OpenLLM-France/wikimedia huggingface dataset:
# Apocalypse of Paul

The Apocalypse of Paul (or Vision of Paul, Visio Pauli) is a Christian apocalypse of the 4th century. It is attributed to Paul the Apostle, but is not included in the New Testament; ancient authorities (including the Gelasian Decree) condemn it as inauthentic, though it was clearly popular among many Christians. It was originally written in Greek, but only fragmentary versions of the Greek text remain; the text is generally recreated from Latin and Syriac versions.
English-language translations of Apocalypse of Paul include:
* "The Apocalypse of Paul", translated by M. R. James in The Apocryphal New Testament (1924)
* "The Vision of Paul", in Ante-Nicene Fathers Volume IX (1885)
# Apocalypse of Peter

The Apocalypse of Peter (or Revelation of Peter) is an early Christian text of the 2nd century and an example of apocalyptic literature with Hellenistic overtones. It is not in the Bible, but is mentioned in the Muratorian fragment, the oldest surviving list of New Testament books, which also states it was not allowed to be read in church by others. The text is extant in two incomplete versions of a lost Greek original, one Koine Greek, and an Ethiopic version, which diverge considerably.
English-language translations of Apocalypse of Peter include:
* "Apocalypse of Peter", translated by M. R. James in The Apocryphal New Testament (1924); includes Ethiopic, Akhmim Greek, and other texts.
* "The Apocalypse of Peter" by Andrew Rutherford, in Ante-Nicene Fathers Volume IX (1885); based strictly off the Akhmim Greek fragment.
* Apocalypse of Peter, translated by Wikisource.
# Apocrypha

* Search for titles containing or beginning with: "Apocrypha."
* sister projects: Wikipedia article, Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* "Apocrypha", an article by A. J. Schem in The American Cyclopædia
* "Apocrypha", an article by George Joseph Reid in Catholic Encyclopedia
* "Apocrypha", an article by Matthew George Easton in Easton's Bible Dictionary
* "Apocrypha", an article in The New International Encyclopædia

### See also

* Portal:The Bible#Deuterocanonicals / Apocrypha
# Apodaca v. Oregon/Dissent Stewart

* Court Documents
* Case Syllabus
* Opinion of the Court
* Concurring Opinions Blackmun Powell
* Dissenting Opinions Douglas Brennan Stewart Marshall
[p414] MR. JUSTICE STEWART, with whom MR. JUSTICE BRENNAN and MR. JUSTICE MARSHALL join, dissenting.
In Duncan v. Louisiana, 391 U.S. 145, the Court squarely held that the Sixth Amendment right to trial by jury in a federal criminal case is made wholly applicable to state criminal trials by the Fourteenth Amendment. Unless Duncan is to be overruled, therefore, the only relevant question here is whether the Sixth Amendment's guarantee of trial by jury embraces a guarantee that the verdict of the jury must be unanimous. The answer to that question is clearly "yes," as my Brother POWELL has cogently demonstrated in that part of his concurring opinion that reviews almost a century of Sixth Amendment adjudication.
Until today, it has been universally understood that a unanimous verdict is an essential element of a Sixth Amendment jury trial. See Andres v. United States, 333 U.S. 740, 748; Patton v. United States, 281 U.S. 276, [p415] 288; Hawaii v. Mankichi, 190 U.S. 197, 211-212; Maxwell v. Dow, 176 U.S. 581, 586; Thompson v. Utah, 170 U.S. 343, 351, 353; cf. 2 J. Story, Commentaries on the Constitution § 1779 n. 2 (5th ed. 1891).
I would follow these settled Sixth Amendment precedents and reverse the judgment below us.

## Notes

* ↑ See ante, at 369-371 (POWELL, J., concurring in judgment).
# Bells and Pomegranates, First Series/List of Works dealing with the Life and Writings of Robert Browning

List of Works dealing with the Life and Writings of Robert Browning.
# Bells and Pomegranates, First Series/Italy

"My Last Duchess" is narrated by a 16th century Duke of Ferrara, successor to a long-established dynasty and art patron of the Renaissance. He gives a description of his deceased wife, whose happy nature and universal kindliness were a perpetual affront to his exacting self-predominance. He accordingly orders her death - "then all smiles stopped together". Apparently oblivious to his own callousness and cruelty he displays her portrait to an envoy sent to negotiate a new marriage.
ITALY AND FRANCE.
I.—ITALY.
# Bells and Pomegranates, First Series/Madhouse Cells

This poem is sometimes presented as two separate works, the first being titled "Johannes Agricola in Meditation" and the second "Porphyria's Lover".
MADHOUSE CELLS.
# Bells and Pomegranates, First Series/In a Gondola

IN A GONDOLA.
# Bells and Pomegranates, First Series/Give a Rouse

II.—GIVE A ROUSE
# Bells and Pomegranates, First Series/King Victor and King Charles
## Note

So far as I know, this Tragedy is the first artistic consequence of what Voltaire termed "a terrible event without consequences;" and although it professes to be historical, I have taken more pains to arrive at the history than most readers would thank me for particularizing: since acquainted, as I will hope them to be, with the chief circumstances of Victor's remarkable European career—nor quite ignorant of the sad and surprising facts I am about to reproduce (tolerable accounts of which are to be found, for instance, in Abbé Roman's Récit, or even the fifth of Lord Orrery's Letters from Italy)—I cannot expect them to be versed, nor desirous of becoming so, in all the details of the memoirs, correspondence, and relations of the time. From these only may be obtained a knowledge of the fiery and audacious temper, unscrupulous selfishness, profound dissimulation, and singular fertility in resources, of Victor—the extreme and painful sensibility, prolonged immaturity of powers, earnest good purpose and vacillating will, of Charles—the noble and right woman's manliness of his wife—and the ill-considered rascality and subsequent better-advised rectitude of D'Ormea. When I say, therefore, that I cannot but believe my statement (combining as it does what appears correct in Voltaire and plausible in Condorcet) more true to person and thing than any it has hitherto been my fortune to meet with, no doubt my word will be taken, and my evidence spared as readily.
R.B.
London, 1842

## Persons

* Victor Amadeus, first King of Sardinia.
* Charles Emmanuel, his son, Prince of Piedmont.
* Polyxena, wife of Charles.
* D'Ormea, minister.

## Scene

The Council Chambers of Rivoli Palace, near Turin, communicating with a Hall at the back, an Apartment to the left, and another to the right of the stage.

## Contents

* First Year, 1730.—King Victor.
** Part I
** Part II
* Second Year, 1731.—King Charles.
** Part I
** Part II
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# Asoka - the Buddhist Emperor of India/Appendix

​millions, were expended by the ministers in the redemption of the earth, and Sampadî was placed upon the vacant throne. He was succeeded by his son Vrihaspati, who was sueeeeded in order by Vrishasena, Pushyadharma, and Pushpamitra.
APPENDIX
By the kindness of Dr. Bloch and of Major Alcock, I.M.S., Superintendent of the Indian Museum, Calcutta, I am able to give the following list of casts of the Asoka inscriptions in the Indian Museum:—
I. The Fourteen Rock Edicts and Kalinga Edicts:— Girnâr, Dhauli, Jaugaḍa, Kâlsî, Shâhbâzgaṛhi, Mânsahra (except the fourth portion, containing Edict XIII).
II. Minor Rock Edicts:—Sahasrâm and Siddâpura (except version No. III, from Jaṭinga-Râmeśvara).
III. Cave Inscriptions:—The three Barâbar Hill records of Asoka and the three Nâgârjuni Hill records of Daśaratha.
IV. The Tarâi Pillars:—Nigliva and Rummindêî (Padariâ).
V. Pillar Edicts and Minor Pillar Edicts:—Allahabad (including the Queen's and Kauśâmbî Edicts), Lauṛiyâ-Ararâj, Lauṛiyâ-Nandangaṛh (Navaudgaṛh).
The original Bhâbrû Inscription was preserved in the rooms of the Asiatic Society of Bengal, and is now in the Indian Museum.
Casts of some of the inscriptions also exist in the Provincial Museum, Lucknow.
# Asleep in the Deep (1898)

Asleep in the Deep is a song written by Arthur J. Lamb and composed by Henry Petrie in 1897. The phrase asleep in the deep refers to death by drowning.
"Asleep in the Deep."
| Words by ARTHUR J. LAMB. | Music by H. W. PETRIE. |
INTRODUCTION.
| Copyright, 1897 by Julie C. Petrie. English Copyright secured. | All stage rights reserved except by written permission. |
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1928, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 95 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# Asleep in the Deep

Written by Arthur J. Lamb and composed by Henry W. Petrie in 1897.
* "Asleep in the Deep", sheet music for baritone or contralto (1897), published by F. A. Mills (transcription project)
* "Asleep in the Deep", sheet music for baritone or contralto (1897), published by M. Wilmark & Sons (transcription project)
* "Asleep in the Deep", sheet music for bass solo and male quartette chorus (1897) (transcription project)
* "Asleep in the Deep", sheet music (for baritone or contralto) (1898)
* "Asleep in the Deep", sheet music (for baritone or contralto) (1901) (transcription project)
* "Asleep in the Deep" in The Canadian Soldiers' Song Book (1917).
# Belfast shoemaker, or, Bold Irvine and Jane Wilson/The country lass's love for her sweetheart

The Country Lass's Love for her Sweetheart.
NOT long ago in a country place, A clever young lad who lov'd a young lass, She love'd him again, and a wonder to hear, No offers could move her-she lov'd him so dear. No offers could move her she lov'd him so dear.
The lord of the village took it into his head, To tempt her to leave him and come to his bed; He offer'd her jewels, fine baubles and rings: She slighted his love and refus'd his gay things. She slighted his love, etc.
He told her he’d make her as fine as a queen, Her clothes should be silver, her cap gold bertin. She says, linsey woolsey and bone-lace will serve, And rather than please you I'd venture to starve. And rather than please you, etc.
He told her he'd give her a pad to ride out, A coach, if she lik'd it, to visit about. She thank'd him, & said, she could very well walk, Should she have a coach how the neighbours would talk, Should she have a coach, etc.
He said, for the neighbours he'd make it his care, That not ev'n the Parson on Sunday should dare, To find fault with her conduct, or offer to blame, Her manner of living, or blast her good name. Her manner of living, or blast her, etc.
She told him in short, he must e'en be content, That cursed gold should not gain her consent, Her heart was anothers, and so should remain, She scorn'd to be false for the lucre of gain. She scorn’d to be false, etc.
Glagsow, Printed by J, & M. Robertson, Saltmarket. 1802.
# Belfast shoemaker, or, Bold Irvine and Jane Wilson/The cripple of Cornwall

The CRIPPLE of CORNWALL.
There was a bold cripple, who kept the highway,
Who begg'd for his living all times of the day, Night coming on, at the evening went he, This cripple of Cornwall, so nimble was he.
But as he was begging at a nobleman's gate, Tidings came to him, his Lordship was late; What time, and what hour his journey might be; Reply'd this bold Beggar, here's a bounty for me.
Being clothed with canvas all down to the ground, Drew to him his standard, and stood as he found, At last he perceiv'd him, draw nigh to a strand, And in the dark ev'ning he caus'd him to stand.
Stand and deliver your money with speed. We are noble brave fellows, and money we need. Then reply'd my Lord Cornwall, I tell unto thee, If money you want, you'll get none from me.
Therefore bold fellows, now stand to your chance, So that my Lord Cornwall did stand his defence, 'Till three of his true men were slain in the fight, And four of the robbers, were put to the flight.
​But still my Lord Cornwall did hold him in play, Until it was nigh to the break of the day; Till horsemen and foot came riding so fast, Which made the bold Cripple to yield at the last.
There was a river just by the way-side, It was very deep, and full eighteen foot wide; He put in his pick-start and over went he, And shifted himself in an old hollow-tree.
Next day this bold Cripple L Cornwall did meet, Fell down on the ground, and kissed his feet;
Saying, God bless my L Cornwall, & keep him from ill. And out of the hands of his enemies still.
O then my L. Cornwall came down to the ground, And out of his pocket threw a good English crown; Five hundred pounds more, this Cripple had got, By begging and thieving as many one thought.
Five hundred pounds more will make him full glad, For he was resolv'd to leave off the old trade : At last he was taken for stealing a prize, Condemned and hanged at Salisbury Assize.
# Belfast shoemaker, or, Bold Irvine and Jane Wilson/The happy stranger

THE HAPPY STRANGER.
AS I was a walking one morning in spring, To hear the birds whistle & nightingale sing, I heard a fair maid and she was making her moan, Saying, I am a poor stranger and far from my own.
I stept up unto her, and made a low gee, And asked her pardon for making so free, Saying, I bave taken pity on hearing you moan, As I am a stranger, and far from my own.
Her cheeks blush'd like roses and she shed a tear, And says, Sir, I wonder at meeting you here, ​But I hope you'll not ill use me in this desart alone, As I am a poor stranger, and far from my own.
My dear to ill use you indeed I ne'er will, My heart's blood to save you indeed I would spill, I'd strive for to ease and relieve all your moan, And wish to convey you safe back to your home.
Therefore my dear jewel, if you would agree, And if ever you marry to marry with me, I'd be your guardian thro' those desarts unknown, Until with your parents I'd leave you at home.
Sir, where is your country, I'd wish for to know. And what's the misfortunes you did undergo? That caus'd you to wander so far from your home. And made us meet strangers in this desart alone.
He says, my sweet fair one the truth I will tell, If was in my own country near Newry I dwell, But yet to misfortunes my love I was prone, Which made many a hero go far from his home.
Sir the lads of sweet Newry are all roving blades, And take great delight in courting fair maids, They kiss them & press them, & call them their own, And perhaps your darling lies mourning at home.
Believe me my jewel, the case is not so, I never was married, the truth you must know, So these strangers agreed as the case it is known, And I wish them both happy & safe to their home.
# Belfast shoemaker, or, Bold Irvine and Jane Wilson

THE
Belfast Shoemaker;
OR,
Bold Irvine and Jane Wilson
TO WHICH ARE ADDED,
The CRIPPLE of CORNWALL. THE HAPPY STRANGER. A SWEET COUNTRY LIFE. THE CONSTANT LADY. The Country Lass's Love for her Sweetheart.
GLASGOW, Printed by J. & M. Robertson, Saltmarket, 1802.
* The Belfast shoemaker; or, Bold Irvine and Jane Wilson
* The cripple of Cornwall
* The happy stranger
* A sweet country life
* The constant lady
* The country lass's love for her sweetheart
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# Belfast shoemaker, or, Bold Irvine and Jane Wilson/A sweet country life

A SWEET COUNTRY LIFE.
A Sweet country life is both pleasant & charming, For to walk abroad in a fine summer's morning, Your houses and cities, and lofty fine towers, Can never compare to the sweet shady bowers.
​O little do I admire your robes and fine dresses, Your silks, and your scarlets, and other excesses, For my own country clothing's to me more endearing,
Than your pretty sweet mantle, for my home-spun wearing.
No fiddle nor flute, no hautboy. or spinnet, Can ever compare with the lark and the linnet, Down as I lay among the green bushes,
I was charmed by the notes of the blackbirds and thrushes.
As Johnny the ploughboy was walking along, To fetch up his cattle so early in the morn, He spied pretty Nancy among the green rushes, Singing more sweet than the blackbirds & thrushes.
On yonder hills and lofty high mountains, As the sheep were a grazing on each day morning, Bright Phebus did shine, & the hills were adorning, As Molly sat milking on a fine summer's morning.
So now to conclude and end my ditty, To all country lasses that are sweet and pretty, Never forsake your own country employment, No city can afford so sweet an enjoyment.
# Belfast shoemaker, or, Bold Irvine and Jane Wilson/The Belfast shoemaker; or, Bold Irvine and Jane Wilson

THE BELFAST SHOE-MAKER.
I Am a bold shoe-maker, from Belfast town I came, And to my sad misfortune, I listed in the train; My usage being very bad, with me did not agree, That was the very time, my boys, I thought of liberty.
And being drunk, I listed, knew nothing of the same But coming to my senses, I called out amain! On seeing of my colours, the tears did flow amain; For which I will not mention, nor neither will I name.
I had a loving sweetheart, Jean Wilson was her name, Said it griev'd her to the heart to see me in the train; She said if that I would desert, I was to let her know, She'd dress me in her own clothes, I might ramble to & fro.
We march'd to Tipperary, our captain gave command, That I & my comrade all night on guard should stand; The night being wet & very dark, with me did well agree, That was the very night, my boys, I thought of liberty.
In taking of my liberty, I fled into the north, And being wet and weary, I rested in a forth; I had not long remained there till I rose up again, And looking all around me, I spy'd five of the train!
Come on, you cowardly rascals! I do you not regard, I don't regard your officers, tho' they should you reward, I don't regard your officers, nor with them will I stay; But your life will spare, for to declare, I gain'd my liberty.
Seven of the Iniskiling boys came, for to guard me Up to the Chapel-yard, and there to punish'd be! Before we got half of the way, as you may plainly see, I beat the seven cowardly dogs, and took my liberty.
But in that cruel combat my hammer they did steal, They sold it for five loaves—was'nt that a curious meal! ​Had I known they'd been hungry before they came to me, Instead of loaves I'd given them blows, their dinners for to be.
But one call'd captain Curry, O wow, but he was mean, For the sake of twenty shillings he got me basely ta'en; They put me in the guard-house, my state for to deplore, With two at every window, and four at every door.
I being in the guard house, and gazing all around, I jump'd out at a window & knock'd ten of them down, But the light horse & train men, soon did follow me; But a friend I met did me assist, & I gain'd my liberty.
# Belfast shoemaker, or, Bold Irvine and Jane Wilson/The constant lady

THE CONSTANT LADY.
YE muses assist me, I'd have you draw near, and guide both my hand and my pen, These lines for to write, and I'll make it appear, how maids are deceiv'd by young men, Young men, how maids are deceiv'd by young men.
For once I'd a true love but now I have none, for a true love I cannot say, For he is deceitful, and from me is flown, I lament for him both night and day Night & day, I lament for him both night and day.
​The thoughts of blind fortune I highly disdain, so will I whilst I have breath, But constant to him I still will remain, whilst I have a being on earth, On earth, whilst I have a being on earth.
Some women will change, and shift like the wind, or the swallow that swiftly do fly, But I am resolv'd ne'er to alter my mind, but constant remain till I die. Till I die, but constant remain till I die.
The frowns of blind fortune I never will fear, altho' it oft will be constant to him, I still will be true to the man who's my dear, I'll remain so till my last minute is run, Is run, I'll remain so till my last minute is run.
Alexander did prove more constant in love, had he been as constant to me, As ever young Fressey was unto his dear, when Cupid did set on her knee, Her knee, when Cupid did set on her knee.
I'll silently mourn for the loss of my love, As the turtle that mourns for his mate, Altho' at present he is sharp and severe, he'll repent when it will be too late, Too late, he'll repent when it will be too late.
Altho' I do love him, he never shall know, that e'er he disturbed my heart, But after my burial, the paper will shew, how Cupid has acted his part, His part, how Cupid has acted his part.
Farewel my false love I no longer can write, no longer can I hold my pen, My senses are gone and I cannot indite, so adieu to the falsest of men, of mon, so, etc.
# Atwood v. Weems

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.

## Concurring Opinion

    Field
United States Supreme Court
99 U.S. 183
Atwood v. Weems
ERROR to the Circuit Court of the United States for the Northern District of Florida.
The facts are stated in the opinion of the court.
Mr. H. Bisbee, Jr., for the plaintiff in error.
Mr. James M. Baker, contra.
MR. JUSTICE MILLER delivered the opinion of the court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Attraction

* Search for titles containing or beginning with: "Attraction."
* sister projects: Wikipedia article, Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* Attraction, a poem by Ella Wheeler Wilcox
* Attraction, a poem published in Scientific American