OpenLLM-France/wikimedia huggingface dataset:
# The Devonshire Manuscript/Now may I morne as one off late

* ←It was my choyse It Was my chaunce || width="200" align="right" | Wyth sorowful syghes and wondes smart→
* The Devonshire Manuscript facsimile 26r
* The Devonshire Manuscript facsimile 25v
f. [25v] f. [26r] 1 Now may I morne as one off late 2 Dryuen by force from y my delyte 3 and can not se my louely mate 4 th to whom for ever my hart ys plyte 5 Alas that euer pryson stronge 6 sholde such too louers seperate 7 yet thowgh ower bodys suffereth wronge 8 ower harts shalbe off one estate 9 I wyll not swerue I yow Insure 10 for gold nor yet for worldly fere 11 but lyke as yerne I wyll Indure 12 suche faythful loue to yow I bere 13 Thus fare ye well to me most dere 14 off all the world both most and lest 15 I pray yow be off ryght good chere 16 and thynke on me that louys yow best 17 and I wyll promyse yow agayne 18 to thynke off yow I wyll not lett$^1$ 19 for nothyng cowld relesse my payne 20 but to thynke on yow my louer swete finis

## Notes & Glosses

1. This use of "let" is similar to that in Henry VIII's "Pastyme with good company."

## Commentary

Attributed to Lord Thomas Howard, the poem was entered by TH2. Typical of courtly love literature, the speaker emphasizes the pain that occurs when lovers are separated from each other.

### Works Cited

* ↑ William A. Ringler, Jr., Michael Rudick, and Susan J. Rigler, Bibliography and Index of English Verse in Manuscript, 1501-1558 (London: Manswell, 1992), 167.
# The Devonshire Manuscript/Now must I lerne to lyue at rest

* ←Yf in the worlde there be more woo || width="200" align="right" | fforget not yet the tryde entent→
* The Devonshire Manuscript facsimile 54r
f. [54r] 1 Now must I lerne to lyue at rest 2 & weyne me of my wyll 3 ffor I repent where I was prest 4 my fansy to ffullfyll 5 I may no longer{g'} more endure 6 my wontyd lyf to lede 7 but I must lerne to put in vre 8 the change of womanyede 9 I may not se my ser[[The Devonshire Manuscript/Appendix_I:_Paleographic_Features|{{s}8}]]uys long 10 rewardyd in suche wyse 11 nor I may not sustayn suche wrong 12 that ye my loue dyspyce 13 I may not syghe in sorows depe 14 nor wayle the wante of loue 15 nor I may nother cruche nor crepe 16 where hyt dothe not behoue 17 But I of force must nedes{es} forsake 18 my faythe so fondly sett 19 & frome henceforthe must vnder{d'}take 20 suche foly to fforgett 21 Now must I seke some other ways 22 my self for to with{w+t+}saue 23 & as I trust by myn assays 24 some Remedy to haue 25 I aske none other Remedy 26 to recompence my wronge 27 but ones{es} to haue the lyberty 28 that I haue lakt so long ffinis$^1$

## Notes & Glosses

1. The dots on the letter is are scoops, as in "Syns loue ys suche that as ye wott" (52r), "Lo how I seke & sew to haue" (52v), "My loue ys lyke vnto theternall fyre" (53r), and "Yf in the worlde there be more woo" (53v).

## Commentary

Attributed to Sir Thomas Wyatt, this poem was entered by H6 and is unique to this manuscript. The speaker tries to exercise reason by forcing himself to forsake a love that is not returned. The power that holds him derives either from the lady’s beauty or his own fancy and will. Rebholz notes that the speaker's use of passive voice may indicate "a reluctance to acknowledge responsibility for falling in love."
H6 seems fond of dotting the letter “i” with a scoop; see, for instance, "Syns loue ys suche that as ye wott" (52r), "Lo how I seke & sew to haue" (52v), "My loue ys lyke vnto theternall fyre" (53r), and "Yf in the worlde there be more woo" (53v).

#### Works Cited

* ↑ R.A. Rebholz, ed. Sir Thomas Wyatt: The Complete Poems. London: Penguin, 1978. 312-13.
* ↑ ibid., 536.
# The Devonshire Manuscript/Myght I as well within my songe

* ←to cowntarffete a mery mode || width="200" align="right" | The pleasaunt beayt of swet Delyte Dothe blynd→
* The Devonshire Manuscript facsimile 66r
f. [66r] 1 [Myght I as well with{w+t+}in my songe] 2 [belay the thinge I wolde] 3 >[as in my harte]

## Commentary

Attributed to Sir Thomas Wyatt, this poem was possibly entered by H7. Margaret Douglas enters another excerpt of the poem, "Myght I as well within my song be lay" on 65v. Both versions in the manuscript are only excerpts of Wyatt’s twenty-five line poem, which Rebholz compiled in his edition of Wyatt's poetry. Similar to other poems in the manuscript, this poem discusses the need for concealment and duplicity. For other poems portraying the theme of concealment, see: “Sum summ say I love sum say I moke” (58v); “In places Wher that I company” (62v); “I ame not she be prowess off syt” (65r); “To cowntarffete a mery mode” (65v); “Ceaser whan the traytor of egipte” (70r); and “Whan that I call vnto my mynde” (82v-83r).
The page appears heavily smudged and each line drops one syllable.

#### Works Cited

* ↑ R.A. Rebholz, ed. Sir Thomas Wyatt: The Complete Poems. London: Penguin, 1978. 323.
* ↑ idib., 323-24.

## Textual Notes
#### Texts Collated

LDev103, DBLa12

#### Collation

1 Myght I as well within my songe] myght I as well within my song be lay LDev103 Myght I as well within my songe dbelaye DBla12 2 belay the thinge I wolde] the thyng I mene as in my hart I may LDev103 the thing I wolde as in my hart I maye DBla12 3 > as in my harte] repentence showld dra ffrom thovs yes LDev103 repentens shulde Drawe frome those eyes DBla12 4 ] salt teres with cryes remors and growges LDev103 Salt tearis with cryes, remorce and grudge of hart DBla12 5 ] causles as cause that I haue ssuffred smart DBla12 6 ] O yf myght I ellis enclose my paynfull breast DBla12 7 ] that that myght be in syght my great vnrest DBla12 8 ] ther shulde ye see tormentes remayngne DBla12 9 ] as hell of payne to move your crewell hart DBla12 10 ] causles by cause that I haue suffred smart DBla12 11 ] Or myght Ther ys in hell no suche a feruent fyere DBla12 12 ] as secret hete of inward hotte desyere DBla12 13 ] that wyll not let the flame appayre DBla12 14 ] that I haue here within my wastyd hart DBla12 15 ] causles by cause that I haue suffred smart DBla12 16 ] Yet you cause yt and ye may cause my welthe DBla12 17 ] ons cause yt then retorne vnto my helthe DBla12 18 ] and of all mene releve that man DBla12 19 ] that no thing can but crye releve this hart DBla12 20 ] causles by cause that I haue souf smart DBla12 21 ] Redres ye owght that harme that ye haue donne DBla12 22 ] yt ys no game that ye nowe haue bygonne DBla12 23 ] but worthye blame ye shall remayne DBla12 24 ] to do hym payne that knowythe not thought of DBla12 25 ] causles by cause that I haue suffred smart DBla12
# Understanding C++/Variables

A variable is a symbolic name that represents and can be used in place of a value. Variables are used similarly to how letters in algebra are sometimes used in place of numbers (such as x=14, x+2=16). However unlike algebra variables names in C++ are not limited to single letters and values are not limited to just numbers. Variables can make programming easier because what "3.14159" is supposed to mean may not be as easy to figure out as what "pi" means.
The basics of variable use goes something like this:
We see the variables x, a, and myint being declared, or given values, in the first three lines. Variables can be declared as values, like 14 or 4, other variables, which gives them the same values, or expressions using other variables, which gives them the value of the simplified expression. The "cout <<" section tells the program to output what comes after. An output function can output a single variable, which gives the value of the variable, or an expression, which gives the value of the simplified expression.
Three things are important to note. One, because this code will not compile or run correctly on a normal compiler, it is known as "pidgin code". Many examples are given in pidgin code for ease of understanding. Two, the only variable type used here is the "int" type, but there are two other major variable types: string and boolean. We will cover those later. Lastly, in C and C++, the "=" operation does not do what it would seem to do. It sets the first half of the expression to whatever the second half evaluates to. When a program checks whether two numbers are equal, it uses the "==" operator.
# Understanding Darcs/Making changes
## Editing files
### record makes new stuff old

The record command takes the changes which only exist in your working directory (or the pending patch) and updates the pristine tree. The result of a record operation is a new patch.

### replace for renaming tokens

The replace command is useful for explicitly telling darcs to replace one word with another (for example, a variable name, if you are a programmer).
Note that because of the underlying patch theory, replace only works if the new word doesn't already exist in the file. Darcs will helpfully let you know if you try to replace something you cannot. Also, there is a switch for forcing the replacement, but the resulting patch is not a clean darcs-replace patch, but a combination of that, and what you would have gotten if you had edited the file in a text editor. In short, forcing darcs to replace when it really doesn't want to can lead to counter-intuitive results.

## Playing with files

We saw add in the last chapter. What about the other file-related commands?

### add tells darcs to pay attention

add, unsuprisingly, adds a file or directory to the list of files that darcs is paying attention to.

### mv for moving or renaming

mv lets you rename a file or put it in a different directory. This command updates the pending patch with a move command.

### you don't need remove

You might think that remove gets rid of a file, but actually all it does is to remove it from the list of files that darcs is paying attention to. You probably just want to delete the file instead (eg: with rm). Darcs will notice and record the change next time you darcs record that file. So what's the remove command good for? It might be handy if you want to just remove the file from darcs, without actually getting rid of your physical copy. This is most useful when you've accidentally used darcs add on a file you don't want darcs to pay attention to.
# Understanding Darcs

Darcs is a distributed version control system. Being a distributed system, the darcs model is rather different from that of more popular systems like Git or Mercurial and these differences take some time getting used to. One of our goals in writing this guide is to help you get a better grasp of the darcs model. We also hope to provide a useful supplementary guide to using darcs, one which is oriented towards tasks you might like to accomplish and makes heavy use of walked-through examples. For curious users and potential darcs developers, we would like to provide you with a friendly introduction to patch theory and the recent work on using a notion of conflictors to correct the current flaws in patch theory.
    The guide
   * Getting started
   * Making changes
   * Working with others
   * Reviewing your work
   * Undoing mistakes
   * Dealing with conflicts
    Patch theory and conflicts
   * An introduction to patch theory
   * Intermediary patch theory
   * Patch theory and conflicts

## See also

* The Darcs Wiki
# Understanding Darcs/Getting started
## Anatomy of a darcs repository

Understanding how to use the darcs commands can be a lot easier if you have a rough idea how things work. We're not asking you to learn about patch commutation algebra (yet), but one thing you should at least be comfortable with is the anatomy of a darcs repository.
The idea of the diagram is as follows: the stuff on the left in yellow is you. That's what darcs calls the working directory. The stuff in grey, on the other hand, is part of that mysterious _darcs directory if you've played around with darcs before. This can be broken down some more. The pristine tree (middle) is exactly like your working directory, except only representing the last saved state. It's not essential to darcs's operations, but it makes things run more efficiently, and is perhaps useful for understanding how things work. Finally, the right-most portion is the set of patches. Patches are what makes darcs... well... darcs. Darcs thinks in patches. Almost every darcs operation somehow involves (darcs) juggling some patches around behind the scenes. Enthusiastic darcs users find that this makes life easier in a number of ways. For example, accepting patches to your code becomes an extremely natural thing to do - you just let darcs apply them and in they go. But before we get to that, let's tackle a small set of essential commands.

## Essential commands
### init

Say you have a directory with some files in it. When you run darcs init to initialise the repository, you get an empty new darcs repository. Your working directory might contain files, but darcs does not know about them yet.

### add

darcs add tells darcs to keep track of a file or directory that was only in your working directory. It creates or adds to a special temporary patch which we call the pending patch (will be represented in blue). Note that it does not affect your pristine tree whatsover! The idea is that we haven't saved your work (which is what the pristine tree is for). We've only told darcs that we might conceivably want to save it later on.
Note that the pending patch is different from all the other patches. It is really a representation of (some) things you have not yet converted into a real darcs patch.

### whatsnew

The darcs whatsnew compares the working directory against the pristine tree (theoretically, against the set of patches) and displays what has changed between them. If there is anything in the pending patch, it also displays the contents of that.

### record

The darcs record command is how you save your work. It copies your chosen changes from the working directory to the pristine tree, and more importantly, creates a new patch representing those changes. Changes can also come from the pending patch, and these changes will also be propagated into the pristine tree.
# Understanding Darcs/More patch theory
## It's all patches

Before moving on, we would like to make one very minor point clear: in the day to day operation of darcs, we talk about pulling and pushing patches, and of recording and reverting changes. This is just a user interface convention. In patch theory terms, all of these are just patches. The patches which you pull and push are named patches, patches which contain a name and a list of unnamed patches. So in fact, when you pull a single named patch from somebody else's repository, you are pulling a sequence of potentially many primitive patches. What does this mean for merging?

## Merging a sequence of patches

In the last chapter, we saw that dealing with simple, non-conflicting merges consists mainly of making an inverse patch and commuting that inverse with the other side's patches. Let us now explore a slightly more complicated scenario, where we have to merge against a non-conflicting sequence of patches. We do this with a variant of the darcs hackathon shopping list. As usual, Arjan and Ganesh are working together to write the shopping list. They both start from a common file shplst containing
As before, Arjan inserts "beer" in line 3 of shplst and records the change. He then decides to add another item on the end of the list, this time, "pasta" and records his second change. In darcs notation, Arjan has brought us from an initial context $o$, to a new context $a$ with beer in it, and then to yet another context $c$ with pasta as well..
FIXME: will be fleshed out: i want to show what happens when Ganesh pulls two patches in
# Understanding Darcs/Reviewing your work
### whatsnew

The whatsnew command allows you to get an overview of what unrecorded changes you have made on your working copy.
This way you can get an idea of what needs to be saved.

### changes

Changes gives a changelog-style summary of the repo history

### diff

Using this command you can get an output like that produced by the diff command. Allowing you to save changes in a plain old (yet very common) format.
Note that darcs does not depend on the diff binary.
# United States Postage Meter Stamp Catalog/Essays/Specimens/Proofs
#### Essays / Specimens / Tests / Proofs

Generally speaking, a meter stamp ESSAY is an experiment, a trial impression of a stamp design. In practice the term has come to mean only those trial impressions that are abandoned and never reach production. Essay designs that reach production are called pre-production proofs. Meter stamp essays are almost universally rare.
A meter stamp SPECIMEN is an impression from a die that has been designed or modified to show that it is not meant for postage. This is done by incorporating "SPECIMEN", "SAMPLE", "VOID" or similar wording into the die or by eliminating all references to “U.S. Postage". Most, but not all specimens also have no meter number or an all zero number. Many have the generic "CITY / STATE" in the town mark. Specimens are not experimental nor are they rare except in a few cases. They are used mostly for promotional purposes, handed out at office equipment shows and in similar venues.
TEST stamps are similar to Specimens but are used internally by meter companies to preview town marks, slugs and slogans. They are not meant to be seen by the public.
A meter stamp PROOF is a pre-production impression of an approved stamp design. Such proofs can be distinguished from regularly issued stamps by a pre-release date (if known), unusual postage value such as all nines or all zeros, or by the item being on an unaddressed card or envelope with the return address of the manufacturer. Some proofs have the word "PROOF" or "SPECIMEN" printed or handstamped on or near the impression. Such pre-production proofs are uncommon to rare.
Stamps from regularly issued meters can have these features and are easily mistaken for pre-production proofs. These so-called "favor proof" impressions are not true proofs and have less value than postally used meter stamps.
# United States Postage Meter Stamp Catalog/GROUP AR
## GROUP AR: Meter stamps used by the Armed Forces

Click here to return to the United States Postage Meter Stamp Catalog
* Group AR describes commercial format meter stamps used by the military for official business... with some exceptions.
* In addition to stamps used ONLY for official business this Group includes stamps from post offices serving overseas U.S. military bases. These post offices are available for the general use of troops as well as official business. Such stamps have town marks that contain "APO" (Army Post Office) or "FPO" (Fleet Post Office) or are mailed from Zipcodes that are known APO or FPO zipcodes.
* Also included are meter stamps that have the name of a U.S. Navy ship in the town mark. These stamps are from meters located aboard ship.
* Additionally any meter stamp with "NAVY", "ARMY", "AIR FORCE", "MARINE", or an abbreviation such as "P.S.N.Y." (Puget Sound Navy Yard) referencing the armed services is included.
* NOT INCLUDED are stamps generated at post offices serving domestic U.S. military bases having town marks that include the name of the base and the state, e.g. "CAMP PENDLETON CA" or "FORT MONMOUTH NJ". They are used primarily for the general use of the troops and employees rather than official business.
* Included for the first time are stamps with routine town/state town marks but with slogans indicating military official business. These include official business mail generated by the Army and Air National Guard.
* There are eight sub-groups based on the branch of the armed services using the meter. Click on those you want to see:
       • Sub-group AR-NAV – U.S. Navy
       • Sub-group AR-AAF – U.S. Army & Air Force
       • Sub-group AR-ARM – U.S. Army
       • Sub-group AR-AIR – U.S. Air Force
       • Sub-group AR-MAR – U.S. Marine Corps
       • Sub-group AR-APO – overseas Army and Air Force Post Offices
       • Sub-group AR-FPO – overseas Navy and Marine Fleet Post Offices
       • Sub-group AR-NGD – National Guard
* These meters were first used in the early 1940s during World War 2.
NOTE: The meter stamps listed here are only a portion of those that exist. A complete list is at Alan Draves' U.S. Meter Stamp Town List, http://www.draves.com/mss/town/statelst.htm. (Click on APO and FPO.) Mr. Draves does not include meter type designations in his lists. The descriptions below include only those town marks that have been verified for type.
# United States Postage Meter Stamp Catalog/GROUP AR/Sub-group AR-AAF: Stamps used primarily at combined Army and Air Force bases
#### Sub-group AR-AAF: Stamps used primarily at combined Army and Air Force bases

* Earliest date seen, 1956.
AR-AAF1.1. Pitney Bowes.
    Type IA4.1 with town marks:
       A. ARMY & AIR FORCE POSTAL SERVICE at top and APO and two-, three- or five-digit number at bottom.
       B. As A but with dash (-) instead of ampersand (&) between ARMY and AIR FORCE (ARMY-AIR FORCE POSTAL SERVICE
       C. As A but with SERVICE abbreviated to SVC (ARMY & AIR FORCE POSTAL SVC
    Meter numbers in 100000, 300000 and 800000 series.
    V/F: ≋ 00 :
AR-AAF1.2. Pitney Bowes.
    Type IA4.5 with town mark: ARMY & AIR FORCE POSTAL SVC at top, APO and number at bottom.
    Meter numbers in 600000 series plus 170076 and 388388 also seen.
    V/F: ≋ 00 : (widely spaced colon dots)
NOTE. Found both with and without period after SVC.
AR-AAF2. Pitney Bowes. [RRRR]
    Type IB4 with town mark: ARMY & AIR FORCE POSTAL SERVICE at top, APO 942 at bottom. (211952)
    V/F: . 00
AR-AAF3. Pitney Bowes.
    Type IC4.1 with town mark: ARMY & AIR FORCE POSTAL SVC at top, APO and five-digit number at bottom.
       - APO 96263 (862637)
       - APO 96310 (850089)
       - APO 96312 (818977)
       - APO 96337 (819245)
       - APO 96346 (844970)
    V/F: . 00 (for values over 99 cents: ≋1. 00
AR-AAF4. Postalia (Tele-Norm). [RR]
    Type JA2.1 with town mark: ARMY AND AIR FORCE POSTAL SERVICE at top, 09403 / APO at bottom.
    One meter only: T-N 608 869
    V/F: ≋.00
AR-AAF5. Friden. [RRR]
    Type KB1.1 with town mark: ARMY & AIR FORCE POSTAL SERVICE at top, APO and number at bottom.
       - APO 96262 (030362)
       - APO 96374 (030368, 030567)
    V/F: ≋.00≋