemed to have an impact on the students in the core +course at Harvard (a general required course that students must take in +certain areas). Students were able to use primary material much more. + +The Perseus Project has an evaluation team at the University of Maryland +that has been documenting Perseus' effects on education. Perseus is very +popular, and anecdotal evidence indicates that it is having an effect at +places other than Harvard, for example, test sites at Ball State +University, Drury College, and numerous small places where opportunities +to use vast amounts of primary data may not exist. One documented effect +is that archaeological, anthropological, and philological research is +being done by the same person instead of by three different people. + +The contextual information in Perseus includes an overview essay, a +fairly linear historical essay on the fifth century B.C. that provides +links into the primary material (e.g., Herodotus, Thucydides, and +Plutarch), via small gray underscoring (on the screen) of linked +passages. These are handmade links into other material. + +To different extents, most of the production work was done at Harvard, +where the people and the equipment are located. Much of the +collaborative activity involved data collection and structuring, because +the main challenge and the emphasis of Perseus is the gathering of +primary material, that is, building a useful environment for studying +classical Greece, collecting data, and making it useful. +Systems-building is definitely not the main concern. Thus, much of the +work has involved writing essays, collecting information, rewriting it, +and tagging it. That can be done off site. The creative link for the +overview essay as well as for both systems and data was collaborative, +and was forged via E-mail and paper mail with professors at Pomona and +Bowdoin. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +CALALUCA * PLD's principal focus and contribution to scholarship * +Various questions preparatory to beginning the project * Basis for +project * Basic rule in converting PLD * Concerning the images in PLD * +Running PLD under a variety of retrieval softwares * Encoding the +database a hard-fought issue * Various features demonstrated * Importance +of user documentation * Limitations of the CD-ROM version * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Eric CALALUCA, vice president, Chadwyck-Healey, Inc., demonstrated a +software interpretation of the Patrologia Latina Database (PLD). PLD's +principal focus from the beginning of the project about three-and-a-half +years ago was on converting Migne's Latin series, and in the end, +CALALUCA suggested, conversion of the text will be the major contribution +to scholarship. CALALUCA stressed that, as possibly the only private +publishing organization at the Workshop, Chadwyck-Healey had sought no +federal funds or national foundation support before embarking upon the +project, but instead had relied upon a great deal of homework and +marketing to accomplish the task of conversion. + +Ever since the possibilities of computer-searching have emerged, scholars +in the field of late ancient and early medieval studies (philosophers, +theologians, classicists, and those studying the history of natural law +and the history of the legal development of Western civilization) have +been longing for a fully searchable version of Western literature, for +example, all the texts of Augustine and Bernard of Clairvaux and +Boethius, not to mention all the secondary and tertiary authors. + +Various questions arose, CALALUCA said. Should one convert Migne? +Should the database be encoded? Is it necessary to do that? How should +it be delivered? What about CD-ROM? Since this is a transitional +medium, why even bother to create software to run on a CD-ROM? Since +everybody knows people will be networking information, why go to the +trouble--which is far greater with CD-ROM than with the production of +magnetic data? Finally, how does one make the data available? Can many +of the hurdles to using electronic information that some publishers have +imposed upon databases be eliminated? + +The PLD project was based on the principle that computer-searching of +texts is most effective when it is done with a large database. Because +PLD represented a collection that serves so many disciplines across so +many periods, it was irresistible. + +The basic rule in converting PLD was to do no harm, to avoid the sins of +intrusion in such a database: no introduction of newer editions, no +on-the-spot changes, no eradicating of all possible falsehoods from an +edition. Thus, PLD is not the final act in electronic publishing for +this discipline, but simply the beginning. The conversion of PLD has +evoked numerous unanticipated questions: How will information be used? +What about networking? Can the rights of a database be protected? +Should one protect the rights of a database? How can it be made +available? + +Those converting PLD also tried to avoid the sins of omission, that is, +excluding portions of the collections or whole sections. What about the +images? PLD is full of images, some are extremely pious +nineteenth-century representations of the Fathers, while others contain +highly interesting elements. The goal was to cover all the text of Migne +(including notes, in Greek and in Hebrew, the latter of which, in +particular, causes problems in creating a search structure), all the +indices, and even the images, which are being scanned in separately +searchable files. + +Several North American institutions that have placed acquisition requests +for the PLD database have requested it in magnetic form without software, +which means they are already running it without software, without +anything demonstrated at the Workshop. + +What cannot practically be done is go back and reconvert and re-encode +data, a time-consuming and extremely costly enterprise. CALALUCA sees +PLD as a database that can, and should, be run under a variety of +retrieval softwares. This will permit the widest possible searches. +Consequently, the need to produce a CD-ROM of PLD, as well as to develop +software that could handle some 1.3 gigabyte of heavily encoded text, +developed out of conversations with collection development and reference +librarians who wanted software both compassionate enough for the +pedestrian but also capable of incorporating the most detailed +lexicographical studies that a user desires to conduct. In the end, the +encoding and conversion of the data will prove the most enduring +testament to the value of the project. + +The encoding of the database was also a hard-fought issue: Did the +database need to be encoded? Were there normative structures for encoding +humanist texts? Should it be SGML? What about the TEI--will it last, +will it prove useful? CALALUCA expressed some minor doubts as to whether +a data bank can be fully TEI-conformant. Every effort can be made, but +in the end to be TEI-conformant means to accept the need to make some +firm encoding decisions that can, indeed, be disputed. The TEI points +the publisher in a proper direction but does not presume to make all the +decisions for him or her. Essentially, the goal of encoding was to +eliminate, as much as possible, the hindrances to information-networking, +so that if an institution acquires a database, everybody associated with +the institution can have access to it. + +CALALUCA demonstrated a portion of Volume 160, because it had the most +anomalies in it. The software was created by Electronic Book +Technologies of Providence, RI, and is called Dynatext. The software +works only with SGML-coded data. + +Viewing a table of contents on the screen, the audience saw how Dynatext +treats each element as a book and attempts to simplify movement through a +volume. Familiarity with the Patrologia in print (i.e., the text, its +source, and the editions) will make the machine-readable versions highly +useful. (Software with a Windows application was sought for PLD, +CALALUCA said, because this was the main trend for scholarly use.) + +CALALUCA also demonstrated how a user can perform a variety of searches +and quickly move to any part of a volume; the look-up screen provides +some basic, simple word-searching. + +CALALUCA argued that one of the major difficulties is not the software. +Rather, in creating a product that will be used by scholars representing +a broad spectrum of computer sophistication, user documentation proves +to be the most important service one can provide. + +CALALUCA next illustrated a truncated search under mysterium within ten +words of virtus and how one would be able to find its contents throughout +the entire database. He said that the exciting thing about PLD is that +many of the applications in the retrieval software being written for it +will exceed the capabilities of the software employed now for the CD-ROM +version. The CD-ROM faces genuine limitations, in terms of speed and +comprehensiveness, in the creation of a retrieval software to run it. +CALALUCA said he hoped that individual scholars will download the data, +if they wish, to their personal computers, and have ready access to +important texts on a constant basis, which they will be able to use in +their research and from which they might even be able to publish. + +(CALALUCA explained that the blue numbers represented Migne's column numbers, +which are the standard scholarly references. Pulling up a note, he stated +that these texts were heavily edited and the image files would appear simply +as a note as well, so that one could quickly access an image.) + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +FLEISCHHAUER/ERWAY * Several problems with which AM is still wrestling * +Various search and retrieval capabilities * Illustration of automatic +stemming and a truncated search * AM's attempt to find ways to connect +cataloging to the texts * AM's gravitation towards SGML * Striking a +balance between quantity and quality * How AM furnishes users recourse to +images * Conducting a search in a full-text environment * Macintosh and +IBM prototypes of AM * Multimedia aspects of AM * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +A demonstration of American Memory by its coordinator, Carl FLEISCHHAUER, +and Ricky ERWAY, associate coordinator, Library of Congress, concluded +the morning session. Beginning with a collection of broadsides from the +Continental Congress and the Constitutional Convention, the only text +collection in a presentable form at the time of the Workshop, FLEISCHHAUER +highlighted several of the problems with which AM is still wrestling. +(In its final form, the disk will contain two collections, not only the +broadsides but also the full text with illustrations of a set of +approximately 300 African-American pamphlets from the period 1870 to 1910.) + +As FREEMAN had explained earlier, AM has attempted to use a small amount +of interpretation to introduce collections. In the present case, the +contractor, a company named Quick Source, in Silver Spring, MD., used +software called Toolbook and put together a modestly interactive +introduction to the collection. Like the two preceding speakers, +FLEISCHHAUER argued that the real asset was the underlying collection. + +FLEISCHHAUER proceeded to describe various search and retrieval +capabilities while ERWAY worked the computer. In this particular package +the "go to" pull-down allowed the user in effect to jump out of Toolbook, +where the interactive program was located, and enter the third-party +software used by AM for this text collection, which is called Personal +Librarian. This was the Windows version of Personal Librarian, a +software application put together by a company in Rockville, Md. + +Since the broadsides came from the Revolutionary War period, a search was +conducted using the words British or war, with the default operator reset +as or. FLEISCHHAUER demonstrated both automatic stemming (which finds +other forms of the same root) and a truncated search. One of Personal +Librarian's strongest features, the relevance ranking, was represented by +a chart that indicated how often words being sought appeared in +documents, with the one receiving the most "hits" obtaining the highest +score. The "hit list" that is supplied takes the relevance ranking into +account, making the first hit, in effect, the one the software has +selected as the most relevant example. + +While in the text of one of the broadside documents, FLEISCHHAUER +remarked AM's attempt to find ways to connect cataloging to the texts, +which it does in different ways in different manifestations. In the case +shown, the cataloging was pasted on: AM took MARC records that were +written as on-line records right into one of the Library's mainframe +retrieval programs, pulled them out, and handed them off to the contractor, +who massaged them somewhat to display them in the manner shown. One of +AM's questions is, Does the cataloguing normally performed in the mainframe +work in this context, or had AM ought to think through adjustments? + +FLEISCHHAUER made the additional point that, as far as the text goes, AM +has gravitated towards SGML (he pointed to the boldface in the upper part +of the screen). Although extremely limited in its ability to translate +or interpret SGML, Personal Librarian will furnish both bold and italics +on screen; a fairly easy thing to do, but it is one of the ways in which +SGML is useful. + +Striking a balance between quantity and quality has been a major concern +of AM, with accuracy being one of the places where project staff have +felt that less than 100-percent accuracy was not unacceptable. +FLEISCHHAUER cited the example of the standard of the rekeying industry, +namely 99.95 percent; as one service bureau informed him, to go from +99.95 to 100 percent would double the cost. + +FLEISCHHAUER next demonstrated how AM furnishes users recourse to images, +and at the same time recalled LESK's pointed question concerning the +number of people who would look at those images and the number who would +work only with the text. If the implication of LESK's question was +sound, FLEISCHHAUER said, it raised the stakes for text accuracy and +reduced the value of the strategy for images. + +Contending that preservation is always a bugaboo, FLEISCHHAUER +demonstrated several images derived from a scan of a preservation +microfilm that AM had made. He awarded a grade of C at best, perhaps a +C minus or a C plus, for how well it worked out. Indeed, the matter of +learning if other people had better ideas about scanning in general, and, +in particular, scanning from microfilm, was one of the factors that drove +AM to attempt to think through the agenda for the Workshop. Skew, for +example, was one of the issues that AM in its ignorance had not reckoned +would prove so difficult. + +Further, the handling of images of the sort shown, in a desktop computer +environment, involved a considerable amount of zooming and scrolling. +Ultimately, AM staff feel that perhaps the paper copy that is printed out +might be the most useful one, but they remain uncertain as to how much +on-screen reading users will do. + +Returning to the text, FLEISCHHAUER asked viewers to imagine a person who +might be conducting a search in a full-text environment. With this +scenario, he proceeded to illustrate other features of Personal Librarian +that he considered helpful; for example, it provides the ability to +notice words as one reads. Clicking the "include" button on the bottom +of the search window pops the words that have been highlighted into the +search. Thus, a user can refine the search as he or she reads, +re-executing the search and continuing to find things in the quest for +materials. This software not only contains relevance ranking, Boolean +operators, and truncation, it also permits one to perform word algebra, +so to say, where one puts two or three words in parentheses and links +them with one Boolean operator and then a couple of words in another set +of parentheses and asks for things within so many words of others. + +Until they became acquainted recently with some of the work being done in +classics, the AM staff had not realized that a large number of the +projects that involve electronic texts were being done by people with a +profound interest in language and linguistics. Their search strategies +and thinking are oriented to those fields, as is shown in particular by +the Perseus example. As amateur historians, the AM staff were thinking +more of searching for concepts and ideas than for particular words. +Obviously, FLEISCHHAUER conceded, searching for concepts and ideas and +searching for words may be two rather closely related things. + +While displaying several images, FLEISCHHAUER observed that the Macintosh +prototype built by AM contains a greater diversity of formats. Echoing a +previous speaker, he said that it was easier to stitch things together in +the Macintosh, though it tended to be a little more anemic in search and +retrieval. AM, therefore, increasingly has been investigating +sophisticated retrieval engines in the IBM format. + +FLEISCHHAUER demonstrated several additional examples of the prototype +interfaces: One was AM's metaphor for the network future, in which a +kind of reading-room graphic suggests how one would be able to go around +to different materials. AM contains a large number of photographs in +analog video form worked up from a videodisc, which enable users to make +copies to print or incorporate in digital documents. A frame-grabber is +built into the system, making it possible to bring an image into a window +and digitize or print it out. + +FLEISCHHAUER next demonstrated sound recording, which included texts. +Recycled from a previous project, the collection included sixty 78-rpm +phonograph records of political speeches that were made during and +immediately after World War I. These constituted approximately three +hours of audio, as AM has digitized it, which occupy 150 megabytes on a +CD. Thus, they are considerably compressed. From the catalogue card, +FLEISCHHAUER proceeded to a transcript of a speech with the audio +available and with highlighted text following it as it played. +A photograph has been added and a transcription made. + +Considerable value has been added beyond what the Library of Congress +normally would do in cataloguing a sound recording, which raises several +questions for AM concerning where to draw lines about how much value it can +afford to add and at what point, perhaps, this becomes more than AM could +reasonably do or reasonably wish to do. FLEISCHHAUER also demonstrated +a motion picture. As FREEMAN had reported earlier, the motion picture +materials have proved the most popular, not surprisingly. This says more +about the medium, he thought, than about AM's presentation of it. + +Because AM's goal was to bring together things that could be used by +historians or by people who were curious about history, +turn-of-the-century footage seemed to represent the most appropriate +collections from the Library of Congress in motion pictures. These were +the very first films made by Thomas Edison's company and some others at +that time. The particular example illustrated was a Biograph film, +brought in with a frame-grabber into a window. A single videodisc +contains about fifty titles and pieces of film from that period, all of +New York City. Taken together, AM believes, they provide an interesting +documentary resource. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Using the frame-grabber in AM * Volume of material processed +and to be processed * Purpose of AM within LC * Cataloguing and the +nature of AM's material * SGML coding and the question of quality versus +quantity * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +During the question-and-answer period that followed FLEISCHHAUER's +presentation, several clarifications were made. + +AM is bringing in motion pictures from a videodisc. The frame-grabber +devices create a window on a computer screen, which permits users to +digitize a single frame of the movie or one of the photographs. It +produces a crude, rough-and-ready image that high school students can +incorporate into papers, and that has worked very nicely in this way. + +Commenting on FLEISCHHAUER's assertion that AM was looking more at +searching ideas than words, MYLONAS argued that without words an idea +does not exist. FLEISCHHAUER conceded that he ought to have articulated +his point more clearly. MYLONAS stated that they were in fact both +talking about the same thing. By searching for words and by forcing +people to focus on the word, the Perseus Project felt that they would get +them to the idea. The way one reviews results is tailored more to one +kind of user than another. + +Concerning the total volume of material that has been processed in this +way, AM at this point has in retrievable form seven or eight collections, +all of them photographic. In the Macintosh environment, for example, +there probably are 35,000-40,000 photographs. The sound recordings +number sixty items. The broadsides number about 300 items. There are +500 political cartoons in the form of drawings. The motion pictures, as +individual items, number sixty to seventy. + +AM also has a manuscript collection, the life history portion of one of +the federal project series, which will contain 2,900 individual +documents, all first-person narratives. AM has in process about 350 +African-American pamphlets, or about 12,000 printed pages for the period +1870-1910. Also in the works are some 4,000 panoramic photographs. AM +has recycled a fair amount of the work done by LC's Prints and +Photographs Division during the Library's optical disk pilot project in +the 1980s. For example, a special division of LC has tooled up and +thought through all the ramifications of electronic presentation of +photographs. Indeed, they are wheeling them out in great barrel loads. +The purpose of AM within the Library, it is hoped, is to catalyze several +of the other special collection divisions which have no particular +experience with, in some cases, mixed feelings about, an activity such as +AM. Moreover, in many cases the divisions may be characterized as not +only lacking experience in "electronifying" things but also in automated +cataloguing. MARC cataloguing as practiced in the United States is +heavily weighted toward the description of monograph and serial +materials, but is much thinner when one enters the world of manuscripts +and things that are held in the Library's music collection and other +units. In response to a comment by LESK, that AM's material is very +heavily photographic, and is so primarily because individual records have +been made for each photograph, FLEISCHHAUER observed that an item-level +catalog record exists, for example, for each photograph in the Detroit +Publishing collection of 25,000 pictures. In the case of the Federal +Writers Project, for which nearly 3,000 documents exist, representing +information from twenty-six different states, AM with the assistance of +Karen STUART of the Manuscript Division will attempt to find some way not +only to have a collection-level record but perhaps a MARC record for each +state, which will then serve as an umbrella for the 100-200 documents +that come under it. But that drama remains to be enacted. The AM staff +is conservative and clings to cataloguing, though of course visitors tout +artificial intelligence and neural networks in a manner that suggests that +perhaps one need not have cataloguing or that much of it could be put aside. + +The matter of SGML coding, FLEISCHHAUER conceded, returned the discussion +to the earlier treated question of quality versus quantity in the Library +of Congress. Of course, text conversion can be done with 100-percent +accuracy, but it means that when one's holdings are as vast as LC's only +a tiny amount will be exposed, whereas permitting lower levels of +accuracy can lead to exposing or sharing larger amounts, but with the +quality correspondingly impaired. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +TWOHIG * A contrary experience concerning electronic options * Volume of +material in the Washington papers and a suggestion of David Packard * +Implications of Packard's suggestion * Transcribing the documents for the +CD-ROM * Accuracy of transcriptions * The CD-ROM edition of the Founding +Fathers documents * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Finding encouragement in a comment of MICHELSON's from the morning +session--that numerous people in the humanities were choosing electronic +options to do their work--Dorothy TWOHIG, editor, The Papers of George +Washington, opened her illustrated talk by noting that her experience +with literary scholars and numerous people in editing was contrary to +MICHELSON's. TWOHIG emphasized literary scholars' complete ignorance of +the technological options available to them or their reluctance or, in +some cases, their downright hostility toward these options. + +After providing an overview of the five Founding Fathers projects +(Jefferson at Princeton, Franklin at Yale, John Adams at the +Massachusetts Historical Society, and Madison down the hall from her at +the University of Virginia), TWOHIG observed that the Washington papers, +like all of the projects, include both sides of the Washington +correspondence and deal with some 135,000 documents to be published with +extensive annotation in eighty to eighty-five volumes, a project that +will not be completed until well into the next century. Thus, it was +with considerable enthusiasm several years ago that the Washington Papers +Project (WPP) greeted David Packard's suggestion that the papers of the +Founding Fathers could be published easily and inexpensively, and to the +great benefit of American scholarship, via CD-ROM. + +In pragmatic terms, funding from the Packard Foundation would expedite +the transcription of thousands of documents waiting to be put on disk in +the WPP offices. Further, since the costs of collecting, editing, and +converting the Founding Fathers documents into letterpress editions were +running into the millions of dollars, and the considerable staffs +involved in all of these projects were devoting their careers to +producing the work, the Packard Foundation's suggestion had a +revolutionary aspect: Transcriptions of the entire corpus of the +Founding Fathers papers would be available on CD-ROM to public and +college libraries, even high schools, at a fraction of the cost-- +$100-$150 for the annual license fee--to produce a limited university +press run of 1,000 of each volume of the published papers at $45-$150 per +printed volume. Given the current budget crunch in educational systems +and the corresponding constraints on librarians in smaller institutions +who wish to add these volumes to their collections, producing the +documents on CD-ROM would likely open a greatly expanded audience for the +papers. TWOHIG stressed, however, that development of the Founding +Fathers CD-ROM is still in its infancy. Serious software problems remain +to be resolved before the material can be put into readable form. + +Funding from the Packard Foundation resulted in a major push to +transcribe the 75,000 or so documents of the Washington papers remaining +to be transcribed onto computer disks. Slides illustrated several of the +problems encountered, for example, the present inability of CD-ROM to +indicate the cross-outs (deleted material) in eighteenth century +documents. TWOHIG next described documents from various periods in the +eighteenth century that have been transcribed in chronological order and +delivered to the Packard offices in California, where they are converted +to the CD-ROM, a process that is expected to consume five years to +complete (that is, reckoning from David Packard's suggestion made several +years ago, until about July 1994). TWOHIG found an encouraging +indication of the project's benefits in the ongoing use made by scholars +of the search functions of the CD-ROM, particularly in reducing the time +spent in manually turning the pages of the Washington papers. + +TWOHIG next furnished details concerning the accuracy of transcriptions. +For instance, the insertion of thousands of documents on the CD-ROM +currently does not permit each document to be verified against the +original manuscript several times as in the case of documents that appear +in the published edition. However, the transcriptions receive a cursory +check for obvious typos, the misspellings of proper names, and other +errors from the WPP CD-ROM editor. Eventually, all documents that appear +in the electronic version will be checked by project editors. Although +this process has met with opposition from some of the editors on the +grounds that imperfect work may leave their offices, the advantages in +making this material available as a research tool outweigh fears about the +misspelling of proper names and other relatively minor editorial matters. + +Completion of all five Founding Fathers projects (i.e., retrievability +and searchability of all of the documents by proper names, alternate +spellings, or varieties of subjects) will provide one of the richest +sources of this size for the history of the United States in the latter +part of the eighteenth century. Further, publication on CD-ROM will +allow editors to include even minutiae, such as laundry lists, not +included in the printed volumes. + +It seems possible that the extensive annotation provided in the printed +volumes eventually will be added to the CD-ROM edition, pending +negotiations with the publishers of the papers. At the moment, the +Founding Fathers CD-ROM is accessible only on the IBYCUS, a computer +developed out of the Thesaurus Linguae Graecae project and designed for +the use of classical scholars. There are perhaps 400 IBYCUS computers in +the country, most of which are in university classics departments. +Ultimately, it is anticipated that the CD-ROM edition of the Founding +Fathers documents will run on any IBM-compatible or Macintosh computer +with a CD-ROM drive. Numerous changes in the software will also occur +before the project is completed. (Editor's note: an IBYCUS was +unavailable to demonstrate the CD-ROM.) + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Several additional features of WPP clarified * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Discussion following TWOHIG's presentation served to clarify several +additional features, including (1) that the project's primary +intellectual product consists in the electronic transcription of the +material; (2) that the text transmitted to the CD-ROM people is not +marked up; (3) that cataloging and subject-indexing of the material +remain to be worked out (though at this point material can be retrieved +by name); and (4) that because all the searching is done in the hardware, +the IBYCUS is designed to read a CD-ROM which contains only sequential +text files. Technically, it then becomes very easy to read the material +off and put it on another device. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +LEBRON * Overview of the history of the joint project between AAAS and +OCLC * Several practices the on-line environment shares with traditional +publishing on hard copy * Several technical and behavioral barriers to +electronic publishing * How AAAS and OCLC arrived at the subject of +clinical trials * Advantages of the electronic format and other features +of OJCCT * An illustrated tour of the journal * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Maria LEBRON, managing editor, The Online Journal of Current Clinical +Trials (OJCCT), presented an illustrated overview of the history of the +joint project between the American Association for the Advancement of +Science (AAAS) and the Online Computer Library Center, Inc. (OCLC). The +joint venture between AAAS and OCLC owes its beginning to a +reorganization launched by the new chief executive officer at OCLC about +three years ago and combines the strengths of these two disparate +organizations. In short, OJCCT represents the process of scholarly +publishing on line. + +LEBRON next discussed several practices the on-line environment shares +with traditional publishing on hard copy--for example, peer review of +manuscripts--that are highly important in the academic world. LEBRON +noted in particular the implications of citation counts for tenure +committees and grants committees. In the traditional hard-copy +environment, citation counts are readily demonstrable, whereas the +on-line environment represents an ethereal medium to most academics. + +LEBRON remarked several technical and behavioral barriers to electronic +publishing, for instance, the problems in transmission created by special +characters or by complex graphics and halftones. In addition, she noted +economic limitations such as the storage costs of maintaining back issues +and market or audience education. + +Manuscripts cannot be uploaded to OJCCT, LEBRON explained, because it is +not a bulletin board or E-mail, forms of electronic transmission of +information that have created an ambience clouding people's understanding +of what the journal is attempting to do. OJCCT, which publishes +peer-reviewed medical articles dealing with the subject of clinical +trials, includes text, tabular material, and graphics, although at this +time it can transmit only line illustrations. + +Next, LEBRON described how AAAS and OCLC arrived at the subject of +clinical trials: It is 1) a highly statistical discipline that 2) does +not require halftones but can satisfy the needs of its audience with line +illustrations and graphic material, and 3) there is a need for the speedy +dissemination of high-quality research results. Clinical trials are +research activities that involve the administration of a test treatment +to some experimental unit in order to test its usefulness before it is +made available to the general population. LEBRON proceeded to give +additional information on OJCCT concerning its editor-in-chief, editorial +board, editorial content, and the types of articles it publishes +(including peer-reviewed research reports and reviews), as well as +features shared by other traditional hard-copy journals. + +Among the advantages of the electronic format are faster dissemination of +information, including raw data, and the absence of space constraints +because pages do not exist. (This latter fact creates an interesting +situation when it comes to citations.) Nor are there any issues. AAAS's +capacity to download materials directly from the journal to a +subscriber's printer, hard drive, or floppy disk helps ensure highly +accurate transcription. Other features of OJCCT include on-screen alerts +that allow linkage of subsequently published documents to the original +documents; on-line searching by subject, author, title, etc.; indexing of +every single word that appears in an article; viewing access to an +article by component (abstract, full text, or graphs); numbered +paragraphs to replace page counts; publication in Science every thirty +days of indexing of all articles published in the journal; +typeset-quality screens; and Hypertext links that enable subscribers to +bring up Medline abstracts directly without leaving the journal. + +After detailing the two primary ways to gain access to the journal, +through the OCLC network and Compuserv if one desires graphics or through +the Internet if just an ASCII file is desired, LEBRON illustrated the +speedy editorial process and the coding of the document using SGML tags +after it has been accepted for publication. She also gave an illustrated +tour of the journal, its search-and-retrieval capabilities in particular, +but also including problems associated with scanning in illustrations, +and the importance of on-screen alerts to the medical profession re +retractions or corrections, or more frequently, editorials, letters to +the editors, or follow-up reports. She closed by inviting the audience +to join AAAS on 1 July, when OJCCT was scheduled to go on-line. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Additional features of OJCCT * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +In the lengthy discussion that followed LEBRON's presentation, these +points emerged: + + * The SGML text can be tailored as users wish. + + * All these articles have a fairly simple document definition. + + * Document-type definitions (DTDs) were developed and given to OJCCT + for coding. + + * No articles will be removed from the journal. (Because there are + no back issues, there are no lost issues either. Once a subscriber + logs onto the journal he or she has access not only to the currently + published materials, but retrospectively to everything that has been + published in it. Thus the table of contents grows bigger. The date + of publication serves to distinguish between currently published + materials and older materials.) + + * The pricing system for the journal resembles that for most medical + journals: for 1992, $95 for a year, plus telecommunications charges + (there are no connect time charges); for 1993, $110 for the + entire year for single users, though the journal can be put on a + local area network (LAN). However, only one person can access the + journal at a time. Site licenses may come in the future. + + * AAAS is working closely with colleagues at OCLC to display + mathematical equations on screen. + + * Without compromising any steps in the editorial process, the + technology has reduced the time lag between when a manuscript is + originally submitted and the time it is accepted; the review process + does not differ greatly from the standard six-to-eight weeks + employed by many of the hard-copy journals. The process still + depends on people. + + * As far as a preservation copy is concerned, articles will be + maintained on the computer permanently and subscribers, as part of + their subscription, will receive a microfiche-quality archival copy + of everything published during that year; in addition, reprints can + be purchased in much the same way as in a hard-copy environment. + Hard copies are prepared but are not the primary medium for the + dissemination of the information. + + * Because OJCCT is not yet on line, it is difficult to know how many + people would simply browse through the journal on the screen as + opposed to downloading the whole thing and printing it out; a mix of + both types of users likely will result. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +PERSONIUS * Developments in technology over the past decade * The CLASS +Project * Advantages for technology and for the CLASS Project * +Developing a network application an underlying assumption of the project +* Details of the scanning process * Print-on-demand copies of books * +Future plans include development of a browsing tool * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Lynne PERSONIUS, assistant director, Cornell Information Technologies for +Scholarly Information Services, Cornell University, first commented on +the tremendous impact that developments in technology over the past ten +years--networking, in particular--have had on the way information is +handled, and how, in her own case, these developments have counterbalanced +Cornell's relative geographical isolation. Other significant technologies +include scanners, which are much more sophisticated than they were ten years +ago; mass storage and the dramatic savings that result from it in terms of +both space and money relative to twenty or thirty years ago; new and +improved printing technologies, which have greatly affected the distribution +of information; and, of course, digital technologies, whose applicability to +library preservation remains at issue. + +Given that context, PERSONIUS described the College Library Access and +Storage System (CLASS) Project, a library preservation project, +primarily, and what has been accomplished. Directly funded by the +Commission on Preservation and Access and by the Xerox Corporation, which +has provided a significant amount of hardware, the CLASS Project has been +working with a development team at Xerox to develop a software +application tailored to library preservation requirements. Within +Cornell, participants in the project have been working jointly with both +library and information technologies. The focus of the project has been +on reformatting and saving books that are in brittle condition. +PERSONIUS showed Workshop participants a brittle book, and described how +such books were the result of developments in papermaking around the +beginning of the Industrial Revolution. The papermaking process was +changed so that a significant amount of acid was introduced into the +actual paper itself, which deteriorates as it sits on library shelves. + +One of the advantages for technology and for the CLASS Project is that +the information in brittle books is mostly out of copyright and thus +offers an opportunity to work with material that requires library +preservation, and to create and work on an infrastructure to save the +material. Acknowledging the familiarity of those working in preservation +with this information, PERSONIUS noted that several things are being +done: the primary preservation technology used today is photocopying of +brittle material. Saving the intellectual content of the material is the +main goal. With microfilm copy, the intellectual content is preserved on +the assumption that in the future the image can be reformatted in any +other way that then exists. + +An underlying assumption of the CLASS Project from the beginning was +that it would develop a network application. Project staff scan books +at a workstation located in the library, near the brittle material. +An image-server filing system is located at a distance from that +workstation, and a printer is located in another building. All of the +materials digitized and stored on the image-filing system are cataloged +in the on-line catalogue. In fact, a record for each of these electronic +books is stored in the RLIN database so that a record exists of what is +in the digital library throughout standard catalogue procedures. In the +future, researchers working from their own workstations in their offices, +or their networks, will have access--wherever they might be--through a +request server being built into the new digital library. A second +assumption is that the preferred means of finding the material will be by +looking through a catalogue. PERSONIUS described the scanning process, +which uses a prototype scanner being developed by Xerox and which scans a +very high resolution image at great speed. Another significant feature, +because this is a preservation application, is the placing of the pages +that fall apart one for one on the platen. Ordinarily, a scanner could +be used with some sort of a document feeder, but because of this +application that is not feasible. Further, because CLASS is a +preservation application, after the paper replacement is made there, a +very careful quality control check is performed. An original book is +compared to the printed copy and verification is made, before proceeding, +that all of the image, all of the information, has been captured. Then, +a new library book is produced: The printed images are rebound by a +commercial binder and a new book is returned to the shelf. +Significantly, the books returned to the library shelves are beautiful +and useful replacements on acid-free paper that should last a long time, +in effect, the equivalent of preservation photocopies. Thus, the project +has a library of digital books. In essence, CLASS is scanning and +storing books as 600 dot-per-inch bit-mapped images, compressed using +Group 4 CCITT (i.e., the French acronym for International Consultative +Committee for Telegraph and Telephone) compression. They are stored as +TIFF files on an optical filing system that is composed of a database +used for searching and locating the books and an optical jukebox that +stores 64 twelve-inch platters. A very-high-resolution printed copy of +these books at 600 dots per inch is created, using a Xerox DocuTech +printer to make the paper replacements on acid-free paper. + +PERSONIUS maintained that the CLASS Project presents an opportunity to +introduce people to books as digital images by using a paper medium. +Books are returned to the shelves while people are also given the ability +to print on demand--to make their own copies of books. (PERSONIUS +distributed copies of an engineering journal published by engineering +students at Cornell around 1900 as an example of what a print-on-demand +copy of material might be like. This very cheap copy would be available +to people to use for their own research purposes and would bridge the gap +between an electronic work and the paper that readers like to have.) +PERSONIUS then attempted to illustrate a very early prototype of +networked access to this digital library. Xerox Corporation has +developed a prototype of a view station that can send images across the +network to be viewed. + +The particular library brought down for demonstration contained two +mathematics books. CLASS is developing and will spend the next year +developing an application that allows people at workstations to browse +the books. Thus, CLASS is developing a browsing tool, on the assumption +that users do not want to read an entire book from a workstation, but +would prefer to be able to look through and decide if they would like to +have a printed copy of it. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Re retrieval software * "Digital file copyright" * Scanning +rate during production * Autosegmentation * Criteria employed in +selecting books for scanning * Compression and decompression of images * +OCR not precluded * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +During the question-and-answer period that followed her presentation, +PERSONIUS made these additional points: + + * Re retrieval software, Cornell is developing a Unix-based server + as well as clients for the server that support multiple platforms + (Macintosh, IBM and Sun workstations), in the hope that people from + any of those platforms will retrieve books; a further operating + assumption is that standard interfaces will be used as much as + possible, where standards can be put in place, because CLASS + considers this retrieval software a library application and would + like to be able to look at material not only at Cornell but at other + institutions. + + * The phrase "digital file copyright by Cornell University" was + added at the advice of Cornell's legal staff with the caveat that it + probably would not hold up in court. Cornell does not want people + to copy its books and sell them but would like to keep them + available for use in a library environment for library purposes. + + * In production the scanner can scan about 300 pages per hour, + capturing 600 dots per inch. + + * The Xerox software has filters to scan halftone material and avoid + the moire patterns that occur when halftone material is scanned. + Xerox has been working on hardware and software that would enable + the scanner itself to recognize this situation and deal with it + appropriately--a kind of autosegmentation that would enable the + scanner to handle halftone material as well as text on a single page. + + * The books subjected to the elaborate process described above were + selected because CLASS is a preservation project, with the first 500 + books selected coming from Cornell's mathematics collection, because + they were still being heavily used and because, although they were + in need of preservation, the mathematics library and the mathematics + faculty were uncomfortable having them microfilmed. (They wanted a + printed copy.) Thus, these books became a logical choice for this + project. Other books were chosen by the project's selection committees + for experiments with the technology, as well as to meet a demand or need. + + * Images will be decompressed before they are sent over the line; at + this time they are compressed and sent to the image filing system + and then sent to the printer as compressed images; they are returned + to the workstation as compressed 600-dpi images and the workstation + decompresses and scales them for display--an inefficient way to + access the material though it works quite well for printing and + other purposes. + + * CLASS is also decompressing on Macintosh and IBM, a slow process + right now. Eventually, compression and decompression will take + place on an image conversion server. Trade-offs will be made, based + on future performance testing, concerning where the file is + compressed and what resolution image is sent. + + * OCR has not been precluded; images are being stored that have been + scanned at a high resolution, which presumably would suit them well + to an OCR process. Because the material being scanned is about 100 + years old and was printed with less-than-ideal technologies, very + early and preliminary tests have not produced good results. But the + project is capturing an image that is of sufficient resolution to be + subjected to OCR in the future. Moreover, the system architecture + and the system plan have a logical place to store an OCR image if it + has been captured. But that is not being done now. + + ****** + +SESSION III. DISTRIBUTION, NETWORKS, AND NETWORKING: OPTIONS FOR +DISSEMINATION + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +ZICH * Issues pertaining to CD-ROMs * Options for publishing in CD-ROM * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Robert ZICH, special assistant to the associate librarian for special +projects, Library of Congress, and moderator of this session, first noted +the blessed but somewhat awkward circumstance of having four very +distinguished people representing networks and networking or at least +leaning in that direction, while lacking anyone to speak from the +strongest possible background in CD-ROMs. ZICH expressed the hope that +members of the audience would join the discussion. He stressed the +subtitle of this particular session, "Options for Dissemination," and, +concerning CD-ROMs, the importance of determining when it would be wise +to consider dissemination in CD-ROM versus networks. A shopping list of +issues pertaining to CD-ROMs included: the grounds for selecting +commercial publishers, and in-house publication where possible versus +nonprofit or government publication. A similar list for networks +included: determining when one should consider dissemination through a +network, identifying the mechanisms or entities that exist to place items +on networks, identifying the pool of existing networks, determining how a +producer would choose between networks, and identifying the elements of +a business arrangement in a network. + +Options for publishing in CD-ROM: an outside publisher versus +self-publication. If an outside publisher is used, it can be nonprofit, +such as the Government Printing Office (GPO) or the National Technical +Information Service (NTIS), in the case of government. The pros and cons +associated with employing an outside publisher are obvious. Among the +pros, there is no trouble getting accepted. One pays the bill and, in +effect, goes one's way. Among the cons, when one pays an outside +publisher to perform the work, that publisher will perform the work it is +obliged to do, but perhaps without the production expertise and skill in +marketing and dissemination that some would seek. There is the body of +commercial publishers that do possess that kind of expertise in +distribution and marketing but that obviously are selective. In +self-publication, one exercises full control, but then one must handle +matters such as distribution and marketing. Such are some of the options +for publishing in the case of CD-ROM. + +In the case of technical and design issues, which are also important, +there are many matters which many at the Workshop already knew a good +deal about: retrieval system requirements and costs, what to do about +images, the various capabilities and platforms, the trade-offs between +cost and performance, concerns about local-area networkability, +interoperability, etc. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +LYNCH * Creating networked information is different from using networks +as an access or dissemination vehicle * Networked multimedia on a large +scale does not yet work * Typical CD-ROM publication model a two-edged +sword * Publishing information on a CD-ROM in the present world of +immature standards * Contrast between CD-ROM and network pricing * +Examples demonstrated earlier in the day as a set of insular information +gems * Paramount need to link databases * Layering to become increasingly +necessary * Project NEEDS and the issues of information reuse and active +versus passive use * X-Windows as a way of differentiating between +network access and networked information * Barriers to the distribution +of networked multimedia information * Need for good, real-time delivery +protocols * The question of presentation integrity in client-server +computing in the academic world * Recommendations for producing multimedia ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Clifford LYNCH, director, Library Automation, University of California, +opened his talk with the general observation that networked information +constituted a difficult and elusive topic because it is something just +starting to develop and not yet fully understood. LYNCH contended that +creating genuinely networked information was different from using +networks as an access or dissemination vehicle and was more sophisticated +and more subtle. He invited the members of the audience to extrapolate, +from what they heard about the preceding demonstration projects, to what +sort of a world of electronics information--scholarly, archival, +cultural, etc.--they wished to end up with ten or fifteen years from now. +LYNCH suggested that to extrapolate directly from these projects would +produce unpleasant results. + +Putting the issue of CD-ROM in perspective before getting into +generalities on networked information, LYNCH observed that those engaged +in multimedia today who wish to ship a product, so to say, probably do +not have much choice except to use CD-ROM: networked multimedia on a +large scale basically does not yet work because the technology does not +exist. For example, anybody who has tried moving images around over the +Internet knows that this is an exciting touch-and-go process, a +fascinating and fertile area for experimentation, research, and +development, but not something that one can become deeply enthusiastic +about committing to production systems at this time. + +This situation will change, LYNCH said. He differentiated CD-ROM from +the practices that have been followed up to now in distributing data on +CD-ROM. For LYNCH the problem with CD-ROM is not its portability or its +slowness but the two-edged sword of having the retrieval application and +the user interface inextricably bound up with the data, which is the +typical CD-ROM publication model. It is not a case of publishing data +but of distributing a typically stand-alone, typically closed system, +all--software, user interface, and data--on a little disk. Hence, all +the between-disk navigational issues as well as the impossibility in most +cases of integrating data on one disk with that on another. Most CD-ROM +retrieval software does not network very gracefully at present. However, +in the present world of immature standards and lack of understanding of +what network information is or what the ground rules are for creating or +using it, publishing information on a CD-ROM does add value in a very +real sense. + +LYNCH drew a contrast between CD-ROM and network pricing and in doing so +highlighted something bizarre in information pricing. A large +institution such as the University of California has vendors who will +offer to sell information on CD-ROM for a price per year in four digits, +but for the same data (e.g., an abstracting and indexing database) on +magnetic tape, regardless of how many people may use it concurrently, +will quote a price in six digits. + +What is packaged with the CD-ROM in one sense adds value--a complete +access system, not just raw, unrefined information--although it is not +generally perceived that way. This is because the access software, +although it adds value, is viewed by some people, particularly in the +university environment where there is a very heavy commitment to +networking, as being developed in the wrong direction. + +Given that context, LYNCH described the examples demonstrated as a set of +insular information gems--Perseus, for example, offers nicely linked +information, but would be very difficult to integrate with other +databases, that is, to link together seamlessly with other source files +from other sources. It resembles an island, and in this respect is +similar to numerous stand-alone projects that are based on videodiscs, +that is, on the single-workstation concept. + +As scholarship evolves in a network environment, the paramount need will +be to link databases. We must link personal databases to public +databases, to group databases, in fairly seamless ways--which is +extremely difficult in the environments under discussion with copies of +databases proliferating all over the place. + +The notion of layering also struck LYNCH as lurking in several of the +projects demonstrated. Several databases in a sense constitute +information archives without a significant amount of navigation built in. +Educators, critics, and others will want a layered structure--one that +defines or links paths through the layers to allow users to reach +specific points. In LYNCH's view, layering will become increasingly +necessary, and not just within a single resource but across resources +(e.g., tracing mythology and cultural themes across several classics +databases as well as a database of Renaissance culture). This ability to +organize resources, to build things out of multiple other things on the +network or select pieces of it, represented for LYNCH one of the key +aspects of network information. + +Contending that information reuse constituted another significant issue, +LYNCH commended to the audience's attention Project NEEDS (i.e., National +Engineering Education Delivery System). This project's objective is to +produce a database of engineering courseware as well as the components +that can be used to develop new courseware. In a number of the existing +applications, LYNCH said, the issue of reuse (how much one can take apart +and reuse in other applications) was not being well considered. He also +raised the issue of active versus passive use, one aspect of which is +how much information will be manipulated locally by users. Most people, +he argued, may do a little browsing and then will wish to print. LYNCH +was uncertain how these resources would be used by the vast majority of +users in the network environment. + +LYNCH next said a few words about X-Windows as a way of differentiating +between network access and networked information. A number of the +applications demonstrated at the Workshop could be rewritten to use X +across the network, so that one could run them from any X-capable device- +-a workstation, an X terminal--and transact with a database across the +network. Although this opens up access a little, assuming one has enough +network to handle it, it does not provide an interface to develop a +program that conveniently integrates information from multiple databases. +X is a viewing technology that has limits. In a real sense, it is just a +graphical version of remote log-in across the network. X-type applications +represent only one step in the progression towards real access. + +LYNCH next discussed barriers to the distribution of networked multimedia +information. The heart of the problem is a lack of standards to provide +the ability for computers to talk to each other, retrieve information, +and shuffle it around fairly casually. At the moment, little progress is +being made on standards for networked information; for example, present +standards do not cover images, digital voice, and digital video. A +useful tool kit of exchange formats for basic texts is only now being +assembled. The synchronization of content streams (i.e., synchronizing a +voice track to a video track, establishing temporal relations between +different components in a multimedia object) constitutes another issue +for networked multimedia that is just beginning to receive attention. + +Underlying network protocols also need some work; good, real-time +delivery protocols on the Internet do not yet exist. In LYNCH's view, +highly important in this context is the notion of networked digital +object IDs, the ability of one object on the network to point to another +object (or component thereof) on the network. Serious bandwidth issues +also exist. LYNCH was uncertain if billion-bit-per-second networks would +prove sufficient if numerous people ran video in parallel. + +LYNCH concluded by offering an issue for database creators to consider, +as well as several comments about what might constitute good trial +multimedia experiments. In a networked information world the database +builder or service builder (publisher) does not exercise the same +extensive control over the integrity of the presentation; strange +programs "munge" with one's data before the user sees it. Serious +thought must be given to what guarantees integrity of presentation. Part +of that is related to where one draws the boundaries around a networked +information service. This question of presentation integrity in +client-server computing has not been stressed enough in the academic +world, LYNCH argued, though commercial service providers deal with it +regularly. + +Concerning multimedia, LYNCH observed that good multimedia at the moment +is hideously expensive to produce. He recommended producing multimedia +with either very high sale value, or multimedia with a very long life +span, or multimedia that will have a very broad usage base and whose +costs therefore can be amortized among large numbers of users. In this +connection, historical and humanistically oriented material may be a good +place to start, because it tends to have a longer life span than much of +the scientific material, as well as a wider user base. LYNCH noted, for +example, that American Memory fits many of the criteria outlined. He +remarked the extensive discussion about bringing the Internet or the +National Research and Education Network (NREN) into the K-12 environment +as a way of helping the American educational system. + +LYNCH closed by noting that the kinds of applications demonstrated struck +him as excellent justifications of broad-scale networking for K-12, but +that at this time no "killer" application exists to mobilize the K-12 +community to obtain connectivity. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Dearth of genuinely interesting applications on the network +a slow-changing situation * The issue of the integrity of presentation in +a networked environment * Several reasons why CD-ROM software does not +network * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +During the discussion period that followed LYNCH's presentation, several +additional points were made. + +LYNCH reiterated even more strongly his contention that, historically, +once one goes outside high-end science and the group of those who need +access to supercomputers, there is a great dearth of genuinely +interesting applications on the network. He saw this situation changing +slowly, with some of the scientific databases and scholarly discussion +groups and electronic journals coming on as well as with the availability +of Wide Area Information Servers (WAIS) and some of the databases that +are being mounted there. However, many of those things do not seem to +have piqued great popular interest. For instance, most high school +students of LYNCH's acquaintance would not qualify as devotees of serious +molecular biology. + +Concerning the issue of the integrity of presentation, LYNCH believed +that a couple of information providers have laid down the law at least on +certain things. For example, his recollection was that the National +Library of Medicine feels strongly that one needs to employ the +identifier field if he or she is to mount a database commercially. The +problem with a real networked environment is that one does not know who +is reformatting and reprocessing one's data when one enters a client +server mode. It becomes anybody's guess, for example, if the network +uses a Z39.50 server, or what clients are doing with one's data. A data +provider can say that his contract will only permit clients to have +access to his data after he vets them and their presentation and makes +certain it suits him. But LYNCH held out little expectation that the +network marketplace would evolve in that way, because it required too +much prior negotiation. + +CD-ROM software does not network for a variety of reasons, LYNCH said. +He speculated that CD-ROM publishers are not eager to have their products +really hook into wide area networks, because they fear it will make their +data suppliers nervous. Moreover, until relatively recently, one had to +be rather adroit to run a full TCP/IP stack plus applications on a +PC-size machine, whereas nowadays it is becoming easier as PCs grow +bigger and faster. LYNCH also speculated that software providers had not +heard from their customers until the last year or so, or had not heard +from enough of their customers. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +BESSER * Implications of disseminating images on the network; planning +the distribution of multimedia documents poses two critical +implementation problems * Layered approach represents the way to deal +with users' capabilities * Problems in platform design; file size and its +implications for networking * Transmission of megabyte size images +impractical * Compression and decompression at the user's end * Promising +trends for compression * A disadvantage of using X-Windows * A project at +the Smithsonian that mounts images on several networks * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Howard BESSER, School of Library and Information Science, University of +Pittsburgh, spoke primarily about multimedia, focusing on images and the +broad implications of disseminating them on the network. He argued that +planning the distribution of multimedia documents posed two critical +implementation problems, which he framed in the form of two questions: +1) What platform will one use and what hardware and software will users +have for viewing of the material? and 2) How can one deliver a +sufficiently robust set of information in an accessible format in a +reasonable amount of time? Depending on whether network or CD-ROM is the +medium used, this question raises different issues of storage, +compression, and transmission. + +Concerning the design of platforms (e.g., sound, gray scale, simple +color, etc.) and the various capabilities users may have, BESSER +maintained that a layered approach was the way to deal with users' +capabilities. A result would be that users with less powerful +workstations would simply have less functionality. He urged members of +the audience to advocate standards and accompanying software that handle +layered functionality across a wide variety of platforms. + +BESSER also addressed problems in platform design, namely, deciding how +large a machine to design for situations when the largest number of users +have the lowest level of the machine, and one desires higher +functionality. BESSER then proceeded to the question of file size and +its implications for networking. He discussed still images in the main. +For example, a digital color image that fills the screen of a standard +mega-pel workstation (Sun or Next) will require one megabyte of storage +for an eight-bit image or three megabytes of storage for a true color or +twenty-four-bit image. Lossless compression algorithms (that is, +computational procedures in which no data is lost in the process of +compressing [and decompressing] an image--the exact bit-representation is +maintained) might bring storage down to a third of a megabyte per image, +but not much further than that. The question of size makes it difficult +to fit an appropriately sized set of these images on a single disk or to +transmit them quickly enough on a network. + +With these full screen mega-pel images that constitute a third of a +megabyte, one gets 1,000-3,000 full-screen images on a one-gigabyte disk; +a standard CD-ROM represents approximately 60 percent of that. Storing +images the size of a PC screen (just 8 bit color) increases storage +capacity to 4,000-12,000 images per gigabyte; 60 percent of that gives +one the size of a CD-ROM, which in turn creates a major problem. One +cannot have full-screen, full-color images with lossless compression; one +must compress them or use a lower resolution. For megabyte-size images, +anything slower than a T-1 speed is impractical. For example, on a +fifty-six-kilobaud line, it takes three minutes to transfer a +one-megabyte file, if it is not compressed; and this speed assumes ideal +circumstances (no other user contending for network bandwidth). Thus, +questions of disk access, remote display, and current telephone +connection speed make transmission of megabyte-size images impractical. + +BESSER then discussed ways to deal with these large images, for example, +compression and decompression at the user's end. In this connection, the +issues of how much one is willing to lose in the compression process and +what image quality one needs in the first place are unknown. But what is +known is that compression entails some loss of data. BESSER urged that +more studies be conducted on image quality in different situations, for +example, what kind of images are needed for what kind of disciplines, and +what kind of image quality is needed for a browsing tool, an intermediate +viewing tool, and archiving. + +BESSER remarked two promising trends for compression: from a technical +perspective, algorithms that use what is called subjective redundancy +employ principles from visual psycho-physics to identify and remove +information from the image that the human eye cannot perceive; from an +interchange and interoperability perspective, the JPEG (i.e., Joint +Photographic Experts Group, an ISO standard) compression algorithms also +offer promise. These issues of compression and decompression, BESSER +argued, resembled those raised earlier concerning the design of different +platforms. Gauging the capabilities of potential users constitutes a +primary goal. BESSER advocated layering or separating the images from +the applications that retrieve and display them, to avoid tying them to +particular software. + +BESSER detailed several lessons learned from his work at Berkeley with +Imagequery, especially the advantages and disadvantages of using +X-Windows. In the latter category, for example, retrieval is tied +directly to one's data, an intolerable situation in the long run on a +networked system. Finally, BESSER described a project of Jim Wallace at +the Smithsonian Institution, who is mounting images in a extremely +rudimentary way on the Compuserv and Genie networks and is preparing to +mount them on America On Line. Although the average user takes over +thirty minutes to download these images (assuming a fairly fast modem), +nevertheless, images have been downloaded 25,000 times. + +BESSER concluded his talk with several comments on the business +arrangement between the Smithsonian and Compuserv. He contended that not +enough is known concerning the value of images. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Creating digitized photographic collections nearly +impossible except with large organizations like museums * Need for study +to determine quality of images users will tolerate * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +During the brief exchange between LESK and BESSER that followed, several +clarifications emerged. + +LESK argued that the photographers were far ahead of BESSER: It is +almost impossible to create such digitized photographic collections +except with large organizations like museums, because all the +photographic agencies have been going crazy about this and will not sign +licensing agreements on any sort of reasonable terms. LESK had heard +that National Geographic, for example, had tried to buy the right to use +some image in some kind of educational production for $100 per image, but +the photographers will not touch it. They want accounting and payment +for each use, which cannot be accomplished within the system. BESSER +responded that a consortium of photographers, headed by a former National +Geographic photographer, had started assembling its own collection of +electronic reproductions of images, with the money going back to the +cooperative. + +LESK contended that BESSER was unnecessarily pessimistic about multimedia +images, because people are accustomed to low-quality images, particularly +from video. BESSER urged the launching of a study to determine what +users would tolerate, what they would feel comfortable with, and what +absolutely is the highest quality they would ever need. Conceding that +he had adopted a dire tone in order to arouse people about the issue, +BESSER closed on a sanguine note by saying that he would not be in this +business if he did not think that things could be accomplished. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +LARSEN * Issues of scalability and modularity * Geometric growth of the +Internet and the role played by layering * Basic functions sustaining +this growth * A library's roles and functions in a network environment * +Effects of implementation of the Z39.50 protocol for information +retrieval on the library system * The trade-off between volumes of data +and its potential usage * A snapshot of current trends * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Ronald LARSEN, associate director for information technology, University +of Maryland at College Park, first addressed the issues of scalability +and modularity. He noted the difficulty of anticipating the effects of +orders-of-magnitude growth, reflecting on the twenty years of experience +with the Arpanet and Internet. Recalling the day's demonstrations of +CD-ROM and optical disk material, he went on to ask if the field has yet +learned how to scale new systems to enable delivery and dissemination +across large-scale networks. + +LARSEN focused on the geometric growth of the Internet from its inception +circa 1969 to the present, and the adjustments required to respond to +that rapid growth. To illustrate the issue of scalability, LARSEN +considered computer networks as including three generic components: +computers, network communication nodes, and communication media. Each +component scales (e.g., computers range from PCs to supercomputers; +network nodes scale from interface cards in a PC through sophisticated +routers and gateways; and communication media range from 2,400-baud +dial-up facilities through 4.5-Mbps backbone links, and eventually to +multigigabit-per-second communication lines), and architecturally, the +components are organized to scale hierarchically from local area networks +to international-scale networks. Such growth is made possible by +building layers of communication protocols, as BESSER pointed out. +By layering both physically and logically, a sense of scalability is +maintained from local area networks in offices, across campuses, through +bridges, routers, campus backbones, fiber-optic links, etc., up into +regional networks and ultimately into national and international +networks. + +LARSEN then illustrated the geometric growth over a two-year period-- +through September 1991--of the number of networks that comprise the +Internet. This growth has been sustained largely by the availability of +three basic functions: electronic mail, file transfer (ftp), and remote +log-on (telnet). LARSEN also reviewed the growth in the kind of traffic +that occurs on the network. Network traffic reflects the joint contributions +of a larger population of users and increasing use per user. Today one sees +serious applications involving moving images across the network--a rarity +ten years ago. LARSEN recalled and concurred with BESSER's main point +that the interesting problems occur at the application level. + +LARSEN then illustrated a model of a library's roles and functions in a +network environment. He noted, in particular, the placement of on-line +catalogues onto the network and patrons obtaining access to the library +increasingly through local networks, campus networks, and the Internet. +LARSEN supported LYNCH's earlier suggestion that we need to address +fundamental questions of networked information in order to build +environments that scale in the information sense as well as in the +physical sense. + +LARSEN supported the role of the library system as the access point into +the nation's electronic collections. Implementation of the Z39.50 +protocol for information retrieval would make such access practical and +feasible. For example, this would enable patrons in Maryland to search +California libraries, or other libraries around the world that are +conformant with Z39.50 in a manner that is familiar to University of +Maryland patrons. This client-server model also supports moving beyond +secondary content into primary content. (The notion of how one links +from secondary content to primary content, LARSEN said, represents a +fundamental problem that requires rigorous thought.) After noting +numerous network experiments in accessing full-text materials, including +projects supporting the ordering of materials across the network, LARSEN +revisited the issue of transmitting high-density, high-resolution color +images across the network and the large amounts of bandwidth they +require. He went on to address the bandwidth and synchronization +problems inherent in sending full-motion video across the network. + +LARSEN illustrated the trade-off between volumes of data in bytes or +orders of magnitude and the potential usage of that data. He discussed +transmission rates (particularly, the time it takes to move various forms +of information), and what one could do with a network supporting +multigigabit-per-second transmission. At the moment, the network +environment includes a composite of data-transmission requirements, +volumes and forms, going from steady to bursty (high-volume) and from +very slow to very fast. This aggregate must be considered in the design, +construction, and operation of multigigabyte networks. + +LARSEN's objective is to use the networks and library systems now being +constructed to increase access to resources wherever they exist, and +thus, to evolve toward an on-line electronic virtual library. + +LARSEN concluded by offering a snapshot of current trends: continuing +geometric growth in network capacity and number of users; slower +development of applications; and glacial development and adoption of +standards. The challenge is to design and develop each new application +system with network access and scalability in mind. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +BROWNRIGG * Access to the Internet cannot be taken for granted * Packet +radio and the development of MELVYL in 1980-81 in the Division of Library +Automation at the University of California * Design criteria for packet +radio * A demonstration project in San Diego and future plans * Spread +spectrum * Frequencies at which the radios will run and plans to +reimplement the WAIS server software in the public domain * Need for an +infrastructure of radios that do not move around * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Edwin BROWNRIGG, executive director, Memex Research Institute, first +polled the audience in order to seek out regular users of the Internet as +well as those planning to use it some time in the future. With nearly +everybody in the room falling into one category or the other, BROWNRIGG +made a point re access, namely that numerous individuals, especially those +who use the Internet every day, take for granted their access to it, the +speeds with which they are connected, and how well it all works. +However, as BROWNRIGG discovered between 1987 and 1989 in Australia, +if one wants access to the Internet but cannot afford it or has some +physical boundary that prevents her or him from gaining access, it can +be extremely frustrating. He suggested that because of economics and +physical barriers we were beginning to create a world of haves and have-nots +in the process of scholarly communication, even in the United States. + +BROWNRIGG detailed the development of MELVYL in academic year 1980-81 in +the Division of Library Automation at the University of California, in +order to underscore the issue of access to the system, which at the +outset was extremely limited. In short, the project needed to build a +network, which at that time entailed use of satellite technology, that is, +putting earth stations on campus and also acquiring some terrestrial links +from the State of California's microwave system. The installation of +satellite links, however, did not solve the problem (which actually +formed part of a larger problem involving politics and financial resources). +For while the project team could get a signal onto a campus, it had no means +of distributing the signal throughout the campus. The solution involved +adopting a recent development in wireless communication called packet radio, +which combined the basic notion of packet-switching with radio. The project +used this technology to get the signal from a point on campus where it +came down, an earth station for example, into the libraries, because it +found that wiring the libraries, especially the older marble buildings, +would cost $2,000-$5,000 per terminal. + +BROWNRIGG noted that, ten years ago, the project had neither the public +policy nor the technology that would have allowed it to use packet radio +in any meaningful way. Since then much had changed. He proceeded to +detail research and development of the technology, how it is being +deployed in California, and what direction he thought it would take. +The design criteria are to produce a high-speed, one-time, low-cost, +high-quality, secure, license-free device (packet radio) that one can +plug in and play today, forget about it, and have access to the Internet. +By high speed, BROWNRIGG meant 1 megabyte and 1.5 megabytes. Those units +have been built, he continued, and are in the process of being +type-certified by an independent underwriting laboratory so that they can +be type-licensed by the Federal Communications Commission. As is the +case with citizens band, one will be able to purchase a unit and not have +to worry about applying for a license. + +The basic idea, BROWNRIGG elaborated, is to take high-speed radio data +transmission and create a backbone network that at certain strategic +points in the network will "gateway" into a medium-speed packet radio +(i.e., one that runs at 38.4 kilobytes), so that perhaps by 1994-1995 +people, like those in the audience for the price of a VCR could purchase +a medium-speed radio for the office or home, have full network connectivity +to the Internet, and partake of all its services, with no need for an FCC +license and no regular bill from the local common carrier. BROWNRIGG +presented several details of a demonstration project currently taking +place in San Diego and described plans, pending funding, to install a +full-bore network in the San Francisco area. This network will have 600 +nodes running at backbone speeds, and 100 of these nodes will be libraries, +which in turn will be the gateway ports to the 38.4 kilobyte radios that +will give coverage for the neighborhoods surrounding the libraries. + +BROWNRIGG next explained Part 15.247, a new rule within Title 47 of the +Code of Federal Regulations enacted by the FCC in 1985. This rule +challenged the industry, which has only now risen to the occasion, to +build a radio that would run at no more than one watt of output power and +use a fairly exotic method of modulating the radio wave called spread +spectrum. Spread spectrum in fact permits the building of networks so +that numerous data communications can occur simultaneously, without +interfering with each other, within the same wide radio channel. + +BROWNRIGG explained that the frequencies at which the radios would run +are very short wave signals. They are well above standard microwave and +radar. With a radio wave that small, one watt becomes a tremendous punch +per bit and thus makes transmission at reasonable speed possible. In +order to minimize the potential for congestion, the project is +undertaking to reimplement software which has been available in the +networking business and is taken for granted now, for example, TCP/IP, +routing algorithms, bridges, and gateways. In addition, the project +plans to take the WAIS server software in the public domain and +reimplement it so that one can have a WAIS server on a Mac instead of a +Unix machine. The Memex Research Institute believes that libraries, in +particular, will want to use the WAIS servers with packet radio. This +project, which has a team of about twelve people, will run through 1993 +and will include the 100 libraries already mentioned as well as other +professionals such as those in the medical profession, engineering, and +law. Thus, the need is to create an infrastructure of radios that do not +move around, which, BROWNRIGG hopes, will solve a problem not only for +libraries but for individuals who, by and large today, do not have access +to the Internet from their homes and offices. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Project operating frequencies * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +During a brief discussion period, which also concluded the day's +proceedings, BROWNRIGG stated that the project was operating in four +frequencies. The slow speed is operating at 435 megahertz, and it would +later go up to 920 megahertz. With the high-speed frequency, the +one-megabyte radios will run at 2.4 gigabits, and 1.5 will run at 5.7. +At 5.7, rain can be a factor, but it would have to be tropical rain, +unlike what falls in most parts of the United States. + + ****** + +SESSION IV. IMAGE CAPTURE, TEXT CAPTURE, OVERVIEW OF TEXT AND + IMAGE STORAGE FORMATS + +William HOOTON, vice president of operations, I-NET, moderated this session. + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +KENNEY * Factors influencing development of CXP * Advantages of using +digital technology versus photocopy and microfilm * A primary goal of +CXP; publishing challenges * Characteristics of copies printed * Quality +of samples achieved in image capture * Several factors to be considered +in choosing scanning * Emphasis of CXP on timely and cost-effective +production of black-and-white printed facsimiles * Results of producing +microfilm from digital files * Advantages of creating microfilm * Details +concerning production * Costs * Role of digital technology in library +preservation * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Anne KENNEY, associate director, Department of Preservation and +Conservation, Cornell University, opened her talk by observing that the +Cornell Xerox Project (CXP) has been guided by the assumption that the +ability to produce printed facsimiles or to replace paper with paper +would be important, at least for the present generation of users and +equipment. She described three factors that influenced development of +the project: 1) Because the project has emphasized the preservation of +deteriorating brittle books, the quality of what was produced had to be +sufficiently high to return a paper replacement to the shelf. CXP was +only interested in using: 2) a system that was cost-effective, which +meant that it had to be cost-competitive with the processes currently +available, principally photocopy and microfilm, and 3) new or currently +available product hardware and software. + +KENNEY described the advantages that using digital technology offers over +both photocopy and microfilm: 1) The potential exists to create a higher +quality reproduction of a deteriorating original than conventional +light-lens technology. 2) Because a digital image is an encoded +representation, it can be reproduced again and again with no resulting +loss of quality, as opposed to the situation with light-lens processes, +in which there is discernible difference between a second and a +subsequent generation of an image. 3) A digital image can be manipulated +in a number of ways to improve image capture; for example, Xerox has +developed a windowing application that enables one to capture a page +containing both text and illustrations in a manner that optimizes the +reproduction of both. (With light-lens technology, one must choose which +to optimize, text or the illustration; in preservation microfilming, the +current practice is to shoot an illustrated page twice, once to highlight +the text and the second time to provide the best capture for the +illustration.) 4) A digital image can also be edited, density levels +adjusted to remove underlining and stains, and to increase legibility for +faint documents. 5) On-screen inspection can take place at the time of +initial setup and adjustments made prior to scanning, factors that +substantially reduce the number of retakes required in quality control. + +A primary goal of CXP has been to evaluate the paper output printed on +the Xerox DocuTech, a high-speed printer that produces 600-dpi pages from +scanned images at a rate of 135 pages a minute. KENNEY recounted several +publishing challenges to represent faithful and legible reproductions of +the originals that the 600-dpi copy for the most part successfully +captured. For example, many of the deteriorating volumes in the project +were heavily illustrated with fine line drawings or halftones or came in +languages such as Japanese, in which the buildup of characters comprised +of varying strokes is difficult to reproduce at lower resolutions; a +surprising number of them came with annotations and mathematical +formulas, which it was critical to be able to duplicate exactly. + +KENNEY noted that 1) the copies are being printed on paper that meets the +ANSI standards for performance, 2) the DocuTech printer meets the machine +and toner requirements for proper adhesion of print to page, as described +by the National Archives, and thus 3) paper product is considered to be +the archival equivalent of preservation photocopy. + +KENNEY then discussed several samples of the quality achieved in the +project that had been distributed in a handout, for example, a copy of a +print-on-demand version of the 1911 Reed lecture on the steam turbine, +which contains halftones, line drawings, and illustrations embedded in +text; the first four loose pages in the volume compared the capture +capabilities of scanning to photocopy for a standard test target, the +IEEE standard 167A 1987 test chart. In all instances scanning proved +superior to photocopy, though only slightly more so in one. + +Conceding the simplistic nature of her review of the quality of scanning +to photocopy, KENNEY described it as one representation of the kinds of +settings that could be used with scanning capabilities on the equipment +CXP uses. KENNEY also pointed out that CXP investigated the quality +achieved with binary scanning only, and noted the great promise in gray +scale and color scanning, whose advantages and disadvantages need to be +examined. She argued further that scanning resolutions and file formats +can represent a complex trade-off between the time it takes to capture +material, file size, fidelity to the original, and on-screen display; and +printing and equipment availability. All these factors must be taken +into consideration. + +CXP placed primary emphasis on the production in a timely and +cost-effective manner of printed facsimiles that consisted largely of +black-and-white text. With binary scanning, large files may be +compressed efficiently and in a lossless manner (i.e., no data is lost in +the process of compressing [and decompressing] an image--the exact +bit-representation is maintained) using Group 4 CCITT (i.e., the French +acronym for International Consultative Committee for Telegraph and +Telephone) compression. CXP was getting compression ratios of about +forty to one. Gray-scale compression, which primarily uses JPEG, is much +less economical and can represent a lossy compression (i.e., not +lossless), so that as one compresses and decompresses, the illustration +is subtly changed. While binary files produce a high-quality printed +version, it appears 1) that other combinations of spatial resolution with +gray and/or color hold great promise as well, and 2) that gray scale can +represent a tremendous advantage for on-screen viewing. The quality +associated with binary and gray scale also depends on the equipment used. +For instance, binary scanning produces a much better copy on a binary +printer. + +Among CXP's findings concerning the production of microfilm from digital +files, KENNEY reported that the digital files for the same Reed lecture +were used to produce sample film using an electron beam recorder. The +resulting film was faithful to the image capture of the digital files, +and while CXP felt that the text and image pages represented in the Reed +lecture were superior to that of the light-lens film, the resolution +readings for the 600 dpi were not as high as standard microfilming. +KENNEY argued that the standards defined for light-lens technology are +not totally transferable to a digital environment. Moreover, they are +based on definition of quality for a preservation copy. Although making +this case will prove to be a long, uphill struggle, CXP plans to continue +to investigate the issue over the course of the next year. + +KENNEY concluded this portion of her talk with a discussion of the +advantages of creating film: it can serve as a primary backup and as a +preservation master to the digital file; it could then become the print +or production master and service copies could be paper, film, optical +disks, magnetic media, or on-screen display. + +Finally, KENNEY presented details re production: + + * Development and testing of a moderately-high resolution production + scanning workstation represented a third goal of CXP; to date, 1,000 + volumes have been scanned, or about 300,000 images. + + * The resulting digital files are stored and used to produce + hard-copy replacements for the originals and additional prints on + demand; although the initial costs are high, scanning technology + offers an affordable means for reformatting brittle material. + + * A technician in production mode can scan 300 pages per hour when + performing single-sheet scanning, which is a necessity when working + with truly brittle paper; this figure is expected to increase + significantly with subsequent iterations of the software from Xerox; + a three-month time-and-cost study of scanning found that the average + 300-page book would take about an hour and forty minutes to scan + (this figure included the time for setup, which involves keying in + primary bibliographic data, going into quality control mode to + define page size, establishing front-to-back registration, and + scanning sample pages to identify a default range of settings for + the entire book--functions not dissimilar to those performed by + filmers or those preparing a book for photocopy). + + * The final step in the scanning process involved rescans, which + happily were few and far between, representing well under 1 percent + of the total pages scanned. + +In addition to technician time, CXP costed out equipment, amortized over +four years, the cost of storing and refreshing the digital files every +four years, and the cost of printing and binding, book-cloth binding, a +paper reproduction. The total amounted to a little under $65 per single +300-page volume, with 30 percent overhead included--a figure competitive +with the prices currently charged by photocopy vendors. + +Of course, with scanning, in addition to the paper facsimile, one is left +with a digital file from which subsequent copies of the book can be +produced for a fraction of the cost of photocopy, with readers afforded +choices in the form of these copies. + +KENNEY concluded that digital technology offers an electronic means for a +library preservation effort to pay for itself. If a brittle-book program +included the means of disseminating reprints of books that are in demand +by libraries and researchers alike, the initial investment in capture +could be recovered and used to preserve additional but less popular +books. She disclosed that an economic model for a self-sustaining +program could be developed for CXP's report to the Commission on +Preservation and Access (CPA). + +KENNEY stressed that the focus of CXP has been on obtaining high quality +in a production environment. The use of digital technology is viewed as +an affordable alternative to other reformatting options. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +ANDRE * Overview and history of NATDP * Various agricultural CD-ROM +products created inhouse and by service bureaus * Pilot project on +Internet transmission * Additional products in progress * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Pamela ANDRE, associate director for automation, National Agricultural +Text Digitizing Program (NATDP), National Agricultural Library (NAL), +presented an overview of NATDP, which has been underway at NAL the last +four years, before Judith ZIDAR discussed the technical details. ANDRE +defined agricultural information as a broad range of material going from +basic and applied research in the hard sciences to the one-page pamphlets +that are distributed by the cooperative state extension services on such +things as how to grow blueberries. + +NATDP began in late 1986 with a meeting of representatives from the +land-grant library community to deal with the issue of electronic +information. NAL and forty-five of these libraries banded together to +establish this project--to evaluate the technology for converting what +were then source documents in paper form into electronic form, to provide +access to that digital information, and then to distribute it. +Distributing that material to the community--the university community as +well as the extension service community, potentially down to the county +level--constituted the group's chief concern. + +Since January 1988 (when the microcomputer-based scanning system was +installed at NAL), NATDP has done a variety of things, concerning which +ZIDAR would provide further details. For example, the first technology +considered in the project's discussion phase was digital videodisc, which +indicates how long ago it was conceived. + +Over the four years of this project, four separate CD-ROM products on +four different agricultural topics were created, two at a +scanning-and-OCR station installed at NAL, and two by service bureaus. +Thus, NATDP has gained comparative information in terms of those relative +costs. Each of these products contained the full ASCII text as well as +page images of the material, or between 4,000 and 6,000 pages of material +on these disks. Topics included aquaculture, food, agriculture and +science (i.e., international agriculture and research), acid rain, and +Agent Orange, which was the final product distributed (approximately +eighteen months before the Workshop). + +The third phase of NATDP focused on delivery mechanisms other than +CD-ROM. At the suggestion of Clifford LYNCH, who was a technical +consultant to the project at this point, NATDP became involved with the +Internet and initiated a project with the help of North Carolina State +University, in which fourteen of the land-grant university libraries are +transmitting digital images over the Internet in response to interlibrary +loan requests--a topic for another meeting. At this point, the pilot +project had been completed for about a year and the final report would be +available shortly after the Workshop. In the meantime, the project's +success had led to its extension. (ANDRE noted that one of the first +things done under the program title was to select a retrieval package to +use with subsequent products; Windows Personal Librarian was the package +of choice after a lengthy evaluation.) + +Three additional products had been planned and were in progress: + + 1) An arrangement with the American Society of Agronomy--a + professional society that has published the Agronomy Journal since + about 1908--to scan and create bit-mapped images of its journal. + ASA granted permission first to put and then to distribute this + material in electronic form, to hold it at NAL, and to use these + electronic images as a mechanism to deliver documents or print out + material for patrons, among other uses. Effectively, NAL has the + right to use this material in support of its program. + (Significantly, this arrangement offers a potential cooperative + model for working with other professional societies in agriculture + to try to do the same thing--put the journals of particular interest + to agriculture research into electronic form.) + + 2) An extension of the earlier product on aquaculture. + + 3) The George Washington Carver Papers--a joint project with + Tuskegee University to scan and convert from microfilm some 3,500 + images of Carver's papers, letters, and drawings. + +It was anticipated that all of these products would appear no more than +six months after the Workshop. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +ZIDAR * (A separate arena for scanning) * Steps in creating a database * +Image capture, with and without performing OCR * Keying in tracking data +* Scanning, with electronic and manual tracking * Adjustments during +scanning process * Scanning resolutions * Compression * De-skewing and +filtering * Image capture from microform: the papers and letters of +George Washington Carver * Equipment used for a scanning system * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Judith ZIDAR, coordinator, National Agricultural Text Digitizing Program +(NATDP), National Agricultural Library (NAL), illustrated the technical +details of NATDP, including her primary responsibility, scanning and +creating databases on a topic and putting them on CD-ROM. + +(ZIDAR remarked a separate arena from the CD-ROM projects, although the +processing of the material is nearly identical, in which NATDP is also +scanning material and loading it on a Next microcomputer, which in turn +is linked to NAL's integrated library system. Thus, searches in NAL's +bibliographic database will enable people to pull up actual page images +and text for any documents that have been entered.) + +In accordance with the session's topic, ZIDAR focused her illustrated +talk on image capture, offering a primer on the three main steps in the +process: 1) assemble the printed publications; 2) design the database +(database design occurs in the process of preparing the material for +scanning; this step entails reviewing and organizing the material, +defining the contents--what will constitute a record, what kinds of +fields will be captured in terms of author, title, etc.); 3) perform a +certain amount of markup on the paper publications. NAL performs this +task record by record, preparing work sheets or some other sort of +tracking material and designing descriptors and other enhancements to be +added to the data that will not be captured from the printed publication. +Part of this process also involves determining NATDP's file and directory +structure: NATDP attempts to avoid putting more than approximately 100 +images in a directory, because placing more than that on a CD-ROM would +reduce the access speed. + +This up-front process takes approximately two weeks for a +6,000-7,000-page database. The next step is to capture the page images. +How long this process takes is determined by the decision whether or not +to perform OCR. Not performing OCR speeds the process, whereas text +capture requires greater care because of the quality of the image: it +has to be straighter and allowance must be made for text on a page, not +just for the capture of photographs. + +NATDP keys in tracking data, that is, a standard bibliographic record +including the title of the book and the title of the chapter, which will +later either become the access information or will be attached to the +front of a full-text record so that it is searchable. + +Images are scanned from a bound or unbound publication, chiefly from +bound publications in the case of NATDP, however, because often they are +the only copies and the publications are returned to the shelves. NATDP +usually scans one record at a time, because its database tracking system +tracks the document in that way and does not require further logical +separating of the images. After performing optical character +recognition, NATDP moves the images off the hard disk and maintains a +volume sheet. Though the system tracks electronically, all the +processing steps are also tracked manually with a log sheet. + +ZIDAR next illustrated the kinds of adjustments that one can make when +scanning from paper and microfilm, for example, redoing images that need +special handling, setting for dithering or gray scale, and adjusting for +brightness or for the whole book at one time. + +NATDP is scanning at 300 dots per inch, a standard scanning resolution. +Though adequate for capturing text that is all of a standard size, 300 +dpi is unsuitable for any kind of photographic material or for very small +text. Many scanners allow for different image formats, TIFF, of course, +being a de facto standard. But if one intends to exchange images with +other people, the ability to scan other image formats, even if they are +less common, becomes highly desirable. + +CCITT Group 4 is the standard compression for normal black-and-white +images, JPEG for gray scale or color. ZIDAR recommended 1) using the +standard compressions, particularly if one attempts to make material +available and to allow users to download images and reuse them from +CD-ROMs; and 2) maintaining the ability to output an uncompressed image, +because in image exchange uncompressed images are more likely to be able +to cross platforms. + +ZIDAR emphasized the importance of de-skewing and filtering as +requirements on NATDP's upgraded system. For instance, scanning bound +books, particularly books published by the federal government whose pages +are skewed, and trying to scan them straight if OCR is to be performed, +is extremely time-consuming. The same holds for filtering of +poor-quality or older materials. + +ZIDAR described image capture from microform, using as an example three +reels from a sixty-seven-reel set of the papers and letters of George +Washington Carver that had been produced by Tuskegee University. These +resulted in approximately 3,500 images, which NATDP had had scanned by +its service contractor, Science Applications International Corporation +(SAIC). NATDP also created bibliographic records for access. (NATDP did +not have such specialized equipment as a microfilm scanner. + +Unfortunately, the process of scanning from microfilm was not an +unqualified success, ZIDAR reported: because microfilm frame sizes vary, +occasionally some frames were missed, which without spending much time +and money could not be recaptured. + +OCR could not be performed from the scanned images of the frames. The +bleeding in the text simply output text, when OCR was run, that could not +even be edited. NATDP tested for negative versus positive images, +landscape versus portrait orientation, and single- versus dual-page +microfilm, none of which seemed to affect the quality of the image; but +also on none of them could OCR be performed. + +In selecting the microfilm they would use, therefore, NATDP had other +factors in mind. ZIDAR noted two factors that influenced the quality of +the images: 1) the inherent quality of the original and 2) the amount of +size reduction on the pages. + +The Carver papers were selected because they are informative and visually +interesting, treat a single subject, and are valuable in their own right. +The images were scanned and divided into logical records by SAIC, then +delivered, and loaded onto NATDP's system, where bibliographic +information taken directly from the images was added. Scanning was +completed in summer 1991 and by the end of summer 1992 the disk was +scheduled to be published. + +Problems encountered during processing included the following: Because +the microfilm scanning had to be done in a batch, adjustment for +individual page variations was not possible. The frame size varied on +account of the nature of the material, and therefore some of the frames +were missed while others were just partial frames. The only way to go +back and capture this material was to print out the page with the +microfilm reader from the missing frame and then scan it in from the +page, which was extremely time-consuming. The quality of the images +scanned from the printout of the microfilm compared unfavorably with that +of the original images captured directly from the microfilm. The +inability to perform OCR also was a major disappointment. At the time, +computer output microfilm was unavailable to test. + +The equipment used for a scanning system was the last topic addressed by +ZIDAR. The type of equipment that one would purchase for a scanning +system included: a microcomputer, at least a 386, but preferably a 486; +a large hard disk, 380 megabyte at minimum; a multi-tasking operating +system that allows one to run some things in batch in the background +while scanning or doing text editing, for example, Unix or OS/2 and, +theoretically, Windows; a high-speed scanner and scanning software that +allows one to make the various adjustments mentioned earlier; a +high-resolution monitor (150 dpi ); OCR software and hardware to perform +text recognition; an optical disk subsystem on which to archive all the +images as the processing is done; file management and tracking software. + +ZIDAR opined that the software one purchases was more important than the +hardware and might also cost more than the hardware, but it was likely to +prove critical to the success or failure of one's system. In addition to +a stand-alone scanning workstation for image capture, then, text capture +requires one or two editing stations networked to this scanning station +to perform editing. Editing the text takes two or three times as long as +capturing the images. + +Finally, ZIDAR stressed the importance of buying an open system that allows +for more than one vendor, complies with standards, and can be upgraded. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +WATERS *Yale University Library's master plan to convert microfilm to +digital imagery (POB) * The place of electronic tools in the library of +the future * The uses of images and an image library * Primary input from +preservation microfilm * Features distinguishing POB from CXP and key +hypotheses guiding POB * Use of vendor selection process to facilitate +organizational work * Criteria for selecting vendor * Finalists and +results of process for Yale * Key factor distinguishing vendors * +Components, design principles, and some estimated costs of POB * Role of +preservation materials in developing imaging market * Factors affecting +quality and cost * Factors affecting the usability of complex documents +in image form * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Donald WATERS, head of the Systems Office, Yale University Library, +reported on the progress of a master plan for a project at Yale to +convert microfilm to digital imagery, Project Open Book (POB). Stating +that POB was in an advanced stage of planning, WATERS detailed, in +particular, the process of selecting a vendor partner and several key +issues under discussion as Yale prepares to move into the project itself. +He commented first on the vision that serves as the context of POB and +then described its purpose and scope. + +WATERS sees the library of the future not necessarily as an electronic +library but as a place that generates, preserves, and improves for its +clients ready access to both intellectual and physical recorded +knowledge. Electronic tools must find a place in the library in the +context of this vision. Several roles for electronic tools include +serving as: indirect sources of electronic knowledge or as "finding" +aids (the on-line catalogues, the article-level indices, registers for +documents and archives); direct sources of recorded knowledge; full-text +images; and various kinds of compound sources of recorded knowledge (the +so-called compound documents of Hypertext, mixed text and image, +mixed-text image format, and multimedia). + +POB is looking particularly at images and an image library, the uses to +which images will be put (e.g., storage, printing, browsing, and then use +as input for other processes), OCR as a subsequent process to image +capture, or creating an image library, and also possibly generating +microfilm. + +While input will come from a variety of sources, POB is considering +especially input from preservation microfilm. A possible outcome is that +the film and paper which provide the input for the image library +eventually may go off into remote storage, and that the image library may +be the primary access tool. + +The purpose and scope of POB focus on imaging. Though related to CXP, +POB has two features which distinguish it: 1) scale--conversion of +10,000 volumes into digital image form; and 2) source--conversion from +microfilm. Given these features, several key working hypotheses guide +POB, including: 1) Since POB is using microfilm, it is not concerned with +the image library as a preservation medium. 2) Digital imagery can improve +access to recorded knowledge through printing and network distribution at +a modest incremental cost of microfilm. 3) Capturing and storing documents +in a digital image form is necessary to further improvements in access. +(POB distinguishes between the imaging, digitizing process and OCR, +which at this stage it does not plan to perform.) + +Currently in its first or organizational phase, POB found that it could +use a vendor selection process to facilitate a good deal of the +organizational work (e.g., creating a project team and advisory board, +confirming the validity of the plan, establishing the cost of the project +and a budget, selecting the materials to convert, and then raising the +necessary funds). + +POB developed numerous selection criteria, including: a firm committed +to image-document management, the ability to serve as systems integrator +in a large-scale project over several years, interest in developing the +requisite software as a standard rather than a custom product, and a +willingness to invest substantial resources in the project itself. + +Two vendors, DEC and Xerox, were selected as finalists in October 1991, +and with the support of the Commission on Preservation and Access, each +was commissioned to generate a detailed requirements analysis for the +project and then to submit a formal proposal for the completion of the +project, which included a budget and costs. The terms were that POB would +pay the loser. The results for Yale of involving a vendor included: +broad involvement of Yale staff across the board at a relatively low +cost, which may have long-term significance in carrying out the project +(twenty-five to thirty university people are engaged in POB); better +understanding of the factors that affect corporate response to markets +for imaging products; a competitive proposal; and a more sophisticated +view of the imaging markets. + +The most important factor that distinguished the vendors under +consideration was their identification with the customer. The size and +internal complexity of the company also was an important factor. POB was +looking at large companies that had substantial resources. In the end, +the process generated for Yale two competitive proposals, with Xerox's +the clear winner. WATERS then described the components of the proposal, +the design principles, and some of the costs estimated for the process. + +Components are essentially four: a conversion subsystem, a +network-accessible storage subsystem for 10,000 books (and POB expects +200 to 600 dpi storage), browsing stations distributed on the campus +network, and network access to the image printers. + +Among the design principles, POB wanted conversion at the highest +possible resolution. Assuming TIFF files, TIFF files with Group 4 +compression, TCP/IP, and ethernet network on campus, POB wanted a +client-server approach with image documents distributed to the +workstations and made accessible through native workstation interfaces +such as Windows. POB also insisted on a phased approach to +implementation: 1) a stand-alone, single-user, low-cost entry into the +business with a workstation focused on conversion and allowing POB to +explore user access; 2) movement into a higher-volume conversion with +network-accessible storage and multiple access stations; and 3) a +high-volume conversion, full-capacity storage, and multiple browsing +stations distributed throughout the campus. + +The costs proposed for start-up assumed the existence of the Yale network +and its two DocuTech image printers. Other start-up costs are estimated +at $1 million over the three phases. At the end of the project, the annual +operating costs estimated primarily for the software and hardware proposed +come to about $60,000, but these exclude costs for labor needed in the +conversion process, network and printer usage, and facilities management. + +Finally, the selection process produced for Yale a more sophisticated +view of the imaging markets: the management of complex documents in +image form is not a preservation problem, not a library problem, but a +general problem in a broad, general industry. Preservation materials are +useful for developing that market because of the qualities of the +material. For example, much of it is out of copyright. The resolution +of key issues such as the quality of scanning and image browsing also +will affect development of that market. + +The technology is readily available but changing rapidly. In this +context of rapid change, several factors affect quality and cost, to +which POB intends to pay particular attention, for example, the various +levels of resolution that can be achieved. POB believes it can bring +resolution up to 600 dpi, but an interpolation process from 400 to 600 is +more likely. The variation quality in microfilm will prove to be a +highly important factor. POB may reexamine the standards used to film in +the first place by looking at this process as a follow-on to microfilming. + +Other important factors include: the techniques available to the +operator for handling material, the ways of integrating quality control +into the digitizing work flow, and a work flow that includes indexing and +storage. POB's requirement was to be able to deal with quality control +at the point of scanning. Thus, thanks to Xerox, POB anticipates having +a mechanism which will allow it not only to scan in batch form, but to +review the material as it goes through the scanner and control quality +from the outset. + +The standards for measuring quality and costs depend greatly on the uses +of the material, including subsequent OCR, storage, printing, and +browsing. But especially at issue for POB is the facility for browsing. +This facility, WATERS said, is perhaps the weakest aspect of imaging +technology and the most in need of development. + +A variety of factors affect the usability of complex documents in image +form, among them: 1) the ability of the system to handle the full range +of document types, not just monographs but serials, multi-part +monographs, and manuscripts; 2) the location of the database of record +for bibliographic information about the image document, which POB wants +to enter once and in the most useful place, the on-line catalog; 3) a +document identifier for referencing the bibliographic information in one +place and the images in another; 4) the technique for making the basic +internal structure of the document accessible to the reader; and finally, +5) the physical presentation on the CRT of those documents. POB is ready +to complete this phase now. One last decision involves deciding which +material to scan. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * TIFF files constitute de facto standard * NARA's experience +with image conversion software and text conversion * RFC 1314 * +Considerable flux concerning available hardware and software solutions * +NAL through-put rate during scanning * Window management questions * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +In the question-and-answer period that followed WATERS's presentation, +the following points emerged: + + * ZIDAR's statement about using TIFF files as a standard meant de + facto standard. This is what most people use and typically exchange + with other groups, across platforms, or even occasionally across + display software. + + * HOLMES commented on the unsuccessful experience of NARA in + attempting to run image-conversion software or to exchange between + applications: What are supposedly TIFF files go into other software + that is supposed to be able to accept TIFF but cannot recognize the + format and cannot deal with it, and thus renders the exchange + useless. Re text conversion, he noted the different recognition + rates obtained by substituting the make and model of scanners in + NARA's recent test of an "intelligent" character-recognition product + for a new company. In the selection of hardware and software, + HOLMES argued, software no longer constitutes the overriding factor + it did until about a year ago; rather it is perhaps important to + look at both now. + + * Danny Cohen and Alan Katz of the University of Southern California + Information Sciences Institute began circulating as an Internet RFC + (RFC 1314) about a month ago a standard for a TIFF interchange + format for Internet distribution of monochrome bit-mapped images, + which LYNCH said he believed would be used as a de facto standard. + + * FLEISCHHAUER's impression from hearing these reports and thinking + about AM's experience was that there is considerable flux concerning + available hardware and software solutions. HOOTON agreed and + commented at the same time on ZIDAR's statement that the equipment + employed affects the results produced. One cannot draw a complete + conclusion by saying it is difficult or impossible to perform OCR + from scanning microfilm, for example, with that device, that set of + parameters, and system requirements, because numerous other people + are accomplishing just that, using other components, perhaps. + HOOTON opined that both the hardware and the software were highly + important. Most of the problems discussed today have been solved in + numerous different ways by other people. Though it is good to be + cognizant of various experiences, this is not to say that it will + always be thus. + + * At NAL, the through-put rate of the scanning process for paper, + page by page, performing OCR, ranges from 300 to 600 pages per day; + not performing OCR is considerably faster, although how much faster + is not known. This is for scanning from bound books, which is much + slower. + + * WATERS commented on window management questions: DEC proposed an + X-Windows solution which was problematical for two reasons. One was + POB's requirement to be able to manipulate images on the workstation + and bring them down to the workstation itself and the other was + network usage. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +THOMA * Illustration of deficiencies in scanning and storage process * +Image quality in this process * Different costs entailed by better image +quality * Techniques for overcoming various de-ficiencies: fixed +thresholding, dynamic thresholding, dithering, image merge * Page edge +effects * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +George THOMA, chief, Communications Engineering Branch, National Library +of Medicine (NLM), illustrated several of the deficiencies discussed by +the previous speakers. He introduced the topic of special problems by +noting the advantages of electronic imaging. For example, it is regenerable +because it is a coded file, and real-time quality control is possible with +electronic capture, whereas in photographic capture it is not. + +One of the difficulties discussed in the scanning and storage process was +image quality which, without belaboring the obvious, means different +things for maps, medical X-rays, or broadcast television. In the case of +documents, THOMA said, image quality boils down to legibility of the +textual parts, and fidelity in the case of gray or color photo print-type +material. Legibility boils down to scan density, the standard in most +cases being 300 dpi. Increasing the resolution with scanners that +perform 600 or 1200 dpi, however, comes at a cost. + +Better image quality entails at least four different kinds of costs: 1) +equipment costs, because the CCD (i.e., charge-couple device) with +greater number of elements costs more; 2) time costs that translate to +the actual capture costs, because manual labor is involved (the time is +also dependent on the fact that more data has to be moved around in the +machine in the scanning or network devices that perform the scanning as +well as the storage); 3) media costs, because at high resolutions larger +files have to be stored; and 4) transmission costs, because there is just +more data to be transmitted. + +But while resolution takes care of the issue of legibility in image +quality, other deficiencies have to do with contrast and elements on the +page scanned or the image that needed to be removed or clarified. Thus, +THOMA proceeded to illustrate various deficiencies, how they are +manifested, and several techniques to overcome them. + +Fixed thresholding was the first technique described, suitable for +black-and-white text, when the contrast does not vary over the page. One +can have many different threshold levels in scanning devices. Thus, +THOMA offered an example of extremely poor contrast, which resulted from +the fact that the stock was a heavy red. This is the sort of image that +when microfilmed fails to provide any legibility whatsoever. Fixed +thresholding is the way to change the black-to-red contrast to the +desired black-to-white contrast. + +Other examples included material that had been browned or yellowed by +age. This was also a case of contrast deficiency, and correction was +done by fixed thresholding. A final example boils down to the same +thing, slight variability, but it is not significant. Fixed thresholding +solves this problem as well. The microfilm equivalent is certainly legible, +but it comes with dark areas. Though THOMA did not have a slide of the +microfilm in this case, he did show the reproduced electronic image. + +When one has variable contrast over a page or the lighting over the page +area varies, especially in the case where a bound volume has light +shining on it, the image must be processed by a dynamic thresholding +scheme. One scheme, dynamic averaging, allows the threshold level not to +be fixed but to be recomputed for every pixel from the neighboring +characteristics. The neighbors of a pixel determine where the threshold +should be set for that pixel. + +THOMA showed an example of a page that had been made deficient by a +variety of techniques, including a burn mark, coffee stains, and a yellow +marker. Application of a fixed-thresholding scheme, THOMA argued, might +take care of several deficiencies on the page but not all of them. +Performing the calculation for a dynamic threshold setting, however, +removes most of the deficiencies so that at least the text is legible. + +Another problem is representing a gray level with black-and-white pixels +by a process known as dithering or electronic screening. But dithering +does not provide good image quality for pure black-and-white textual +material. THOMA illustrated this point with examples. Although its +suitability for photoprint is the reason for electronic screening or +dithering, it cannot be used for every compound image. In the document +that was distributed by CXP, THOMA noticed that the dithered image of the +IEEE test chart evinced some deterioration in the text. He presented an +extreme example of deterioration in the text in which compounded +documents had to be set right by other techniques. The technique +illustrated by the present example was an image merge in which the page +is scanned twice and the settings go from fixed threshold to the +dithering matrix; the resulting images are merged to give the best +results with each technique. + +THOMA illustrated how dithering is also used in nonphotographic or +nonprint materials with an example of a grayish page from a medical text, +which was reproduced to show all of the gray that appeared in the +original. Dithering provided a reproduction of all the gray in the +original of another example from the same text. + +THOMA finally illustrated the problem of bordering, or page-edge, +effects. Books and bound volumes that are placed on a photocopy machine +or a scanner produce page-edge effects that are undesirable for two +reasons: 1) the aesthetics of the image; after all, if the image is to +be preserved, one does not necessarily want to keep all of its +deficiencies; 2) compression (with the bordering problem THOMA +illustrated, the compression ratio deteriorated tremendously). One way +to eliminate this more serious problem is to have the operator at the +point of scanning window the part of the image that is desirable and +automatically turn all of the pixels out of that picture to white. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +FLEISCHHAUER * AM's experience with scanning bound materials * Dithering +* ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Carl FLEISCHHAUER, coordinator, American Memory, Library of Congress, +reported AM's experience with scanning bound materials, which he likened +to the problems involved in using photocopying machines. Very few +devices in the industry offer book-edge scanning, let alone book cradles. +The problem may be unsolvable, FLEISCHHAUER said, because a large enough +market does not exist for a preservation-quality scanner. AM is using a +Kurzweil scanner, which is a book-edge scanner now sold by Xerox. + +Devoting the remainder of his brief presentation to dithering, +FLEISCHHAUER related AM's experience with a contractor who was using +unsophisticated equipment and software to reduce moire patterns from +printed halftones. AM took the same image and used the dithering +algorithm that forms part of the same Kurzweil Xerox scanner; it +disguised moire patterns much more effectively. + +FLEISCHHAUER also observed that dithering produces a binary file which is +useful for numerous purposes, for example, printing it on a laser printer +without having to "re-halftone" it. But it tends to defeat efficient +compression, because the very thing that dithers to reduce moire patterns +also tends to work against compression schemes. AM thought the +difference in image quality was worth it. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Relative use as a criterion for POB's selection of books to +be converted into digital form * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +During the discussion period, WATERS noted that one of the criteria for +selecting books among the 10,000 to be converted into digital image form +would be how much relative use they would receive--a subject still +requiring evaluation. The challenge will be to understand whether +coherent bodies of material will increase usage or whether POB should +seek material that is being used, scan that, and make it more accessible. +POB might decide to digitize materials that are already heavily used, in +order to make them more accessible and decrease wear on them. Another +approach would be to provide a large body of intellectually coherent +material that may be used more in digital form than it is currently used +in microfilm. POB would seek material that was out of copyright. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +BARONAS * Origin and scope of AIIM * Types of documents produced in +AIIM's standards program * Domain of AIIM's standardization work * AIIM's +structure * TC 171 and MS23 * Electronic image management standards * +Categories of EIM standardization where AIIM standards are being +developed * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Jean BARONAS, senior manager, Department of Standards and Technology, +Association for Information and Image Management (AIIM), described the +not-for-profit association and the national and international programs +for standardization in which AIIM is active. + +Accredited for twenty-five years as the nation's standards development +organization for document image management, AIIM began life in a library +community developing microfilm standards. Today the association +maintains both its library and business-image management standardization +activities--and has moved into electronic image-management +standardization (EIM). + +BARONAS defined the program's scope. AIIM deals with: 1) the +terminology of standards and of the technology it uses; 2) methods of +measurement for the systems, as well as quality; 3) methodologies for +users to evaluate and measure quality; 4) the features of apparatus used +to manage and edit images; and 5) the procedures used to manage images. + +BARONAS noted that three types of documents are produced in the AIIM +standards program: the first two, accredited by the American National +Standards Institute (ANSI), are standards and standard recommended +practices. Recommended practices differ from standards in that they +contain more tutorial information. A technical report is not an ANSI +standard. Because AIIM's policies and procedures for developing +standards are approved by ANSI, its standards are labeled ANSI/AIIM, +followed by the number and title of the standard. + +BARONAS then illustrated the domain of AIIM's standardization work. For +example, AIIM is the administrator of the U.S. Technical Advisory Group +(TAG) to the International Standards Organization's (ISO) technical +committee, TC l7l Micrographics and Optical Memories for Document and +Image Recording, Storage, and Use. AIIM officially works through ANSI in +the international standardization process. + +BARONAS described AIIM's structure, including its board of directors, its +standards board of twelve individuals active in the image-management +industry, its strategic planning and legal admissibility task forces, and +its National Standards Council, which is comprised of the members of a +number of organizations who vote on every AIIM standard before it is +published. BARONAS pointed out that AIIM's liaisons deal with numerous +other standards developers, including the optical disk community, office +and publishing systems, image-codes-and-character set committees, and the +National Information Standards Organization (NISO). + +BARONAS illustrated the procedures of TC l7l, which covers all aspects of +image management. When AIIM's national program has conceptualized a new +project, it is usually submitted to the international level, so that the +member countries of TC l7l can simultaneously work on the development of +the standard or the technical report. BARONAS also illustrated a classic +microfilm standard, MS23, which deals with numerous imaging concepts that +apply to electronic imaging. Originally developed in the l970s, revised +in the l980s, and revised again in l991, this standard is scheduled for +another revision. MS23 is an active standard whereby users may propose +new density ranges and new methods of evaluating film images in the +standard's revision. + +BARONAS detailed several electronic image-management standards, for +instance, ANSI/AIIM MS44, a quality-control guideline for scanning 8.5" +by 11" black-and-white office documents. This standard is used with the +IEEE fax image--a continuous tone photographic image with gray scales, +text, and several continuous tone pictures--and AIIM test target number +2, a representative document used in office document management. + +BARONAS next outlined the four categories of EIM standardization in which +AIIM standards are being developed: transfer and retrieval, evaluation, +optical disc and document scanning applications, and design and +conversion of documents. She detailed several of the main projects of +each: 1) in the category of image transfer and retrieval, a bi-level +image transfer format, ANSI/AIIM MS53, which is a proposed standard that +describes a file header for image transfer between unlike systems when +the images are compressed using G3 and G4 compression; 2) the category of +image evaluation, which includes the AIIM-proposed TR26 tutorial on image +resolution (this technical report will treat the differences and +similarities between classical or photographic and electronic imaging); +3) design and conversion, which includes a proposed technical report +called "Forms Design Optimization for EIM" (this report considers how +general-purpose business forms can be best designed so that scanning is +optimized; reprographic characteristics such as type, rules, background, +tint, and color will likewise be treated in the technical report); 4) +disk and document scanning applications includes a project a) on planning +platters and disk management, b) on generating an application profile for +EIM when images are stored and distributed on CD-ROM, and c) on +evaluating SCSI2, and how a common command set can be generated for SCSI2 +so that document scanners are more easily integrated. (ANSI/AIIM MS53 +will also apply to compressed images.) + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +BATTIN * The implications of standards for preservation * A major +obstacle to successful cooperation * A hindrance to access in the digital +environment * Standards a double-edged sword for those concerned with the +preservation of the human record * Near-term prognosis for reliable +archival standards * Preservation concerns for electronic media * Need +for reconceptualizing our preservation principles * Standards in the real +world and the politics of reproduction * Need to redefine the concept of +archival and to begin to think in terms of life cycles * Cooperation and +the La Guardia Eight * Concerns generated by discussions on the problems +of preserving text and image * General principles to be adopted in a +world without standards * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Patricia BATTIN, president, the Commission on Preservation and Access +(CPA), addressed the implications of standards for preservation. She +listed several areas where the library profession and the analog world of +the printed book had made enormous contributions over the past hundred +years--for example, in bibliographic formats, binding standards, and, most +important, in determining what constitutes longevity or archival quality. + +Although standards have lightened the preservation burden through the +development of national and international collaborative programs, +nevertheless, a pervasive mistrust of other people's standards remains a +major obstacle to successful cooperation, BATTIN said. + +The zeal to achieve perfection, regardless of the cost, has hindered +rather than facilitated access in some instances, and in the digital +environment, where no real standards exist, has brought an ironically +just reward. + +BATTIN argued that standards are a double-edged sword for those concerned +with the preservation of the human record, that is, the provision of +access to recorded knowledge in a multitude of media as far into the +future as possible. Standards are essential to facilitate +interconnectivity and access, but, BATTIN said, as LYNCH pointed out +yesterday, if set too soon they can hinder creativity, expansion of +capability, and the broadening of access. The characteristics of +standards for digital imagery differ radically from those for analog +imagery. And the nature of digital technology implies continuing +volatility and change. To reiterate, precipitous standard-setting can +inhibit creativity, but delayed standard-setting results in chaos. + +Since in BATTIN'S opinion the near-term prognosis for reliable archival +standards, as defined by librarians in the analog world, is poor, two +alternatives remain: standing pat with the old technology, or +reconceptualizing. + +Preservation concerns for electronic media fall into two general domains. +One is the continuing assurance of access to knowledge originally +generated, stored, disseminated, and used in electronic form. This +domain contains several subdivisions, including 1) the closed, +proprietary systems discussed the previous day, bundled information such +as electronic journals and government agency records, and electronically +produced or captured raw data; and 2) the application of digital +technologies to the reformatting of materials originally published on a +deteriorating analog medium such as acid paper or videotape. + +The preservation of electronic media requires a reconceptualizing of our +preservation principles during a volatile, standardless transition which +may last far longer than any of us envision today. BATTIN urged the +necessity of shifting focus from assessing, measuring, and setting +standards for the permanence of the medium to the concept of managing +continuing access to information stored on a variety of media and +requiring a variety of ever-changing hardware and software for access--a +fundamental shift for the library profession. + +BATTIN offered a primer on how to move forward with reasonable confidence +in a world without standards. Her comments fell roughly into two sections: +1) standards in the real world and 2) the politics of reproduction. + +In regard to real-world standards, BATTIN argued the need to redefine the +concept of archive and to begin to think in terms of life cycles. In +the past, the naive assumption that paper would last forever produced a +cavalier attitude toward life cycles. The transient nature of the +electronic media has compelled people to recognize and accept upfront the +concept of life cycles in place of permanency. + +Digital standards have to be developed and set in a cooperative context +to ensure efficient exchange of information. Moreover, during this +transition period, greater flexibility concerning how concepts such as +backup copies and archival copies in the CXP are defined is necessary, +or the opportunity to move forward will be lost. + +In terms of cooperation, particularly in the university setting, BATTIN +also argued the need to avoid going off in a hundred different +directions. The CPA has catalyzed a small group of universities called +the La Guardia Eight--because La Guardia Airport is where meetings take +place--Harvard, Yale, Cornell, Princeton, Penn State, Tennessee, +Stanford, and USC, to develop a digital preservation consortium to look +at all these issues and develop de facto standards as we move along, +instead of waiting for something that is officially blessed. Continuing +to apply analog values and definitions of standards to the digital +environment, BATTIN said, will effectively lead to forfeiture of the +benefits of digital technology to research and scholarship. + +Under the second rubric, the politics of reproduction, BATTIN reiterated +an oft-made argument concerning the electronic library, namely, that it +is more difficult to transform than to create, and nowhere is that belief +expressed more dramatically than in the conversion of brittle books to +new media. Preserving information published in electronic media involves +making sure the information remains accessible and that digital +information is not lost through reproduction. In the analog world of +photocopies and microfilm, the issue of fidelity to the original becomes +paramount, as do issues of "Whose fidelity?" and "Whose original?" + +BATTIN elaborated these arguments with a few examples from a recent study +conducted by the CPA on the problems of preserving text and image. +Discussions with scholars, librarians, and curators in a variety of +disciplines dependent on text and image generated a variety of concerns, +for example: 1) Copy what is, not what the technology is capable of. +This is very important for the history of ideas. Scholars wish to know +what the author saw and worked from. And make available at the +workstation the opportunity to erase all the defects and enhance the +presentation. 2) The fidelity of reproduction--what is good enough, what +can we afford, and the difference it makes--issues of subjective versus +objective resolution. 3) The differences between primary and secondary +users. Restricting the definition of primary user to the one in whose +discipline the material has been published runs one headlong into the +reality that these printed books have had a host of other users from a +host of other disciplines, who not only were looking for very different +things, but who also shared values very different from those of the +primary user. 4) The relationship of the standard of reproduction to new +capabilities of scholarship--the browsing standard versus an archival +standard. How good must the archival standard be? Can a distinction be +drawn between potential users in setting standards for reproduction? +Archival storage, use copies, browsing copies--ought an attempt to set +standards even be made? 5) Finally, costs. How much are we prepared to +pay to capture absolute fidelity? What are the trade-offs between vastly +enhanced access, degrees of fidelity, and costs? + +These standards, BATTIN concluded, serve to complicate further the +reproduction process, and add to the long list of technical standards +that are necessary to ensure widespread access. Ways to articulate and +analyze the costs that are attached to the different levels of standards +must be found. + +Given the chaos concerning standards, which promises to linger for the +foreseeable future, BATTIN urged adoption of the following general +principles: + + * Strive to understand the changing information requirements of + scholarly disciplines as more and more technology is integrated into + the process of research and scholarly communication in order to meet + future scholarly needs, not to build for the past. Capture + deteriorating information at the highest affordable resolution, even + though the dissemination and display technologies will lag. + + * Develop cooperative mechanisms to foster agreement on protocols + for document structure and other interchange mechanisms necessary + for widespread dissemination and use before official standards are + set. + + * Accept that, in a transition period, de facto standards will have + to be developed. + + * Capture information in a way that keeps all options open and + provides for total convertibility: OCR, scanning of microfilm, + producing microfilm from scanned documents, etc. + + * Work closely with the generators of information and the builders + of networks and databases to ensure that continuing accessibility is + a primary concern from the beginning. + + * Piggyback on standards under development for the broad market, and + avoid library-specific standards; work with the vendors, in order to + take advantage of that which is being standardized for the rest of + the world. + + * Concentrate efforts on managing permanence in the digital world, + rather than perfecting the longevity of a particular medium. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Additional comments on TIFF * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +During the brief discussion period that followed BATTIN's presentation, +BARONAS explained that TIFF was not developed in collaboration with or +under the auspices of AIIM. TIFF is a company product, not a standard, +is owned by two corporations, and is always changing. BARONAS also +observed that ANSI/AIIM MS53, a bi-level image file transfer format that +allows unlike systems to exchange images, is compatible with TIFF as well +as with DEC's architecture and IBM's MODCA/IOCA. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +HOOTON * Several questions to be considered in discussing text conversion +* ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +HOOTON introduced the final topic, text conversion, by noting that it is +becoming an increasingly important part of the imaging business. Many +people now realize that it enhances their system to be able to have more +and more character data as part of their imaging system. Re the issue of +OCR versus rekeying, HOOTON posed several questions: How does one get +text into computer-readable form? Does one use automated processes? +Does one attempt to eliminate the use of operators where possible? +Standards for accuracy, he said, are extremely important: it makes a +major difference in cost and time whether one sets as a standard 98.5 +percent acceptance or 99.5 percent. He mentioned outsourcing as a +possibility for converting text. Finally, what one does with the image +to prepare it for the recognition process is also important, he said, +because such preparation changes how recognition is viewed, as well as +facilitates recognition itself. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +LESK * Roles of participants in CORE * Data flow * The scanning process * +The image interface * Results of experiments involving the use of +electronic resources and traditional paper copies * Testing the issue of +serendipity * Conclusions * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Michael LESK, executive director, Computer Science Research, Bell +Communications Research, Inc. (Bellcore), discussed the Chemical Online +Retrieval Experiment (CORE), a cooperative project involving Cornell +University, OCLC, Bellcore, and the American Chemical Society (ACS). + +LESK spoke on 1) how the scanning was performed, including the unusual +feature of page segmentation, and 2) the use made of the text and the +image in experiments. + +Working with the chemistry journals (because ACS has been saving its +typesetting tapes since the mid-1970s and thus has a significant back-run +of the most important chemistry journals in the United States), CORE is +attempting to create an automated chemical library. Approximately a +quarter of the pages by square inch are made up of images of +quasi-pictorial material; dealing with the graphic components of the +pages is extremely important. LESK described the roles of participants +in CORE: 1) ACS provides copyright permission, journals on paper, +journals on microfilm, and some of the definitions of the files; 2) at +Bellcore, LESK chiefly performs the data preparation, while Dennis Egan +performs experiments on the users of chemical abstracts, and supplies the +indexing and numerous magnetic tapes; 3) Cornell provides the site of the +experiment; 4) OCLC develops retrieval software and other user interfaces. +Various manufacturers and publishers have furnished other help. + +Concerning data flow, Bellcore receives microfilm and paper from ACS; the +microfilm is scanned by outside vendors, while the paper is scanned +inhouse on an Improvision scanner, twenty pages per minute at 300 dpi, +which provides sufficient quality for all practical uses. LESK would +prefer to have more gray level, because one of the ACS journals prints on +some colored pages, which creates a problem. + +Bellcore performs all this scanning, creates a page-image file, and also +selects from the pages the graphics, to mix with the text file (which is +discussed later in the Workshop). The user is always searching the ASCII +file, but she or he may see a display based on the ASCII or a display +based on the images. + +LESK illustrated how the program performs page analysis, and the image +interface. (The user types several words, is presented with a list-- +usually of the titles of articles contained in an issue--that derives +from the ASCII, clicks on an icon and receives an image that mirrors an +ACS page.) LESK also illustrated an alternative interface, based on text +on the ASCII, the so-called SuperBook interface from Bellcore. + +LESK next presented the results of an experiment conducted by Dennis Egan +and involving thirty-six students at Cornell, one third of them +undergraduate chemistry majors, one third senior undergraduate chemistry +majors, and one third graduate chemistry students. A third of them +received the paper journals, the traditional paper copies and chemical +abstracts on paper. A third received image displays of the pictures of +the pages, and a third received the text display with pop-up graphics. + +The students were given several questions made up by some chemistry +professors. The questions fell into five classes, ranging from very easy +to very difficult, and included questions designed to simulate browsing +as well as a traditional information retrieval-type task. + +LESK furnished the following results. In the straightforward question +search--the question being, what is the phosphorus oxygen bond distance +and hydroxy phosphate?--the students were told that they could take +fifteen minutes and, then, if they wished, give up. The students with +paper took more than fifteen minutes on average, and yet most of them +gave up. The students with either electronic format, text or image, +received good scores in reasonable time, hardly ever had to give up, and +usually found the right answer. + +In the browsing study, the students were given a list of eight topics, +told to imagine that an issue of the Journal of the American Chemical +Society had just appeared on their desks, and were also told to flip +through it and to find topics mentioned in the issue. The average scores +were about the same. (The students were told to answer yes or no about +whether or not particular topics appeared.) The errors, however, were +quite different. The students with paper rarely said that something +appeared when it had not. But they often failed to find something +actually mentioned in the issue. The computer people found numerous +things, but they also frequently said that a topic was mentioned when it +was not. (The reason, of course, was that they were performing word +searches. They were finding that words were mentioned and they were +concluding that they had accomplished their task.) + +This question also contained a trick to test the issue of serendipity. +The students were given another list of eight topics and instructed, +without taking a second look at the journal, to recall how many of this +new list of eight topics were in this particular issue. This was an +attempt to see if they performed better at remembering what they were not +looking for. They all performed about the same, paper or electronics, +about 62 percent accurate. In short, LESK said, people were not very +good when it came to serendipity, but they were no worse at it with +computers than they were with paper. + +(LESK gave a parenthetical illustration of the learning curve of students +who used SuperBook.) + +The students using the electronic systems started off worse than the ones +using print, but by the third of the three sessions in the series had +caught up to print. As one might expect, electronics provide a much +better means of finding what one wants to read; reading speeds, once the +object of the search has been found, are about the same. + +Almost none of the students could perform the hard task--the analogous +transformation. (It would require the expertise of organic chemists to +complete.) But an interesting result was that the students using the text +search performed terribly, while those using the image system did best. +That the text search system is driven by text offers the explanation. +Everything is focused on the text; to see the pictures, one must press +on an icon. Many students found the right article containing the answer +to the question, but they did not click on the icon to bring up the right +figure and see it. They did not know that they had found the right place, +and thus got it wrong. + +The short answer demonstrated by this experiment was that in the event +one does not know what to read, one needs the electronic systems; the +electronic systems hold no advantage at the moment if one knows what to +read, but neither do they impose a penalty. + +LESK concluded by commenting that, on one hand, the image system was easy +to use. On the other hand, the text display system, which represented +twenty man-years of work in programming and polishing, was not winning, +because the text was not being read, just searched. The much easier +system is highly competitive as well as remarkably effective for the +actual chemists. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +ERWAY * Most challenging aspect of working on AM * Assumptions guiding +AM's approach * Testing different types of service bureaus * AM's +requirement for 99.95 percent accuracy * Requirements for text-coding * +Additional factors influencing AM's approach to coding * Results of AM's +experience with rekeying * Other problems in dealing with service bureaus +* Quality control the most time-consuming aspect of contracting out +conversion * Long-term outlook uncertain * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +To Ricky ERWAY, associate coordinator, American Memory, Library of +Congress, the constant variety of conversion projects taking place +simultaneously represented perhaps the most challenging aspect of working +on AM. Thus, the challenge was not to find a solution for text +conversion but a tool kit of solutions to apply to LC's varied +collections that need to be converted. ERWAY limited her remarks to the +process of converting text to machine-readable form, and the variety of +LC's text collections, for example, bound volumes, microfilm, and +handwritten manuscripts. + +Two assumptions have guided AM's approach, ERWAY said: 1) A desire not +to perform the conversion inhouse. Because of the variety of formats and +types of texts, to capitalize the equipment and have the talents and +skills to operate them at LC would be extremely expensive. Further, the +natural inclination to upgrade to newer and better equipment each year +made it reasonable for AM to focus on what it did best and seek external +conversion services. Using service bureaus also allowed AM to have +several types of operations take place at the same time. 2) AM was not a +technology project, but an effort to improve access to library +collections. Hence, whether text was converted using OCR or rekeying +mattered little to AM. What mattered were cost and accuracy of results. + +AM considered different types of service bureaus and selected three to +perform several small tests in order to acquire a sense of the field. +The sample collections with which they worked included handwritten +correspondence, typewritten manuscripts from the 1940s, and +eighteenth-century printed broadsides on microfilm. On none of these +samples was OCR performed; they were all rekeyed. AM had several special +requirements for the three service bureaus it had engaged. For instance, +any errors in the original text were to be retained. Working from bound +volumes or anything that could not be sheet-fed also constituted a factor +eliminating companies that would have performed OCR. + +AM requires 99.95 percent accuracy, which, though it sounds high, often +means one or two errors per page. The initial batch of test samples +contained several handwritten materials for which AM did not require +text-coding. The results, ERWAY reported, were in all cases fairly +comparable: for the most part, all three service bureaus achieved 99.95 +percent accuracy. AM was satisfied with the work but surprised at the cost. + +As AM began converting whole collections, it retained the requirement for +99.95 percent accuracy and added requirements for text-coding. AM needed +to begin performing work more than three years ago before LC requirements +for SGML applications had been established. Since AM's goal was simply +to retain any of the intellectual content represented by the formatting +of the document (which would be lost if one performed a straight ASCII +conversion), AM used "SGML-like" codes. These codes resembled SGML tags +but were used without the benefit of document-type definitions. AM found +that many service bureaus were not yet SGML-proficient. + +Additional factors influencing the approach AM took with respect to +coding included: 1) the inability of any known microcomputer-based +user-retrieval software to take advantage of SGML coding; and 2) the +multiple inconsistencies in format of the older documents, which +confirmed AM in its desire not to attempt to force the different formats +to conform to a single document-type definition (DTD) and thus create the +need for a separate DTD for each document. + +The five text collections that AM has converted or is in the process of +converting include a collection of eighteenth-century broadsides, a +collection of pamphlets, two typescript document collections, and a +collection of 150 books. + +ERWAY next reviewed the results of AM's experience with rekeying, noting +again that because the bulk of AM's materials are historical, the quality +of the text often does not lend itself to OCR. While non-English +speakers are less likely to guess or elaborate or correct typos in the +original text, they are also less able to infer what we would; they also +are nearly incapable of converting handwritten text. Another +disadvantage of working with overseas keyers is that they are much less +likely to telephone with questions, especially on the coding, with the +result that they develop their own rules as they encounter new +situations. + +Government contracting procedures and time frames posed a major challenge +to performing the conversion. Many service bureaus are not accustomed to +retaining the image, even if they perform OCR. Thus, questions of image +format and storage media were somewhat novel to many of them. ERWAY also +remarked other problems in dealing with service bureaus, for example, +their inability to perform text conversion from the kind of microfilm +that LC uses for preservation purposes. + +But quality control, in ERWAY's experience, was the most time-consuming +aspect of contracting out conversion. AM has been attempting to perform +a 10-percent quality review, looking at either every tenth document or +every tenth page to make certain that the service bureaus are maintaining +99.95 percent accuracy. But even if they are complying with the +requirement for accuracy, finding errors produces a desire to correct +them and, in turn, to clean up the whole collection, which defeats the +purpose to some extent. Even a double entry requires a +character-by-character comparison to the original to meet the accuracy +requirement. LC is not accustomed to publish imperfect texts, which +makes attempting to deal with the industry standard an emotionally +fraught issue for AM. As was mentioned in the previous day's discussion, +going from 99.95 to 99.99 percent accuracy usually doubles costs and +means a third keying or another complete run-through of the text. + +Although AM has learned much from its experiences with various collections +and various service bureaus, ERWAY concluded pessimistically that no +breakthrough has been achieved. Incremental improvements have occurred +in some of the OCR technology, some of the processes, and some of the +standards acceptances, which, though they may lead to somewhat lower costs, +do not offer much encouragement to many people who are anxiously awaiting +the day that the entire contents of LC are available on-line. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +ZIDAR * Several answers to why one attempts to perform full-text +conversion * Per page cost of performing OCR * Typical problems +encountered during editing * Editing poor copy OCR vs. rekeying * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Judith ZIDAR, coordinator, National Agricultural Text Digitizing Program +(NATDP), National Agricultural Library (NAL), offered several answers to +the question of why one attempts to perform full-text conversion: 1) +Text in an image can be read by a human but not by a computer, so of +course it is not searchable and there is not much one can do with it. 2) +Some material simply requires word-level access. For instance, the legal +profession insists on full-text access to its material; with taxonomic or +geographic material, which entails numerous names, one virtually requires +word-level access. 3) Full text permits rapid browsing and searching, +something that cannot be achieved in an image with today's technology. +4) Text stored as ASCII and delivered in ASCII is standardized and highly +portable. 5) People just want full-text searching, even those who do not +know how to do it. NAL, for the most part, is performing OCR at an +actual cost per average-size page of approximately $7. NAL scans the +page to create the electronic image and passes it through the OCR device. + +ZIDAR next rehearsed several typical problems encountered during editing. +Praising the celerity of her student workers, ZIDAR observed that editing +requires approximately five to ten minutes per page, assuming that there +are no large tables to audit. Confusion among the three characters I, 1, +and l, constitutes perhaps the most common problem encountered. Zeroes +and O's also are frequently confused. Double M's create a particular +problem, even on clean pages. They are so wide in most fonts that they +touch, and the system simply cannot tell where one letter ends and the +other begins. Complex page formats occasionally fail to columnate +properly, which entails rescanning as though one were working with a +single column, entering the ASCII, and decolumnating for better +searching. With proportionally spaced text, OCR can have difficulty +discerning what is a space and what are merely spaces between letters, as +opposed to spaces between words, and therefore will merge text or break +up words where it should not. + +ZIDAR said that it can often take longer to edit a poor-copy OCR than to +key it from scratch. NAL has also experimented with partial editing of +text, whereby project workers go into and clean up the format, removing +stray characters but not running a spell-check. NAL corrects typos in +the title and authors' names, which provides a foothold for searching and +browsing. Even extremely poor-quality OCR (e.g., 60-percent accuracy) +can still be searched, because numerous words are correct, while the +important words are probably repeated often enough that they are likely +to be found correct somewhere. Librarians, however, cannot tolerate this +situation, though end users seem more willing to use this text for +searching, provided that NAL indicates that it is unedited. ZIDAR +concluded that rekeying of text may be the best route to take, in spite +of numerous problems with quality control and cost. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Modifying an image before performing OCR * NAL's costs per +page *AM's costs per page and experience with Federal Prison Industries * +Elements comprising NATDP's costs per page * OCR and structured markup * +Distinction between the structure of a document and its representation +when put on the screen or printed * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +HOOTON prefaced the lengthy discussion that followed with several +comments about modifying an image before one reaches the point of +performing OCR. For example, in regard to an application containing a +significant amount of redundant data, such as form-type data, numerous +companies today are working on various kinds of form renewal, prior to +going through a recognition process, by using dropout colors. Thus, +acquiring access to form design or using electronic means are worth +considering. HOOTON also noted that conversion usually makes or breaks +one's imaging system. It is extremely important, extremely costly in +terms of either capital investment or service, and determines the quality +of the remainder of one's system, because it determines the character of +the raw material used by the system. + +Concerning the four projects undertaken by NAL, two inside and two +performed by outside contractors, ZIDAR revealed that an in-house service +bureau executed the first at a cost between $8 and $10 per page for +everything, including building of the database. The project undertaken +by the Consultative Group on International Agricultural Research (CGIAR) +cost approximately $10 per page for the conversion, plus some expenses +for the software and building of the database. The Acid Rain Project--a +two-disk set produced by the University of Vermont, consisting of +Canadian publications on acid rain--cost $6.70 per page for everything, +including keying of the text, which was double keyed, scanning of the +images, and building of the database. The in-house project offered +considerable ease of convenience and greater control of the process. On +the other hand, the service bureaus know their job and perform it +expeditiously, because they have more people. + +As a useful comparison, ERWAY revealed AM's costs as follows: $0.75 +cents to $0.85 cents per thousand characters, with an average page +containing 2,700 characters. Requirements for coding and imaging +increase the costs. Thus, conversion of the text, including the coding, +costs approximately $3 per page. (This figure does not include the +imaging and database-building included in the NAL costs.) AM also +enjoyed a happy experience with Federal Prison Industries, which +precluded the necessity of going through the request-for-proposal process +to award a contract, because it is another government agency. The +prisoners performed AM's rekeying just as well as other service bureaus +and proved handy as well. AM shipped them the books, which they would +photocopy on a book-edge scanner. They would perform the markup on +photocopies, return the books as soon as they were done with them, +perform the keying, and return the material to AM on WORM disks. + +ZIDAR detailed the elements that constitute the previously noted cost of +approximately $7 per page. Most significant is the editing, correction +of errors, and spell-checkings, which though they may sound easy to +perform require, in fact, a great deal of time. Reformatting text also +takes a while, but a significant amount of NAL's expenses are for equipment, +which was extremely expensive when purchased because it was one of the few +systems on the market. The costs of equipment are being amortized over +five years but are still quite high, nearly $2,000 per month. + +HOCKEY raised a general question concerning OCR and the amount of editing +required (substantial in her experience) to generate the kind of +structured markup necessary for manipulating the text on the computer or +loading it into any retrieval system. She wondered if the speakers could +extend the previous question about the cost-benefit of adding or exerting +structured markup. ERWAY noted that several OCR systems retain italics, +bolding, and other spatial formatting. While the material may not be in +the format desired, these systems possess the ability to remove the +original materials quickly from the hands of the people performing the +conversion, as well as to retain that information so that users can work +with it. HOCKEY rejoined that the current thinking on markup is that one +should not say that something is italic or bold so much as why it is that +way. To be sure, one needs to know that something was italicized, but +how can one get from one to the other? One can map from the structure to +the typographic representation. + +FLEISCHHAUER suggested that, given the 100 million items the Library +holds, it may not be possible for LC to do more than report that a thing +was in italics as opposed to why it was italics, although that may be +desirable in some contexts. Promising to talk a bit during the afternoon +session about several experiments OCLC performed on automatic recognition +of document elements, and which they hoped to extend, WEIBEL said that in +fact one can recognize the major elements of a document with a fairly +high degree of reliability, at least as good as OCR. STEVENS drew a +useful distinction between standard, generalized markup (i.e., defining +for a document-type definition the structure of the document), and what +he termed a style sheet, which had to do with italics, bolding, and other +forms of emphasis. Thus, two different components are at work, one being +the structure of the document itself (its logic), and the other being its +representation when it is put on the screen or printed. + + ****** + +SESSION V. APPROACHES TO PREPARING ELECTRONIC TEXTS + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +HOCKEY * Text in ASCII and the representation of electronic text versus +an image * The need to look at ways of using markup to assist retrieval * +The need for an encoding format that will be reusable and multifunctional ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Susan HOCKEY, director, Center for Electronic Texts in the Humanities +(CETH), Rutgers and Princeton Universities, announced that one talk +(WEIBEL's) was moved into this session from the morning and that David +Packard was unable to attend. The session would attempt to focus more on +what one can do with a text in ASCII and the representation of electronic +text rather than just an image, what one can do with a computer that +cannot be done with a book or an image. It would be argued that one can +do much more than just read a text, and from that starting point one can +use markup and methods of preparing the text to take full advantage of +the capability of the computer. That would lead to a discussion of what +the European Community calls REUSABILITY, what may better be termed +DURABILITY, that is, how to prepare or make a text that will last a long +time and that can be used for as many applications as possible, which +would lead to issues of improving intellectual access. + +HOCKEY urged the need to look at ways of using markup to facilitate retrieval, +not just for referencing or to help locate an item that is retrieved, but also to put markup tags in +a text to help retrieve the thing sought either with linguistic tagging or +interpretation. HOCKEY also argued that little advancement had occurred in +the software tools currently available for retrieving and searching text. +She pressed the desideratum of going beyond Boolean searches and performing +more sophisticated searching, which the insertion of more markup in the text +would facilitate. Thinking about electronic texts as opposed to images means +considering material that will never appear in print form, or print will not +be its primary form, that is, material which only appears in electronic form. +HOCKEY alluded to the history and the need for markup and tagging and +electronic text, which was developed through the use of computers in the +humanities; as MICHELSON had observed, Father Busa had started in 1949 +to prepare the first-ever text on the computer. + +HOCKEY remarked several large projects, particularly in Europe, for the +compilation of dictionaries, language studies, and language analysis, in +which people have built up archives of text and have begun to recognize +the need for an encoding format that will be reusable and multifunctional, +that can be used not just to print the text, which may be assumed to be a +byproduct of what one wants to do, but to structure it inside the computer +so that it can be searched, built into a Hypertext system, etc. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +WEIBEL * OCLC's approach to preparing electronic text: retroconversion, +keying of texts, more automated ways of developing data * Project ADAPT +and the CORE Project * Intelligent character recognition does not exist * +Advantages of SGML * Data should be free of procedural markup; +descriptive markup strongly advocated * OCLC's interface illustrated * +Storage requirements and costs for putting a lot of information on line * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Stuart WEIBEL, senior research scientist, Online Computer Library Center, +Inc. (OCLC), described OCLC's approach to preparing electronic text. He +argued that the electronic world into which we are moving must +accommodate not only the future but the past as well, and to some degree +even the present. Thus, starting out at one end with retroconversion and +keying of texts, one would like to move toward much more automated ways +of developing data. + +For example, Project ADAPT had to do with automatically converting +document images into a structured document database with OCR text as +indexing and also a little bit of automatic formatting and tagging of +that text. The CORE project hosted by Cornell University, Bellcore, +OCLC, the American Chemical Society, and Chemical Abstracts, constitutes +WEIBEL's principal concern at the moment. This project is an example of +converting text for which one already has a machine-readable version into +a format more suitable for electronic delivery and database searching. +(Since Michael LESK had previously described CORE, WEIBEL would say +little concerning it.) Borrowing a chemical phrase, de novo synthesis, +WEIBEL cited the Online Journal of Current Clinical Trials as an example +of de novo electronic publishing, that is, a form in which the primary +form of the information is electronic. + +Project ADAPT, then, which OCLC completed a couple of years ago and in +fact is about to resume, is a model in which one takes page images either +in paper or microfilm and converts them automatically to a searchable +electronic database, either on-line or local. The operating assumption +is that accepting some blemishes in the data, especially for +retroconversion of materials, will make it possible to accomplish more. +Not enough money is available to support perfect conversion. + +WEIBEL related several steps taken to perform image preprocessing +(processing on the image before performing optical character +recognition), as well as image postprocessing. He denied the existence +of intelligent character recognition and asserted that what is wanted is +page recognition, which is a long way off. OCLC has experimented with +merging of multiple optical character recognition systems that will +reduce errors from an unacceptable rate of 5 characters out of every +l,000 to an unacceptable rate of 2 characters out of every l,000, but it +is not good enough. It will never be perfect. + +Concerning the CORE Project, WEIBEL observed that Bellcore is taking the +topography files, extracting the page images, and converting those +topography files to SGML markup. LESK hands that data off to OCLC, which +builds that data into a Newton database, the same system that underlies +the on-line system in virtually all of the reference products at OCLC. +The long-term goal is to make the systems interoperable so that not just +Bellcore's system and OCLC's system can access this data, but other +systems can as well, and the key to that is the Z39.50 common command +language and the full-text extension. Z39.50 is fine for MARC records, +but is not enough to do it for full text (that is, make full texts +interoperable). + +WEIBEL next outlined the critical role of SGML for a variety of purposes, +for example, as noted by HOCKEY, in the world of extremely large +databases, using highly structured data to perform field searches. +WEIBEL argued that by building the structure of the data in (i.e., the +structure of the data originally on a printed page), it becomes easy to +look at a journal article even if one cannot read the characters and know +where the title or author is, or what the sections of that document would be. +OCLC wants to make that structure explicit in the database, because it will +be important for retrieval purposes. + +The second big advantage of SGML is that it gives one the ability to +build structure into the database that can be used for display purposes +without contaminating the data with instructions about how to format +things. The distinction lies between procedural markup, which tells one +where to put dots on the page, and descriptive markup, which describes +the elements of a document. + +WEIBEL believes that there should be no procedural markup in the data at +all, that the data should be completely unsullied by information about +italics or boldness. That should be left up to the display device, +whether that display device is a page printer or a screen display device. +By keeping one's database free of that kind of contamination, one can +make decisions down the road, for example, reorganize the data in ways +that are not cramped by built-in notions of what should be italic and +what should be bold. WEIBEL strongly advocated descriptive markup. As +an example, he illustrated the index structure in the CORE data. With +subsequent illustrated examples of markup, WEIBEL acknowledged the common +complaint that SGML is hard to read in its native form, although markup +decreases considerably once one gets into the body. Without the markup, +however, one would not have the structure in the data. One can pass +markup through a LaTeX processor and convert it relatively easily to a +printed version of the document. + +WEIBEL next illustrated an extremely cluttered screen dump of OCLC's +system, in order to show as much as possible the inherent capability on +the screen. (He noted parenthetically that he had become a supporter of +X-Windows as a result of the progress of the CORE Project.) WEIBEL also +illustrated the two major parts of the interface: l) a control box that +allows one to generate lists of items, which resembles a small table of +contents based on key words one wishes to search, and 2) a document +viewer, which is a separate process in and of itself. He demonstrated +how to follow links through the electronic database simply by selecting +the appropriate button and bringing them up. He also noted problems that +remain to be accommodated in the interface (e.g., as pointed out by LESK, +what happens when users do not click on the icon for the figure). + +Given the constraints of time, WEIBEL omitted a large number of ancillary +items in order to say a few words concerning storage requirements and +what will be required to put a lot of things on line. Since it is +extremely expensive to reconvert all of this data, especially if it is +just in paper form (and even if it is in electronic form in typesetting +tapes), he advocated building journals electronically from the start. In +that case, if one only has text graphics and indexing (which is all that +one needs with de novo electronic publishing, because there is no need to +go back and look at bit-maps of pages), one can get 10,000 journals of +full text, or almost 6 million pages per year. These pages can be put in +approximately 135 gigabytes of storage, which is not all that much, +WEIBEL said. For twenty years, something less than three terabytes would +be required. WEIBEL calculated the costs of storing this information as +follows: If a gigabyte costs approximately $1,000, then a terabyte costs +approximately $1 million to buy in terms of hardware. One also needs a +building to put it in and a staff like OCLC to handle that information. +So, to support a terabyte, multiply by five, which gives $5 million per +year for a supported terabyte of data. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Tapes saved by ACS are the typography files originally +supporting publication of the journal * Cost of building tagged text into +the database * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +During the question-and-answer period that followed WEIBEL's +presentation, these clarifications emerged. The tapes saved by the +American Chemical Society are the typography files that originally +supported the publication of the journal. Although they are not tagged +in SGML, they are tagged in very fine detail. Every single sentence is +marked, all the registry numbers, all the publications issues, dates, and +volumes. No cost figures on tagging material on a per-megabyte basis +were available. Because ACS's typesetting system runs from tagged text, +there is no extra cost per article. It was unknown what it costs ACS to +keyboard the tagged text rather than just keyboard the text in the +cheapest process. In other words, since one intends to publish things +and will need to build tagged text into a typography system in any case, +if one does that in such a way that it can drive not only typography but +an electronic system (which is what ACS intends to do--move to SGML +publishing), the marginal cost is zero. The marginal cost represents the +cost of building tagged text into the database, which is small. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +SPERBERG-McQUEEN * Distinction between texts and computers * Implications +of recognizing that all representation is encoding * Dealing with +complicated representations of text entails the need for a grammar of +documents * Variety of forms of formal grammars * Text as a bit-mapped +image does not represent a serious attempt to represent text in +electronic form * SGML, the TEI, document-type declarations, and the +reusability and longevity of data * TEI conformance explicitly allows +extension or modification of the TEI tag set * Administrative background +of the TEI * Several design goals for the TEI tag set * An absolutely +fixed requirement of the TEI Guidelines * Challenges the TEI has +attempted to face * Good texts not beyond economic feasibility * The +issue of reproducibility or processability * The issue of mages as +simulacra for the text redux * One's model of text determines what one's +software can do with a text and has economic consequences * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Prior to speaking about SGML and markup, Michael SPERBERG-McQUEEN, editor, +Text Encoding Initiative (TEI), University of Illinois-Chicago, first drew +a distinction between texts and computers: Texts are abstract cultural +and linguistic objects while computers are complicated physical devices, +he said. Abstract objects cannot be placed inside physical devices; with +computers one can only represent text and act upon those representations. + +The recognition that all representation is encoding, SPERBERG-McQUEEN +argued, leads to the recognition of two things: 1) The topic description +for this session is slightly misleading, because there can be no discussion +of pros and cons of text-coding unless what one means is pros and cons of +working with text with computers. 2) No text can be represented in a +computer without some sort of encoding; images are one way of encoding text, +ASCII is another, SGML yet another. There is no encoding without some +information loss, that is, there is no perfect reproduction of a text that +allows one to do away with the original. Thus, the question becomes, +What is the most useful representation of text for a serious work? +This depends on what kind of serious work one is talking about. + +The projects demonstrated the previous day all involved highly complex +information and fairly complex manipulation of the textual material. +In order to use that complicated information, one has to calculate it +slowly or manually and store the result. It needs to be stored, therefore, +as part of one's representation of the text. Thus, one needs to store the +structure in the text. To deal with complicated representations of text, +one needs somehow to control the complexity of the representation of a text; +that means one needs a way of finding out whether a document and an +electronic representation of a document is legal or not; and that +means one needs a grammar of documents. + +SPERBERG-McQUEEN discussed the variety of forms of formal grammars, +implicit and explicit, as applied to text, and their capabilities. He +argued that these grammars correspond to different models of text that +different developers have. For example, one implicit model of the text +is that there is no internal structure, but just one thing after another, +a few characters and then perhaps a start-title command, and then a few +more characters and an end-title command. SPERBERG-McQUEEN also +distinguished several kinds of text that have a sort of hierarchical +structure that is not very well defined, which, typically, corresponds +to grammars that are not very well defined, as well as hierarchies that +are very well defined (e.g., the Thesaurus Linguae Graecae) and extremely +complicated things such as SGML, which handle strictly hierarchical data +very nicely. + +SPERBERG-McQUEEN conceded that one other model not illustrated on his two +displays was the model of text as a bit-mapped image, an image of a page, +and confessed to having been converted to a limited extent by the +Workshop to the view that electronic images constitute a promising, +probably superior alternative to microfilming. But he was not convinced +that electronic images represent a serious attempt to represent text in +electronic form. Many of their problems stem from the fact that they are +not direct attempts to represent the text but attempts to represent the +page, thus making them representations of representations. + +In this situation of increasingly complicated textual information and the +need to control that complexity in a useful way (which begs the question +of the need for good textual grammars), one has the introduction of SGML. +With SGML, one can develop specific document-type declarations +for specific text types or, as with the TEI, attempts to generate +general document-type declarations that can handle all sorts of text. +The TEI is an attempt to develop formats for text representation that +will ensure the kind of reusability and longevity of data discussed earlier. +It offers a way to stay alive in the state of permanent technological +revolution. + +It has been a continuing challenge in the TEI to create document grammars +that do some work in controlling the complexity of the textual object but +also allowing one to represent the real text that one will find. +Fundamental to the notion of the TEI is that TEI conformance allows one +the ability to extend or modify the TEI tag set so that it fits the text +that one is attempting to represent. + +SPERBERG-McQUEEN next outlined the administrative background of the TEI. +The TEI is an international project to develop and disseminate guidelines +for the encoding and interchange of machine-readable text. It is +sponsored by the Association for Computers in the Humanities, the +Association for Computational Linguistics, and the Association for +Literary and Linguistic Computing. Representatives of numerous other +professional societies sit on its advisory board. The TEI has a number +of affiliated projects that have provided assistance by testing drafts of +the guidelines. + +Among the design goals for the TEI tag set, the scheme first of all must +meet the needs of research, because the TEI came out of the research +community, which did not feel adequately served by existing tag sets. +The tag set must be extensive as well as compatible with existing and +emerging standards. In 1990, version 1.0 of the Guidelines was released +(SPERBERG-McQUEEN illustrated their contents). + +SPERBERG-McQUEEN noted that one problem besetting electronic text has +been the lack of adequate internal or external documentation for many +existing electronic texts. The TEI guidelines as currently formulated +contain few fixed requirements, but one of them is this: There must +always be a document header, an in-file SGML tag that provides +1) a bibliographic description of the electronic object one is talking +about (that is, who included it, when, what for, and under which title); +and 2) the copy text from which it was derived, if any. If there was +no copy text or if the copy text is unknown, then one states as much. +Version 2.0 of the Guidelines was scheduled to be completed in fall 1992 +and a revised third version is to be presented to the TEI advisory board +for its endorsement this coming winter. The TEI itself exists to provide +a markup language, not a marked-up text. + +Among the challenges the TEI has attempted to face is the need for a +markup language that will work for existing projects, that is, handle the +level of markup that people are using now to tag only chapter, section, +and paragraph divisions and not much else. At the same time, such a +language also will be able to scale up gracefully to handle the highly +detailed markup which many people foresee as the future destination of +much electronic text, and which is not the future destination but the +present home of numerous electronic texts in specialized areas. + +SPERBERG-McQUEEN dismissed the lowest-common-denominator approach as +unable to support the kind of applications that draw people who have +never been in the public library regularly before, and make them come +back. He advocated more interesting text and more intelligent text. +Asserting that it is not beyond economic feasibility to have good texts, +SPERBERG-McQUEEN noted that the TEI Guidelines listing 200-odd tags +contains tags that one is expected to enter every time the relevant +textual feature occurs. It contains all the tags that people need now, +and it is not expected that everyone will tag things in the same way. + +The question of how people will tag the text is in large part a function +of their reaction to what SPERBERG-McQUEEN termed the issue of +reproducibility. What one needs to be able to reproduce are the things +one wants to work with. Perhaps a more useful concept than that of +reproducibility or recoverability is that of processability, that is, +what can one get from an electronic text without reading it again +in the original. He illustrated this contention with a page from +Jan Comenius's bilingual Introduction to Latin. + +SPERBERG-McQUEEN returned at length to the issue of images as simulacra +for the text, in order to reiterate his belief that in the long run more +than images of pages of particular editions of the text are needed, +because just as second-generation photocopies and second-generation +microfilm degenerate, so second-generation representations tend to +degenerate, and one tends to overstress some relatively trivial aspects +of the text such as its layout on the page, which is not always +significant, despite what the text critics might say, and slight other +pieces of information such as the very important lexical ties between the +English and Latin versions of Comenius's bilingual text, for example. +Moreover, in many crucial respects it is easy to fool oneself concerning +what a scanned image of the text will accomplish. For example, in order +to study the transmission of texts, information concerning the text +carrier is necessary, which scanned images simply do not always handle. +Further, even the high-quality materials being produced at Cornell use +much of the information that one would need if studying those books as +physical objects. It is a choice that has been made. It is an arguably +justifiable choice, but one does not know what color those pen strokes in +the margin are or whether there was a stain on the page, because it has +been filtered out. One does not know whether there were rips in the page +because they do not show up, and on a couple of the marginal marks one +loses half of the mark because the pen is very light and the scanner +failed to pick it up, and so what is clearly a checkmark in the margin of +the original becomes a little scoop in the margin of the facsimile. +Standard problems for facsimile editions, not new to electronics, but +also true of light-lens photography, and are remarked here because it is +important that we not fool ourselves that even if we produce a very nice +image of this page with good contrast, we are not replacing the +manuscript any more than microfilm has replaced the manuscript. + +The TEI comes from the research community, where its first allegiance +lies, but it is not just an academic exercise. It has relevance far +beyond those who spend all of their time studying text, because one's +model of text determines what one's software can do with a text. Good +models lead to good software. Bad models lead to bad software. That has +economic consequences, and it is these economic consequences that have +led the European Community to help support the TEI, and that will lead, +SPERBERG-McQUEEN hoped, some software vendors to realize that if they +provide software with a better model of the text they can make a killing. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Implications of different DTDs and tag sets * ODA versus SGML * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +During the discussion that followed, several additional points were made. +Neither AAP (i.e., Association of American Publishers) nor CALS (i.e., +Computer-aided Acquisition and Logistics Support) has a document-type +definition for ancient Greek drama, although the TEI will be able to +handle that. Given this state of affairs and assuming that the +technical-journal producers and the commercial vendors decide to use the +other two types, then an institution like the Library of Congress, which +might receive all of their publications, would have to be able to handle +three different types of document definitions and tag sets and be able to +distinguish among them. + +Office Document Architecture (ODA) has some advantages that flow from its +tight focus on office documents and clear directions for implementation. +Much of the ODA standard is easier to read and clearer at first reading +than the SGML standard, which is extremely general. What that means is +that if one wants to use graphics in TIFF and ODA, one is stuck, because +ODA defines graphics formats while TIFF does not, whereas SGML says the +world is not waiting for this work group to create another graphics format. +What is needed is an ability to use whatever graphics format one wants. + +The TEI provides a socket that allows one to connect the SGML document to +the graphics. The notation that the graphics are in is clearly a choice +that one needs to make based on her or his environment, and that is one +advantage. SGML is less megalomaniacal in attempting to define formats +for all kinds of information, though more megalomaniacal in attempting to +cover all sorts of documents. The other advantage is that the model of +text represented by SGML is simply an order of magnitude richer and more +flexible than the model of text offered by ODA. Both offer hierarchical +structures, but SGML recognizes that the hierarchical model of the text +that one is looking at may not have been in the minds of the designers, +whereas ODA does not. + +ODA is not really aiming for the kind of document that the TEI wants to +encompass. The TEI can handle the kind of material ODA has, as well as a +significantly broader range of material. ODA seems to be very much +focused on office documents, which is what it started out being called-- +office document architecture. + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +CALALUCA * Text-encoding from a publisher's perspective * +Responsibilities of a publisher * Reproduction of Migne's Latin series +whole and complete with SGML tags based on perceived need and expected +use * Particular decisions arising from the general decision to produce +and publish PLD * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +The final speaker in this session, Eric CALALUCA, vice president, +Chadwyck-Healey, Inc., spoke from the perspective of a publisher re +text-encoding, rather than as one qualified to discuss methods of +encoding data, and observed that the presenters sitting in the room, +whether they had chosen to or not, were acting as publishers: making +choices, gathering data, gathering information, and making assessments. +CALALUCA offered the hard-won conviction that in publishing very large +text files (such as PLD), one cannot avoid making personal judgments of +appropriateness and structure. + +In CALALUCA's view, encoding decisions stem from prior judgments. Two +notions have become axioms for him in the consideration of future sources +for electronic publication: 1) electronic text publishing is as personal +as any other kind of publishing, and questions of if and how to encode +the data are simply a consequence of that prior decision; 2) all +personal decisions are open to criticism, which is unavoidable. + +CALALUCA rehearsed his role as a publisher or, better, as an intermediary +between what is viewed as a sound idea and the people who would make use +of it. Finding the specialist to advise in this process is the core of +that function. The publisher must monitor and hug the fine line between +giving users what they want and suggesting what they might need. One +responsibility of a publisher is to represent the desires of scholars and +research librarians as opposed to bullheadedly forcing them into areas +they would not choose to enter. + +CALALUCA likened the questions being raised today about data structure +and standards to the decisions faced by the Abbe Migne himself during +production of the Patrologia series in the mid-nineteenth century. +Chadwyck-Healey's decision to reproduce Migne's Latin series whole and +complete with SGML tags was also based upon a perceived need and an +expected use. In the same way that Migne's work came to be far more than +a simple handbook for clerics, PLD is already far more than a database +for theologians. It is a bedrock source for the study of Western +civilization, CALALUCA asserted. + +In regard to the decision to produce and publish PLD, the editorial board +offered direct judgments on the question of appropriateness of these +texts for conversion, their encoding and their distribution, and +concluded that the best possible project was one that avoided overt +intrusions or exclusions in so important a resource. Thus, the general +decision to transmit the original collection as clearly as possible with +the widest possible avenues for use led to other decisions: 1) To encode +the data or not, SGML or not, TEI or not. Again, the expected user +community asserted the need for normative tagging structures of important +humanities texts, and the TEI seemed the most appropriate structure for +that purpose. Research librarians, who are trained to view the larger +impact of electronic text sources on 80 or 90 or 100 doctoral +disciplines, loudly approved the decision to include tagging. They see +what is coming better than the specialist who is completely focused on +one edition of Ambrose's De Anima, and they also understand that the +potential uses exceed present expectations. 2) What will be tagged and +what will not. Once again, the board realized that one must tag the +obvious. But in no way should one attempt to identify through encoding +schemes every single discrete area of a text that might someday be +searched. That was another decision. Searching by a column number, an +author, a word, a volume, permitting combination searches, and tagging +notations seemed logical choices as core elements. 3) How does one make +the data available? Tieing it to a CD-ROM edition creates limitations, +but a magnetic tape file that is very large, is accompanied by the +encoding specifications, and that allows one to make local modifications +also allows one to incorporate any changes one may desire within the +bounds of private research, though exporting tag files from a CD-ROM +could serve just as well. Since no one on the board could possibly +anticipate each and every way in which a scholar might choose to mine +this data bank, it was decided to satisfy the basics and make some +provisions for what might come. 4) Not to encode the database would rob +it of the interchangeability and portability these important texts should +accommodate. For CALALUCA, the extensive options presented by full-text +searching require care in text selection and strongly support encoding of +data to facilitate the widest possible search strategies. Better +software can always be created, but summoning the resources, the people, +and the energy to reconvert the text is another matter. + +PLD is being encoded, captured, and distributed, because to +Chadwyck-Healey and the board it offers the widest possible array of +future research applications that can be seen today. CALALUCA concluded +by urging the encoding of all important text sources in whatever way +seems most appropriate and durable at the time, without blanching at the +thought that one's work may require emendation in the future. (Thus, +Chadwyck-Healey produced a very large humanities text database before the +final release of the TEI Guidelines.) + + ****** + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +DISCUSSION * Creating texts with markup advocated * Trends in encoding * +The TEI and the issue of interchangeability of standards * A +misconception concerning the TEI * Implications for an institution like +LC in the event that a multiplicity of DTDs develops * Producing images +as a first step towards possible conversion to full text through +character recognition * The AAP tag sets as a common starting point and +the need for caution * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +HOCKEY prefaced the discussion that followed with several comments in +favor of creating texts with markup and on trends in encoding. In the +future, when many more texts are available for on-line searching, real +problems in finding what is wanted will develop, if one is faced with +millions of words of data. It therefore becomes important to consider +putting markup in texts to help searchers home in on the actual things +they wish to retrieve. Various approaches to refining retrieval methods +toward this end include building on a computer version of a dictionary +and letting the computer look up words in it to obtain more information +about the semantic structure or semantic field of a word, its grammatical +structure, and syntactic structure. + +HOCKEY commented on the present keen interest in the encoding world +in creating: 1) machine-readable versions of dictionaries that can be +initially tagged in SGML, which gives a structure to the dictionary entry; +these entries can then be converted into a more rigid or otherwise +different database structure inside the computer, which can be treated as +a dynamic tool for searching mechanisms; 2) large bodies of text to study +the language. In order to incorporate more sophisticated mechanisms, +more about how words behave needs to be known, which can be learned in +part from information in dictionaries. However, the last ten years have +seen much interest in studying the structure of printed dictionaries +converted into computer-readable form. The information one derives about +many words from those is only partial, one or two definitions of the +common or the usual meaning of a word, and then numerous definitions of +unusual usages. If the computer is using a dictionary to help retrieve +words in a text, it needs much more information about the common usages, +because those are the ones that occur over and over again. Hence the +current interest in developing large bodies of text in computer-readable +form in order to study the language. Several projects are engaged in +compiling, for example, 100 million words. HOCKEY described one with +which she was associated briefly at Oxford University involving +compilation of 100 million words of British English: about 10 percent of +that will contain detailed linguistic tagging encoded in SGML; it will +have word class taggings, with words identified as nouns, verbs, +adjectives, or other parts of speech. This tagging can then be used by +programs which will begin to learn a bit more about the structure of the +language, and then, can go to tag more text. + +HOCKEY said that the more that is tagged accurately, the more one can +refine the tagging process and thus the bigger body of text one can build +up with linguistic tagging incorporated into it. Hence, the more tagging +or annotation there is in the text, the more one may begin to learn about +language and the more it will help accomplish more intelligent OCR. She +recommended the development of software tools that will help one begin to +understand more about a text, which can then be applied to scanning +images of that text in that format and to using more intelligence to help +one interpret or understand the text. + +HOCKEY posited the need to think about common methods of text-encoding +for a long time to come, because building these large bodies of text is +extremely expensive and will only be done once. + +In the more general discussion on approaches to encoding that followed, +these points were made: + +BESSER identified the underlying problem with standards that all have to +struggle with in adopting a standard, namely, the tension between a very +highly defined standard that is very interchangeable but does not work +for everyone because something is lacking, and a standard that is less +defined, more open, more adaptable, but less interchangeable. Contending +that the way in which people use SGML is not sufficiently defined, BESSER +wondered 1) if people resist the TEI because they think it is too defined +in certain things they do not fit into, and 2) how progress with +interchangeability can be made without frightening people away. + +SPERBERG-McQUEEN replied that the published drafts of the TEI had met +with surprisingly little objection on the grounds that they do not allow +one to handle X or Y or Z. Particular concerns of the affiliated +projects have led, in practice, to discussions of how extensions are to +be made; the primary concern of any project has to be how it can be +represented locally, thus making interchange secondary. The TEI has +received much criticism based on the notion that everything in it is +required or even recommended, which, as it happens, is a misconception +from the beginning, because none of it is required and very little is +actually actively recommended for all cases, except that one document +one's source. + +SPERBERG-McQUEEN agreed with BESSER about this trade-off: all the +projects in a set of twenty TEI-conformant projects will not necessarily +tag the material in the same way. One result of the TEI will be that the +easiest problems will be solved--those dealing with the external form of +the information; but the problem that is hardest in interchange is that +one is not encoding what another wants, and vice versa. Thus, after +the adoption of a common notation, the differences in the underlying +conceptions of what is interesting about texts become more visible. +The success of a standard like the TEI will lie in the ability of +the recipient of interchanged texts to use some of what it contains +and to add the information that was not encoded that one wants, in a +layered way, so that texts can be gradually enriched and one does not +have to put in everything all at once. Hence, having a well-behaved +markup scheme is important. + +STEVENS followed up on the paradoxical analogy that BESSER alluded to in +the example of the MARC records, namely, the formats that are the same +except that they are different. STEVENS drew a parallel between +document-type definitions and MARC records for books and serials and maps, +where one has a tagging structure and there is a text-interchange. +STEVENS opined that the producers of the information will set the terms +for the standard (i.e., develop document-type definitions for the users +of their products), creating a situation that will be problematical for +an institution like the Library of Congress, which will have to deal with +the DTDs in the event that a multiplicity of them develops. Thus, +numerous people are seeking a standard but cannot find the tag set that +will be acceptable to them and their clients. SPERBERG-McQUEEN agreed +with this view, and said that the situation was in a way worse: attempting +to unify arbitrary DTDs resembled attempting to unify a MARC record with a +bibliographic record done according to the Prussian instructions. +According to STEVENS, this situation occurred very early in the process. + +WATERS recalled from early discussions on Project Open Book the concern +of many people that merely by producing images, POB was not really +enhancing intellectual access to the material. Nevertheless, not wishing +to overemphasize the opposition between imaging and full text, WATERS +stated that POB views getting the images as a first step toward possibly +converting to full text through character recognition, if the technology +is appropriate. WATERS also emphasized that encoding is involved even +with a set of images. + +SPERBERG-McQUEEN agreed with WATERS that one can create an SGML document +consisting wholly of images. At first sight, organizing graphic images +with an SGML document may not seem to offer great advantages, but the +advantages of the scheme WATERS described would be precisely that +ability to move into something that is more of a multimedia document: +a combination of transcribed text and page images. WEIBEL concurred in +this judgment, offering evidence from Project ADAPT, where a page is +divided into text elements and graphic elements, and in fact the text +elements are organized by columns and lines. These lines may be used as +the basis for distributing documents in a network environment. As one +develops software intelligent enough to recognize what those elements +are, it makes sense to apply SGML to an image initially, that may, in +fact, ultimately become more and more text, either through OCR or edited +OCR or even just through keying. For WATERS, the labor of composing the +document and saying this set of documents or this set of images belongs +to this document constitutes a significant investment. + +WEIBEL also made the point that the AAP tag sets, while not excessively +prescriptive, offer a common starting point; they do not define the +structure of the documents, though. They have some recommendations about +DTDs one could use as examples, but they do just suggest tag sets. For +example, the CORE project attempts to use the AAP markup as much as +possible, but there are clearly areas where structure must be added. +That in no way contradicts the use of AAP tag sets. + +SPERBERG-McQUEEN noted that the TEI prepared a long working paper early +on about the AAP tag set and what it lacked that the TEI thought it +needed, and a fairly long critique of the naming conventions, which has +led to a very different style of naming in the TEI. He stressed the +importance of the opposition between prescriptive markup, the kind that a +publisher or anybody can do when producing documents de novo, and +descriptive markup, in which one has to take what the text carrier +provides. In these particular tag sets it is easy to overemphasize this +opposition, because the AAP tag set is extremely flexible. Even if one +just used the DTDs, they allow almost anything to appear almost anywhere. + + ****** + +SESSION VI. COPYRIGHT ISSUES + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +PETERS * Several cautions concerning copyright in an electronic +environment * Review of copyright law in the United States * The notion +of the public good and the desirability of incentives to promote it * +What copyright protects * Works not protected by copyright * The rights +of copyright holders * Publishers' concerns in today's electronic +environment * Compulsory licenses * The price of copyright in a digital +medium and the need for cooperation * Additional clarifications * Rough +justice oftentimes the outcome in numerous copyright matters * Copyright +in an electronic society * Copyright law always only sets up the +boundaries; anything can be changed by contract * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +Marybeth PETERS, policy planning adviser to the Register of Copyrights, +Library of Congress, made several general comments and then opened the +floor to discussion of subjects of interest to the audience. + +Having attended several sessions in an effort to gain a sense of what +people did and where copyright would affect their lives, PETERS expressed +the following cautions: + + * If one takes and converts materials and puts them in new forms, + then, from a copyright point of view, one is creating something and + will receive some rights. + + * However, if what one is converting already exists, a question + immediately arises about the status of the materials in question. + + * Putting something in the public domain in the United States offers + some freedom from anxiety, but distributing it throughout the world + on a network is another matter, even if one has put it in the public + domain in the United States. Re foreign laws, very frequently a + work can be in the public domain in the United States but protected + in other countries. Thus, one must consider all of the places a + work may reach, lest one unwittingly become liable to being faced + with a suit for copyright infringement, or at least a letter + demanding discussion of what one is doing. + +PETERS reviewed copyright law in the United States. The U.S. +Constitution effectively states that Congress has the power to enact +copyright laws for two purposes: 1) to encourage the creation and +dissemination of intellectual works for the good of society as a whole; +and, significantly, 2) to give creators and those who package and +disseminate materials the economic rewards that are due them. + +Congress strives to strike a balance, which at times can become an +emotional issue. The United States has never accepted the notion of the +natural right of an author so much as it has accepted the notion of the +public good and the desirability of incentives to promote it. This state +of affairs, however, has created strains on the international level and +is the reason for several of the differences in the laws that we have. +Today the United States protects almost every kind of work that can be +called an expression of an author. The standard for gaining copyright +protection is simply originality. This is a low standard and means that +a work is not copied from something else, as well as shows a certain +minimal amount of authorship. One can also acquire copyright protection +for making a new version of preexisting material, provided it manifests +some spark of creativity. + +However, copyright does not protect ideas, methods, systems--only the way +that one expresses those things. Nor does copyright protect anything +that is mechanical, anything that does not involve choice, or criteria +concerning whether or not one should do a thing. For example, the +results of a process called declicking, in which one mechanically removes +impure sounds from old recordings, are not copyrightable. On the other +hand, the choice to record a song digitally and to increase the sound of +violins or to bring up the tympani constitutes the results of conversion +that are copyrightable. Moreover, if a work is protected by copyright in +the United States, one generally needs the permission of the copyright +owner to convert it. Normally, who will own the new--that is, converted- +-material is a matter of contract. In the absence of a contract, the +person who creates the new material is the author and owner. But people +do not generally think about the copyright implications until after the +fact. PETERS stressed the need when dealing with copyrighted works to +think about copyright in advance. One's bargaining power is much greater +up front than it is down the road. + +PETERS next discussed works not protected by copyright, for example, any +work done by a federal employee as part of his or her official duties is +in the public domain in the United States. The issue is not wholly free +of doubt concerning whether or not the work is in the public domain +outside the United States. Other materials in the public domain include: +any works published more than seventy-five years ago, and any work +published in the United States more than twenty-eight years ago, whose +copyright was not renewed. In talking about the new technology and +putting material in a digital form to send all over the world, PETERS +cautioned, one must keep in mind that while the rights may not be an +issue in the United States, they may be in different parts of the world, +where most countries previously employed a copyright term of the life of +the author plus fifty years. + +PETERS next reviewed the economics of copyright holding. Simply, +economic rights are the rights to control the reproduction of a work in +any form. They belong to the author, or in the case of a work made for +hire, the employer. The second right, which is critical to conversion, +is the right to change a work. The right to make new versions is perhaps +one of the most significant rights of authors, particularly in an +electronic world. The third right is the right to publish the work and +the right to disseminate it, something that everyone who deals in an +electronic medium needs to know. The basic rule is if a copy is sold, +all rights of distribution are extinguished with the sale of that copy. +The key is that it must be sold. A number of companies overcome this +obstacle by leasing or renting their product. These companies argue that +if the material is rented or leased and not sold, they control the uses +of a work. The fourth right, and one very important in a digital world, +is a right of public performance, which means the right to show the work +sequentially. For example, copyright owners control the showing of a +CD-ROM product in a public place such as a public library. The reverse +side of public performance is something called the right of public +display. Moral rights also exist, which at the federal level apply only +to very limited visual works of art, but in theory may apply under +contract and other principles. Moral rights may include the right of an +author to have his or her name on a work, the right of attribution, and +the right to object to distortion or mutilation--the right of integrity. + +The way copyright law is worded gives much latitude to activities such as +preservation; to use of material for scholarly and research purposes when +the user does not make multiple copies; and to the generation of +facsimile copies of unpublished works by libraries for themselves and +other libraries. But the law does not allow anyone to become the +distributor of the product for the entire world. In today's electronic +environment, publishers are extremely concerned that the entire world is +networked and can obtain the information desired from a single copy in a +single library. Hence, if there is to be only one sale, which publishers +may choose to live with, they will obtain their money in other ways, for +example, from access and use. Hence, the development of site licenses +and other kinds of agreements to cover what publishers believe they +should be compensated for. Any solution that the United States takes +today has to consider the international arena. + +Noting that the United States is a member of the Berne Convention and +subscribes to its provisions, PETERS described the permissions process. +She also defined compulsory licenses. A compulsory license, of which the +United States has had a few, builds into the law the right to use a work +subject to certain terms and conditions. In the international arena, +however, the ability to use compulsory licenses is extremely limited. +Thus, clearinghouses and other collectives comprise one option that has +succeeded in providing for use of a work. Often overlooked when one +begins to use copyrighted material and put products together is how +expensive the permissions process and managing it is. According to +PETERS, the price of copyright in a digital medium, whatever solution is +worked out, will include managing and assembling the database. She +strongly recommended that publishers and librarians or people with +various backgrounds cooperate to work out administratively feasible +systems, in order to produce better results. + +In the lengthy question-and-answer period that followed PETERS's +presentation, the following points emerged: + + * The Copyright Office maintains that anything mechanical and + totally exhaustive probably is not protected. In the event that + what an individual did in developing potentially copyrightable + material is not understood, the Copyright Office will ask about the + creative choices the applicant chose to make or not to make. As a + practical matter, if one believes she or he has made enough of those + choices, that person has a right to assert a copyright and someone + else must assert that the work is not copyrightable. The more + mechanical, the more automatic, a thing is, the less likely it is to + be copyrightable. + + * Nearly all photographs are deemed to be copyrightable, but no one + worries about them much, because everyone is free to take the same + image. Thus, a photographic copyright represents what is called a + "thin" copyright. The photograph itself must be duplicated, in + order for copyright to be violated. + + * The Copyright Office takes the position that X-rays are not + copyrightable because they are mechanical. It can be argued + whether or not image enhancement in scanning can be protected. One + must exercise care with material created with public funds and + generally in the public domain. An article written by a federal + employee, if written as part of official duties, is not + copyrightable. However, control over a scientific article written + by a National Institutes of Health grantee (i.e., someone who + receives money from the U.S. government), depends on NIH policy. If + the government agency has no policy (and that policy can be + contained in its regulations, the contract, or the grant), the + author retains copyright. If a provision of the contract, grant, or + regulation states that there will be no copyright, then it does not + exist. When a work is created, copyright automatically comes into + existence unless something exists that says it does not. + + * An enhanced electronic copy of a print copy of an older reference + work in the public domain that does not contain copyrightable new + material is a purely mechanical rendition of the original work, and + is not copyrightable. + + * Usually, when a work enters the public domain, nothing can remove + it. For example, Congress recently passed into law the concept of + automatic renewal, which means that copyright on any work published + between l964 and l978 does not have to be renewed in order to + receive a seventy-five-year term. But any work not renewed before + 1964 is in the public domain. + + * Concerning whether or not the United States keeps track of when + authors die, nothing was ever done, nor is anything being done at + the moment by the Copyright Office. + + * Software that drives a mechanical process is itself copyrightable. + If one changes platforms, the software itself has a copyright. The + World Intellectual Property Organization will hold a symposium 28 + March through 2 April l993, at Harvard University, on digital + technology, and will study this entire issue. If one purchases a + computer software package, such as MacPaint, and creates something + new, one receives protection only for that which has been added. + +PETERS added that often in copyright matters, rough justice is the +outcome, for example, in collective licensing, ASCAP (i.e., American +Society of Composers, Authors, and Publishers), and BMI (i.e., Broadcast +Music, Inc.), where it may seem that the big guys receive more than their +due. Of course, people ought not to copy a creative product without +paying for it; there should be some compensation. But the truth of the +world, and it is not a great truth, is that the big guy gets played on +the radio more frequently than the little guy, who has to do much more +until he becomes a big guy. That is true of every author, every +composer, everyone, and, unfortunately, is part of life. + +Copyright always originates with the author, except in cases of works +made for hire. (Most software falls into this category.) When an author +sends his article to a journal, he has not relinquished copyright, though +he retains the right to relinquish it. The author receives absolutely +everything. The less prominent the author, the more leverage the +publisher will have in contract negotiations. In order to transfer the +rights, the author must sign an agreement giving them away. + +In an electronic society, it is important to be able to license a writer +and work out deals. With regard to use of a work, it usually is much +easier when a publisher holds the rights. In an electronic era, a real +problem arises when one is digitizing and making information available. +PETERS referred again to electronic licensing clearinghouses. Copyright +ought to remain with the author, but as one moves forward globally in the +electronic arena, a middleman who can handle the various rights becomes +increasingly necessary. + +The notion of copyright law is that it resides with the individual, but +in an on-line environment, where a work can be adapted and tinkered with +by many individuals, there is concern. If changes are authorized and +there is no agreement to the contrary, the person who changes a work owns +the changes. To put it another way, the person who acquires permission +to change a work technically will become the author and the owner, unless +some agreement to the contrary has been made. It is typical for the +original publisher to try to control all of the versions and all of the +uses. Copyright law always only sets up the boundaries. Anything can be +changed by contract. + + ****** + +SESSION VII. CONCLUSION + ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ +GENERAL DISCUSSION * Two questions for discussion * Different emphases in +the Workshop * Bringing the text and image partisans together * +Desiderata in planning the long-term development of something * Questions +surrounding the issue of electronic deposit * Discussion of electronic +deposit as an allusion to the issue of standards * Need for a directory +of preservation projects in digital form and for access to their +digitized files * CETH's catalogue of machine-readable texts in the +humanities * What constitutes a publication in the electronic world? * +Need for LC to deal with the concept of on-line publishing * LC's Network +Development Office exploring the limits of MARC as a standard in terms +of handling electronic information * Magnitude of the problem and the +need for distributed responsibility in order to maintain and store +electronic information * Workshop participants to be viewed as a starting +point * Development of a network version of AM urged * A step toward AM's +construction of some sort of apparatus for network access * A delicate +and agonizing policy question for LC * Re the issue of electronic +deposit, LC urged to initiate a catalytic process in terms of distributed +responsibility * Suggestions for cooperative ventures * Commercial +publishers' fears * Strategic questions for getting the image and text +people to think through long-term cooperation * Clarification of the +driving force behind both the Perseus and the Cornell Xerox projects * ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +In his role as moderator of the concluding session, GIFFORD raised two +questions he believed would benefit from discussion: 1) Are there enough +commonalities among those of us that have been here for two days so that +we can see courses of action that should be taken in the future? And, if +so, what are they and who might take them? 2) Partly derivative from +that, but obviously very dangerous to LC as host, do you see a role for +the Library of Congress in all this? Of course, the Library of Congress +holds a rather special status in a number of these matters, because it is +not perceived as a player with an economic stake in them, but are there +roles that LC can play that can help advance us toward where we are heading? + +Describing himself as an uninformed observer of the technicalities of the +last two days, GIFFORD detected three different emphases in the Workshop: +1) people who are very deeply committed to text; 2) people who are almost +passionate about images; and 3) a few people who are very committed to +what happens to the networks. In other words, the new networking +dimension, the accessibility of the processability, the portability of +all this across the networks. How do we pull those three together? + +Adding a question that reflected HOCKEY's comment that this was the +fourth workshop she had attended in the previous thirty days, FLEISCHHAUER +wondered to what extent this meeting had reinvented the wheel, or if it +had contributed anything in the way of bringing together a different group +of people from those who normally appear on the workshop circuit. + +HOCKEY confessed to being struck at this meeting and the one the +Electronic Pierce Consortium organized the previous week that this was a +coming together of people working on texts and not images. Attempting to +bring the two together is something we ought to be thinking about for the +future: How one can think about working with image material to begin +with, but structuring it and digitizing it in such a way that at a later +stage it can be interpreted into text, and find a common way of building +text and images together so that they can be used jointly in the future, +with the network support to begin there because that is how people will +want to access it. + +In planning the long-term development of something, which is what is +being done in electronic text, HOCKEY stressed the importance not only +of discussing the technical aspects of how one does it but particularly +of thinking about what the people who use the stuff will want to do. +But conversely, there are numerous things that people start to do with +electronic text or material that nobody ever thought of in the beginning. + +LESK, in response to the question concerning the role of the Library of +Congress, remarked the often suggested desideratum of having electronic +deposit: Since everything is now computer-typeset, an entire decade of +material that was machine-readable exists, but the publishers frequently +did not save it; has LC taken any action to have its copyright deposit +operation start collecting these machine-readable versions? In the +absence of PETERS, GIFFORD replied that the question was being +actively considered but that that was only one dimension of the problem. +Another dimension is the whole question of the integrity of the original +electronic document. It becomes highly important in science to prove +authorship. How will that be done? + +ERWAY explained that, under the old policy, to make a claim for a +copyright for works that were published in electronic form, including +software, one had to submit a paper copy of the first and last twenty +pages of code--something that represented the work but did not include +the entire work itself and had little value to anyone. As a temporary +measure, LC has claimed the right to demand electronic versions of +electronic publications. This measure entails a proactive role for the +Library to say that it wants a particular electronic version. Publishers +then have perhaps a year to submit it. But the real problem for LC is +what to do with all this material in all these different formats. Will +the Library mount it? How will it give people access to it? How does LC +keep track of the appropriate computers, software, and media? The situation +is so hard to control, ERWAY said, that it makes sense for each publishing +house to maintain its own archive. But LC cannot enforce that either. + +GIFFORD acknowledged LESK's suggestion that establishing a priority +offered the solution, albeit a fairly complicated one. But who maintains +that register?, he asked. GRABER noted that LC does attempt to collect a +Macintosh version and the IBM-compatible version of software. It does +not collect other versions. But while true for software, BYRUM observed, +this reply does not speak to materials, that is, all the materials that +were published that were on somebody's microcomputer or driver tapes +at a publishing office across the country. LC does well to acquire +specific machine-readable products selectively that were intended to be +machine-readable. Materials that were in machine-readable form at one time, +BYRUM said, would be beyond LC's capability at the moment, insofar as +attempting to acquire, organize, and preserve them are concerned--and +preservation would be the most important consideration. In this +connection, GIFFORD reiterated the need to work out some sense of +distributive responsibility for a number of these issues, which +inevitably will require significant cooperation and discussion. +Nobody can do it all. + +LESK suggested that some publishers may look with favor on LC beginning +to serve as a depository of tapes in an electronic manuscript standard. +Publishers may view this as a service that they did not have to perform +and they might send in tapes. However, SPERBERG-McQUEEN countered, +although publishers have had equivalent services available to them for a +long time, the electronic text archive has never turned away or been +flooded with tapes and is forever sending feedback to the depositor. +Some publishers do send in tapes. + +ANDRE viewed this discussion as an allusion to the issue of standards. +She recommended that the AAP standard and the TEI, which has already been +somewhat harmonized internationally and which also shares several +compatibilities with the AAP, be harmonized to ensure sufficient +compatibility in the software. She drew the line at saying LC ought to +be the locus or forum for such harmonization. + +Taking the group in a slightly different direction, but one where at +least in the near term LC might play a helpful role, LYNCH remarked the +plans of a number of projects to carry out preservation by creating +digital images that will end up in on-line or near-line storage at some +institution. Presumably, LC will link this material somehow to its +on-line catalog in most cases. Thus, it is in a digital form. LYNCH had +the impression that many of these institutions would be willing to make +those files accessible to other people outside the institution, provided +that there is no copyright problem. This desideratum will require +propagating the knowledge that those digitized files exist, so that they +can end up in other on-line catalogs. Although uncertain about the +mechanism for achieving this result, LYNCH said that it warranted +scrutiny because it seemed to be connected to some of the basic issues of +cataloging and distribution of records. It would be foolish, given the +amount of work that all of us have to do and our meager resources, to +discover multiple institutions digitizing the same work. Re microforms, +LYNCH said, we are in pretty good shape. + +BATTIN called this a big problem and noted that the Cornell people (who +had already departed) were working on it. At issue from the beginning +was to learn how to catalog that information into RLIN and then into +OCLC, so that it would be accessible. That issue remains to be resolved. +LYNCH rejoined that putting it into OCLC or RLIN was helpful insofar as +somebody who is thinking of performing preservation activity on that work +could learn about it. It is not necessarily helpful for institutions to +make that available. BATTIN opined that the idea was that it not only be +for preservation purposes but for the convenience of people looking for +this material. She endorsed LYNCH's dictum that duplication of this +effort was to be avoided by every means. + +HOCKEY informed the Workshop about one major current activity of CETH, +namely a catalogue of machine-readable texts in the humanities. Held on +RLIN at present, the catalogue has been concentrated on ASCII as opposed +to digitized images of text. She is exploring ways to improve the +catalogue and make it more widely available, and welcomed suggestions +about these concerns. CETH owns the records, which are not just +restricted to RLIN, and can distribute them however it wishes. + +Taking up LESK's earlier question, BATTIN inquired whether LC, since it +is accepting electronic files and designing a mechanism for dealing with +that rather than putting books on shelves, would become responsible for +the National Copyright Depository of Electronic Materials. Of course +that could not be accomplished overnight, but it would be something LC +could plan for. GIFFORD acknowledged that much thought was being devoted +to that set of problems and returned the discussion to the issue raised +by LYNCH--whether or not putting the kind of records that both BATTIN and +HOCKEY have been talking about in RLIN is not a satisfactory solution. +It seemed to him that RLIN answered LYNCH's original point concerning +some kind of directory for these kinds of materials. In a situation +where somebody is attempting to decide whether or not to scan this or +film that or to learn whether or not someone has already done so, LYNCH +suggested, RLIN is helpful, but it is not helpful in the case of a local, +on-line catalogue. Further, one would like to have her or his system be +aware that that exists in digital form, so that one can present it to a +patron, even though one did not digitize it, if it is out of copyright. +The only way to make those linkages would be to perform a tremendous +amount of real-time look-up, which would be awkward at best, or +periodically to yank the whole file from RLIN and match it against one's +own stuff, which is a nuisance. + +But where, ERWAY inquired, does one stop including things that are +available with Internet, for instance, in one's local catalogue? +It almost seems that that is LC's means to acquire access to them. +That represents LC's new form of library loan. Perhaps LC's new on-line +catalogue is an amalgamation of all these catalogues on line. LYNCH +conceded that perhaps that was true in the very long term, but was not +applicable to scanning in the short term. In his view, the totals cited +by Yale, 10,000 books over perhaps a four-year period, and 1,000-1,500 +books from Cornell, were not big numbers, while searching all over +creation for relatively rare occurrences will prove to be less efficient. +As GIFFORD wondered if this would not be a separable file on RLIN and +could be requested from them, BATTIN interjected that it was easily +accessible to an institution. SEVERTSON pointed out that that file, cum +enhancements, was available with reference information on CD-ROM, which +makes it a little more available. + +In HOCKEY's view, the real question facing the Workshop is what to put in +this catalogue, because that raises the question of what constitutes a +publication in the electronic world. (WEIBEL interjected that Eric Joule +in OCLC's Office of Research is also wrestling with this particular +problem, while GIFFORD thought it sounded fairly generic.) HOCKEY +contended that a majority of texts in the humanities are in the hands +of either a small number of large research institutions or individuals +and are not generally available for anyone else to access at all. +She wondered if these texts ought to be catalogued. + +After argument proceeded back and forth for several minutes over why +cataloguing might be a necessary service, LEBRON suggested that this +issue involved the responsibility of a publisher. The fact that someone +has created something electronically and keeps it under his or her +control does not constitute publication. Publication implies +dissemination. While it would be important for a scholar to let other +people know that this creation exists, in many respects this is no +different from an unpublished manuscript. That is what is being accessed +in there, except that now one is not looking at it in the hard-copy but +in the electronic environment. + +LEBRON expressed puzzlement at the variety of ways electronic publishing +has been viewed. Much of what has been discussed throughout these two +days has concerned CD-ROM publishing, whereas in the on-line environment +that she confronts, the constraints and challenges are very different. +Sooner or later LC will have to deal with the concept of on-line +publishing. Taking up the comment ERWAY made earlier about storing +copies, LEBRON gave her own journal as an example. How would she deposit +OJCCT for copyright?, she asked, because the journal will exist in the +mainframe at OCLC and people will be able to access it. Here the +situation is different, ownership versus access, and is something that +arises with publication in the on-line environment, faster than is +sometimes realized. Lacking clear answers to all of these questions +herself, LEBRON did not anticipate that LC would be able to take a role +in helping to define some of them for quite a while. + +GREENFIELD observed that LC's Network Development Office is attempting, +among other things, to explore the limits of MARC as a standard in terms +of handling electronic information. GREENFIELD also noted that Rebecca +GUENTHER from that office gave a paper to the American Society for +Information Science (ASIS) summarizing several of the discussion papers +that were coming out of the Network Development Office. GREENFIELD said +he understood that that office had a list-server soliciting just the kind +of feedback received today concerning the difficulties of identifying and +cataloguing electronic information. GREENFIELD hoped that everybody +would be aware of that and somehow contribute to that conversation. + +Noting two of LC's roles, first, to act as a repository of record for +material that is copyrighted in this country, and second, to make +materials it holds available in some limited form to a clientele that +goes beyond Congress, BESSER suggested that it was incumbent on LC to +extend those responsibilities to all the things being published in +electronic form. This would mean eventually accepting electronic +formats. LC could require that at some point they be in a certain +limited set of formats, and then develop mechanisms for allowing people +to access those in the same way that other things are accessed. This +does not imply that they are on the network and available to everyone. +LC does that with most of its bibliographic records, BESSER said, which +end up migrating to the utility (e.g., OCLC) or somewhere else. But just +as most of LC's books are available in some form through interlibrary +loan or some other mechanism, so in the same way electronic formats ought +to be available to others in some format, though with some copyright +considerations. BESSER was not suggesting that these mechanisms be +established tomorrow, only that they seemed to fall within LC's purview, +and that there should be long-range plans to establish them. + +Acknowledging that those from LC in the room agreed with BESSER +concerning the need to confront difficult questions, GIFFORD underscored +the magnitude of the problem of what to keep and what to select. GIFFORD +noted that LC currently receives some 31,000 items per day, not counting +electronic materials, and argued for much more distributed responsibility +in order to maintain and store electronic information. + +BESSER responded that the assembled group could be viewed as a starting +point, whose initial operating premise could be helping to move in this +direction and defining how LC could do so, for example, in areas of +standardization or distribution of responsibility. + +FLEISCHHAUER added that AM was fully engaged, wrestling with some of the +questions that pertain to the conversion of older historical materials, +which would be one thing that the Library of Congress might do. Several +points mentioned by BESSER and several others on this question have a +much greater impact on those who are concerned with cataloguing and the +networking of bibliographic information, as well as preservation itself. + +Speaking directly to AM, which he considered was a largely uncopyrighted +database, LYNCH urged development of a network version of AM, or +consideration of making the data in it available to people interested in +doing network multimedia. On account of the current great shortage of +digital data that is both appealing and unencumbered by complex rights +problems, this course of action could have a significant effect on making +network multimedia a reality. + +In this connection, FLEISCHHAUER reported on a fragmentary prototype in +LC's Office of Information Technology Services that attempts to associate +digital images of photographs with cataloguing information in ways that +work within a local area network--a step, so to say, toward AM's +construction of some sort of apparatus for access. Further, AM has +attempted to use standard data forms in order to help make that +distinction between the access tools and the underlying data, and thus +believes that the database is networkable. + +A delicate and agonizing policy question for LC, however, which comes +back to resources and unfortunately has an impact on this, is to find +some appropriate, honorable, and legal cost-recovery possibilities. A +certain skittishness concerning cost-recovery has made people unsure +exactly what to do. AM would be highly receptive to discussing further +LYNCH's offer to test or demonstrate its database in a network +environment, FLEISCHHAUER said. + +Returning the discussion to what she viewed as the vital issue of +electronic deposit, BATTIN recommended that LC initiate a catalytic +process in terms of distributed responsibility, that is, bring together +the distributed organizations and set up a study group to look at all +these issues and see where we as a nation should move. The broader +issues of how we deal with the management of electronic information will +not disappear, but only grow worse. + +LESK took up this theme and suggested that LC attempt to persuade one +major library in each state to deal with its state equivalent publisher, +which might produce a cooperative project that would be equitably +distributed around the country, and one in which LC would be dealing with +a minimal number of publishers and minimal copyright problems. + +GRABER remarked the recent development in the scientific community of a +willingness to use SGML and either deposit or interchange on a fairly +standardized format. He wondered if a similar movement was taking place +in the humanities. Although the National Library of Medicine found only +a few publishers to cooperate in a like venture two or three years ago, a +new effort might generate a much larger number willing to cooperate. + +KIMBALL recounted his unit's (Machine-Readable Collections Reading Room) +troubles with the commercial publishers of electronic media in acquiring +materials for LC's collections, in particular the publishers' fear that +they would not be able to cover their costs and would lose control of +their products, that LC would give them away or sell them and make +profits from them. He doubted that the publishing industry was prepared +to move into this area at the moment, given its resistance to allowing LC +to use its machine-readable materials as the Library would like. + +The copyright law now addresses compact disk as a medium, and LC can +request one copy of that, or two copies if it is the only version, and +can request copies of software, but that fails to address magazines or +books or anything like that which is in machine-readable form. + +GIFFORD acknowledged the thorny nature of this issue, which he illustrated +with the example of the cumbersome process involved in putting a copy of a +scientific database on a LAN in LC's science reading room. He also +acknowledged that LC needs help and could enlist the energies and talents +of Workshop participants in thinking through a number of these problems. + +GIFFORD returned the discussion to getting the image and text people to +think through together where they want to go in the long term. MYLONAS +conceded that her experience at the Pierce Symposium the previous week at +Georgetown University and this week at LC had forced her to reevaluate +her perspective on the usefulness of text as images. MYLONAS framed the +issues in a series of questions: How do we acquire machine-readable +text? Do we take pictures of it and perform OCR on it later? Is it +important to obtain very high-quality images and text, etc.? +FLEISCHHAUER agreed with MYLONAS's framing of strategic questions, adding +that a large institution such as LC probably has to do all of those +things at different times. Thus, the trick is to exercise judgment. The +Workshop had added to his and AM's considerations in making those +judgments. Concerning future meetings or discussions, MYLONAS suggested +that screening priorities would be helpful. + +WEIBEL opined that the diversity reflected in this group was a sign both +of the health and of the immaturity of the field, and more time would +have to pass before we convince one another concerning standards. + +An exchange between MYLONAS and BATTIN clarified the point that the +driving force behind both the Perseus and the Cornell Xerox projects was +the preservation of knowledge for the future, not simply for particular +research use. In the case of Perseus, MYLONAS said, the assumption was +that the texts would not be entered again into electronically readable +form. SPERBERG-McQUEEN added that a scanned image would not serve as an +archival copy for purposes of preservation in the case of, say, the Bill +of Rights, in the sense that the scanned images are effectively the +archival copies for the Cornell mathematics books. + + + *** *** *** ****** *** *** *** + + + Appendix I: PROGRAM + + + + WORKSHOP + ON + ELECTRONIC + TEXTS + + + + 9-10 June 1992 + + Library of Congress + Washington, D.C. + + + + Supported by a Grant from the David and Lucile Packard Foundation + + +Tuesday, 9 June 1992 + +NATIONAL DEMONSTRATION LAB, ATRIUM, LIBRARY MADISON + +8:30 AM Coffee and Danish, registration + +9:00 AM Welcome + + Prosser Gifford, Director for Scholarly Programs, and Carl + Fleischhauer, Coordinator, American Memory, Library of + Congress + +9:l5 AM Session I. Content in a New Form: Who Will Use It and What + Will They Do? + + Broad description of the range of electronic information. + Characterization of who uses it and how it is or may be used. + In addition to a look at scholarly uses, this session will + include a presentation on use by students (K-12 and college) + and the general public. + + Moderator: James Daly + Avra Michelson, Archival Research and Evaluation Staff, + National Archives and Records Administration (Overview) + Susan H. Veccia, Team Leader, American Memory, User Evaluation, + and + Joanne Freeman, Associate Coordinator, American Memory, Library + of Congress (Beyond the scholar) + +10:30- +11:00 AM Break + +11:00 AM Session II. Show and Tell. + + Each presentation to consist of a fifteen-minute + statement/show; group discussion will follow lunch. + + Moderator: Jacqueline Hess, Director, National Demonstration + Lab + + 1. A classics project, stressing texts and text retrieval + more than multimedia: Perseus Project, Harvard + University + Elli Mylonas, Managing Editor + + 2. Other humanities projects employing the emerging norms of + the Text Encoding Initiative (TEI): Chadwyck-Healey's + The English Poetry Full Text Database and/or Patrologia + Latina Database + Eric M. Calaluca, Vice President, Chadwyck-Healey, Inc. + + 3. American Memory + Carl Fleischhauer, Coordinator, and + Ricky Erway, Associate Coordinator, Library of Congress + + 4. Founding Fathers example from Packard Humanities + Institute: The Papers of George Washington, University + of Virginia + Dorothy Twohig, Managing Editor, and/or + David Woodley Packard + + 5. An electronic medical journal offering graphics and + full-text searchability: The Online Journal of Current + Clinical Trials, American Association for the Advancement + of Science + Maria L. Lebron, Managing Editor + + 6. A project that offers facsimile images of pages but omits + searchable text: Cornell math books + Lynne K. Personius, Assistant Director, Cornell + Information Technologies for Scholarly Information + Sources, Cornell University + +12:30 PM Lunch (Dining Room A, Library Madison 620. Exhibits + available.) + +1:30 PM Session II. Show and Tell (Cont'd.). + +3:00- +3:30 PM Break + +3:30- +5:30 PM Session III. Distribution, Networks, and Networking: Options + for Dissemination. + + Published disks: University presses and public-sector + publishers, private-sector publishers + Computer networks + + Moderator: Robert G. Zich, Special Assistant to the Associate + Librarian for Special Projects, Library of Congress + Clifford A. Lynch, Director, Library Automation, University of + California + Howard Besser, School of Library and Information Science, + University of Pittsburgh + Ronald L. Larsen, Associate Director of Libraries for + Information Technology, University of Maryland at College + Park + Edwin B. Brownrigg, Executive Director, Memex Research + Institute + +6:30 PM Reception (Montpelier Room, Library Madison 619.) + + ****** + +Wednesday, 10 June 1992 + +DINING ROOM A, LIBRARY MADISON 620 + +8:30 AM Coffee and Danish + +9:00 AM Session IV. Image Capture, Text Capture, Overview of Text and + Image Storage Formats. + + Moderator: William L. Hooton, Vice President of Operations, + I-NET + + A) Principal Methods for Image Capture of Text: + Direct scanning + Use of microform + + Anne R. Kenney, Assistant Director, Department of Preservation + and Conservation, Cornell University + Pamela Q.J. Andre, Associate Director, Automation, and + Judith A. Zidar, Coordinator, National Agricultural Text + Digitizing Program (NATDP), National Agricultural Library + (NAL) + Donald J. Waters, Head, Systems Office, Yale University Library + + B) Special Problems: + Bound volumes + Conservation + Reproducing printed halftones + + Carl Fleischhauer, Coordinator, American Memory, Library of + Congress + George Thoma, Chief, Communications Engineering Branch, + National Library of Medicine (NLM) + +10:30- +11:00 AM Break + +11:00 AM Session IV. Image Capture, Text Capture, Overview of Text and + Image Storage Formats (Cont'd.). + + C) Image Standards and Implications for Preservation + + Jean Baronas, Senior Manager, Department of Standards and + Technology, Association for Information and Image Management + (AIIM) + Patricia Battin, President, The Commission on Preservation and + Access (CPA) + + D) Text Conversion: + OCR vs. rekeying + Standards of accuracy and use of imperfect texts + Service bureaus + + Stuart Weibel, Senior Research Specialist, Online Computer + Library Center, Inc. (OCLC) + Michael Lesk, Executive Director, Computer Science Research, + Bellcore + Ricky Erway, Associate Coordinator, American Memory, Library of + Congress + Pamela Q.J. Andre, Associate Director, Automation, and + Judith A. Zidar, Coordinator, National Agricultural Text + Digitizing Program (NATDP), National Agricultural Library + (NAL) + +12:30- +1:30 PM Lunch + +1:30 PM Session V. Approaches to Preparing Electronic Texts. + + Discussion of approaches to structuring text for the computer; + pros and cons of text coding, description of methods in + practice, and comparison of text-coding methods. + + Moderator: Susan Hockey, Director, Center for Electronic Texts + in the Humanities (CETH), Rutgers and Princeton Universities + David Woodley Packard + C.M. Sperberg-McQueen, Editor, Text Encoding Initiative (TEI), + University of Illinois-Chicago + Eric M. Calaluca, Vice President, Chadwyck-Healey, Inc. + +3:30- +4:00 PM Break + +4:00 PM Session VI. Copyright Issues. + + Marybeth Peters, Policy Planning Adviser to the Register of + Copyrights, Library of Congress + +5:00 PM Session VII. Conclusion. + + General discussion. + What topics were omitted or given short shrift that anyone + would like to talk about now? + Is there a "group" here? What should the group do next, if + anything? What should the Library of Congress do next, if + anything? + Moderator: Prosser Gifford, Director for Scholarly Programs, + Library of Congress + +6:00 PM Adjourn + + + *** *** *** ****** *** *** *** + + + Appendix II: ABSTRACTS + + +SESSION I + +Avra MICHELSON Forecasting the Use of Electronic Texts by + Social Sciences and Humanities Scholars + +This presentation explores the ways in which electronic texts are likely +to be used by the non-scientific scholarly community. Many of the +remarks are drawn from a report the speaker coauthored with Jeff +Rothenberg, a computer scientist at The RAND Corporation. + +The speaker assesses 1) current scholarly use of information technology +and 2) the key trends in information technology most relevant to the +research process, in order to predict how social sciences and humanities +scholars are apt to use electronic texts. In introducing the topic, +current use of electronic texts is explored broadly within the context of +scholarly communication. From the perspective of scholarly +communication, the work of humanities and social sciences scholars +involves five processes: 1) identification of sources, 2) communication +with colleagues, 3) interpretation and analysis of data, 4) dissemination +of research findings, and 5) curriculum development and instruction. The +extent to which computation currently permeates aspects of scholarly +communication represents a viable indicator of the prospects for +electronic texts. + +The discussion of current practice is balanced by an analysis of key +trends in the scholarly use of information technology. These include the +trends toward end-user computing and connectivity, which provide a +framework for forecasting the use of electronic texts through this +millennium. The presentation concludes with a summary of the ways in +which the nonscientific scholarly community can be expected to use +electronic texts, and the implications of that use for information +providers. + +Susan VECCIA and Joanne FREEMAN Electronic Archives for the Public: + Use of American Memory in Public and + School Libraries + +This joint discussion focuses on nonscholarly applications of electronic +library materials, specifically addressing use of the Library of Congress +American Memory (AM) program in a small number of public and school +libraries throughout the United States. AM consists of selected Library +of Congress primary archival materials, stored on optical media +(CD-ROM/videodisc), and presented with little or no editing. Many +collections are accompanied by electronic introductions and user's guides +offering background information and historical context. Collections +represent a variety of formats including photographs, graphic arts, +motion pictures, recorded sound, music, broadsides and manuscripts, +books, and pamphlets. + +In 1991, the Library of Congress began a nationwide evaluation of AM in +different types of institutions. Test sites include public libraries, +elementary and secondary school libraries, college and university +libraries, state libraries, and special libraries. Susan VECCIA and +Joanne FREEMAN will discuss their observations on the use of AM by the +nonscholarly community, using evidence gleaned from this ongoing +evaluation effort. + +VECCIA will comment on the overall goals of the evaluation project, and +the types of public and school libraries included in this study. Her +comments on nonscholarly use of AM will focus on the public library as a +cultural and community institution, often bridging the gap between formal +and informal education. FREEMAN will discuss the use of AM in school +libraries. Use by students and teachers has revealed some broad +questions about the use of electronic resources, as well as definite +benefits gained by the "nonscholar." Topics will include the problem of +grasping content and context in an electronic environment, the stumbling +blocks created by "new" technologies, and the unique skills and interests +awakened through use of electronic resources. + +SESSION II + +Elli MYLONAS The Perseus Project: Interactive Sources and + Studies in Classical Greece + +The Perseus Project (5) has just released Perseus 1.0, the first publicly +available version of its hypertextual database of multimedia materials on +classical Greece. Perseus is designed to be used by a wide audience, +comprised of readers at the student and scholar levels. As such, it must +be able to locate information using different strategies, and it must +contain enough detail to serve the different needs of its users. In +addition, it must be delivered so that it is affordable to its target +audience. [These problems and the solutions we chose are described in +Mylonas, "An Interface to Classical Greek Civilization," JASIS 43:2, +March 1992.] + +In order to achieve its objective, the project staff decided to make a +conscious separation between selecting and converting textual, database, +and image data on the one hand, and putting it into a delivery system on +the other. That way, it is possible to create the electronic data +without thinking about the restrictions of the delivery system. We have +made a great effort to choose system-independent formats for our data, +and to put as much thought and work as possible into structuring it so +that the translation from paper to electronic form will enhance the value +of the data. [A discussion of these solutions as of two years ago is in +Elli Mylonas, Gregory Crane, Kenneth Morrell, and D. Neel Smith, "The +Perseus Project: Data in the Electronic Age," in Accessing Antiquity: +The Computerization of Classical Databases, J. Solomon and T. Worthen +(eds.), University of Arizona Press, in press.] + +Much of the work on Perseus is focused on collecting and converting the +data on which the project is based. At the same time, it is necessary to +provide means of access to the information, in order to make it usable, +and them to investigate how it is used. As we learn more about what +students and scholars from different backgrounds do with Perseus, we can +adjust our data collection, and also modify the system to accommodate +them. In creating a delivery system for general use, we have tried to +avoid favoring any one type of use by allowing multiple forms of access +to and navigation through the system. + +The way text is handled exemplifies some of these principles. All text +in Perseus is tagged using SGML, following the guidelines of the Text +Encoding Initiative (TEI). This markup is used to index the text, and +process it so that it can be imported into HyperCard. No SGML markup +remains in the text that reaches the user, because currently it would be +too expensive to create a system that acts on SGML in real time. +However, the regularity provided by SGML is essential for verifying the +content of the texts, and greatly speeds all the processing performed on +them. The fact that the texts exist in SGML ensures that they will be +relatively easy to port to different hardware and software, and so will +outlast the current delivery platform. Finally, the SGML markup +incorporates existing canonical reference systems (chapter, verse, line, +etc.); indexing and navigation are based on these features. This ensures +that the same canonical reference will always resolve to the same point +within a text, and that all versions of our texts, regardless of delivery +platform (even paper printouts) will function the same way. + +In order to provide tools for users, the text is processed by a +morphological analyzer, and the results are stored in a database. +Together with the index, the Greek-English Lexicon, and the index of all +the English words in the definitions of the lexicon, the morphological +analyses comprise a set of linguistic tools that allow users of all +levels to work with the textual information, and to accomplish different +tasks. For example, students who read no Greek may explore a concept as +it appears in Greek texts by using the English-Greek index, and then +looking up works in the texts and translations, or scholars may do +detailed morphological studies of word use by using the morphological +analyses of the texts. Because these tools were not designed for any one +use, the same tools and the same data can be used by both students and +scholars. + +NOTES: + (5) Perseus is based at Harvard University, with collaborators at + several other universities. The project has been funded primarily + by the Annenberg/CPB Project, as well as by Harvard University, + Apple Computer, and others. It is published by Yale University + Press. Perseus runs on Macintosh computers, under the HyperCard + program. + +Eric CALALUCA + +Chadwyck-Healey embarked last year on two distinct yet related full-text +humanities database projects. + +The English Poetry Full-Text Database and the Patrologia Latina Database +represent new approaches to linguistic research resources. The size and +complexity of the projects present problems for electronic publishers, +but surmountable ones if they remain abreast of the latest possibilities +in data capture and retrieval software techniques. + +The issues which required address prior to the commencement of the +projects were legion: + + 1. Editorial selection (or exclusion) of materials in each + database + + 2. Deciding whether or not to incorporate a normative encoding + structure into the databases? + A. If one is selected, should it be SGML? + B. If SGML, then the TEI? + + 3. Deliver as CD-ROM, magnetic tape, or both? + + 4. Can one produce retrieval software advanced enough for the + postdoctoral linguist, yet accessible enough for unattended + general use? Should one try? + + 5. Re fair and liberal networking policies, what are the risks to + an electronic publisher? + + 6. How does the emergence of national and international education + networks affect the use and viability of research projects + requiring high investment? Do the new European Community + directives concerning database protection necessitate two + distinct publishing projects, one for North America and one for + overseas? + +From new notions of "scholarly fair use" to the future of optical media, +virtually every issue related to electronic publishing was aired. The +result is two projects which have been constructed to provide the quality +research resources with the fewest encumbrances to use by teachers and +private scholars. + +Dorothy TWOHIG + +In spring 1988 the editors of the papers of George Washington, John +Adams, Thomas Jefferson, James Madison, and Benjamin Franklin were +approached by classics scholar David Packard on behalf of the Packard +Humanities Foundation with a proposal to produce a CD-ROM edition of the +complete papers of each of the Founding Fathers. This electronic edition +will supplement the published volumes, making the documents widely +available to students and researchers at reasonable cost. We estimate +that our CD-ROM edition of Washington's Papers will be substantially +completed within the next two years and ready for publication. Within +the next ten years or so, similar CD-ROM editions of the Franklin, Adams, +Jefferson, and Madison papers also will be available. At the Library of +Congress's session on technology, I would like to discuss not only the +experience of the Washington Papers in producing the CD-ROM edition, but +the impact technology has had on these major editorial projects. +Already, we are editing our volumes with an eye to the material that will +be readily available in the CD-ROM edition. The completed electronic +edition will provide immense possibilities for the searching of documents +for information in a way never possible before. The kind of technical +innovations that are currently available and on the drawing board will +soon revolutionize historical research and the production of historical +documents. Unfortunately, much of this new technology is not being used +in the planning stages of historical projects, simply because many +historians are aware only in the vaguest way of its existence. At least +two major new historical editing projects are considering microfilm +editions, simply because they are not aware of the possibilities of +electronic alternatives and the advantages of the new technology in terms +of flexibility and research potential compared to microfilm. In fact, +too many of us in history and literature are still at the stage of +struggling with our PCs. There are many historical editorial projects in +progress presently, and an equal number of literary projects. While the +two fields have somewhat different approaches to textual editing, there +are ways in which electronic technology can be of service to both. + +Since few of the editors involved in the Founding Fathers CD-ROM editions +are technical experts in any sense, I hope to point out in my discussion +of our experience how many of these electronic innovations can be used +successfully by scholars who are novices in the world of new technology. +One of the major concerns of the sponsors of the multitude of new +scholarly editions is the limited audience reached by the published +volumes. Most of these editions are being published in small quantities +and the publishers' price for them puts them out of the reach not only of +individual scholars but of most public libraries and all but the largest +educational institutions. However, little attention is being given to +ways in which technology can bypass conventional publication to make +historical and literary documents more widely available. + +What attracted us most to the CD-ROM edition of The Papers of George +Washington was the fact that David Packard's aim was to make a complete +edition of all of the 135,000 documents we have collected available in an +inexpensive format that would be placed in public libraries, small +colleges, and even high schools. This would provide an audience far +beyond our present 1,000-copy, $45 published edition. Since the CD-ROM +edition will carry none of the explanatory annotation that appears in the +published volumes, we also feel that the use of the CD-ROM will lead many +researchers to seek out the published volumes. + +In addition to ignorance of new technical advances, I have found that too +many editors--and historians and literary scholars--are resistant and +even hostile to suggestions that electronic technology may enhance their +work. I intend to discuss some of the arguments traditionalists are +advancing to resist technology, ranging from distrust of the speed with +which it changes (we are already wondering what is out there that is +better than CD-ROM) to suspicion of the technical language used to +describe electronic developments. + +Maria LEBRON + +The Online Journal of Current Clinical Trials, a joint venture of the +American Association for the Advancement of Science (AAAS) and the Online +Computer Library Center, Inc. (OCLC), is the first peer-reviewed journal +to provide full text, tabular material, and line illustrations on line. +This presentation will discuss the genesis and start-up period of the +journal. Topics of discussion will include historical overview, +day-to-day management of the editorial peer review, and manuscript +tagging and publication. A demonstration of the journal and its features +will accompany the presentation. + +Lynne PERSONIUS + +Cornell University Library, Cornell Information Technologies, and Xerox +Corporation, with the support of the Commission on Preservation and +Access, and Sun Microsystems, Inc., have been collaborating in a project +to test a prototype system for recording brittle books as digital images +and producing, on demand, high-quality archival paper replacements. The +project goes beyond that, however, to investigate some of the issues +surrounding scanning, storing, retrieving, and providing access to +digital images in a network environment. + +The Joint Study in Digital Preservation began in January 1990. Xerox +provided the College Library Access and Storage System (CLASS) software, +a prototype 600-dots-per-inch (dpi) scanner, and the hardware necessary +to support network printing on the DocuTech printer housed in Cornell's +Computing and Communications Center (CCC). + +The Cornell staff using the hardware and software became an integral part +of the development and testing process for enhancements to the CLASS +software system. The collaborative nature of this relationship is +resulting in a system that is specifically tailored to the preservation +application. + +A digital library of 1,000 volumes (or approximately 300,000 images) has +been created and is stored on an optical jukebox that resides in CCC. +The library includes a collection of select mathematics monographs that +provides mathematics faculty with an opportunity to use the electronic +library. The remaining volumes were chosen for the library to test the +various capabilities of the scanning system. + +One project objective is to provide users of the Cornell library and the +library staff with the ability to request facsimiles of digitized images +or to retrieve the actual electronic image for browsing. A prototype +viewing workstation has been created by Xerox, with input into the design +by a committee of Cornell librarians and computer professionals. This +will allow us to experiment with patron access to the images that make up +the digital library. The viewing station provides search, retrieval, and +(ultimately) printing functions with enhancements to facilitate +navigation through multiple documents. + +Cornell currently is working to extend access to the digital library to +readers using workstations from their offices. This year is devoted to +the development of a network resident image conversion and delivery +server, and client software that will support readers who use Apple +Macintosh computers, IBM windows platforms, and Sun workstations. +Equipment for this development was provided by Sun Microsystems with +support from the Commission on Preservation and Access. + +During the show-and-tell session of the Workshop on Electronic Texts, a +prototype view station will be demonstrated. In addition, a display of +original library books that have been digitized will be available for +review with associated printed copies for comparison. The fifteen-minute +overview of the project will include a slide presentation that +constitutes a "tour" of the preservation digitizing process. + +The final network-connected version of the viewing station will provide +library users with another mechanism for accessing the digital library, +and will also provide the capability of viewing images directly. This +will not require special software, although a powerful computer with good +graphics will be needed. + +The Joint Study in Digital Preservation has generated a great deal of +interest in the library community. Unfortunately, or perhaps +fortunately, this project serves to raise a vast number of other issues +surrounding the use of digital technology for the preservation and use of +deteriorating library materials, which subsequent projects will need to +examine. Much work remains. + +SESSION III + +Howard BESSER Networking Multimedia Databases + +What do we have to consider in building and distributing databases of +visual materials in a multi-user environment? This presentation examines +a variety of concerns that need to be addressed before a multimedia +database can be set up in a networked environment. + +In the past it has not been feasible to implement databases of visual +materials in shared-user environments because of technological barriers. +Each of the two basic models for multi-user multimedia databases has +posed its own problem. The analog multimedia storage model (represented +by Project Athena's parallel analog and digital networks) has required an +incredibly complex (and expensive) infrastructure. The economies of +scale that make multi-user setups cheaper per user served do not operate +in an environment that requires a computer workstation, videodisc player, +and two display devices for each user. + +The digital multimedia storage model has required vast amounts of storage +space (as much as one gigabyte per thirty still images). In the past the +cost of such a large amount of storage space made this model a +prohibitive choice as well. But plunging storage costs are finally +making this second alternative viable. + +If storage no longer poses such an impediment, what do we need to +consider in building digitally stored multi-user databases of visual +materials? This presentation will examine the networking and +telecommunication constraints that must be overcome before such databases +can become commonplace and useful to a large number of people. + +The key problem is the vast size of multimedia documents, and how this +affects not only storage but telecommunications transmission time. +Anything slower than T-1 speed is impractical for files of 1 megabyte or +larger (which is likely to be small for a multimedia document). For +instance, even on a 56 Kb line it would take three minutes to transfer a +1-megabyte file. And these figures assume ideal circumstances, and do +not take into consideration other users contending for network bandwidth, +disk access time, or the time needed for remote display. Current common +telephone transmission rates would be completely impractical; few users +would be willing to wait the hour necessary to transmit a single image at +2400 baud. + +This necessitates compression, which itself raises a number of other +issues. In order to decrease file sizes significantly, we must employ +lossy compression algorithms. But how much quality can we afford to +lose? To date there has been only one significant study done of +image-quality needs for a particular user group, and this study did not +look at loss resulting from compression. Only after identifying +image-quality needs can we begin to address storage and network bandwidth +needs. + +Experience with X-Windows-based applications (such as Imagequery, the +University of California at Berkeley image database) demonstrates the +utility of a client-server topology, but also points to the limitation of +current software for a distributed environment. For example, +applications like Imagequery can incorporate compression, but current X +implementations do not permit decompression at the end user's +workstation. Such decompression at the host computer alleviates storage +capacity problems while doing nothing to address problems of +telecommunications bandwidth. + +We need to examine the effects on network through-put of moving +multimedia documents around on a network. We need to examine various +topologies that will help us avoid bottlenecks around servers and +gateways. Experience with applications such as these raise still broader +questions. How closely is the multimedia document tied to the software +for viewing it? Can it be accessed and viewed from other applications? +Experience with the MARC format (and more recently with the Z39.50 +protocols) shows how useful it can be to store documents in a form in +which they can be accessed by a variety of application software. + +Finally, from an intellectual-access standpoint, we need to address the +issue of providing access to these multimedia documents in +interdisciplinary environments. We need to examine terminology and +indexing strategies that will allow us to provide access to this material +in a cross-disciplinary way. + +Ronald LARSEN Directions in High-Performance Networking for + Libraries + +The pace at which computing technology has advanced over the past forty +years shows no sign of abating. Roughly speaking, each five-year period +has yielded an order-of-magnitude improvement in price and performance of +computing equipment. No fundamental hurdles are likely to prevent this +pace from continuing for at least the next decade. It is only in the +past five years, though, that computing has become ubiquitous in +libraries, affecting all staff and patrons, directly or indirectly. + +During these same five years, communications rates on the Internet, the +principal academic computing network, have grown from 56 kbps to 1.5 +Mbps, and the NSFNet backbone is now running 45 Mbps. Over the next five +years, communication rates on the backbone are expected to exceed 1 Gbps. +Growth in both the population of network users and the volume of network +traffic has continued to grow geometrically, at rates approaching 15 +percent per month. This flood of capacity and use, likened by some to +"drinking from a firehose," creates immense opportunities and challenges +for libraries. Libraries must anticipate the future implications of this +technology, participate in its development, and deploy it to ensure +access to the world's information resources. + +The infrastructure for the information age is being put in place. +Libraries face strategic decisions about their role in the development, +deployment, and use of this infrastructure. The emerging infrastructure +is much more than computers and communication lines. It is more than the +ability to compute at a remote site, send electronic mail to a peer +across the country, or move a file from one library to another. The next +five years will witness substantial development of the information +infrastructure of the network. + +In order to provide appropriate leadership, library professionals must +have a fundamental understanding of and appreciation for computer +networking, from local area networks to the National Research and +Education Network (NREN). This presentation addresses these +fundamentals, and how they relate to libraries today and in the near +future. + +Edwin BROWNRIGG Electronic Library Visions and Realities + +The electronic library has been a vision desired by many--and rejected by +some--since Vannevar Bush coined the term memex to describe an automated, +intelligent, personal information system. Variations on this vision have +included Ted Nelson's Xanadau, Alan Kay's Dynabook, and Lancaster's +"paperless library," with the most recent incarnation being the +"Knowledge Navigator" described by John Scully of Apple. But the reality +of library service has been less visionary and the leap to the electronic +library has eluded universities, publishers, and information technology +files. + +The Memex Research Institute (MemRI), an independent, nonprofit research +and development organization, has created an Electronic Library Program +of shared research and development in order to make the collective vision +more concrete. The program is working toward the creation of large, +indexed publicly available electronic image collections of published +documents in academic, special, and public libraries. This strategic +plan is the result of the first stage of the program, which has been an +investigation of the information technologies available to support such +an effort, the economic parameters of electronic service compared to +traditional library operations, and the business and political factors +affecting the shift from print distribution to electronic networked +access. + +The strategic plan envisions a combination of publicly searchable access +databases, image (and text) document collections stored on network "file +servers," local and remote network access, and an intellectual property +management-control system. This combination of technology and +information content is defined in this plan as an E-library or E-library +collection. Some participating sponsors are already developing projects +based on MemRI's recommended directions. + +The E-library strategy projected in this plan is a visionary one that can +enable major changes and improvements in academic, public, and special +library service. This vision is, though, one that can be realized with +today's technology. At the same time, it will challenge the political +and social structure within which libraries operate: in academic +libraries, the traditional emphasis on local collections, extending to +accreditation issues; in public libraries, the potential of electronic +branch and central libraries fully available to the public; and for +special libraries, new opportunities for shared collections and networks. + +The environment in which this strategic plan has been developed is, at +the moment, dominated by a sense of library limits. The continued +expansion and rapid growth of local academic library collections is now +clearly at an end. Corporate libraries, and even law libraries, are +faced with operating within a difficult economic climate, as well as with +very active competition from commercial information sources. For +example, public libraries may be seen as a desirable but not critical +municipal service in a time when the budgets of safety and health +agencies are being cut back. + +Further, libraries in general have a very high labor-to-cost ratio in +their budgets, and labor costs are still increasing, notwithstanding +automation investments. It is difficult for libraries to obtain capital, +startup, or seed funding for innovative activities, and those +technology-intensive initiatives that offer the potential of decreased +labor costs can provoke the opposition of library staff. + +However, libraries have achieved some considerable successes in the past +two decades by improving both their service and their credibility within +their organizations--and these positive changes have been accomplished +mostly with judicious use of information technologies. The advances in +computing and information technology have been well-chronicled: the +continuing precipitous drop in computing costs, the growth of the +Internet and private networks, and the explosive increase in publicly +available information databases. + +For example, OCLC has become one of the largest computer network +organizations in the world by creating a cooperative cataloging network +of more than 6,000 libraries worldwide. On-line public access catalogs +now serve millions of users on more than 50,000 dedicated terminals in +the United States alone. The University of California MELVYL on-line +catalog system has now expanded into an index database reference service +and supports more than six million searches a year. And, libraries have +become the largest group of customers of CD-ROM publishing technology; +more than 30,000 optical media publications such as those offered by +InfoTrac and Silver Platter are subscribed to by U.S. libraries. + +This march of technology continues and in the next decade will result in +further innovations that are extremely difficult to predict. What is +clear is that libraries can now go beyond automation of their order files +and catalogs to automation of their collections themselves--and it is +possible to circumvent the fiscal limitations that appear to obtain +today. + +This Electronic Library Strategic Plan recommends a paradigm shift in +library service, and demonstrates the steps necessary to provide improved +library services with limited capacities and operating investments. + +SESSION IV-A + +Anne KENNEY + +The Cornell/Xerox Joint Study in Digital Preservation resulted in the +recording of 1,000 brittle books as 600-dpi digital images and the +production, on demand, of high-quality and archivally sound paper +replacements. The project, which was supported by the Commission on +Preservation and Access, also investigated some of the issues surrounding +scanning, storing, retrieving, and providing access to digital images in +a network environment. + +Anne Kenney will focus on some of the issues surrounding direct scanning +as identified in the Cornell Xerox Project. Among those to be discussed +are: image versus text capture; indexing and access; image-capture +capabilities; a comparison to photocopy and microfilm; production and +cost analysis; storage formats, protocols, and standards; and the use of +this scanning technology for preservation purposes. + +The 600-dpi digital images produced in the Cornell Xerox Project proved +highly acceptable for creating paper replacements of deteriorating +originals. The 1,000 scanned volumes provided an array of image-capture +challenges that are common to nineteenth-century printing techniques and +embrittled material, and that defy the use of text-conversion processes. +These challenges include diminished contrast between text and background, +fragile and deteriorated pages, uneven printing, elaborate type faces, +faint and bold text adjacency, handwritten text and annotations, nonRoman +languages, and a proliferation of illustrated material embedded in text. +The latter category included high-frequency and low-frequency halftones, +continuous tone photographs, intricate mathematical drawings, maps, +etchings, reverse-polarity drawings, and engravings. + +The Xerox prototype scanning system provided a number of important +features for capturing this diverse material. Technicians used multiple +threshold settings, filters, line art and halftone definitions, +autosegmentation, windowing, and software-editing programs to optimize +image capture. At the same time, this project focused on production. +The goal was to make scanning as affordable and acceptable as +photocopying and microfilming for preservation reformatting. A +time-and-cost study conducted during the last three months of this +project confirmed the economic viability of digital scanning, and these +findings will be discussed here. + +From the outset, the Cornell Xerox Project was predicated on the use of +nonproprietary standards and the use of common protocols when standards +did not exist. Digital files were created as TIFF images which were +compressed prior to storage using Group 4 CCITT compression. The Xerox +software is MS DOS based and utilizes off-the shelf programs such as +Microsoft Windows and Wang Image Wizard. The digital library is designed +to be hardware-independent and to provide interchangeability with other +institutions through network connections. Access to the digital files +themselves is two-tiered: Bibliographic records for the computer files +are created in RLIN and Cornell's local system and access into the actual +digital images comprising a book is provided through a document control +structure and a networked image file-server, both of which will be +described. + +The presentation will conclude with a discussion of some of the issues +surrounding the use of this technology as a preservation tool (storage, +refreshing, backup). + +Pamela ANDRE and Judith ZIDAR + +The National Agricultural Library (NAL) has had extensive experience with +raster scanning of printed materials. Since 1987, the Library has +participated in the National Agricultural Text Digitizing Project (NATDP) +a cooperative effort between NAL and forty-five land grant university +libraries. An overview of the project will be presented, giving its +history and NAL's strategy for the future. + +An in-depth discussion of NATDP will follow, including a description of +the scanning process, from the gathering of the printed materials to the +archiving of the electronic pages. The type of equipment required for a +stand-alone scanning workstation and the importance of file management +software will be discussed. Issues concerning the images themselves will +be addressed briefly, such as image format; black and white versus color; +gray scale versus dithering; and resolution. + +Also described will be a study currently in progress by NAL to evaluate +the usefulness of converting microfilm to electronic images in order to +improve access. With the cooperation of Tuskegee University, NAL has +selected three reels of microfilm from a collection of sixty-seven reels +containing the papers, letters, and drawings of George Washington Carver. +The three reels were converted into 3,500 electronic images using a +specialized microfilm scanner. The selection, filming, and indexing of +this material will be discussed. + +Donald WATERS + +Project Open Book, the Yale University Library's effort to convert 10, +000 books from microfilm to digital imagery, is currently in an advanced +state of planning and organization. The Yale Library has selected a +major vendor to serve as a partner in the project and as systems +integrator. In its proposal, the successful vendor helped isolate areas +of risk and uncertainty as well as key issues to be addressed during the +life of the project. The Yale Library is now poised to decide what +material it will convert to digital image form and to seek funding, +initially for the first phase and then for the entire project. + +The proposal that Yale accepted for the implementation of Project Open +Book will provide at the end of three phases a conversion subsystem, +browsing stations distributed on the campus network within the Yale +Library, a subsystem for storing 10,000 books at 200 and 600 dots per +inch, and network access to the image printers. Pricing for the system +implementation assumes the existence of Yale's campus ethernet network +and its high-speed image printers, and includes other requisite hardware +and software, as well as system integration services. Proposed operating +costs include hardware and software maintenance, but do not include +estimates for the facilities management of the storage devices and image +servers. + +Yale selected its vendor partner in a formal process, partly funded by +the Commission for Preservation and Access. Following a request for +proposal, the Yale Library selected two vendors as finalists to work with +Yale staff to generate a detailed analysis of requirements for Project +Open Book. Each vendor used the results of the requirements analysis to +generate and submit a formal proposal for the entire project. This +competitive process not only enabled the Yale Library to select its +primary vendor partner but also revealed much about the state of the +imaging industry, about the varying, corporate commitments to the markets +for imaging technology, and about the varying organizational dynamics +through which major companies are responding to and seeking to develop +these markets. + +Project Open Book is focused specifically on the conversion of images +from microfilm to digital form. The technology for scanning microfilm is +readily available but is changing rapidly. In its project requirements, +the Yale Library emphasized features of the technology that affect the +technical quality of digital image production and the costs of creating +and storing the image library: What levels of digital resolution can be +achieved by scanning microfilm? How does variation in the quality of +microfilm, particularly in film produced to preservation standards, +affect the quality of the digital images? What technologies can an +operator effectively and economically apply when scanning film to +separate two-up images and to control for and correct image +imperfections? How can quality control best be integrated into +digitizing work flow that includes document indexing and storage? + +The actual and expected uses of digital images--storage, browsing, +printing, and OCR--help determine the standards for measuring their +quality. Browsing is especially important, but the facilities available +for readers to browse image documents is perhaps the weakest aspect of +imaging technology and most in need of development. As it defined its +requirements, the Yale Library concentrated on some fundamental aspects +of usability for image documents: Does the system have sufficient +flexibility to handle the full range of document types, including +monographs, multi-part and multivolume sets, and serials, as well as +manuscript collections? What conventions are necessary to identify a +document uniquely for storage and retrieval? Where is the database of +record for storing bibliographic information about the image document? +How are basic internal structures of documents, such as pagination, made +accessible to the reader? How are the image documents physically +presented on the screen to the reader? + +The Yale Library designed Project Open Book on the assumption that +microfilm is more than adequate as a medium for preserving the content of +deteriorated library materials. As planning in the project has advanced, +it is increasingly clear that the challenge of digital image technology +and the key to the success of efforts like Project Open Book is to +provide a means of both preserving and improving access to those +deteriorated materials. + +SESSION IV-B + +George THOMA + +In the use of electronic imaging for document preservation, there are +several issues to consider, such as: ensuring adequate image quality, +maintaining substantial conversion rates (through-put), providing unique +identification for automated access and retrieval, and accommodating +bound volumes and fragile material. + +To maintain high image quality, image processing functions are required +to correct the deficiencies in the scanned image. Some commercially +available systems include these functions, while some do not. The +scanned raw image must be processed to correct contrast deficiencies-- +both poor overall contrast resulting from light print and/or dark +background, and variable contrast resulting from stains and +bleed-through. Furthermore, the scan density must be adequate to allow +legibility of print and sufficient fidelity in the pseudo-halftoned gray +material. Borders or page-edge effects must be removed for both +compactibility and aesthetics. Page skew must be corrected for aesthetic +reasons and to enable accurate character recognition if desired. +Compound images consisting of both two-toned text and gray-scale +illustrations must be processed appropriately to retain the quality of +each. + +SESSION IV-C + +Jean BARONAS + +Standards publications being developed by scientists, engineers, and +business managers in Association for Information and Image Management +(AIIM) standards committees can be applied to electronic image management +(EIM) processes including: document (image) transfer, retrieval and +evaluation; optical disk and document scanning; and document design and +conversion. When combined with EIM system planning and operations, +standards can assist in generating image databases that are +interchangeable among a variety of systems. The applications of +different approaches for image-tagging, indexing, compression, and +transfer often cause uncertainty concerning EIM system compatibility, +calibration, performance, and upward compatibility, until standard +implementation parameters are established. The AIIM standards that are +being developed for these applications can be used to decrease the +uncertainty, successfully integrate imaging processes, and promote "open +systems." AIIM is an accredited American National Standards Institute +(ANSI) standards developer with more than twenty committees comprised of +300 volunteers representing users, vendors, and manufacturers. The +standards publications that are developed in these committees have +national acceptance and provide the basis for international harmonization +in the development of new International Organization for Standardization +(ISO) standards. + +This presentation describes the development of AIIM's EIM standards and a +new effort at AIIM, a database on standards projects in a wide framework +of imaging industries including capture, recording, processing, +duplication, distribution, display, evaluation, and preservation. The +AIIM Imagery Database will cover imaging standards being developed by +many organizations in many different countries. It will contain +standards publications' dates, origins, related national and +international projects, status, key words, and abstracts. The ANSI Image +Technology Standards Board requested that such a database be established, +as did the ISO/International Electrotechnical Commission Joint Task Force +on Imagery. AIIM will take on the leadership role for the database and +coordinate its development with several standards developers. + +Patricia BATTIN + + Characteristics of standards for digital imagery: + + * Nature of digital technology implies continuing volatility. + + * Precipitous standard-setting not possible and probably not + desirable. + + * Standards are a complex issue involving the medium, the + hardware, the software, and the technical capacity for + reproductive fidelity and clarity. + + * The prognosis for reliable archival standards (as defined by + librarians) in the foreseeable future is poor. + + Significant potential and attractiveness of digital technology as a + preservation medium and access mechanism. + + Productive use of digital imagery for preservation requires a + reconceptualizing of preservation principles in a volatile, + standardless world. + + Concept of managing continuing access in the digital environment + rather than focusing on the permanence of the medium and long-term + archival standards developed for the analog world. + + Transition period: How long and what to do? + + * Redefine "archival." + + * Remove the burden of "archival copy" from paper artifacts. + + * Use digital technology for storage, develop management + strategies for refreshing medium, hardware and software. + + * Create acid-free paper copies for transition period backup + until we develop reliable procedures for ensuring continuing + access to digital files. + +SESSION IV-D + +Stuart WEIBEL The Role of SGML Markup in the CORE Project (6) + +The emergence of high-speed telecommunications networks as a basic +feature of the scholarly workplace is driving the demand for electronic +document delivery. Three distinct categories of electronic +publishing/republishing are necessary to support access demands in this +emerging environment: + + 1.) Conversion of paper or microfilm archives to electronic format + 2.) Conversion of electronic files to formats tailored to + electronic retrieval and display + 3.) Primary electronic publishing (materials for which the + electronic version is the primary format) + +OCLC has experimental or product development activities in each of these +areas. Among the challenges that lie ahead is the integration of these +three types of information stores in coherent distributed systems. + +The CORE (Chemistry Online Retrieval Experiment) Project is a model for +the conversion of large text and graphics collections for which +electronic typesetting files are available (category 2). The American +Chemical Society has made available computer typography files dating from +1980 for its twenty journals. This collection of some 250 journal-years +is being converted to an electronic format that will be accessible +through several end-user applications. + +The use of Standard Generalized Markup Language (SGML) offers the means +to capture the structural richness of the original articles in a way that +will support a variety of retrieval, navigation, and display options +necessary to navigate effectively in very large text databases. + +An SGML document consists of text that is marked up with descriptive tags +that specify the function of a given element within the document. As a +formal language construct, an SGML document can be parsed against a +document-type definition (DTD) that unambiguously defines what elements +are allowed and where in the document they can (or must) occur. This +formalized map of article structure allows the user interface design to +be uncoupled from the underlying database system, an important step +toward interoperability. Demonstration of this separability is a part of +the CORE project, wherein user interface designs born of very different +philosophies will access the same database. + +NOTES: + (6) The CORE project is a collaboration among Cornell University's + Mann Library, Bell Communications Research (Bellcore), the American + Chemical Society (ACS), the Chemical Abstracts Service (CAS), and + OCLC. + +Michael LESK The CORE Electronic Chemistry Library + +A major on-line file of chemical journal literature complete with +graphics is being developed to test the usability of fully electronic +access to documents, as a joint project of Cornell University, the +American Chemical Society, the Chemical Abstracts Service, OCLC, and +Bellcore (with additional support from Sun Microsystems, Springer-Verlag, +DigitaI Equipment Corporation, Sony Corporation of America, and Apple +Computers). Our file contains the American Chemical Society's on-line +journals, supplemented with the graphics from the paper publication. The +indexing of the articles from Chemical Abstracts Documents is available +in both image and text format, and several different interfaces can be +used. Our goals are (1) to assess the effectiveness and acceptability of +electronic access to primary journals as compared with paper, and (2) to +identify the most desirable functions of the user interface to an +electronic system of journals, including in particular a comparison of +page-image display with ASCII display interfaces. Early experiments with +chemistry students on a variety of tasks suggest that searching tasks are +completed much faster with any electronic system than with paper, but +that for reading all versions of the articles are roughly equivalent. + +Pamela ANDRE and Judith ZIDAR + +Text conversion is far more expensive and time-consuming than image +capture alone. NAL's experience with optical character recognition (OCR) +will be related and compared with the experience of having text rekeyed. +What factors affect OCR accuracy? How accurate does full text have to be +in order to be useful? How do different users react to imperfect text? +These are questions that will be explored. For many, a service bureau +may be a better solution than performing the work inhouse; this will also +be discussed. + +SESSION VI + +Marybeth PETERS + +Copyright law protects creative works. Protection granted by the law to +authors and disseminators of works includes the right to do or authorize +the following: reproduce the work, prepare derivative works, distribute +the work to the public, and publicly perform or display the work. In +addition, copyright owners of sound recordings and computer programs have +the right to control rental of their works. These rights are not +unlimited; there are a number of exceptions and limitations. + +An electronic environment places strains on the copyright system. +Copyright owners want to control uses of their work and be paid for any +use; the public wants quick and easy access at little or no cost. The +marketplace is working in this area. Contracts, guidelines on electronic +use, and collective licensing are in use and being refined. + +Issues concerning the ability to change works without detection are more +difficult to deal with. Questions concerning the integrity of the work +and the status of the changed version under the copyright law are to be +addressed. These are public policy issues which require informed +dialogue. + + + *** *** *** ****** *** *** *** + + + Appendix III: DIRECTORY OF PARTICIPANTS + + +PRESENTERS: + + Pamela Q.J. Andre + Associate Director, Automation + National Agricultural Library + 10301 Baltimore Boulevard + Beltsville, MD 20705-2351 + Phone: (301) 504-6813 + Fax: (301) 504-7473 + E-mail: INTERNET: PANDRE@ASRR.ARSUSDA.GOV + + Jean Baronas, Senior Manager + Department of Standards and Technology + Association for Information and Image Management (AIIM) + 1100 Wayne Avenue, Suite 1100 + Silver Spring, MD 20910 + Phone: (301) 587-8202 + Fax: (301) 587-2711 + + Patricia Battin, President + The Commission on Preservation and Access + 1400 16th Street, N.W. + Suite 740 + Washington, DC 20036-2217 + Phone: (202) 939-3400 + Fax: (202) 939-3407 + E-mail: CPA@GWUVM.BITNET + + Howard Besser + Centre Canadien d'Architecture + (Canadian Center for Architecture) + 1920, rue Baile + Montreal, Quebec H3H 2S6 + CANADA + Phone: (514) 939-7001 + Fax: (514) 939-7020 + E-mail: howard@lis.pitt.edu + + Edwin B. Brownrigg, Executive Director + Memex Research Institute + 422 Bonita Avenue + Roseville, CA 95678 + Phone: (916) 784-2298 + Fax: (916) 786-7559 + E-mail: BITNET: MEMEX@CALSTATE.2 + + Eric M. Calaluca, Vice President + Chadwyck-Healey, Inc. + 1101 King Street + Alexandria, VA 223l4 + Phone: (800) 752-05l5 + Fax: (703) 683-7589 + + James Daly + 4015 Deepwood Road + Baltimore, MD 21218-1404 + Phone: (410) 235-0763 + + Ricky Erway, Associate Coordinator + American Memory + Library of Congress + Phone: (202) 707-6233 + Fax: (202) 707-3764 + + Carl Fleischhauer, Coordinator + American Memory + Library of Congress + Phone: (202) 707-6233 + Fax: (202) 707-3764 + + Joanne Freeman + 2000 Jefferson Park Avenue, No. 7 + Charlottesville, VA 22903 + + Prosser Gifford + Director for Scholarly Programs + Library of Congress + Phone: (202) 707-1517 + Fax: (202) 707-9898 + E-mail: pgif@seq1.loc.gov + + Jacqueline Hess, Director + National Demonstration Laboratory + for Interactive Information Technologies + Library of Congress + Phone: (202) 707-4157 + Fax: (202) 707-2829 + + Susan Hockey, Director + Center for Electronic Texts in the Humanities (CETH) + Alexander Library + Rutgers University + 169 College Avenue + New Brunswick, NJ 08903 + Phone: (908) 932-1384 + Fax: (908) 932-1386 + E-mail: hockey@zodiac.rutgers.edu + + William L. Hooton, Vice President + Business & Technical Development + Imaging & Information Systems Group + I-NET + 6430 Rockledge Drive, Suite 400 + Bethesda, MD 208l7 + Phone: (301) 564-6750 + Fax: (513) 564-6867 + + Anne R. Kenney, Associate Director + Department of Preservation and Conservation + 701 Olin Library + Cornell University + Ithaca, NY 14853 + Phone: (607) 255-6875 + Fax: (607) 255-9346 + E-mail: LYDY@CORNELLA.BITNET + + Ronald L. Larsen + Associate Director for Information Technology + University of Maryland at College Park + Room B0224, McKeldin Library + College Park, MD 20742-7011 + Phone: (301) 405-9194 + Fax: (301) 314-9865 + E-mail: rlarsen@libr.umd.edu + + Maria L. Lebron, Managing Editor + The Online Journal of Current Clinical Trials + l333 H Street, N.W. + Washington, DC 20005 + Phone: (202) 326-6735 + Fax: (202) 842-2868 + E-mail: PUBSAAAS@GWUVM.BITNET + + Michael Lesk, Executive Director + Computer Science Research + Bell Communications Research, Inc. + Rm 2A-385 + 445 South Street + Morristown, NJ 07960-l9l0 + Phone: (201) 829-4070 + Fax: (201) 829-5981 + E-mail: lesk@bellcore.com (Internet) or bellcore!lesk (uucp) + + Clifford A. Lynch + Director, Library Automation + University of California, + Office of the President + 300 Lakeside Drive, 8th Floor + Oakland, CA 94612-3350 + Phone: (510) 987-0522 + Fax: (510) 839-3573 + E-mail: calur@uccmvsa + + Avra Michelson + National Archives and Records Administration + NSZ Rm. 14N + 7th & Pennsylvania, N.W. + Washington, D.C. 20408 + Phone: (202) 501-5544 + Fax: (202) 501-5533 + E-mail: tmi@cu.nih.gov + + Elli Mylonas, Managing Editor + Perseus Project + Department of the Classics + Harvard University + 319 Boylston Hall + Cambridge, MA 02138 + Phone: (617) 495-9025, (617) 495-0456 (direct) + Fax: (617) 496-8886 + E-mail: Elli@IKAROS.Harvard.EDU or elli@wjh12.harvard.edu + + David Woodley Packard + Packard Humanities Institute + 300 Second Street, Suite 201 + Los Altos, CA 94002 + Phone: (415) 948-0150 (PHI) + Fax: (415) 948-5793 + + Lynne K. Personius, Assistant Director + Cornell Information Technologies for + Scholarly Information Sources + 502 Olin Library + Cornell University + Ithaca, NY 14853 + Phone: (607) 255-3393 + Fax: (607) 255-9346 + E-mail: JRN@CORNELLC.BITNET + + Marybeth Peters + Policy Planning Adviser to the + Register of Copyrights + Library of Congress + Office LM 403 + Phone: (202) 707-8350 + Fax: (202) 707-8366 + + C. Michael Sperberg-McQueen + Editor, Text Encoding Initiative + Computer Center (M/C 135) + University of Illinois at Chicago + Box 6998 + Chicago, IL 60680 + Phone: (312) 413-0317 + Fax: (312) 996-6834 + E-mail: u35395@uicvm..cc.uic.edu or u35395@uicvm.bitnet + + George R. Thoma, Chief + Communications Engineering Branch + National Library of Medicine + 8600 Rockville Pike + Bethesda, MD 20894 + Phone: (301) 496-4496 + Fax: (301) 402-0341 + E-mail: thoma@lhc.nlm.nih.gov + + Dorothy Twohig, Editor + The Papers of George Washington + 504 Alderman Library + University of Virginia + Charlottesville, VA 22903-2498 + Phone: (804) 924-0523 + Fax: (804) 924-4337 + + Susan H. Veccia, Team leader + American Memory, User Evaluation + Library of Congress + American Memory Evaluation Project + Phone: (202) 707-9104 + Fax: (202) 707-3764 + E-mail: svec@seq1.loc.gov + + Donald J. Waters, Head + Systems Office + Yale University Library + New Haven, CT 06520 + Phone: (203) 432-4889 + Fax: (203) 432-7231 + E-mail: DWATERS@YALEVM.BITNET or DWATERS@YALEVM.YCC.YALE.EDU + + Stuart Weibel, Senior Research Scientist + OCLC + 6565 Frantz Road + Dublin, OH 43017 + Phone: (614) 764-608l + Fax: (614) 764-2344 + E-mail: INTERNET: Stu@rsch.oclc.org + + Robert G. Zich + Special Assistant to the Associate Librarian + for Special Projects + Library of Congress + Phone: (202) 707-6233 + Fax: (202) 707-3764 + E-mail: rzic@seq1.loc.gov + + Judith A. Zidar, Coordinator + National Agricultural Text Digitizing Program + Information Systems Division + National Agricultural Library + 10301 Baltimore Boulevard + Beltsville, MD 20705-2351 + Phone: (301) 504-6813 or 504-5853 + Fax: (301) 504-7473 + E-mail: INTERNET: JZIDAR@ASRR.ARSUSDA.GOV + + +OBSERVERS: + + Helen Aguera, Program Officer + Division of Research + Room 318 + National Endowment for the Humanities + 1100 Pennsylvania Avenue, N.W. + Washington, D.C. 20506 + Phone: (202) 786-0358 + Fax: (202) 786-0243 + + M. Ellyn Blanton, Deputy Director + National Demonstration Laboratory + for Interactive Information Technologies + Library of Congress + Phone: (202) 707-4157 + Fax: (202) 707-2829 + + Charles M. Dollar + National Archives and Records Administration + NSZ Rm. 14N + 7th & Pennsylvania, N.W. + Washington, DC 20408 + Phone: (202) 501-5532 + Fax: (202) 501-5512 + + Jeffrey Field, Deputy to the Director + Division of Preservation and Access + Room 802 + National Endowment for the Humanities + 1100 Pennsylvania Avenue, N.W. + Washington, DC 20506 + Phone: (202) 786-0570 + Fax: (202) 786-0243 + + Lorrin Garson + American Chemical Society + Research and Development Department + 1155 16th Street, N.W. + Washington, D.C. 20036 + Phone: (202) 872-4541 + Fax: E-mail: INTERNET: LRG96@ACS.ORG + + William M. Holmes, Jr. + National Archives and Records Administration + NSZ Rm. 14N + 7th & Pennsylvania, N.W. + Washington, DC 20408 + Phone: (202) 501-5540 + Fax: (202) 501-5512 + E-mail: WHOLMES@AMERICAN.EDU + + Sperling Martin + Information Resource Management + 20030 Doolittle Street + Gaithersburg, MD 20879 + Phone: (301) 924-1803 + + Michael Neuman, Director + The Center for Text and Technology + Academic Computing Center + 238 Reiss Science Building + Georgetown University + Washington, DC 20057 + Phone: (202) 687-6096 + Fax: (202) 687-6003 + E-mail: neuman@guvax.bitnet, neuman@guvax.georgetown.edu + + Barbara Paulson, Program Officer + Division of Preservation and Access + Room 802 + National Endowment for the Humanities + 1100 Pennsylvania Avenue, N.W. + Washington, DC 20506 + Phone: (202) 786-0577 + Fax: (202) 786-0243 + + Allen H. Renear + Senior Academic Planning Analyst + Brown University Computing and Information Services + 115 Waterman Street + Campus Box 1885 + Providence, R.I. 02912 + Phone: (401) 863-7312 + Fax: (401) 863-7329 + E-mail: BITNET: Allen@BROWNVM or + INTERNET: Allen@brownvm.brown.edu + + Susan M. Severtson, President + Chadwyck-Healey, Inc. + 1101 King Street + Alexandria, VA 223l4 + Phone: (800) 752-05l5 + Fax: (703) 683-7589 + + Frank Withrow + U.S. Department of Education + 555 New Jersey Avenue, N.W. + Washington, DC 20208-5644 + Phone: (202) 219-2200 + Fax: (202) 219-2106 + + +(LC STAFF) + + Linda L. Arret + Machine-Readable Collections Reading Room LJ 132 + (202) 707-1490 + + John D. Byrum, Jr. + Descriptive Cataloging Division LM 540 + (202) 707-5194 + + Mary Jane Cavallo + Science and Technology Division LA 5210 + (202) 707-1219 + + Susan Thea David + Congressional Research Service LM 226 + (202) 707-7169 + + Robert Dierker + Senior Adviser for Multimedia Activities LM 608 + (202) 707-6151 + + William W. Ellis + Associate Librarian for Science and Technology LM 611 + (202) 707-6928 + + Ronald Gephart + Manuscript Division LM 102 + (202) 707-5097 + + James Graber + Information Technology Services LM G51 + (202) 707-9628 + + Rich Greenfield + American Memory LM 603 + (202) 707-6233 + + Rebecca Guenther + Network Development LM 639 + (202) 707-5092 + + Kenneth E. Harris + Preservation LM G21 + (202) 707-5213 + + Staley Hitchcock + Manuscript Division LM 102 + (202) 707-5383 + + Bohdan Kantor + Office of Special Projects LM 612 + (202) 707-0180 + + John W. Kimball, Jr + Machine-Readable Collections Reading Room LJ 132 + (202) 707-6560 + + Basil Manns + Information Technology Services LM G51 + (202) 707-8345 + + Sally Hart McCallum + Network Development LM 639 + (202) 707-6237 + + Dana J. Pratt + Publishing Office LM 602 + (202) 707-6027 + + Jane Riefenhauser + American Memory LM 603 + (202) 707-6233 + + William Z. Schenck + Collections Development LM 650 + (202) 707-7706 + + Chandru J. Shahani + Preservation Research and Testing Office (R&T) LM G38 + (202) 707-5607 + + William J. Sittig + Collections Development LM 650 + (202) 707-7050 + + Paul Smith + Manuscript Division LM 102 + (202) 707-5097 + + James L. Stevens + Information Technology Services LM G51 + (202) 707-9688 + + Karen Stuart + Manuscript Division LM 130 + (202) 707-5389 + + Tamara Swora + Preservation Microfilming Office LM G05 + (202) 707-6293 + + Sarah Thomas + Collections Cataloging LM 642 + (202) 707-5333 + + + END + ************************************************************* + +Note: This file has been edited for use on computer networks. 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