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              <text>Working transcription: the statement is altogether objectionable. Whosoever may be plaintiff in a case or whosoever defendant in any particular instance or example, the principle is still the same and a nation professing liberty and making a boast of transmitting it to the next generation and to heaven knows how many generations afterwards to the end of time depends/is dependent for its good name on mere words if it thus conducts itself. It must be remembered that there is a wide and broad distinction between nations claiming to be free and nations avowedly slavish and devoid of liberty. In the latter case the public charged with such errors is an object of pity. In the former case one’s equanimity is disturbed by the resentment with which the mind naturally receives all false pretenses and contempt is largely blinded/blended with animus/animosity and indignation/intention.</text>
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                    <text>Seven lines of Brachygraphy shorthand characters written in pencil fill the top half of a notebook page. A horizontal line, running from left to right, follows, underneath which are nine lines of Brachygraphy shorthand characters. The figure 10000£ is written as a figure amongst the other characters. The shorthand on the top half of the page is the third part of 'Sydney Smith' version B. The shorthand on the bottom half of the page is part of an untitled exercise about hereditary privilege. In the top right the number five indicates the page number.</text>
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              <text>N.B. The top half of the page is the final part of the 'Sydney Smith' exercise.&#13;
Working transcript of 'Hereditary Privilege':  All privileges, but particularly hereditary privileges, have been established for the benefit of some individual and it may be safely taken for granted as a proposition, not without good grounds, that whenever an individual is so advantaged, the world in general suffers. The object of all such institutions is to confer something on somebody at the public cost and whether that something be an estate or an easement or a pittance writ or 10,000 pounds or above that high mark or below it or between all these extremes or within any of them</text>
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                <text>Courtesy of the Free Library of Philadelphia. Please seek further permission from the Free Library to reuse this image.</text>
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                    <text>Sixteen lines of Brachygraphy shorthand characters written in pencil fill the page of a notebook. At the top is a longhand title, which reads 'Sunday Night Fifth February 1860', with the word 'Fifth' partially crossed through. In the top right corner is the number one, indicating a page number. In the middle of the page, a vertical line runs from top to bottom. The symbols are not arranged in relation to this line, perhaps suggesting that it was added later. </text>
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              <text>Working transcription: All the objects which are exhibited to our view by Nature, says Reynolds, [on/upon] close examination will be found to have their blemishes and defects. The most beautiful forms have something about them like weakness, minuteness or imperfection. But it is not every eye that perceives these blemishes. It must be an eye long used to the contemplation and comparison of these forms and which, by a long habit of observing what every set of objects of the same kind have in common, has acquired the power of discerning what each wants in particular. This long, laborious comparison should be the first study of the painter who aims at the greatest style. By this means he acquires a just idea of the beautiful forms. He corrects Nature by herself, her imperfect state by her more perfect. His eye being enabled to distinguish the accidental deficiencies, excrescences and deformities of things from their general figures, he makes out an abstract idea of their forms more perfect than any one original</text>
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                <text>A shorthand dictation exercise based upon 'Lecture XIV, On the Beautiful – Part II', by the philosopher Sydney Smith. Smith's lecture begins with a quotation from another lecture by Sir Joshua Reynolds entitled &lt;em&gt;Seven Discourses Delivered in the Royal Academy by the President&lt;/em&gt;, or &lt;em&gt;Seven Discourses on Art&lt;/em&gt;, by Joshua Reynolds (14 December 1770).</text>
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                <text>Courtesy of the Free Library of Philadelphia. Please seek further permission from the Free Library to reuse this image.</text>
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              <text>Working transcription: I suppose the mere act of travelling [is] not very likely to open a man’s mind or amend and enlarge his spirit if he be conceited and shut up within himself and his own good opinion of himself in the beginning. As it would be of small advantage to a man to live in a house with 10,000 windows if he never looked out of one of them, so a man who goes around the world constantly shut up in his own self-satisfactions and prejudices can get very little out of it. Indeed, it may be said of such people that they cannot see anything for themselves. They are always in their own way. They themselves are the obstacle always interposed between their own mental state and the sub/object. Without reflection and abstraction from self it may be questioned whether any tangible sub/object in the universe is capable of producing a very beneficial effect on the mind. Mount Vesuvio for example is a vast and always changing mass of fire and cinders. There is nothing much more remarkable in that ipso facto than there would be in a gigantic gas works. It is when a man […] himself to consider that an action he beholds in that</text>
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              <text>Working transcription: blouse whom he has seen hiding on the main top of the ship to which the Victory is lashed yard arm to yard arm who fired at and struck (down) the Admiral as he saw with his eyes. During the remainder of the progress of the fight the two men watch for this man. In the moment of his emerging from behind some concealment of rigging or sail the quarter master points up and cries out “There he is”. In the same moment the quarter master falls shot by the same man through the mouth. In the same moment the midshipman fires and is so convinced that he has hit the man that as soon as possible after the battle is over he climbs onto that main top to see. Sure enough there he finds the man lying dead with a ball in his heart.&#13;
It is a circumstance not belonging to this story but not un[…] of the delicacy or want of delicacy of the time that Nelson’s body was said to have been very […] conveyed to Gibraltar in a cask of rum and that any really or pretendedly choice rum offered on the market for a long time afterwards was called “The Admiral”. But it is easier to transmit the […] weaknesses and grimness of men’s bodies than the worth of their souls and so […] fiction may have had some foundation of truth in it.</text>
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              <text>Working transcription: There are some circumstances connected with the death of Nelson which are always interesting as having in them a kind of alternative picture of the events of the day. Thus when the Admiral persists in his usual courtly custom of dressing himself in full uniform with gold lace, silk stockings and God knows what orders and decorations, he is warned by his officer(s) most emphatically that his life is particularly sought by the French and that he exposes himself to very great danger. It is represented to him that the enemy has a new custom of carrying riflemen in the tops of his ships and that by making himself conspicuous to the meanest observation as the Admiral of the Fleet, he hazards his safety and, necessarily with it, the fortune of the day. Apart from these representations no man can better know the real extent of the danger of such a practice than the great man to whom they were made because it is a fact in his history that he had always opposed himself to this use of the rifle as cowardly and cruel. Nevertheless he persists, is shot in the back and is […]. After he has been taken below in a dying state the old quarter master on board the Victory who is standing on the poop by the wheel says to a midshipman that there is a man in a</text>
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                <text>Free Library of Philadelphia [cdc5890009_04]</text>
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