From 28ab70553f27574c5462df1d6608832835ecf546 Mon Sep 17 00:00:00 2001 From: Quim Rovira Date: Sat, 13 Aug 2016 12:05:11 +0200 Subject: [PATCH] Point the tests to the brotli test data --- t/IO-Uncompress-Brotli.t | 2 +- t/testdata/10x10y | 1 - t/testdata/10x10y.compressed | Bin 12 -> 0 bytes t/testdata/64x | 1 - t/testdata/64x.compressed | Bin 10 -> 0 bytes t/testdata/alice29.txt | 3609 ------- t/testdata/alice29.txt.compressed | Bin 50096 -> 0 bytes t/testdata/asyoulik.txt | 4122 -------- t/testdata/asyoulik.txt.compressed | Bin 45687 -> 0 bytes t/testdata/backward65536 | Bin 65792 -> 0 bytes t/testdata/backward65536.compressed | Bin 19 -> 0 bytes t/testdata/compressed_file | Bin 50096 -> 0 bytes t/testdata/compressed_file.compressed | Bin 50100 -> 0 bytes t/testdata/compressed_repeated | Bin 144224 -> 0 bytes t/testdata/compressed_repeated.compressed | Bin 50299 -> 0 bytes t/testdata/empty | 0 t/testdata/empty.compressed | 1 - t/testdata/empty.compressed.00 | 1 - t/testdata/empty.compressed.01 | 1 - t/testdata/empty.compressed.02 | 1 - t/testdata/empty.compressed.03 | 1 - t/testdata/empty.compressed.04 | 1 - t/testdata/empty.compressed.05 | 1 - t/testdata/empty.compressed.06 | 1 - t/testdata/empty.compressed.07 | 1 - t/testdata/empty.compressed.08 | 1 - t/testdata/empty.compressed.09 | 1 - t/testdata/empty.compressed.10 | 1 - t/testdata/empty.compressed.11 | 1 - t/testdata/empty.compressed.12 | 1 - t/testdata/empty.compressed.13 | 1 - t/testdata/empty.compressed.14 | 1 - t/testdata/empty.compressed.15 | 1 - t/testdata/empty.compressed.16 | Bin 4 -> 0 bytes t/testdata/empty.compressed.17 | 1 - t/testdata/empty.compressed.18 | Bin 196610 -> 0 bytes t/testdata/lcet10.txt | 7519 -------------- t/testdata/lcet10.txt.compressed | Bin 124719 -> 0 bytes t/testdata/mapsdatazrh | Bin 285886 -> 0 bytes t/testdata/mapsdatazrh.compressed | Bin 161743 -> 0 bytes t/testdata/monkey | 1 - t/testdata/monkey.compressed | Bin 425 -> 0 bytes t/testdata/plrabn12.txt | 10699 -------------------- t/testdata/plrabn12.txt.compressed | Bin 174771 -> 0 bytes t/testdata/quickfox | 1 - t/testdata/quickfox.compressed | 1 - t/testdata/quickfox_repeated | 1 - t/testdata/quickfox_repeated.compressed | 2 - t/testdata/random_org_10k.bin | Bin 10000 -> 0 bytes t/testdata/random_org_10k.bin.compressed | Bin 10004 -> 0 bytes t/testdata/ukkonooa | 1 - t/testdata/ukkonooa.compressed | Bin 69 -> 0 bytes t/testdata/x | 1 - t/testdata/x.compressed | Bin 5 -> 0 bytes t/testdata/x.compressed.00 | Bin 5 -> 0 bytes t/testdata/x.compressed.01 | Bin 8 -> 0 bytes t/testdata/x.compressed.02 | Bin 5 -> 0 bytes t/testdata/x.compressed.03 | Bin 10 -> 0 bytes t/testdata/xyzzy | 1 - t/testdata/xyzzy.compressed | 1 - t/testdata/zeros | Bin 262144 -> 0 bytes t/testdata/zeros.compressed | Bin 13 -> 0 bytes 62 files changed, 1 insertion(+), 25980 deletions(-) delete mode 100644 t/testdata/10x10y delete mode 100644 t/testdata/10x10y.compressed delete mode 100644 t/testdata/64x delete 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mode 100644 t/testdata/quickfox.compressed delete mode 100644 t/testdata/quickfox_repeated delete mode 100644 t/testdata/quickfox_repeated.compressed delete mode 100644 t/testdata/random_org_10k.bin delete mode 100644 t/testdata/random_org_10k.bin.compressed delete mode 100644 t/testdata/ukkonooa delete mode 100644 t/testdata/ukkonooa.compressed delete mode 100644 t/testdata/x delete mode 100644 t/testdata/x.compressed delete mode 100644 t/testdata/x.compressed.00 delete mode 100644 t/testdata/x.compressed.01 delete mode 100644 t/testdata/x.compressed.02 delete mode 100644 t/testdata/x.compressed.03 delete mode 100644 t/testdata/xyzzy delete mode 100644 t/testdata/xyzzy.compressed delete mode 100644 t/testdata/zeros delete mode 100644 t/testdata/zeros.compressed diff --git a/t/IO-Uncompress-Brotli.t b/t/IO-Uncompress-Brotli.t index 88437fc..94141c1 100644 --- a/t/IO-Uncompress-Brotli.t +++ b/t/IO-Uncompress-Brotli.t @@ -8,7 +8,7 @@ BEGIN{ use_ok('IO::Uncompress::Brotli'); } my $todo_re = qr/empty\.compressed\.(?:1[7-9]|2)|x\.compressed\.0[12]/; -for my $test () { +for my $test () { my ($expected) = $test =~ s/\.compressed.*//r; $expected = read_file $expected; diff --git a/t/testdata/10x10y b/t/testdata/10x10y deleted file mode 100644 index 3f9cf86..0000000 --- a/t/testdata/10x10y +++ /dev/null @@ -1 +0,0 @@ -XXXXXXXXXXYYYYYYYYYY \ No newline at end of file diff --git a/t/testdata/10x10y.compressed b/t/testdata/10x10y.compressed deleted file mode 100644 index 3769516d943745d67d3873caf4e9149e95d4b73d..0000000000000000000000000000000000000000 GIT binary patch literal 0 HcmV?d00001 literal 12 Tcmb0ZW?)#dVbiNdccv}?7&ZiR diff --git a/t/testdata/64x b/t/testdata/64x deleted file mode 100644 index caa4171..0000000 --- a/t/testdata/64x +++ /dev/null @@ -1 +0,0 @@ -XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX \ No newline at end of file diff --git a/t/testdata/64x.compressed b/t/testdata/64x.compressed deleted file mode 100644 index 74d0be10a7ded87c29f81b65a8637ce52e2d0c88..0000000000000000000000000000000000000000 GIT binary patch literal 0 HcmV?d00001 literal 10 Rcmb2PXJAm-@Mva(5C9GQ13Ul# diff --git a/t/testdata/alice29.txt b/t/testdata/alice29.txt deleted file mode 100644 index 7033655..0000000 --- a/t/testdata/alice29.txt +++ /dev/null @@ -1,3609 +0,0 @@ - - - - - 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/t/testdata/alice29.txt.compressed b/t/testdata/alice29.txt.compressed deleted file mode 100644 index 37d86e253e9d812e7749cab674b9ee55f23083c0..0000000000000000000000000000000000000000 GIT binary patch literal 0 HcmV?d00001 literal 50096 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zvs%4=mpYg;$Lg)lTobIaXLP`BPqE5e&4saP(FXWstg=a<}(}Xpcb7rudy?R zSnVg-!X*YZ))L{!O!BySFZ?Y1+8Vp*Fdp#W8oaA3 zJ}wx$^=7qIqyM;%S@A&9KEin+bgg*CoRHOVr%3!|O+lmGI4YAXPxB2W`0lRgex7wm zf?r*1_q3DQ_7cG!@+@CHu+G*BKchyT(|A}4+?7MGWcGgSv(R>(^ZL_jJU41a-c`5S zitL(+;(F|{ zX|WdHWs)MfkrBStG(B_Q!OLUCulhe?p^dI-FNY=*}z||TeDS-EmcLqj2<=J)$(|G$V tns)a;)PtM1pI!fd_>Vc59tngaGXf2yXifVo*^El1DD57;{tu7Z`6q}b$EW}R diff --git a/t/testdata/asyoulik.txt b/t/testdata/asyoulik.txt deleted file mode 100644 index 88dc7b6..0000000 --- a/t/testdata/asyoulik.txt +++ /dev/null @@ -1,4122 +0,0 @@ - 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/t/testdata/asyoulik.txt.compressed b/t/testdata/asyoulik.txt.compressed deleted file mode 100644 index 3a7621100f1e18d80cd82d1f86589dbeeca6c655..0000000000000000000000000000000000000000 GIT binary patch literal 0 HcmV?d00001 literal 45687 zcmV(rK<>X=`sfi+$?U6&w4Ie6d*G|(Z6fmv8K9-XvcsD!p&Z*$h=!Jq9{mKVBdaG( zMMqN`2$;{=i+-(GD1Ob%eUTHF850fH2;BapNnG^~cNH1q$n zKOGAm9qtQ%rLctZ^A59#ii@c;TL9RE?>pa*=kb`JT~y*`@e~xj&mTQFKquZ!eCx;= zNomI8zwc-EUw(DZ?l2ox8(w);ZF%juXRoz4z8}mkKHI#;VzI+i!Xn+yH(PIrM(maR6Ws;>F+XR-kTU<+B&A!*dr{@G-T$Ho*PcoW%*|7YLy zcA-G2MkW)Lp+>*QHBB=J7~>(?B%E)5z`gdvOB|aQ1*6gb9=OA2H(+I!0@D+bs#{)j zZ#vvc+d0cZMD?%~bYhKbl}UaQ+f8^Z53fFq`mvumYo(UfR7<7q-*|;hz@Z%So6m@M 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ON ELECTRONIC TEXTS - - PROCEEDINGS - - - - Edited by James Daly - - - - - - - - 9-10 June 1992 - - - Library of Congress - Washington, D.C. - - - - Supported by a Grant from the David and Lucile Packard Foundation - - - *** *** *** ****** *** *** *** - - - 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. 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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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