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data/tlg0086/tlg029/tlg0086.tlg029.perseus-eng1.xml

@@ -116,7 +116,7 @@
                     between the two kinds of community over which they severally preside. There is,
                     however, this further difference: that whereas the government of a nation is in
                     many hands, a household has but a single ruler.<milestone ed="P" unit="para"/>Now some arts are divided into two separate branches, one concerned with the
-                    making of an object&mdash;for example a lyre or a flute&mdash;and the
+                    making of an object—for example a lyre or a flute—and the
                     other with its use when made. Statecraft on the other hand shows us how to build
                     up a nation from its beginning, as well as how to order rightly a nation that
                     already exists; from which we infer that Housecraft also tells us first how to
@@ -218,8 +218,8 @@
                     should be given to those who are doing more of a freeman's work, and abundance
                     of food to those who are laboring with their hands. And whereas the use of wine
                     renders even free men insolent, so that in many countries they too refrain from
-                    it&mdash;as, for instance, the Carthaginians do when they are on
-                    campaign&mdash;it follows that we must either deny wine to slaves
+                    it—as, for instance, the Carthaginians do when they are on
+                    campaign—it follows that we must either deny wine to slaves
                     altogether, or reserve it for rare occasions.<milestone ed="P" unit="para"/><milestone ed="P" n="5.3" unit="Loeb chap"/> We may apportion to our
                     slaves (1) work, (2) chastisement, and (3) food. If men are given food, but no
                     chastisement nor any work, they become insolent. </p></div><div type="bekker page" n="1344b"><p><milestone ed="Bekker" n="1" unit="line"/>If they are made
@@ -692,7 +692,7 @@
                     suggesting that silver formed the entire load; and so continued his march. The
                     soldiers, beholding the plate and supposing that they convoyed a full load of
                     silver, were cheered by the expectation of their pay. They were informed however
-                    by Didales that they would have to take it to <placeName key="tgn,7002339">Amisus</placeName> to be coined&mdash;a journey of many days, and in
+                    by Didales that they would have to take it to <placeName key="tgn,7002339">Amisus</placeName> to be coined—a journey of many days, and in
                     the winter season. And during all this time, he continued to employ the army
                     without giving it more than its necessary rations.<milestone ed="P" unit="para"/>Moreover, all the craftsmen in the army, and the hucksters who traded with the
                     soldiers by barter, were under his personal control, and enjoyed a complete

data/tlg0094/tlg002/tlg0094.tlg002.perseus-eng1.xml

@@ -88,18 +88,18 @@
 						knowledge of the principles of Greek music, with its various moods, scales, and
 						combinations of tetrachords. The whole subject is treated by Boeckh, <hi rend="italics">De Metris
 							Pindari</hi> (in Vol. I. 2 of his edition of Pindar); and more at length in Westphal's
-						<hi rend="italics">Harmonik und Melop&ouml;ie der Griechen</hi> (in Rossbach and Westphal's <hi rend="italics">Metrik,</hi> Vol. II. 1).</p>
+						<hi rend="italics">Harmonik und Melopöie der Griechen</hi> (in Rossbach and Westphal's <hi rend="italics">Metrik,</hi> Vol. II. 1).</p>
 						            <p>An elementary explanation of the ordinary scale and of the names of the notes
 							(which are here retained without any attempt at translation) may be of use to the
 							reader.</p>
 						            <p>The most ancient scale is said to have had only four notes, corresponding to the
 							four strings of the tetrachord. But before Terpander's time two forms of the
 							heptachord (with seven strings) were already in use. One of these was enlarged to
 							an octachord (with eight strings) by adding the octave (called <foreign lang="greek">nh/th</foreign>). This addition
-							is ascribed to Terpander by Plutarch (&sect;28); but he is said to have been unwilling
+							is ascribed to Terpander by Plutarch (§28); but he is said to have been unwilling
 							to increase the number of strings permanently to eight, and to have therefore omitted
 							the string called <foreign lang="greek">tri/th,</foreign> thus reducing the octachord again to a heptachord. The notes
-							of the full octachord in this form, in the ordinary diatonic scale, are as follows:&mdash;
+							of the full octachord in this form, in the ordinary diatonic scale, are as follows:—
 
 							<table>
                         <row role="data">
@@ -295,21 +295,21 @@
 
 				of Alexandria, and Lysias, one of those to whom he gave
 				a yearly pension. After all had done and the table was
-				cleared,&mdash;To dive, said he, most worthy friends, into the
+				cleared,—To dive, said he, most worthy friends, into the
 				nature and reason of the human voice is not an argument
 				proper for this merry meeting, as being a subject that
 				requires a more sober scrutiny. But because our chiefest
 				grammarians define the voice to be a percussion of the air
 				made sensible to the ear, and for that we were yesterday
-				discoursing of Grammar,&mdash;which is an art that can give
+				discoursing of Grammar,—which is an art that can give
 				the voice form and shape by means of letters, and store it
-				up in the memory as a magazine,&mdash;let us consider what
+				up in the memory as a magazine,—let us consider what
 				is the next science to this which may be said to relate to
 				the voice. In my opinion, it must be music. For it is
 				one of the chiefest and most religious duties belonging to
 				man, to celebrate the praise of the Gods, who gave to him
 				alone the most excelling advantage of articulate discourse,
-				as Homer has observed in the following verses:&mdash;
+				as Homer has observed in the following verses:—
 
 
 				<quote rend="blockquote">
@@ -365,7 +365,7 @@
 				without metre; they were rather like the poems of Stesichorus and other ancient lyric poets, who composed in
 				heroic verse and added a musical accompaniment. The
 				same Heraclides writes that Terpander, the first that instituted the lyric <hi rend="italics">nomes,</hi>
-               <note place="unspecified" anchored="yes">According to K. O. M&uuml;ller (History of Greek Literature, Chap. XII &sect; 4), the
+               <note place="unspecified" anchored="yes">According to K. O. Müller (History of Greek Literature, Chap. XII § 4), the
 					<hi rend="italics">nomes</hi> were <q direct="unspecified">musical compositions of great simplicity and severity, something resembling the most ancient melodies of our church music.</q> (G.)</note> set verses of Homer as well as his
 
 				<pb id="v.1.p.106"/>
@@ -383,7 +383,7 @@
             <p>Now the measures appointed by these persons, noble
 				Onesicrates, in reference to such songs as are to be sung
 				to the flutes or pipes, were distinguished by these names,
-				&mdash;Apothetus, Elegiac, Comarchius, Schoenion, Cepion,
+				—Apothetus, Elegiac, Comarchius, Schoenion, Cepion,
 				Tenedius, and Trimeles (or of three parts).</p>
             <p>To these succeeding ages added another sort, which were
 					called Polymnastia. But the measures set down for those
@@ -459,7 +459,7 @@
 				that Olympus, a Phrygian player upon the flute, invented
 				a certain nome in honor of Apollo, which he called Polycephalus,<note place="unspecified" anchored="yes">This seems to be the nome referred to by Pindar, Pyth. XII. 12, as the invention
 					of Pallas Athena. The Scholia on the passage of Pindar tell us that the goddess
-					represented it in the lamentation of the two surviving Gorgons for their sister Medusa slain by Perseus, and the hissing of the snakes which surrounded their heads,&mdash;
+					represented it in the lamentation of the two surviving Gorgons for their sister Medusa slain by Perseus, and the hissing of the snakes which surrounded their heads,—
 					whence the name <foreign lang="greek">poluke/falos,</foreign> or <hi rend="italics">many-headed.</hi> (G.)</note> or of many heads. This Olympus, they say,
 				was descended from the first Olympus, the scholar of Marsyas, who invented several forms of composition in honor
 				of the Gods; and he, being a boy beloved of Marsyas, and
@@ -550,13 +550,13 @@
 
 				to pass:<note place="unspecified" anchored="yes">
                   <p>The relations of the enharmonic scale to the ordinary diatonic are thus stated
-					by Westphal (pp. 124&ndash;126), <hi rend="italics">b</hi> being here substituted for the German <hi rend="italics">h:</hi>&mdash;
+					by Westphal (pp. 124–126), <hi rend="italics">b</hi> being here substituted for the German <hi rend="italics">h:</hi>—
 
 					<!--<figure><head>Figure</head></figure>--></p>
 
 					             <p>The <foreign lang="greek">d</foreign> inserted between <hi rend="italics">e</hi> and <hi rend="italics">f</hi> and between <hi rend="italics">b</hi> and <hi rend="italics">c</hi> is called <hi rend="italics">diesis,</hi> and represents
 						a quarter-tone. The section in Westphal containing this scheme will greatly aid the
-						interpretation of &sect; 11 of Plutarch. (G.)</p>
+						interpretation of § 11 of Plutarch. (G.)</p>
                </note> for that Olympus before altogether composing and
 				playing in the diatonic species, and having frequent occasion to shift to the diatonic parhypate, sometimes from the
 				paramese and sometimes from the mese, skipping the diatonic lichanos, he found the beauty that appeared in the
@@ -854,7 +854,7 @@
 				scholar, thus labors to convince the world: <q direct="unspecified">Harmony,</q>
 				saith he, <q direct="unspecified">descended from heaven, and is of a divine,
 					noble, and angelic nature; but being fourfold as to its
-					efficacy, it has two means,&mdash;the one arithmetical, the
+					efficacy, it has two means,—the one arithmetical, the
 					other enharmonical. As for its members, its dimensions,
 					and its excesses of intervals, they are best discovered by
 					number and equality of measure, the whole art being contained in two tetrachords.</q> These are his words. The
@@ -883,7 +883,7 @@
 				and are exceeded by mese and paramese in the same proportions, those of 4: 3 and of 3: 2. Now these excesses are
 				in what is called harmonic progression. But the distances
 				of nete from mese and of paramese from hypate, expressed
-				in numbers, are in the same proportion (12:8 &equals; 9:6); for
+				in numbers, are in the same proportion (12:8 = 9:6); for
 				paramese exceeds mese by one-eighth of the latter. Again,
 				nete is to hypate as 2:1; paramese to hypate as 3:2; and
 				mese to hypate as 4:3. This, according to Aristotle, is the
@@ -900,15 +900,15 @@
 
 				<pb id="v.1.p.121"/>
 
-				of six (i.e., 2&times;3). Whence it comes to pass, that music
-				&mdash;herself and her parts&mdash;being thus constituted as to excesses and proportion, the whole accords with the whole,
+				of six (i.e., 2×3). Whence it comes to pass, that music
+				—herself and her parts—being thus constituted as to excesses and proportion, the whole accords with the whole,
 				and also with each one of the parts.</p>
          </div1>
          <div1 type="section" n="25">
             <p>But now as for the senses that are created within
 				the body, such as are of celestial and heavenly extraction,
 				and which by divine assistance affect the understanding of
-				men by means of harmony,&mdash;namely, sight and hearing,&mdash;
+				men by means of harmony,—namely, sight and hearing,—
 				do by the very light and voice express harmony. And others
 				which are their attendants, so far as they are senses, likewise exist by harmony; for they perform none of their
 				effects without harmony; and although they are inferior
@@ -965,7 +965,7 @@
 				of the Dorian nete, which before was not in use. Even
 				the whole Mixolydian mood is a new invention. Such were
 				also the Orthian manner of melody with Orthian rhythms,
-				and also the Trochaeus Semantus.<note place="unspecified" anchored="yes">See Rossbach, Griechische Rhythmik, p. 96, &sect; 23. (G.)</note> And if we believe
+				and also the Trochaeus Semantus.<note place="unspecified" anchored="yes">See Rossbach, Griechische Rhythmik, p. 96, § 23. (G.)</note> And if we believe
 				Pindar, Terpander was the inventor of the Scolion (or
 				roundelay). Archilochus also invented the rhythmic composition of the iambic trimeter, the change to rhythms of
 				different character, the melo-dramatic delivery,<note place="unspecified" anchored="yes">So Rossbach and Westphal interpret <foreign lang="greek">parakatalogh/.</foreign> Metrik, III. pp. 184, 554. (G.)</note> and the
@@ -1016,7 +1016,7 @@
 				being in the service of the poet. Afterwards that custom
 				grew out of date; insomuch that Pherecrates the comedian brings in Music in woman's habit, all bruised and
 				battered, and then introduces Justice asking the reason; to
-				which Music thus replies:&mdash;
+				which Music thus replies:—
 
 
 				<quote rend="blockquote">
@@ -1065,7 +1065,7 @@
             <pb id="v.1.p.125"/>
             <p>Aristophanes the comic poet, making mention of Philoxenus, complains of his introducing lyric verses among
 					the cyclic choruses, where he brings in Music thus
-					speaking:&mdash;
+					speaking:—
 
 
 					<quote rend="blockquote">
@@ -1212,7 +1212,7 @@
          </div1>
          <div1 type="section" n="35">
             <p>For there are three things at least that at the same
-				instant strike the ear,&mdash;the note, the time, and the word or
+				instant strike the ear,—the note, the time, and the word or
 				syllable. By the note we judge of the harmony, by the
 				time of the rhythm, and by the word of the matter or subject of the song. As these proceed forth altogether, it is
 				requisite the sense should give them entrance at the same
@@ -1319,7 +1319,7 @@
 
 				 Achilles, in the height of his fury toward Agamemnon,
 				appeased by the music which he learned from Chiron, a
-				person of great wisdom. For thus says he:&mdash;
+				person of great wisdom. For thus says he:—
 
 
 				<quote rend="blockquote">
@@ -1379,7 +1379,7 @@
 				Lacedaemonians by advice of the oracle, he freed the city
 				from a raging pestilence. Homer tells that the Grecians
 				stopped the fury of another noisome pestilence by the
-				power and charms of the same noble science:&mdash;
+				power and charms of the same noble science:—
 
 
 				<quote rend="blockquote">
@@ -1416,7 +1416,7 @@
 				left for me to say; for I cannot think them guilty of so
 				much bashfulness that they should be ashamed to bring
 				music into banquets, where certainly, if anywhere, it cannot but be very useful, which Homer also confirms to be
-				true:&mdash;
+				true:—
 
 
 				<quote rend="blockquote">