There are sins of omission as well as those of commission.--_Madame Deluzy._
Our educational institutions do not teach the value and importance of the individual’s right to own private property, the necessity of exercising that right for his economic security, the necessity of the wide distribution of wealth for the proper functioning of democracy, the difficulties of acquiring and retaining proprietorship, its desirability, and the responsibilities accompanying it. In our classrooms no attempt is made to inculcate in the minds of students the determination to improve their status in life by becoming proprietors of some kind of productive wealth. Social studies texts assign full chapters to labor, but only a few references to ownership. Neither of the terms “ownership” or “proprietorship” is to be found in some encyclopedias. The omission of a correct and systematized treatment of the subject of ownership in our education institutions is tantamount to a taboo and contributes immensely to keeping our youth in ignorance of it. [“Our Double Standard of Prosperity, ” quoted in The Wanderer , August 20, 1992.]
What believer sees a disturbing omission or infelicity? The text, whether of prophet or of poet, expands for whatever we can put into it, and even his bad grammar is sublime.--_George Eliot._
To the observant reader many familiar quotations will naturally occur, the absence of which may seem a singular omission in such a connection and classification, but doubtless such excerpts will be found in the "Treasury of Thought," a much more extended work by the same author, to which this volume is properly a supplement. Of course care has been taken not to repeat any portion of the previous collection.
I have always enjoyed dealing with a slightly surrealistic situation and presenting it in a realistic manner. I've always liked fairy tales and myths, magical stories. I think they are somehow closer to the sense of reality one feels today than the equally stylized "realistic" story in which a great deal of selectivity and omission has to occur in order to preserve its "realist" style.
HOW TO PROVE IT, PART 2 proof by cumbersome notation: Best done with access to at least four alphabets and special symbols. proof by exhaustion: An issue or two of a journal devoted to your proof is useful. proof by omission: 'The reader may easily supply the details' 'The other 253 cases are analogous' '...'
HOW TO PROVE IT, PART 6 proof by picture: A more convincing form of proof by example. Combines well with proof by omission. proof by vehement assertion: It is useful to have some kind of authority relation to the audience. proof by ghost reference: Nothing even remotely resembling the cited theorem appears in the reference given.
The clerk stood looking after his guest, struck by his sudden absent-mindedness. He had not even remembered to say goodbye, and Lebedeff was the more surprised at the omission, as he knew by experience how courteous the prince usually was.
That night, after he had kissed his sisters, he thought proper to forget even to shake hands with me, but left the room in silence. I--who, though I had no love, had much friendship for him--was hurt by the marked omission: so much hurt that tears started to my eyes.
If thou indeed have purposed to return, Noble Achilles! and such wrath retain'st That thou art altogether fixt to leave The fleet a prey to desolating fires, How then, my son! shall I at Troy abide Forlorn of thee? When Peleus, hoary Chief, Sent thee to Agamemnon, yet a child, Unpractised in destructive fight, nor less Of councils ignorant, the schools in which Great minds are form'd, he bade me to the war Attend thee forth, that I might teach thee all, Both elocution and address in arms. Me therefore shalt thou not with my consent Leave here, my son! no, not would Jove himself Promise me, reaping smooth this silver beard, To make me downy-cheek'd as in my youth; Such as when erst from Hellas beauty-famed I fled, escaping from my father's wrath Amyntor, son of Ormenus, who loved A beauteous concubine, and for her sake Despised his wife and persecuted me. My mother suppliant at my knees, with prayer Perpetual importuned me to embrace The damsel first, that she might loathe my sire. I did so; and my father soon possess'd With hot suspicion of the fact, let loose A storm of imprecation, in his rage Invoking all the Furies to forbid That ever son of mine should press his knees. Tartarian Jove and dread Persephone Fulfill'd his curses; with my pointed spear I would have pierced his heart, but that my wrath Some Deity assuaged, suggesting oft What shame and obloquy I should incur, Known as a parricide through all the land. At length, so treated, I resolved to dwell No longer in his house. My friends, indeed, And all my kindred compass'd me around With much entreaty, wooing me to stay; Oxen and sheep they slaughter'd, many a plump Well-fatted brawn extended in the flames, And drank the old man's vessels to the lees. Nine nights continual at my side they slept, While others watch'd by turns, nor were the fires Extinguish'd ever, one, beneath the porch Of the barr'd hall, and one that from within The vestibule illumed my chamber door. But when the tenth dark night at length arrived, Sudden the chamber doors bursting I flew That moment forth, and unperceived alike By guards and menial woman, leap'd the wall. Through spacious Hellas flying thence afar, I came at length to Phthia the deep-soil'd, Mother of flocks, and to the royal house Of Peleus; Peleus with a willing heart Receiving, loved me as a father loves His only son, the son of his old age, Inheritor of all his large demesnes. He made me rich; placed under my control A populous realm, and on the skirts I dwelt Of Phthia, ruling the Dolopian race. Thee from my soul, thou semblance of the Gods, I loved, and all illustrious as thou art, Achilles! such I made thee. For with me, Me only, would'st thou forth to feast abroad, Nor would'st thou taste thy food at home, 'till first I placed thee on my knees, with my own hand Thy viands carved and fed thee, and the wine Held to thy lips; and many a time, in fits Of infant frowardness, the purple juice Rejecting thou hast deluged all my vest, And fill'd my bosom. Oh, I have endured Much, and have also much perform'd for thee, Thus purposing, that since the Gods vouchsaf'd No son to me, thyself shouldst be my son, Godlike Achilles! who shouldst screen perchance From a foul fate my else unshelter'd age. Achilles! bid thy mighty spirit down. Thou shouldst not be thus merciless; the Gods, Although more honorable, and in power And virtue thy superiors, are themselves Yet placable; and if a mortal man Offend them by transgression of their laws, Libation, incense, sacrifice, and prayer, In meekness offer'd turn their wrath away. Prayers are Jove's daughters, wrinkled, lame, slant-eyed, Which though far distant, yet with constant pace Follow Offence. Offence, robust of limb, And treading firm the ground, outstrips them all, And over all the earth before them runs Hurtful to man. They, following, heal the hurt. Received respectfully when they approach, They help us, and our prayers hear in return. But if we slight, and with obdurate heart Resist them, to Saturnian Jove they cry Against us, supplicating that Offence May cleave to us for vengeance of the wrong. Thou, therefore, O Achilles! honor yield To Jove's own daughters, vanquished, as the brave Have ofttimes been, by honor paid to thee. For came not Agamemnon as he comes With gifts in hand, and promises of more Hereafter; burn'd his anger still the same, I would not move thee to renounce thy own, And to assist us, howsoe'er distress'd. But now, not only are his present gifts Most liberal, and his promises of more Such also, but these Princes he hath sent Charged with entreaties, thine especial friends, And chosen for that cause, from all the host. Slight not their embassy, nor put to shame Their intercession. We confess that once Thy wrath was unreprovable and just. Thus we have heard the heroes of old times Applauded oft, whose anger, though intense, Yet left them open to the gentle sway Of reason and conciliatory gifts. I recollect an ancient history, Which, since all here are friends, I will relate. The brave Ætolians and Curetes met Beneath the walls of Calydon, and fought With mutual slaughter; the Ætolian powers In the defence of Calydon the fair, And the Curetes bent to lay it waste: That strife Diana of the golden throne Kindled between them, with resentment fired That Oeneus had not in some fertile spot The first fruits of his harvest set apart To her; with hecatombs he entertained All the Divinities of heaven beside, And her alone, daughter of Jove supreme, Or through forgetfulness, or some neglect, Served not; omission careless and profane! She, progeny of Jove, Goddess shaft-arm'd, A savage boar bright-tusk'd in anger sent, Which haunting Oeneus' fields much havoc made. Trees numerous on the earth in heaps he cast Uprooting them, with all their blossoms on. But Meleager, Oeneus' son, at length Slew him, the hunters gathering and the hounds Of numerous cities; for a boar so vast Might not be vanquish'd by the power of few, And many to their funeral piles he sent. Then raised Diana clamorous dispute, And contest hot between them, all alike, Curetes and Ætolians fierce in arms The boar's head claiming, and his bristly hide. So long as warlike Meleager fought, Ætolia prosper'd, nor with all their powers Could the Curetes stand before the walls. But when resentment once had fired the heart Of Meleager, which hath tumult oft Excited in the breasts of wisest men, (For his own mother had his wrath provoked Althæa) thenceforth with his wedded wife He dwelt, fair Cleopatra, close retired. She was Marpessa's daughter, whom she bore To Idas, bravest warrior in his day Of all on earth. He fear'd not 'gainst the King Himself Apollo, for the lovely nymph Marpessa's sake, his spouse, to bend his bow. Her, therefore, Idas and Marpessa named Thenceforth Alcyone, because the fate Of sad Alcyone Marpessa shared, And wept like her, by Phoebus forced away. Thus Meleager, tortured with the pangs Of wrath indulged, with Cleopatra dwelt, Vex'd that his mother cursed him; for, with grief Frantic, his mother importuned the Gods To avenge her slaughter'd brothers on his head. Oft would she smite the earth, while on her knees Seated, she fill'd her bosom with her tears, And call'd on Pluto and dread Proserpine To slay her son; nor vain was that request, But by implacable Erynnis heard Roaming the shades of Erebus. Ere long The tumult and the deafening din of war Roar'd at the gates, and all the batter'd towers Resounded. Then the elders of the town Dispatch'd the high-priests of the Gods to plead With Meleager for his instant aid, With strong assurances of rich reward. Where Calydon afforded fattest soil They bade him choose to his own use a farm Of fifty measured acres, vineyard half, And half of land commodious for the plow. Him Oeneus also, warrior grey with age, Ascending to his chamber, and his doors Smiting importunate, with earnest prayers Assay'd to soften, kneeling to his son. Nor less his sisters woo'd him to relent, Nor less his mother; but in vain; he grew Still more obdurate. His companions last, The most esteem'd and dearest of his friends, The same suit urged, yet he persisted still Relentless, nor could even they prevail. But when the battle shook his chamber-doors And the Curetes climbing the high towers Had fired the spacious city, then with tears The beauteous Cleopatra, and with prayers Assail'd him; in his view she set the woes Numberless of a city storm'd--the men Slaughter'd, the city burnt to dust, the chaste Matrons with all their children dragg'd away. That dread recital roused him, and at length Issuing, he put his radiant armor on. Thus Meleager, gratifying first His own resentment from a fatal day Saved the Ætolians, who the promised gift Refused him, and his toils found no reward. But thou, my son, be wiser; follow thou No demon who would tempt thee to a course Like his; occasion more propitious far Smiles on thee now, than if the fleet were fired. Come, while by gifts invited, and receive From all the host, the honors of a God; For shouldst thou, by no gifts induced, at last Enter the bloody field, although thou chase The Trojans hence, yet less shall be thy praise.
Tom turned in without the added vexation of prayers, and Sid made mental note of the omission.
"And will you consent to dispense with a great many conventional forms and phrases, without thinking that the omission arises from insolence?"
Overtaking the battalions that continued to advance, he stopped the third division and convinced himself that there really were no sharpshooters in front of our columns. The colonel at the head of the regiment was much surprised at the commander-in-chief's order to throw out skirmishers. He had felt perfectly sure that there were other troops in front of him and that the enemy must be at least six miles away. There was really nothing to be seen in front except a barren descent hidden by dense mist. Having given orders in the commander-in-chief's name to rectify this omission, Prince Andrew galloped back. Kutuzov still in the same place, his stout body resting heavily in the saddle with the lassitude of age, sat yawning wearily with closed eyes. The troops were no longer moving, but stood with the butts of their muskets on the ground.
For some time longer there was no actual breach between him and Grattan. Grattan supported the appointment of Fitzgibbon as attorney-general in 1783, and in 1785 the latter highly eulogized Grattan's character and services to the country in a speech in which he condemned Flood's volunteer movement. He also opposed Flood's Reform Bill of 1784; and from this time forward he was in fact the leading spirit in the Irish government, and the stiffest opponent of all concession to popular demands. In 1784 the permanent committee of revolutionary reformers in Dublin, of whom Napper Tandy was the most conspicuous, invited the sheriffs of counties to call meetings for the election of delegates to attend a convention for the discussion of reform; and when the sheriff of the county of Dublin summoned a meeting for this purpose Fitzgibbon procured his imprisonment for contempt of court, and justified this procedure in parliament, though Lord Erskine declared it grossly illegal. In the course of the debates on Pitt's commercial propositions in 1785, which Fitzgibbon supported in masterly speeches, he referred to Curran in terms which led to a duel between the two lawyers, when Fitzgibbon was accused of a deliberation in aiming at his opponent that was contrary to etiquette. His antagonism to Curran was life-long and bitter, and after he became chancellor his hostility to the famous advocate was said to have driven the latter out of practice. In January 1787 Fitzgibbon introduced a stringent bill for repressing the Whiteboy outrages. It was supported by Grattan, who, however, procured the omission of a clause enacting that any Roman Catholic chapel near which an illegal oath had been tendered should be immediately demolished. His influence with the majority in the Irish parliament defeated Pitt's proposed reform of the tithe system in Ireland, Fitzgibbon refusing even to grant a committee to investigate the subject. On the regency question in 1789 Fitzgibbon, in opposition to Grattan, supported the doctrine of Pitt in a series of powerful speeches which proved him a great constitutional lawyer; he intimated that the choice for Ireland might in certain eventualities rest between complete separation from England and legislative union; and, while he exclaimed as to the latter alternative, "God forbid that I should ever see that day!" he admitted that separation would be the worse evil of the two. Entry: CLARE
_Description._--The ideal towards which all bibliographical work should be directed is the provision in an accessible form of a standard description of a perfect copy of every book of literary, historical or typographical interest as it first issued from the press, and of all the variant issues and editions of it. When such standard descriptions shall have been made, adequately checked and printed, it will be possible to describe every individual copy by a simple reference to them, with a statement of its differences, if any, and an insistence on the points bearing on the special object with which it is being re-described. Only in a few cases has any approach been made to a collection of such standard descriptions. One instance which may be cited is that of the entries of the 15th century books in the _Repertorium Bibliographicum_ of Ludwig Hain (1826-1838), which the addition of an asterisk marks as having been examined by Hain himself in the copies in the Royal library at Munich. The high standard of accuracy of these asterisked entries (save for the omission to note blank leaves at the beginning or end) has been so well established, and the _Repertorium_ is so widely known, that in many catalogues of incunabula the short title of the book together with the number of Hain's entry has been usefully substituted for a long description. Books printed at Oxford up to 1640 can be equally well described by their short titles and a reference to Mr Falconer Madan's _Early Oxford Press_ published in 1895. At present the number of works which can thus be taken as a standard is only small, owing partly to the greater and more accurate detail now demanded, partly to the absence of any system of co-operation among libraries, each of which is only willing to pay for catalogues relating exclusively to its own collections. It may be hoped that through the foundation of bibliographical institutes more work of this kind may be done. Entry: BIBLIOGRAPHY
2. JOHN (Jan) VAN EYCK (? 1385-1440). The date of his birth is not more accurately known than that of his elder brother, but he was born much later than Hubert, who took charge of him and made him his "disciple." Under this tuition John learnt to draw and paint, and mastered the properties of colours from Pliny. Later on, Hubert admitted him into partnership, and both were made court painters to Philip of Charolais. After the breaking up of the prince's household in 1421, John became his own master, left the workshop of Hubert, and took an engagement as painter to John of Bavaria, at that time resident at the Hague as count of Holland. From the Hague he returned in 1424 to take service with Philip, now duke of Burgundy, at a salary of 100 livres per annum, and from that time till his death John van Eyck remained the faithful servant of his prince, who never treated him otherwise than graciously. He was frequently employed in missions of trust; and following the fortunes of a chief who was always in the saddle, he appears for a time to have been in ceaseless motion, receiving extra pay for secret services at Leiden, drawing his salary at Bruges, yet settled in a fixed abode at Lille. In 1428 he joined the embassy sent by Philip the Good to Lisbon to beg the hand of Isabella of Portugal. His portrait of the bride fixed the duke's choice. After his return he settled finally at Bruges, where he married, and his wife bore him a daughter, known in after years as a nun in the convent of Maeseyck. At the christening of this child the duke was sponsor, and this was but one, of many distinctions by which Philip the Good rewarded his painter's merits. Numerous altarpieces and portraits now give proof of van Eyck's extensive practice. As finished works of art and models of conscientious labour they are all worthy of the name they bear, though not of equal excellence, none being better than those which were completed about 1432. Of an earlier period, a "Consecration of Thomas à Becket" has been preserved, and may now be seen at Chatsworth, bearing the date of 1421; no doubt this picture would give a fair representation of van Eyck's talents at the moment when he started as an independent master, but that time and accidents of omission and commission have altered its state to such an extent that no conclusive opinion can be formed respecting it. The panels of the "Worship of the Lamb" were completed nine years later. They show that John van Eyck was quite able to work in the spirit of his brother. He had not only the lines of Hubert's compositions to guide him, he had also those parts to look at and to study which Hubert had finished. He continued the work with almost as much vigour as his master. His own experience had been increased by travel, and he had seen the finest varieties of landscape in Portugal and the Spanish provinces. This enabled him to transfer to his pictures the charming scenery of lands more sunny than those of Flanders, and this he did with accuracy and not without poetic feeling. We may ascribe much of the success which attended his efforts to complete the altarpiece of Ghent to the cleverness with which he [reproduced the varied aspect of changing scenery, reminiscent here of the orange groves of Cintra, there of the bluffs and crags of his native valley. In all these backgrounds, though we miss the scientific rules of perspective with which the van Eycks were not familiar, we find such delicate perceptions of gradations in tone, such atmosphere, yet such minuteness and perfection of finish, that our admiration never flags. Nor is the colour less brilliant or the touch less firm than in Hubert's panels. John only differs from his brother in being less masculine and less sternly religious. He excels in two splendid likenesses of Jodocus Vijdts and his wife Catherine Burluuts. The same vigorous style and coloured key of harmony characterizes the small "Virgin and Child" of 1432 at Ince, and the "Madonna," probably of the same date, at the Louvre, executed for Rollin, chancellor of Burgundy. Contemporary with these, the male portraits in the National Gallery, and the "Man with the Pinks," in the Berlin Museum (1432-1434), show no relaxation of power; but later creations display no further progress, unless we accept as progress a more searching delicacy of finish, counterbalanced by an excessive softness of rounding in flesh contours. An unfaltering minuteness of hand and great tenderness of treatment may be found, combined with angularity of drapery and some awkwardness of attitude in the full length portrait couple (John Arnolfini and his wife) at the National Gallery (1434), in which a rare insight into the detail of animal nature is revealed in a study of a terrier dog. A "Madonna with Saints," at Dresden, equally soft and minute, charms us by the mastery with which an architectural background is put in. The bold and energetic striving of earlier days, the strong bright tone, are not equalled by the soft blending and tender tints of the later ones. Sometimes a crude ruddiness in flesh strikes us as a growing defect, an instance of which is the picture in the museum of Bruges, in which Canon van der Paelen is represented kneeling before the Virgin under the protection of St George (1434). From first to last van Eyck retains his ability in portraiture. Fine specimens are the two male likenesses in the gallery of Vienna (1436), and a female, the master's wife, in the gallery of Bruges (1439). His death in 1440/41 at Bruges is authentically recorded. He was buried in St Donat. Like many great artists he formed but few pupils. Hubert's disciple, Jodocus of Ghent, hardly does honour to his master's teaching, and only acquires importance after he has thrown off some of the peculiarities of Flemish teaching. Petrus Cristus, who was taught by John, remains immeasurably behind him in everything that relates to art. But if the personal influence of the van Eycks was small, that of their works was immense, and it is not too much to say that their example, taken in conjunction with that of van der Weyden, determined the current and practice of painting throughout the whole of Europe north of the Alps for nearly a century. Entry: 2
(i.) _Readings_ ([alpha]) v. 1. [Greek: eortae] A B D, Origen, Epiphanius, Chrysostom, _Paschal Chronicle_; [Greek: ae eortae] [Hebrew: alef]CL[Delta] 1-118, 33, the Egyptian versions, Eusebius, Cyril-Alex. (Irenaeus?). The balance of internal evidence--copyists being more likely to accentuate than to diminish the precision of a note of time--inclines, like the balance of external evidence, against the article, ([beta]) vi. 4, [Greek: to pascha] is read by all known MSS. and versions; but it has been argued by Hort (in Westcott's and Hort's _New Testament in Greek_, appendix, pp. 77-81) that four ancient authorities omitted the words, and that their omission simplifies the whole chronology, since "the feast" which was "near" in vi. 4 would then be identical with the feast of Tabernacles mentioned in vii. 2, and all the time-notices of the Gospel could be arranged to fall within the space of a single year, between the Passover of ii. 13 and the Passover of xi. 55. But of the four authorities alleged, Irenaeus (11. xxii. 3 [xxxiii. i]) and the Alogi (_ap_. Epiphanius, _Haer._ li. 22) were giving catalogues of Passovers "observed" by Christ (at Jerusalem), and therefore naturally omitted a mere chronological reference like vi. 4: Cyril of Alexandria, in so far as his evidence is adverse to the words, appears to be incorporating a passage from the _Commentary_ of Origen, not extant _in loc_.; and the only writer who perhaps really did omit the words--with the view, no doubt, of reconciling the witness of the fourth Gospel with the then widely spread tradition of the single-year ministry--is Origen himself. Entry: 4