OpenLLM-France/wikimedia huggingface dataset:
# The Lyrics of Henry VIII/Gentyl prince de renom, Henry VIII (Incipit)

[ff. 49$^v$-50$^r$]
The Kynge .H.viij.
Gentyl prince de renom

## Textual Commentary

“Gentyl prince de renom” appears as an incipit in H in all four voices, with one and a half height block initial capitals. There is little room left among the musical notation for text (at times, the musical notation runs into the text which is present). “Gentyl prince de renom” is listed in the manuscript’s table of contents as the fortieth work. The song was printed in PBOdh (f. 95$^r$), with the incipit “Gentil prince”; to this song, Henry VIII added the third voice. Suggested by Hewitt (ed., Odhecaton 166, 404), a likely related text is found in P12744 (f. 97$^r$), though the melody of the song differs. The related text reads as follows:
Gentil duc de lorainne prince de grant renon tu as la renommee jusques de la les mons et toy et tes gens darmes et tous tes compaignons Du premier coup quil frappe abatit le danions tirez tirez bonbardes serpentines et canons 5 Nous suymes gentilzhomes prenez nous a raison vous mentes par la gorge vous nestez que larons et violeurs de femmes et bruleurs de maisons vous en aurez la corde par dessoubz le mantons et sy orrez matines au chant des oysoilllons 10 Et sy orrez la messe que les corbins diront
Hewitt notes the remark of G. Paris, that the person referred to in the piece above is René de Vaudemont and that the last two lines are popular expressions meaning “you will be hanged” (ed., Odhecaton 181).
“Gentyl prince de renom” is reprinted in Stevens MCH8 (36), Hewitt (ed., Odhecaton #90), and elsewhere.
# The Lyrics of Henry VIII/ENglond be glad pluk vp thy lusty hart (Unattributed)

[ff. 100$^v$-102$^r$]
ENglond be glad pluk vp thy lusty hart. help now thi kyng and tak his part Ageynst the frenchmen in the feld to fyght In the quarell of the church and in the ryght with spers and sheldes on goodly horsys lyght. 5 bowys and arows to put them all to flyght
helpe now thi kyng

## Textual Commentary

Providing a brief and optimistic characterization of battle (ll. 5–6) and summation of the cause for Henry’s war with France of 1513 (l. 4), this lyric urges support for the king in that campaign, on which he was accompanied by the Chapel Royal. “Pray we to god that all may gyde” (H 65), which follows this lyric, is of the same occasion.
    1 . . . pluk vp thy lusty hart Cf. “Comfort at hand! Pluck up thy heart” (in DBla), attributed to Wyatt.
    4 quarrell Cause, ground or occasion of complaint leading to hostile feeling or action (OED “quarrel” n.3 2).
The unattributed “ENglond be glad pluk vp thy lusty hart” is through-set in three voices.
This piece is indexed in Robbins Index & Suppl. 134.5 and Ringler MS TM76. It is reprinted in Chappell Account 383, Flügel Anglia 250, Flügel Neuengl 161, Stevens M&P 417–18, and Stevens MCH8 74.

## Textual Notes
### Texts Collated

H$^{1,2,3}$ (ff. 100$^v$–102$^r$).
    1 lusty hart.] hart^ H$^2$
    2 and tak his part] and tak his part and take hys part. H$^{1,3}$, and take his and take his part. H$^2$
    4 in the ryght.] in thi ryght. H$^2$, thi ryght. H$^3$
    6 to put them all to flyght] to put them all to flyght to put them all to flyght. H$^1$, to put them all to flyght to put them all to flyght. H$^2$, to put them all to flyght. H$^3$
    7 helpe now] now helpe H$^3$
# The Lyrics of Henry VIII/En vray Amoure, Henry VIII

[ff. 86$^v$-87$^r$]
The Kynge. H. viij.
En vray Amoure

## Textual Commentary

“En vray Amoure” appears as an incipit in H in only one of four voices. A space has been left in all voices for a large block initial capital, but none appears. There is little room left among the musical notation for text. This piece is not listed in the manuscript’s table of contents.
“En vray Amoure” is reprinted in Stevens MCH8 62 and elsewhere.
# The Lyrics of Henry VIII/Fare well my Ioy and my swete hart, Cooper

[ff. 66$^v$-68$^r$]
Fare well my Ioy and my swete hart fare well myne owne hart rote. frome yow a whyle must I depart ther ys none other bote ther ys none other bote. 5
Thowgh you depart now thus me fro
and leue me all alone. my hart ys yours where euer that I go for yow do I mone. for you do I mone. 10 for you do I mone.
D. Cooper

## Textual Commentary

This lyric presents an exchange between two lovers at their leave-taking. The second stanza is a response, affirming constancy, to the first’s statement of departure.
    2 heart rote Sweetheart, beloved one (OED “heart-root” 2); cf. usage also in Skelton’s “Woffully araid” (l. 19; in LFay ff. 63$^v$–67$^r$) and his Why Come ye not to Court (l. 664).
    4 none other bote No other repair, remedy, or relief, [it is] no use (OED “boot” n1 I.3, II.5).
“Fare well my loy and my swete hart” is through-set for three voices.
This lyric is indexed in Robbins Index & Suppl. 765.5, Boffey, and Ringler MS TM403. Reprinted in Flügel Anglia 244, Flügel Neuengl 136, Stevens M&P 409, and Stevens MCH8 48–9.

## Textual Notes
### Texts Collated

H$^{1,2,3}$ (ff. 66$^v$–68$^r$).
1 hart] harte harte H$^2$ 3 must I] I must H$^2$ 4 none other] no nother H$^{2,3}$ 5 none other] no nother H$^{2,3}$ 7 all alone.] alone. H$^1$, all alone^ H$^2$, all alone. H$^3$ 10 for] fro H$^1$
# The Arab Identity/Introduction

Saudi Arabia's buzz words for the year 2016 were "change and modernization". Yet as the world grapples with the Coronavirus, and a looming Oil war, Saudi US relations seem to be stretched tight. The increasingly heartbreaking war in Syria and now Yemen puts Saudi Arabia and the Arab world by large in an increasingly desperate situation. With Israels' talk of Annexing forbidden lands in occupied Palestine, are we looking at a world about to be reshaped again with Arabs relegated to its fringes? The Western world was largely introduced to the Arab during the Age of Oil. The Islamic Clergy and the Saudi Establishment have long stood for what it means to be Arab. With the West increasingly at its border, it was only a matter of time before this Identity was questioned for what it really stood for.
On the onset, Orientalism answered the West's increasing occupation with what they saw as the Decadent East. For Muslims, though this was not so. For them, it's not difficult to imagine the Arab identity. After all, Arabs have crossed the deserts of Najd to conquer large parts of the larger Arab and African lands and have crossed far into Asia by sea and to the borders of Europe by land. The Arabs are proud people. And their pride is justified by the number of Arabs and Muslims all over the world. Muslims come to Mecca in Saudi Arabia annually, to the birthplace of the Prophet Muhammad, in a pilgrimage that is the largest the world witnesses, congregating believers from the second-largest religious denomination in the world numbering to millions.
Muslims, early in life are introduced to the 'Arab-ideal'. Old Najd, and its surrounding lands, in Mecca and Medina, Jerusalem, Palestine, and even Syria, Yemen and Iraq are seen as holy lands by all Muslims. The Arabs and their place in the world are central to how Muslims identify themselves with regards to their relationships, national identity, and politics, even in an increasingly global century.
This book aims to explore 'Arab identity' and the 'Arab ideal' more than it seeks to answer global and political questions concerning the Arabian world. But to do so we first have to see what it means to be an Arab, and how the rest of the world sees them.

## References

* ↑ https://stepfeed.com/140-years-of-saudi-arabia-in-photographs-8701
# The Arab Identity/The Orient

Islam, especially Sunni Islam has shaped the Arab nations for centuries. Unlike the nascent democracy of the western nations, Islam has been around longer. Islam also has no established distinctions between religion and state affairs. An Arab doesn't find this strange, they do not think in terms of gray areas. Obedience and submissiveness to certain state and religious ideals are natural to them. To be an Arab does not necessarily mean that you have to come from the Middle East. Or that you even have to be born into an Arab speaking community. Sometimes to speak the Arabic language, to gain enough proficiency as to be accepted into Arabic speaking circles, this in itself could make you Arab. By rule of thumb if you have an Arabic name and speak or use the Arabic language, then you are an Arab. Arabs are found all around the world, especially in African nations, Egypt, Syria, Iraq, Jordan, Arabia, and other countries. They belong to several nationalities. Iran is not considered an Arab nation. In a sense, this is a broad definition of what it means to be an Arab. Islam, more than any other religion is subject to the geopolitical movements of modern times. Shariah, the wholly Islamic concept of the rule of Islamic law, finds itself at odds with modern democratic ideals.
Women are more reserved and dress more modestly than in Europe and certain traditional values are held on to firmly in the Arab family unit. These differences more than anything has created a divide between the East and West and continues to shape the Oriental narrative to this day. Although the concept of the 'Orient' is something of the past, Arabs are still seen as people with one foot firmly placed in the past.
# The Azure Guide/External links

It is not feasible to cover every single use-case of Azure, and hence we link to some useful tutorials on the Internet which you may wish to consult if you are using Azure for a specialised purpose. We do not guarantee accuracy in the content of any of these tutorials.
* Tutorial on Azure storage
* Tutorial on Azure Logic Apps
* Creating Azure account for students
* Creating Java Web app in Azure
* Azure Custom Vision service for object recognition
* Azure Tips and Tricks for Visual Studio 2019
* Creating a healthcare bot in Azure
* Case study of Azure Machine Learning
* Using Data Science techniques to analyse popular TV
* Analysing receipts using Azure
* Using Azure Custom Vision to convert handwritten text to HTML markup
* Recognising voices with Speaker Recognition APIs in Azure Cognitive Services
# The Art of Cities

Cities, the central fixtures of our very civilization, are home to a vast portion of the world's population. They bring together people, commerce and industry. Since ancient times, people have built settlements - simply because they are far better for business than isolated, singular homes. But what are the planning, design and architectural considerations which need to be taken into account to make them truly work? What would the ideal suburb look like? How far should the nearest train station be? Easy-to-navigate grids or interesting and endlessly variable cul-de-sacs and curved streets?
These and similar concerns have vexed city planners for centuries, and the results have been as numerous as they have been amazingly varied. An endless variation on the city theme: central business districts with high-rise glass temples of commerce, leafy suburbs just a subway ride from the city and endless highways which snake from district to district.
This book aims to explain some of the thousands of tribulations regarding city design, from major points like street layouts to seemingly trivial concerns such as urban beautification. The topic is vast, but the study of where we live is one that is perhaps universally important.

## Contents
### Part One: Zoning

* What is Zoning?
* Major Zoning Models

### Part Two: Transportation

* Roads and Streets
* Highways
* Public Transport
* Airports and Seaports
* The Street Plan

### Part Three: Civic Buildings

* Types of Civic Buildings
* Clustering
* Positioning

### Part Four: Suburbia

* The Rise of Suburbia
* What Suburbs Are Not
* Positioning
* The Pricing Problem

### Part Five: Beautification

* Why is Beautification Needed?
* Necessities
* Luxuries
* Styles
# The Art of Cities/Transportation
## Roads and Streets

These two simple transportation thoroughfares are arguably the most important in any city. Streets are mainly quiet residential streets, and roads are usually city-centre trunk routes. These are the purposes which roads and streets are given in the "definitions" below.
Streets (to the left) are the small, usually residential routes which are never too congested. They often come in the form of cul-de-sacs (streets with a dead end). They are almost always unmarked and are commonly separated from the pavement by a narrow strip of grass or trees. Another notable feature about streets is that, at junctions, the corners are much more curved than roads, making turning much easier for vehicles. Often, they are four car-widths wide: two widths for opposing traffic and two more for cars to park on either side against the curb.
Roads (to the right) are typically wider and busier than streets. They often contain multiple lanes of traffic in either direction. Where streets have stop signs to control traffic, roads have signals using a system of lights to alert drivers when to cross an intersection. These lights are used to increase efficiency of traffic flow.
# The Azure Guide

This is a guide about Microsoft Azure, Microsoft's popular group of cloud services. In this book, we give a high-level overview of some of the most popular features of Azure and what it is all about. Due to the massive power of Azure, we also have a page for external links which are written by other authors (outside of Wikibooks).

## Contents

* Introduction
* Virtual Machines
* Compute Vision
* Machine learning
* Speech services
* Databases
* Azure Active Directory
* External links
# The Azure Guide/Compute Vision

In this section, we take a look at another interesting feature of Azure, Compute Vision.

## Introduction

It is a form of machine-learning, wherein we train the system with different images which are identified to different tags. Then this model can be further used in applications using the keys. Note that this is one service where there is no free substitute; there used to be a 'limited trial' option but such an option was recently discontinued. (Remember thought that Microsoft does have different promotions for Azure)
Also, the main portal (portal.azure.com) is not used; we use the computevision.ai website (which is still by Microsoft) instead.

## Procedure

As stated above, an Azure subscription is required. If you don't, you will be unable to continue.
* Go to the website computevision.ai, and create a new project. Then assign the project to a resource group, creating a new one if required.
* Give a name for your project, and select the type. The options on this section mainly depend on the type of project you are looking for: are you looking to identify images or objects within an image? Which categories of images will your project being based upon? Choose them carefully based on your needs.
* Add your images. Note that each image must be up to 6 MB, cannot be videos (as they are hard to train), and you can only add 150 images to the whole model. This process can be repeated. [Note: Depending on how you obtain your images, you may have to do some image-cleaning to remove nonsensical images.]
The Bing Image CLI service can be used to quickly get stock images given a tag.
* Click Train. Note that if there is only one tag, then you'll get an error saying that "Your project can't be trained just yet. Make sure you have at least 2 tags and 5 images for every tag." Compute Vision will now run some iteration tests. As we see below, our model is fairly reliable (though adding more is usually always better for reliability).
* Using the Quick Test option will allow you to try an image of your choosing for the Compute Vision model to evaluate. This is a very good way of making sure that your model is reliable. Our test image returned the following result:
| Tag | Probability |
| beer | 99.9% |
| wine | 0% |
Such a one-sided result is likely to mean that it is accurate (and it was in this case).
* Once you are ready, publish your iteration. You'll be then able to get the URLs required to integrate into your application, which will usually be in this form:

## See also

* Another tutorial for Compute Vision. Includes sample images that can be used for this guide.
# Urban Calligraphy/Intro

Welcome to NYC, where, around every corner, there is something on the wall. Each bend you turn there is another piece sprayed or written on the wall. They all vary: KEZ1...SUBJECT...TKZ...You watch people turn their heads in disgust as they look at this vandalism.
I turn and smile at it.
Welcome to the world of graffiti. However, before you turn your head from this page, know this:
If Leonardo da Vinci had painted Mona Lisa on his neighbor's wall, then they would have turned their heads in disgust. But it was a professional canvas painting, and is now famous. But, due to the massive abuse of spray paint on walls, any form of calligraphy that has arrows, dots, stars, and fast curves in it is looked at with disgust. If anyone did that to my house, I'd get them locked up for it.
But as an artform, it's beautiful.
What is "graff"?
# Urban Calligraphy

* Introduction
** What is "graff"?
** Lexicon
* Where to find graff
* Freestyle 101
** Toy Markerwork
** Broadway Tag
** Hookups and Decorations
** Stylizing and Finalizing
* Bubble Work
** Basic Flow
** Squeeze Lettering
** Cartoon Lettering
** Decorations and Fillers
** Backgrounding
* Style Art
** Style Smooth
** Style Jagged
** Hookups, Donks, Bubbles
** A 3D Touch
** Finalizing Work
* Notes On Graffiti
* Disclaimers
# Table Of Contents

* Introduction
** What is "graff"?
** Lexicon
* Where to find graff
* Freestyle 101
** Toy Markerwork
** Broadway Tag
** Hookups and Decorations
** Stylizing and Finalizing
* Bubble Work
** Basic Flow
** Squeeze Lettering
** Cartoon Lettering
** Decorations and Fillers
** Backgrounding
* Style Art
** Style Smooth
** Style Jagged
** Hookups,Donks,Bubbles
** A 3D Touch
** Finalizing Work
* Notes On Grafitti
* Disclaimers
# Sequences and Series
## Table of Contents

* Multiple limits
* Series and integration
* Power series
* Dirichlet‒Hurwitz series
* Infinite products
# The Manor and The Bishop
## Chapters

* England's Rural Beginnings
* Working the land
* Town Industry and Crafts
* Bobbin Lace gives way to The Mill
* High Farming
* Industrialization and The Church

## Authors

* Terence Kearey
# Classification of phraseological units

Classification of phraseological units is one of the acute issues of phraseology. There are different approaches to classification of phraseological units on the basis of different criterions.
Charles Bally was the first scientist, who systematized phraseological units on the basis of its semantic unification. He constructs his classification on the basis of stability level: combinations in which freedom of components group (phraseological groups) and combinations deprived of such freedom (phraseological unitits).
A. Smirnitskiy in his classification separates phraseological units and idioms. Phraseological units are stylistically neutral combinations, deprived of metaphoricity. It is necessary to mark that the term “phraseological unit” stated by Smirnitskiy, differs from generally accepted understanding. Smirnitskiy classifies the units like get up, fall in love and others to phraseological units. Idioms are based on shifting meaning, on a metaphor, which the speaker clearly understands. Specific feature of such idioms is a bright stylistic color, remoteness from common neutral style, for example: take the bull by the horns, dead as a doornail. N.Amosova in turn points out two types of phraseological units - phrasems and idioms. A phrasem in her opinion is a unit of constant context, in which the indicatory minimum is necessary for the actualization of this word meaning, is a single one possible and constant. For example - beef tea, knit one's brows, black frost. The second component is an indicatory minimum for the first. Idioms as against phrasems in N. Amosova opinion – are units of constant context in which indicative and semantically accomplishable elements make up an equality and both are represented by general lexical content of a word combination. Meaning of an idiom acts as an integral meaning of the whole combination, for example - red tape, show a clean pair of heels.
Besides common semantic signs, a basis for classification of phraseologisms is their structure.
A. Kunin, in turn, differs three large groups of phraseological units: nominative, communicative, nominative-communicative.
Nominative are:
a) nominal – mark a person, subject, main component – noun: a dog in the manger. b) adjective – mark a quality characteristic of a person or a subject: long in the tooth, alive and kicking , high and mighty. c) adverbial and prepositional – meaning of a quality action charasteristics: by hook or by crook, on the off-chance.
Nominative-communicative phraseologisms perform a function of naming the action; main component is the verb: carry the day, play with fire.
Communicative group– consists of proverbs and sayings: a great ship asks deep waters, good health is above wealth.

## References

* ↑ Granger, Sylviane, and Fanny Meunier. Phraseology: An Interdisciplinary Perspective. John Benjamins B.V., 2008. Web. 30 Juny 2015.
* 1 2 3 Smirnitskiy, I. Theory and History of Language. Moskow: High School, 1983. Print.
* ↑ Amosova, N. Fundamentals of English Phraseology. Leningrad: Leningrad University, 1963. Print.
* 1 2 3 4 Kunin, А. English Phraseology. Moskow: High School, 1970. Print.
# The Lyrics of Henry VIII/With sorowfull syghs and greuos payne, Farthing

[ff. 33$^v$-34$^r$]
With sorowfull syghs and greuous payne. Thus euer to endure. Alas pour hart tyl that we mete agayne. Ioy shall I neuer ye may be sure.
T. ffardynge

## Textual Commentary

“With sorowfull syghs and greuous payne” is a lyric of departure. The emphasis is on return as well as the pain that will accompany the lover in absence. Cf. “Wyth sorowful syghes and woundes smart” (LDev f. 26$^v$; attributed to Thomas Howard).
The lyric is through-set for three voices.
This lyric is indexed in Robbins Index & Suppl. 4201.3, Boffey, Ringler MS TM2009. It is reprinted in Flügel Anglia 235, Stevens M&P 395, and Stevens MCH8 25.