princeton-nlp/datasets-for-simcse · Datasets at Hugging Face

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He quotes part of the conversation which Hafez is supposed to have had with Tamerlane:
Bashiri compares this poem with another of Hafez's ghazals, "sīne mālāmāl-e dard ast, ey derīqā, marham-ī" ("my heart is brimful of pain; alas!
a remedy"), which is more obviously Sufic in character.
According to Bashiri, both poems speak of the seven stages of Love an initiate must go through to achieve union with the Divine (loss of heart, regret, ecstasy, loss of patience, loss of consciousness, loss of mind, annihilation).
Bashiri also draws attention to the apparent astronomical references: the sun (which was sometimes known as "Tork-e falak" "the Turk of the firmament"), Saturn (sometimes referred to as "Hendū-ye čarx" "the Indian of the sky"), Venus and other bright planets ("Lūlīyān"), the seven planets ("Torkan"), the star Aldebaran ("Zoleyxā"), the Pleiades ("Sorayyā"), and the Firmament itself ("falak").
All of these can be given Sufi meanings.
His interpretation is therefore at odds that of Hillmann, who in his turn dismisses Bashiri's article as unscholarly.
Ingenito omits it from his bibliography.
However, even Hillmann acknowledges that in this poem there is a certain ambivalence – the ambiguity or "īhām" for which Hafez is famous.
"The allusion to Joseph and Zulaykha may seem to some to be wholly in the spiritual area of the spectrum, whereas the minstrel-and-wine image in bayt 8 and the self-praise in bayt 9 perhaps can be taken only as part of the physical world."
The question of the intent of the poem therefore is open to interpretation, some critics taking it wholly as a physical description of love, others like Arberry as a "grand philosophical utterance".
One possible point of contact between this poem and Sufic thought is the use of the Arabic word "independent, self-sufficient" in verse 4.
The related noun, "independence, self-sufficiency, opulence" is found in , and also in Attar's Sufi poem the Conference of the Birds, where one of the chapters is titled "the Valley of Detachment".
Arberry (1946) points out that most of the features of this ode are traditional stock motifs from Persian love poetry, and he quotes some lines of Saadi where the same themes recur.
For example, the "xāl-e Hendū" ("mole of an Indian" i.e.
dark in colour) also appears in a "ghazal" of Saadi.
In the following verse Saadi contrasts the darkness of the mole with the paleness of the beloved's face:
A "xān-e yaqmā" ("table, or food-cloth, of plunder") is said to have been a feast given at public expense to which all were invited.
But the idea behind this line is that the "Turk" (beloved) plunders the heart of the poet, as in this verse of Saadi:
The idea that a beautiful face has no need for cosmetics or jewellery is contained in the following verse of Saadi:
Hillmann translates ("line") as "eye-liner (peach-fuzz?)"
and Windfuhr as "eyeline".
However, the normal meaning of "xat(t)" ("line") in Persian love poetry is the line of the growing moustache which adorns an adolescent boy's lip.
So it would refer to an actual physical feature of the face rather than to make-up.
The phrase (or ) is frequent in the poets, as in the following line of Hafez quoted by Yarshater:
Other features of the poem, such as the tumult of love, the story of Yusof and Zoleykha, the piercing of pearls (to make a necklace of verses), are also commonly found in Hafez and other poets.
This ode has excited the admiration of numerous scholars and translators who have become familiar with it.
Arberry writes of the last verse: "The 'clasp' theme here used is a very common one, but its present treatment is scarcely surpassed for beauty in the whole "Dīvān"."
Hillmann writes: "A first impression of the 'Turk of Shiraz' is of a texture of hyperbole, paradox, a sense of the ultimate or perfection, eloquence, and seriousness, with familiar images and conceits given new vitality through new combination and given form by means of verse patterning."
Some critics, however, have questioned the coherence or unity of the poem, beginning with William Jones's friend and tutor in Persian, Count Károly Reviczky, who wrote in 1768 "I did not translate the poem into Latin verse, on account of the incoherence of the verses", and Jones himself who in his version used the phrase "Like orient pearls at random strung".
The chief critic in this area is Hillman, who wrote: "One might conclude that the "Turk of Shiraz" is not a wholly successful poem precisely because it seems lacking in unity, no other aspect or feature of the ghazal having been demonstrated to compensate for this lack."
Defending the poem from such criticism, Arberry finds only two themes in it: "The principal theme is – the fair charmer, beautiful, proud, unapproachable, the human, this-worldly reflection of the immortal loveliness of the Divine spirit.
...
The subsidiary theme is – wine (and music) are the sole consolation of the lover, to compensate his sorrow over the incapacity of his love, and the transitory nature of mundane affairs."
He scorns the idea that the poem has no unity.
Rehder finds that rather than thematic unity, the poem has "an obvious unity of thought and mood".
Brianne Pfannenstiel
Brianne Pfannenstiel is an American journalist who serves as Chief Politics Reporter for "The Des Moines Register".
Pfannenstiel co-moderated the seventh Democratic debate with Wolf Blitzer and Abby Phillip on January 14, 2020.
Pfannenstiel was born in Kansas in 1988 to parents Peggy Jo and Pat.
She attended the University of Kansas, graduating in 2010 with a degree in Journalism.
On October 11, 2016, her mother died of cancer at the age of 54.
After graduating from the University of Kansas, Pfannenstiel worked as a reporter for the "The Kansas City Star" and "Lawrence Journal-World", where she covered the 2010 United States elections.
In 2015, she relocated to Iowa to join "The Des Moines Register".
In the 2016 Iowa caucus cycle, Pfannenstiel initially covered the Scott Walker campaign, followed by the Donald Trump campaign.
Pfannenstiel was selected Chief Politics Reporter for the 2020 United States presidential election.
Pfannenstiel has been featured on C-SPAN, and appeared twice as a guest on "At This Hour with Kate Bolduan."
After co-moderating the seventh Democratic debate, Pfannenstiel was listed by "Vox" as a "Winner" of the debate.
Google searches for Pfannenstiel also increased 4,200 percent during the debate.
National Monument of the Kasbah
The National Monument of the Kasbah (), more simply called the National Monument, is a memorial monument and a prominent symbol of several events in Tunisia.
It is located in the center of the Kasbah Square in Tunis, facing the Town Hall.
The monument was designed and executed by the Tunisian sculptor Abdelfattah Boussetta In 1989.
It also appears as a background image on the Tunisian ID cards.
Galactic Warrior Rats
Galactic Warrior Rats is a video game developed by Mikev Design, published by Summit Software and released in 1992 for the Amiga and ported to DOS in 1993.
The game was also released in 1994 in the "Famous Collection" game compilation.
Three laboratory rats named Einstein, Newton and Darwin are on board a spaceship, when unexpectedly the spaceship crashes into a mysterious planet called Smeaton Five.
The explosion of the spaceship kills all onboard, but mutates the rats into humanoid-like creatures, they self-christen Galactic Warrior Rats.
Smeaton Five is highly polluted and is rigged for destruction.
The three rats venture through the planet's dangerous complex to destroy any defense robot that gets in their way and ultimately shut down the core computer to save Smeaton Five and themselves.
The player chooses of one the three Galactic Warrior Rats who pilot a biosphere vehicle.
The biosphere can have its speed, weapons, ammunition and handling upgraded.
Upgrades require credits.
During the gameplay, the player will manuever the rat in his biosphere.
The object is to guide the biosphere through maze-like levels to the exit.
The biosphere can fire in one of eight directions.
Destroying enemies earns credits.
Touching enemies drains the biosphere's vitality.
If one rat dies in the biosphere explosion, the player must choose a different rat to play.
If all three rats are destroyed, then the game is over.
1434 oath
The 1434 oath was taken by members of the English gentry and swore them to refrain from harbouring law-breakers and other breakers of the King's Peace.
In 1434 the King, Henry VI, was still a legal minor, and the royal council ruled on his behalf.
Aware of the important role the gentry and nobility played in the regions in keeping law and order, the council believed that it would be a positive step for these men to swear an oath "that they would neither use their wealth and influence to undertake criminal activities nor maintain lesser men" who did.
The nobility had already taken a similar oath in the House of Lords the previous year at the instigation of the Commons, which also took the oath on the same day.
It was then decided that all major landholders in the country should also swear the same.
The oath instructed that all who took it would not:
On 20 January the parliament's Knights of the Shire were instructed to compose and submit to Chancery a list of those property holders who qualified in their constituencies.
The oath itself was taken in the localities on 1 May the same year.
Of the 36 counties of which lists were presumably made, 29 survive in Chancery.
They comprise over 4,000 names, generally listed from the highest-ranking to the lowest.
Ten men appear on multiple lists.
Bogner has called this collection a "15th-century "Who's Who"...a rare snapshot of the movers and shakers in local society".
The oath of 1434 has been described by the prosopographer Gilbert Bogner as constituting the "the most comprehensive list of English knights" of the century.
The oath was a response to a perceived increase in lawlessness in the regions, which itself was seen as having been caused by illegal retaining.
The 1434 oath was used the following year to encourage John Mowbray, Duke of Norfolk to improve his behaviour.
Although Mowbray had sworn with the other lords in 1433, his behaviour, which seems to have been riotous, had continued in the same manner.
Mowbray was instructed to "have bysilie in his mynde and for kepyng of his honour observe in all poyntes tharticle assured as wele by hym as other lordes and estates of this land in the kynges hande at the last parlement holden at Westm'".
The oath’s significance to historians, argues Bogner, was that it lists the gentry whom the crown considered "capable of retaining men as a force for their own ends", and who were trained in war.
Similarly, the medievalist Ralph A. Griffiths suggests that those who took the oath were "socially prominent or politically powerful" men, while Edward Powell considers that those who signed can be considered gentry by the historian, regardless of the signatory’s actual employment.
The fact that the oath was deemed necessary indicates the extent to which law and order was considered to have collapsed in the regions.
Christian Liddy, in a study of the oath-taking in the Palatinate of Durham suggests that the oath was not confined to the gentry class.
In that region at least, he says, there was a "preponderance of low-income and sub-manorial esquires" also taking part.
Christine Carpenter had similar results in her examination of Warwickshire society, discovering that wealth was not a critical factor in deciding who took the oath.
For example, Sir Thomas Ferrers appears in the tax return of 1436–indicating he was considered wealthy enough to be taxed—but he was not summoned to take the oath takers two years previously.
The social class of oath-taker appears to have varied from county to county.
Figures available from the Kentish oath-taking, for instance, indicate that around a third of those who swore the oath in Kent were yeomen rather than gentry.
The numbers of men called upon also varied wildly between areas; those from Kent numbered over 300, for example, while Lancashire swore less than 80.
For some individuals of the period events such as the 1434 oath are the only occasion on which they appear on the historical record.

He quotes part of the conversation which Hafez is supposed to have had with Tamerlane:

Bashiri compares this poem with another of Hafez's ghazals, "sīne mālāmāl-e dard ast, ey derīqā, marham-ī" ("my heart is brimful of pain; alas!

a remedy"), which is more obviously Sufic in character.

According to Bashiri, both poems speak of the seven stages of Love an initiate must go through to achieve union with the Divine (loss of heart, regret, ecstasy, loss of patience, loss of consciousness, loss of mind, annihilation).

Bashiri also draws attention to the apparent astronomical references: the sun (which was sometimes known as "Tork-e falak" "the Turk of the firmament"), Saturn (sometimes referred to as "Hendū-ye čarx" "the Indian of the sky"), Venus and other bright planets ("Lūlīyān"), the seven planets ("Torkan"), the star Aldebaran ("Zoleyxā"), the Pleiades ("Sorayyā"), and the Firmament itself ("falak").

All of these can be given Sufi meanings.

His interpretation is therefore at odds that of Hillmann, who in his turn dismisses Bashiri's article as unscholarly.

Ingenito omits it from his bibliography.

However, even Hillmann acknowledges that in this poem there is a certain ambivalence – the ambiguity or "īhām" for which Hafez is famous.

"The allusion to Joseph and Zulaykha may seem to some to be wholly in the spiritual area of the spectrum, whereas the minstrel-and-wine image in bayt 8 and the self-praise in bayt 9 perhaps can be taken only as part of the physical world."

The question of the intent of the poem therefore is open to interpretation, some critics taking it wholly as a physical description of love, others like Arberry as a "grand philosophical utterance".

One possible point of contact between this poem and Sufic thought is the use of the Arabic word "independent, self-sufficient" in verse 4.

The related noun, "independence, self-sufficiency, opulence" is found in , and also in Attar's Sufi poem the Conference of the Birds, where one of the chapters is titled "the Valley of Detachment".

Arberry (1946) points out that most of the features of this ode are traditional stock motifs from Persian love poetry, and he quotes some lines of Saadi where the same themes recur.

For example, the "xāl-e Hendū" ("mole of an Indian" i.e.

dark in colour) also appears in a "ghazal" of Saadi.

In the following verse Saadi contrasts the darkness of the mole with the paleness of the beloved's face:

A "xān-e yaqmā" ("table, or food-cloth, of plunder") is said to have been a feast given at public expense to which all were invited.

But the idea behind this line is that the "Turk" (beloved) plunders the heart of the poet, as in this verse of Saadi:

The idea that a beautiful face has no need for cosmetics or jewellery is contained in the following verse of Saadi:

Hillmann translates ("line") as "eye-liner (peach-fuzz?)"

and Windfuhr as "eyeline".

However, the normal meaning of "xat(t)" ("line") in Persian love poetry is the line of the growing moustache which adorns an adolescent boy's lip.

So it would refer to an actual physical feature of the face rather than to make-up.

The phrase (or ) is frequent in the poets, as in the following line of Hafez quoted by Yarshater:

Other features of the poem, such as the tumult of love, the story of Yusof and Zoleykha, the piercing of pearls (to make a necklace of verses), are also commonly found in Hafez and other poets.

This ode has excited the admiration of numerous scholars and translators who have become familiar with it.

Arberry writes of the last verse: "The 'clasp' theme here used is a very common one, but its present treatment is scarcely surpassed for beauty in the whole "Dīvān"."

Hillmann writes: "A first impression of the 'Turk of Shiraz' is of a texture of hyperbole, paradox, a sense of the ultimate or perfection, eloquence, and seriousness, with familiar images and conceits given new vitality through new combination and given form by means of verse patterning."

Some critics, however, have questioned the coherence or unity of the poem, beginning with William Jones's friend and tutor in Persian, Count Károly Reviczky, who wrote in 1768 "I did not translate the poem into Latin verse, on account of the incoherence of the verses", and Jones himself who in his version used the phrase "Like orient pearls at random strung".

The chief critic in this area is Hillman, who wrote: "One might conclude that the "Turk of Shiraz" is not a wholly successful poem precisely because it seems lacking in unity, no other aspect or feature of the ghazal having been demonstrated to compensate for this lack."

Defending the poem from such criticism, Arberry finds only two themes in it: "The principal theme is – the fair charmer, beautiful, proud, unapproachable, the human, this-worldly reflection of the immortal loveliness of the Divine spirit.

...

The subsidiary theme is – wine (and music) are the sole consolation of the lover, to compensate his sorrow over the incapacity of his love, and the transitory nature of mundane affairs."

He scorns the idea that the poem has no unity.

Rehder finds that rather than thematic unity, the poem has "an obvious unity of thought and mood".

Brianne Pfannenstiel

Brianne Pfannenstiel is an American journalist who serves as Chief Politics Reporter for "The Des Moines Register".

Pfannenstiel co-moderated the seventh Democratic debate with Wolf Blitzer and Abby Phillip on January 14, 2020.

Pfannenstiel was born in Kansas in 1988 to parents Peggy Jo and Pat.

She attended the University of Kansas, graduating in 2010 with a degree in Journalism.

On October 11, 2016, her mother died of cancer at the age of 54.

After graduating from the University of Kansas, Pfannenstiel worked as a reporter for the "The Kansas City Star" and "Lawrence Journal-World", where she covered the 2010 United States elections.

In 2015, she relocated to Iowa to join "The Des Moines Register".

In the 2016 Iowa caucus cycle, Pfannenstiel initially covered the Scott Walker campaign, followed by the Donald Trump campaign.

Pfannenstiel was selected Chief Politics Reporter for the 2020 United States presidential election.

Pfannenstiel has been featured on C-SPAN, and appeared twice as a guest on "At This Hour with Kate Bolduan."

After co-moderating the seventh Democratic debate, Pfannenstiel was listed by "Vox" as a "Winner" of the debate.

Google searches for Pfannenstiel also increased 4,200 percent during the debate.

National Monument of the Kasbah

The National Monument of the Kasbah (), more simply called the National Monument, is a memorial monument and a prominent symbol of several events in Tunisia.

It is located in the center of the Kasbah Square in Tunis, facing the Town Hall.

The monument was designed and executed by the Tunisian sculptor Abdelfattah Boussetta In 1989.

It also appears as a background image on the Tunisian ID cards.

Galactic Warrior Rats

Galactic Warrior Rats is a video game developed by Mikev Design, published by Summit Software and released in 1992 for the Amiga and ported to DOS in 1993.

The game was also released in 1994 in the "Famous Collection" game compilation.

Three laboratory rats named Einstein, Newton and Darwin are on board a spaceship, when unexpectedly the spaceship crashes into a mysterious planet called Smeaton Five.

The explosion of the spaceship kills all onboard, but mutates the rats into humanoid-like creatures, they self-christen Galactic Warrior Rats.

Smeaton Five is highly polluted and is rigged for destruction.

The three rats venture through the planet's dangerous complex to destroy any defense robot that gets in their way and ultimately shut down the core computer to save Smeaton Five and themselves.

The player chooses of one the three Galactic Warrior Rats who pilot a biosphere vehicle.

The biosphere can have its speed, weapons, ammunition and handling upgraded.

Upgrades require credits.

During the gameplay, the player will manuever the rat in his biosphere.

The object is to guide the biosphere through maze-like levels to the exit.

The biosphere can fire in one of eight directions.

Destroying enemies earns credits.

Touching enemies drains the biosphere's vitality.

If one rat dies in the biosphere explosion, the player must choose a different rat to play.

If all three rats are destroyed, then the game is over.

1434 oath

The 1434 oath was taken by members of the English gentry and swore them to refrain from harbouring law-breakers and other breakers of the King's Peace.

In 1434 the King, Henry VI, was still a legal minor, and the royal council ruled on his behalf.

Aware of the important role the gentry and nobility played in the regions in keeping law and order, the council believed that it would be a positive step for these men to swear an oath "that they would neither use their wealth and influence to undertake criminal activities nor maintain lesser men" who did.

The nobility had already taken a similar oath in the House of Lords the previous year at the instigation of the Commons, which also took the oath on the same day.

It was then decided that all major landholders in the country should also swear the same.

The oath instructed that all who took it would not:

On 20 January the parliament's Knights of the Shire were instructed to compose and submit to Chancery a list of those property holders who qualified in their constituencies.

The oath itself was taken in the localities on 1 May the same year.

Of the 36 counties of which lists were presumably made, 29 survive in Chancery.

They comprise over 4,000 names, generally listed from the highest-ranking to the lowest.

Ten men appear on multiple lists.

Bogner has called this collection a "15th-century "Who's Who"...a rare snapshot of the movers and shakers in local society".

The oath of 1434 has been described by the prosopographer Gilbert Bogner as constituting the "the most comprehensive list of English knights" of the century.

The oath was a response to a perceived increase in lawlessness in the regions, which itself was seen as having been caused by illegal retaining.

The 1434 oath was used the following year to encourage John Mowbray, Duke of Norfolk to improve his behaviour.

Although Mowbray had sworn with the other lords in 1433, his behaviour, which seems to have been riotous, had continued in the same manner.

Mowbray was instructed to "have bysilie in his mynde and for kepyng of his honour observe in all poyntes tharticle assured as wele by hym as other lordes and estates of this land in the kynges hande at the last parlement holden at Westm'".

The oath’s significance to historians, argues Bogner, was that it lists the gentry whom the crown considered "capable of retaining men as a force for their own ends", and who were trained in war.

Similarly, the medievalist Ralph A. Griffiths suggests that those who took the oath were "socially prominent or politically powerful" men, while Edward Powell considers that those who signed can be considered gentry by the historian, regardless of the signatory’s actual employment.

The fact that the oath was deemed necessary indicates the extent to which law and order was considered to have collapsed in the regions.

Christian Liddy, in a study of the oath-taking in the Palatinate of Durham suggests that the oath was not confined to the gentry class.

In that region at least, he says, there was a "preponderance of low-income and sub-manorial esquires" also taking part.

Christine Carpenter had similar results in her examination of Warwickshire society, discovering that wealth was not a critical factor in deciding who took the oath.

For example, Sir Thomas Ferrers appears in the tax return of 1436–indicating he was considered wealthy enough to be taxed—but he was not summoned to take the oath takers two years previously.

The social class of oath-taker appears to have varied from county to county.

Figures available from the Kentish oath-taking, for instance, indicate that around a third of those who swore the oath in Kent were yeomen rather than gentry.

The numbers of men called upon also varied wildly between areas; those from Kent numbered over 300, for example, while Lancashire swore less than 80.

For some individuals of the period events such as the 1434 oath are the only occasion on which they appear on the historical record.