OpenLLM-France/wikimedia huggingface dataset:
# Pu Songling

Pu Songling (Chinese: 蒲松齡; 5 June 1640 – 25 February 1715) was a Qing Dynasty Chinese writer, best known as the author of Strange Stories from a Chinese Studio (Liaozhai zhiyi).

## Quotes
### Strange Stories from a Chinese Studio (1740)

* My talents are not those of Kan Pao, elegant explorer of the records of the Gods; I am rather animated by the spirit of Su Tung-P'o, who loved to hear men speak of the supernatural. I get people to commit what they tell me to writing, and subsequently I dress it up in the form of a story; thus in the lapse of time my friends from all quarters have supplied me with quantities of material, which, from my habit of collecting, has grown into a vast pile.
** "Author's Own Record", trans. Herbert Allen Giles in Gems of Chinese Literature (1922), p. 235
** Variant translation:
*** Of tales told I have made a book. With time And my love of hoarding, The matter sent me by friends From the four corners Has grown into a pile.
**** "Author's Preface", lines 26–32, trans. John Minford in Strange Tales from a Chinese Studio (Penguin, 2006), pp. 30–31
* How foolish men are, to see nothing but beauty in what is clearly evil! [...] Heaven's Way has its inexorable justice, but some mortals remain foolish and never see the light!
** "The Painted Skin", trans. John Minford in Strange Tales from a Chinese Studio (Penguin, 2006), p. 521

## Quotes about Pu Songling

* One striking difference between many of Pu Song-ling's literary ghost stories and their Western counterparts is the frequent undercurrent of whimsy and humor, found precisely in the conjunction of the ordinary and the supernatural, the domestic and demonic.
** Stephen Owen, An Anthology of Chinese Literature: Beginnings to 1911 (1996), p. 1103

## External links

* Encyclopedic article on Pu Songling on Wikipedia
# Public Enemies (2009 film)

Public Enemies is a 2009 American crime film. Set during the Great Depression, it focuses on the true story of Bureau of Investigation agent Melvin Purvis' attempt to stop criminals John Dillinger, Baby Face Nelson and Pretty Boy Floyd. This movie is released theaters July 3, 2009 in United States.
    Directed by Michael Mann. Written by Ronan Bennett, Michael Mann, and Ann Biderman, based on Bryan Burrough's non-fiction book Public Enemies: America's Greatest Crime Wave and the Birth of the FBI, 1933–34.

## John Dillinger

* We're having too good a time today. We ain't thinking about tomorrow.
* We're here for the bank's money, not yours. Put it away.
* I was raised on a farm in Mooresville, Indiana. My mama died when I was three. My daddy beat the hell out of me cause he didn't know no better way to raise me. I like baseball, movies, good clothes, fast cars, whiskey, and you... what else you need to know?
* You wanna know if we're armed? We're armed.
* Well, here's the man who killed Pretty Boy Floyd. Damn good thing he was pretty 'cause he sure wasn't Whiz-Kid Floyd.

## Dialogue

    Billie Frechette: What do you want?
    John Dillinger: Everything. Right now.
    Melvin Purvis: What keeps you up nights, Mr. Dillinger?
    John Dillinger: Coffee.
    Melvin Purvis: Pretty Boy Floyd?
    Pretty Boy Floyd: [coughs] Charles Floyd.
    Melvin Purvis: Mr. Floyd, you are under arrest.
    Pretty Boy Floyd: I'm done for; you've hit me twice.
    Police Chief Fultz: How long does it take you to run through a bank?
    John Dillinger: About 1 minute... 40 seconds... Flat
    John Dillinger: The only thing that's important is where somebody's going.
    Billie Frechette: Where are you going?
    John Dillinger: Anywhere I want.
    Red Hamilton: We don't work with people we don't know. And you don't work when you're desperate. Walter Dietrich. Remember that?
    John Dillinger: Walter forgot. When you're desperate, that's when you got no choice.
    Billie Frechette: They say you're the man who shot him.
    Charles Winstead: That's right. One of 'em.
    Billie Frechette: So why are you coming to see me? To see the damage you done?
    Charles Winstead: No. I came here because he asked me to. When he went down, he said somethin'. I put my ear next to his mouth, and what I think he said was this. He said, 'Tell Billie for me: Bye bye, Blackbird.'
    [Billie starts to cry as Winstead gets up to leave] [Last scene of the film]

## Cast

* Johnny Depp – John Dillinger
* Christian Bale – Melvin Purvis
* Marion Cotillard – Billie Frechette
* Stephen Graham – Baby Face Nelson
* Channing Tatum – Pretty Boy Floyd
* David Wenham – Harry 'Pete' Pierpont
* Stephen Dorff – Homer Van Meter
* Jason Clarke – John 'Red' Hamilton
* Spencer Garrett – Tommy Carroll
* Christian Stolte – Charles Makley
* Billy Crudup – J. Edgar Hoover
* Stephen Lang – Charles Winstead
* Giovanni Ribisi – Alvin Karpis
* Emilie de Ravin – Barbara Patzke
* Leelee Sobieski – Polly Hamilton

## External links

* Public Enemies quotes at the Internet Movie Database
* Public Enemies at Rotten Tomatoes
# Psychosis

Psychosis is an abnormal condition of the mind that results in difficulties telling what is real and what is not.

## Quotes

* Every man, like every dog, has his own individual limit of endurance. Most men reach their limit after about thirty days of more or less continuous stress under the conditions of modern combat. The more than averagely susceptible succumb in only fifteen days. The more than averagely tough can resist for forty-five or even fifty days. Strong or weak, in the long run all of them break down. All, that is to say, of those who are initially sane. For, ironically enough, the only people who can hold up indefinitely under the stress of modern war are psychotics. Individual insanity is immune to the consequences of collective insanity.
** Aldous Huxley, Brave New World Revisited (London: Chatto & Windus, 1959), Chapter 7: "Brainwashing", p. 88
* High-profile advertisements for the neuroleptic medication Stelazine in the American Journal of Psychiatry from the 1960s and 1970s unsubtly portrayed tribal masks and artwork during the precise moment in time that Malcolm X described a global African community, and Bromberg and Simon connected "African themes" with black psychotic symptoms.
** Jonathan Metzl, The Protest Psychosis: How Schizophrenia Became a Black Disease (2009), p. 103
* There are two basic kinds of impersonations: those that are publicly supported and those that are not. Examples of the former are an actor playing a part in a play or a small boy playing fireman. Examples of the latter are a healthy housewife complaining of aches and pains or an unemployed carpenter claiming he is Jesus. When persons stubbornly cling to and aggressively proclaim publicly unsupported role definitions, they are called psychotic.
** Thomas Szasz, The Second Sin (New York: 1973), p. 52

## See also

* Disease
* Health
* Health care
* Mental health
* Psychiatry
* Therapy
# Ptahhotep

Ptahhotep, sometimes known as Ptahhotpe or Ptah-Hotep, is the name of a 24th century BC vizier and philosopher. He was vizier to Djedkare Isesi.

## Quotes
### The Maxims of Ptahhotep (c. 2350 BC)

* Teach him what has been said in the past; then he will set a good example to the children of the magistrates, and judgement and all exactitude shall enter into him. Speak to him, for there is none born wise.
** Introduction.
* Do not be arrogant because of your knowledge, but confer with the ignorant man as with the learned. For knowledge has no limits, and none has yet achieved perfection in it. Good speech is more hidden than malachite, yet it is found in the possession of women slaves at the millstones.
** Maxim no .1.
* Truth is great and its effectiveness endures.
** Maxim no. 5.
* Follow your desire as long as you live and do not perform more than is ordered; do not lessen the time of following desire, for the wasting of time is an abomination to the spirit... When riches are gained, follow desire, for riches will not profit if one is sluggish.
** Maxim no. 11.
* Beware an act of avarice; it is bad and incurable disease.
** Maxim no. 19.
* If you are well-to-do and can maintain your household, love your wife in your home according to good custom...Make her happy while you are alive, for she is land profitable to her lord.
** Maxim no. 21.
* Do not repeat slander; you should not hear it, for it is the result of hot temper.
** Maxim no. 23.
* One who is serious all day will never have a good time, while one who is frivolous all day will never establish a household.
** Maxim no. 25.
* To resist him that is set in authority is evil.
** Maxim no. 31.
* Be cheerful while you are alive.
** Maxim no. 34.
* Be a craftsman in speech that thou mayest be strong, for the strength of one is the tongue, and speech is mightier than all fighting.
# Le Ménagier de Paris

Le Ménagier de Paris ('The Parisian Household Book'), often abbreviated as Le Ménagier, is a French medieval guidebook from 1393 on a woman's proper behaviour in marriage and running a household. It includes sexual advice, recipes, and gardening tips. Written in the (fictional) voice of an elderly husband addressing his younger wife, the text offers a rare insight into late medieval ideas of gender, household, and marriage. Important for its language and for its combination of prose and poetry, the book's central theme is wifely obedience.

## Quotes

    Eileen Power, tr., The Goodman of Paris, Broadway Medieval Library (London: George Routledge & Sons, Ltd., 1928)
* Seldom will you see ever so old a man who will not marry a young woman.
** Introduction
* God commands us to go to church and rise early and the glutton saith, “I must sleep. I was drunk yesterday. The church is not a hare, it will very well wait for me”. When she has with some difficulty risen, know you what be her hours? Her matins are: “Ha! what shall we drink? Is there nought left over from last night?” Then says she her lauds, thus: “Ha! we drank good wine yestreen”. Afterwards she says her orisons, thus: “My head aches; I shall not be at ease until I have had a drink”.
** The Third Article
* Item, one may know whether a coney be fatted, by feeling his sinew or neck betwixt the two shoulders for there you may tell if there be much fat by the big sinew; and you can tell if he be tender by breaking one of his back legs.
** The Fourth Article

## About

* The book well deserves translation into English ... [it] is full of interest of all kinds to the Englishman as well as the Frenchman.
** F. J. Furnivall, ed., A Book of Precedence (Early English Text Society, 1896), pp. 149–154
* Over all the matter-of-fact counsels there seems to hang something of the mellow sadness of an autumn evening, when beauty and death go ever hand in hand. It was his wife's function to make comfortable his declining years; but it was his to make the task easy for her.
** Eileen Power, Medieval People (Methuen & Co. Ltd., 1924), p. 97
# Le Chastelain de Couci

Le Chastelain de Couci (modern orthography Le Châtelain de Coucy) was a French trouvère of the 12th century. He may have been the Guy de Couci who was castellan of Château de Coucy from 1186 to 1203 and fought in the third and fourth Crusades. Some twenty-six songs, written in langue d'oïl are attributed to him, and about fifteen or sixteen are considered authentic. The legend of the love of the Châtelain de Coucy and the Lady of Fayel, in which there figures a jealous husband who makes his wife eat the heart of her lover, has no historical basis, and dates from a late 13th century romance by Jakemon Sakesep.

## Quotes

* La douce voiz du louseignol sauvage Qu’oi nuit et jor cointoier et tentir Me radoucist mon cuer et rassouage. Lors ai talent que chant pour esbaudir.
** The sweet voice of the wild nightingale that I hear embellishing and resounding night and day, so softens my heart and assuages it that now I want to sing in order to give joy.
** «La douce voiz du louseignol sauvage», st. 1, ll. 1–4 (variants: rosignol for louseignol), as translated by Wendy Pfeffer, The Change of Philomel (1985), p. 116; see also: John Fiske, The Discovery of America, vol. 1, pt. 2 (1892), p. 328, note
* Chançon, va t'en pour faire mon message La u je n'os trestourner ne guenchir.
** Song, go and be my messenger, there where I do not dare return or go.
** «La douce voiz du louseignol sauvage», st. 5, ll. 33–4, as translated by Pfeffer (1985), p. 117

## External links

* Frederick Goldin, Lyrics of the Troubadours and Trouvères: An Anthology (Anchor Books, 1973), p. 349
* Henry Wadsworth Longfellow, The Poets and Poetry of Europe, 2nd ed. (Houghton, Mifflin & Co., 1870), p. 425
* Olive Sayce, Exemplary Comparison from Homer to Petrarch (D. S. Brewer, 2008), p. 201
* Edgar Taylor, Lays of the Minnesingers and Troubadours (Longman, Hurst, Rees, Orme, Brown and Green, 1825), p. 259
* Brian Woledge, The Penguin Book of French Verse, vol. 1 (Penguin Books Ltd., 1961), p. 95
* Songs of the Troubadours and Trouvères: An Anthology of Poems and Melodies (Garland Publishing, Inc., 1998), p. 249
# Le Figaro

Le Figaro (French pronunciation: ​[lə fiɡaʁo]) is a French daily morning newspaper founded in 1826 and published in Paris.

## Quotes

* Sans la liberté de blâmer, il n'est point d'éloge flatteur.
* Without the freedom to criticise, there is no true praise.
** Its motto, from Le Mariage de Figaro, Figaro's monologue in the play's final act.
# Le Grand Voyage

Le Grand Voyage is a 2004 French film about the relationship between a father and his son as both embark on a religious pilgrimage trip by car.
    Written and directed by Ismaël Ferroukhi.

## Dialogue

    Reda: Where is my cell phone?
    The Father: It's in a garbage can 200 miles away.
    Reda: Why didn't you fly to Mecca? It's a lot simpler.
    The Father: When the waters of the ocean rise to the heavens, they lose their bitterness to become pure again...
    Reda: What?
    The Father: The ocean waters evaporate as they rise to the clouds. And as they evaporate they become fresh. That's why it's better to go on your pilgrimage on foot than on horseback, better on horseback than by car, better by car than by boat, better by boat than by plane.
    Reda: Doesn't your religion practice forgiveness?

## Taglines

* A voyage beyond corporal life

## Cast

* Nicolas Cazalé - Réda
* Mohamed Majd - The Father
* Jacky Nercessian - Mustapha
* Ghin Ognianova – The old woman
* Kamel Belghazi – Khalid
* Atik Mohamed – Le pélerin Ahmad

## External links

* Le Grand Voyage quotes at the Internet Movie Database
# LeAnne Howe

LeAnne Howe (born April 29, 1951, Choctaw Nation of Oklahoma) is an author, playwright, poet, and Eidson Distinguished Professor in the Department of English at the University of Georgia, Athens, USA.

## Quotes
### Interview (2017)

* I really don’t worry about labels. Writers worry about syntax, voice, setting or landscape, plot, and the arch of the story. We worry about craft, the art of the writing.
* Writing is a form of activism. Again, let’s not separate into small boxes, ‘activism’ versus writing. Native people, I think, prefer to think in more holistic terms. A story is active and a story changes the world. A story is changing the world as I write this.
* We are still a ‘vacant map’ as Native writers of Native literature. But, a story chooses a writer, not the other way around. So I believe we write, perform, because we must. Nothing else is of importance. Native writers will grow and develop as the stories search them out. That’s exciting and the stories will change the world.

### Interview (2013)

* Humor defuses pain. Humor gives the narrators in my stories agency to tilt at the ever-whirling windmills of colonization. Humor opens a window on historic pain and trauma that American Indians dealt with at the hands of the federal government. Loss of land, loss of dignity, loss of identity, and of course the loss of a brother or sister, parent—which in my great grandmother’s era was a common event.
* Working in all kinds of situations helps a writer make sense of the world. At least it did for me. But fewer and fewer writers haven’t worked outside of a university or college environment.
* I do think that reading aloud, or performing one’s own work is very helpful to the writing process. You can hear the voices you are creating, see the scenes you’ve created, and where the text falters.
* I think most really good teachers, or professors, prepare for their classes as any writer/performer does. You write and then learn your lines, you draw your students into the performance or lecture just as any performer does, and you write a conclusion to the day’s performance or lesson just as any performer does.
* Learning is supposed to be fun, (or funny) dramatic, and full of irony. A performance.
* I think the way I come at a story has always been from thinking about the past, (American Indian history, my family’s history, my tribe’s history) and how the present and future are shaped by the past. Put another way, I am certain that we humans live in past, present, and future all at the same time.
* If it seems like a contradiction, it is. But that is the basis for all stories.

## External links

* Hanksville page
# Mũkoma wa Ngũgĩ

Mũkoma wa Ngũgĩ (born 1971) is a Kenyan American poet, author, and academic. He is associate professor of literatures in English at Cornell University and co-founder of the Safal-Cornell Kiswahili Prize for African Writing.

## Quotes
### Black Star Nairobi (2013)

* It was around midday but it might as well have been midnight, with us canvassing for clues in the light of a full moon — the canopy of the ancient trees let in an annoying in-between light, too low to see well in, yet too bright for flashlights.
* In Kenya, if someone with enough credibility told you that he or she was going to send you to Ngong, you had better back down unless you could get them there first.
* In Kenya, if someone with enough credibility told you that he or she was going to send you to Ngong, you had better back down unless you could get them there first.
* It was always a herd boy, venturing into the depths of the forest, who found the dead body. In our instance, he happened to have a cell phone and so we were able to get to the body in a matter of hours.
* More than just being flat broke, you could say we were like boxers who, having slugged through predictable wins, were ready to finally fight a worthy opponent. We were ready for a case like the one that nearly broke us, our first case together...
* Whoever killed him took the casing.
* There was nothing more to do but get the body to the pathologist. We didn’t have any body bags and the Administrative Police, or APs as we called them for short, had to carefully roll him onto a woolen blanket.
* DNA was useful only with a large criminal database — Kenya’s was in its infancy, and unless we were extremely lucky, there would be no match. And dental records? Forget about it. We just had to hope that the body would yield some secrets.
* This place, it reminds me how lucky I am — just to be alive, to be walking out of here.
* In the United States, there’s the Nevada desert — and football stadiums, if you count Jimmy Hoffa.

## External links

* Black Star Nairobi
# N. P. Hafiz Mohamad

N. P. Hafiz Mohamad is an Indian author, sociologist, social activist, and political commentator, living in Kerala.

## Quotes

* “Islamic radicalisation is not a new phenomenon in Kerala, where Muslims account for 26.56 per cent of the total population or around 9 million people,” says Dr N.P. Hafis Mohamad, a sociologist and author based in Kozhikode. “When the Students’ Islamic Movement of India (SIMI) was established in 1977, a few students in Kerala joined it and the organisation had units in many campuses in the state. However, during the past four decades, only a tiny section within the community has opted for a radical path, while 99 per cent of Muslims in Kerala remained secular and contributed to the social-cultural-economic development of the state.”
* Dr Mohamad, 65, who conducted an in-depth study on the migration of Kerala’s Muslims to radical path after 21 youths joined Islamic State territories in Afghanistan, feels that counter radicalisation efforts by the state have checked the problem effectively. “Less than 60 persons from Kerala have joined the IS, with another 100 from the Gulf. These numbers do not reflect the mindset of the majority of Muslims in Kerala. In fact, there is an effort by certain vested sects to brand Kerala as breeding ground of Islamic terror outfits to meet political targets. They paint the actions of a tiny section of people as the mindset of the community,” he points out. He adds that the fall of Afghanistan into hands of Taliban forces again triggers debate on the links between some of Kerala’s people with radical Islamic groups. “Gulf money, the demolition of the Babri Masjid and the ban on SIMI led to the mushrooming of radical Islamic outfits in Kerala. Ex- SIMI members raised various platforms and recruited youths to serve their purpose,” he concluded.
** as quoted in Why Chief Minister Pinarayi Vijayan is denying the existence of IS sleeper cells in Kerala
# Münsterländisch proverbs

Münsterländisch is a Westphalian dialect spoken in the city Münster in Western Germany.

## H

* Hauge Klemmer un daipe Schwemmer wåret nich ålt.
** English equivalent: The best swimmers often drown.
** "There's no disaster that can't become a blessing, and no blessing that can't become a disaster."
** Richard Bach, Jonathan Livingston Seagull (1970)
** von Reinsberg-Düringsfeld, Ida; von Reinsberg-Düringsfeld, Otto (1875). "348, Schwimmer" (in German). Sprichwörter der germanischen und romanischen Sprachen. II. p. 194.

## See Also

* German proverbs