OpenLLM-France/wikimedia huggingface dataset:
# The Bar-tender's Guide/Egg Nogg for a Party

Egg Nogg for a Party.
(Three-and-a-half gallons.)
* Take 20 fresh eggs.
* Take 2½ quarts fine old brandy.
* Take 1 pint of Santa Cruz rum.
* Take 2½ gallons of rich milk.
* Take 2 pounds of white sugar.
Separate the whites of the eggs from the yolks, beat each separately with an egg-beater until the yolks are well cut up, and the whites assume a light fleecy appearance. Mix all the ingredients (except the milk and the whites of the eggs) in a large punch bowl. Then pour in the milk gradually, continually stirring, in order to prevent the milk from curdling with the eggs. Grate sufficient nutmeg on the mixture, and ​lastly, let the whites float on top, and ornament with colored sugars. Cool in a tub of ice, and serve.
# The American Cyclopædia (1879)/Müller, Wilhelm

Edition of 1879. See also Wilhelm Müller on Wikipedia; and the disclaimer.
MÜLLER, Wilhelm, a German poet, born in Dessau, Oct. 7, 1794, died there, Oct. 1, 1827. He studied at the university of Berlin, and after serving in the war of liberation (1813-'14) he returned to Berlin, and applied himself especially to the ancient German language and literature. From 1817 to 1819 he travelled in southern Germany and Italy, and on returning was appointed classical instructor in the new normal school of Dessau. His works include Blumenlese aus den Minnesängern (1816); a translation of Marlowe's “Faustus” (1818); and Lieder der Griechen (1821-'4). His translation of patriotic Greek songs for Fauriel's collection (2 vols., 1825), and his Lyrische Spaziergänge (1827), are his best productions. His Vermischte Schriften were published by S. Schwab with a biography (5 vols., Leipsic, 1830). His Gedichte (2 vols., 1837) had several editions, and his Ausgewählte Gedichte appeared in 1864. He was the father of Max Müller. (See Müller, Friedrich Max.)
# The American Cyclopædia (1879)/Mœris

Edition of 1879. See also Lake Moeris on Wikipedia; and the disclaimer.
MŒRIS, a lake of Egypt, near the ancient Crocodilopolis, now Medinet-el-Fayoom. Herodotus says: “Wonderful as is the labyrinth, the work called the lake of Mœris, which is close by the labyrinth, is yet more astonishing. The measure of its circumference is 3,600 furlongs, which is equal to the entire length of Egypt along the seacoast. The lake stretches in its longest direction from north to south, and in its deepest parts is of the depth of 50 fathoms. It is manifestly an artificial excavation, for nearly in the centre stand two pyramids, rising to the height of 300 ft. above the surface of the water, and extending as far beneath, each crowned with a colossal statue sitting upon a throne. The water of the lake does not come out of the ground, which is here excessively dry, but is introduced by a canal from the Nile. The current sets for six months into
the lake from the river, and for the next six months into the river from the lake.” The same historian ascribes the formation of this lake to a king Mœris who lived about 1350 B. C., and who is identified by modern Egyptologists with Amen-hotep (Amenophis) III., the Memnon of the later Greeks and Romans. But he confounds the natural lake Birket-el-Keroon with the artificial lake Mœris. (See Birket-el-Keroon.) During the annual inundation of the Nile the two lakes would appear as one. Mœris in reality was an extensive reservoir secured by dams and communicating by canals with all parts of Fayoom, to supply which with water was the object of its construction.
# The American Cyclopædia (1879)/Nash, Thomas

Edition of 1879. See also Thomas Nashe on Wikipedia; and the disclaimer.
​ NASH, Thomas, an English dramatist, born in Lowestoft, Suffolk, about 1560, died in London in 1600 or 1601. He took the degree of B. A. at Cambridge in 1584, and in 1589 fixed his abode in London. The prelatists and Puritans being then engaged in a war of vituperation, Nash espoused the cause of the former, and wrote a series of pamphlets including “Pap with a Hatchet,” “An Almond for a Parrot,” “A Countercuffe to Martin Junior,” and “Martin's Month's Minde.” He aided Marlowe in writing “Dido, Queen of Carthage,” and produced a spectacle styled “Summer's Last Will and Testament,” which was exhibited before Queen Elizabeth in 1592. Nash's plays were ill received, and he became very poor. He described his forlorn condition in his “Pierce Penniless, his Supplication to the Divell,” which appeared in 1592. He then resumed pamphleteering, and assailed Dr. Gabriel Harvey, who made a stout defence; and finally the archbishop of Canterbury ordered the publications of both to be seized. In 1597 Nash produced a satirical play called “The Isle of Dogs,” the representation of which led to his confinement in the Fleet prison.
# The American Cyclopædia (1879)/Nashua

Edition of 1879. See also Nashua, New Hampshire on Wikipedia; and the disclaimer.
​ NASHUA, a city and one of the shire towns of Hillsborough co., New Hampshire, at the junction of the Merrimack and Nashua rivers, 35 m. S. of Concord, and 40 m. N. N. W. of Boston; pop. in 1870, 10,543. The streets are broad, well lighted, and lined with trees, and many of the churches and residences are handsome. Its prosperity depends upon its railroad facilities and its manufactures. The railroads meeting here are the Boston, Lowell, and Nashua; the Concord; the Nashua, Acton, and Boston; the Worcester and Nashua; the Wilton; and the Nashua and Rochester. Water power is obtained from the Mine falls in the Nashua river, from which a canal has been cut, 3 m. long, 60 ft. wide, and 8 ft. deep, with a head and fall of 36 ft. The Jackson company, with 766 looms and 22,000 spindles, produces sheetings and shirtings; the Nashua manufacturing company, with 1,800 looms and 75,000 spindles, manufactures sheetings, shirtings, prints, and flannels; and the Vale Mills manufacturing company, with 4,684 spindles, produces shirtings. There are also extensive iron works, with the largest steam hammer in the United States, soapstone works, and manufactories of bedsteads, carpets, bobbins, spools, and shuttles, cards and glazed paper, edge tools, locks, shoes, marble-working tools and implements, sash, doors, and blinds, &c. The city has two national banks and three savings banks. There are a high school and several grammar, middle, and primary schools, with an average attendance of 1,790; a city library, with about 6,000 volumes; two daily and two weekly newspapers; and 11 churches, viz.: 1 Baptist, 3 Congregational, 1 Episcopal, 2 Methodist, 2 Roman Catholic, 1 Unitarian, and 1 Universalist. Nashua owes its origin to the organization of the Nashua manufacturing company in 1823. It was incorporated as a city in 1853.
# The American Cyclopædia (1879)/Müller, Otto Frederik

Edition of 1879. See also Otto Friedrich Müller on Wikipedia; and the disclaimer.
MÜLLER, Otto Frederik, a Danish naturalist, born in Copenhagen in March, 1730, died Dec. 26, 1784. He was educated for the church, became tutor to a young nobleman, and after several years' travel with him settled in Copenhagen in 1767, and married a lady of wealth. His first important works, Fauna Insectorum Friedrichsdaliana (Leipsic, 1764), and Flora Friedrichsdaliana (Strasburg, 1767), recommended him to Frederick V. of Denmark, by whom he was employed to continue the Flora of Denmark, and he added two volumes to the three published by Oeder since 1761. The study of zoölogy, and particularly of the minute animals, meanwhile began to occupy his attention almost exclusively, and in 1771 he produced a work in German on “Certain Worms inhabiting Fresh and Salt Water,” which described many new species of those annulose animals called by Linnæus aphroditæ and nereides, and gave much additional information respecting their habits. In his Vermium Terrestrium et Fluviatilium, seu Animalium Infusoriorum, Helminthecorum, et Testaceorum non Marinorum, succincta Historia (2 vols. 4to, Copenhagen and Leipsic, l773-'4), he arranged the infusoria for the first time into genera and species. His Hydrachnæ in Aquis Daniæ Palustribus detectæ et descriptæ (Leipsic, 1781), and Entomostraca (1785), describe many species of minute animals previously unknown. To these was added an illustrated work on the infusoria, published in 1786. These three works, according to Cuvier, give the author “a place in the first rank of those naturalists who have enriched science with original observations.” His Zoologica Danica, which was intended to correspond in the animal kingdom with the Flora Danica in the vegetable, was commenced in 1779, but only two parts, each containing 40 plates, were finished by him.
# The American Cyclopædia (1879)/Müller, Sophie

Edition of 1879. See also Sophie Müller on Wikipedia; and the disclaimer.
MÜLLER, Sophie, a German actress, born in Mannheim in 1803, died at Hietzing, near Vienna, June 20, 1830. She was a daughter of the actor Karl Müller (1783-1837), and appeared on the Carlsruhe stage in her 15th year. In 1821 she went to Munich, and in 1822 was engaged at the court theatre of Vienna, acquiring the reputation of one of the most distinguished tragedians of her day. She also
became reader to the empress of Austria. Her biography, by Mailath, was published at Vienna in 1832.
# The American Cyclopædia (1879)/Müller, William John

Edition of 1879. See also William James Müller on Wikipedia; and the disclaimer.
MÜLLER, William John, an English painter, born in Bristol in 1812, died there, Sept. 8, 1845. He studied with J. B. Pyne, the landscape painter, and in 1833-'4 made a tour through Germany, Switzerland, and Italy. In 1838-'9 he made a tour through Greece and Egypt, among the results of which were two landscapes, “Athens from the Road to Marathon,” and “Memnon, or Ruins at Gornou in Egypt at Sunset.” In 1843 he accompanied Sir Charles Fellows on his expedition in quest of the Xanthian marbles. Five pictures of Asiatic scenery in the exhibition of 1845 were, like previous contributions, treated with neglect, and soon after he was seized with illness, the result of mortification, from which he never recovered. His pictures subsequently commanded high prices, and a collection of 300 sketches was sold soon after his death for £4,360.
# The American Cyclopædia (1879)/Müller von Königswinter, Wolfgang

Edition of 1879. See also Wolfgang Müller von Königswinter on Wikipedia; and the disclaimer.
MÜLLER VON KÖNIGSWINTER, Wolfgang, a German poet, born at Königswinter, near Bonn, March 5, 1816. He studied medicine at Bonn, graduated at Berlin in 1840, and was a physician in Düsseldorf from 1842 to 1853, when he removed to Cologne, where he became a popular poet, novelist, and chronicler of the Rhine region. Among his works are: Junge Lieder (1841); Balladen und Romanzen (1842); Rheinfahrt (1846); Gedichte (2d ed., 1857); Lorelei (2d ed., 1857); Eine Maikönigin (1852); Prinz Minnewin (1854); Der Rattenfänger von St. Goar (1857); Johann von Werth (1858); Erzählungen eines rheinischen Chronisten (1860); Vier Burgen (1862); Zum stillen Vergnügen (1865); Der Pilger in Italien (1868); and Durch Kampf zum Sieg (1871).
# The American Cyclopædia (1879)/Müller, Peder Erasmus

Edition of 1879. See also Peter Erasmus Müller on Wikipedia; and the disclaimer.
MÜLLER, Peder Erasmus, a Danish bishop, born in Copenhagen, May 29, 1776, died Sept. 16, 1834. He was educated at the university of Copenhagen, where, after visiting France and England, he was appointed professor of theology in 1801, and in 1830 bishop of Seeland. He published theological treatises and works on the language, literature, and history of Denmark and Iceland. The most celebrated is his “Library of the Sagas” (1816-'20), in which he gives an account of all the Icelandic sagas or tales. From 1805 to 1832 he was editor of the “Danish Literary Gazette” (Dansk Literatur Tidende).
# The Ancestral Song

* The Ancestral Song, in Blackwood's Edinburgh Magazine Volume 25, 1829.
* The Ancestral Song, in Songs of the Affections, with Other Poems (Miscellaneous Poems), 1830.
# The Ancient "Lady of Sorrow"

As rendered in the January 1871 issue of Harpers New Monthly Magazine:
THE ANCIENT "LADY OF SORROW."
[The worship of the Madonna, or Mater Dolorosa— "Our Lady of Sorrow"—is not confined to the Roman Catholic faith; it was an important feature in all the ancient Pagan systems of religion, even the most primitive. In the Sacred Mysteries of Egypt and of Greece her worship was the distinctive and prominent element. In the latter her name was Achtheia, or Sorrow. Under the name of Demeter, by which she was generally known among the Greeks, she, like the Egyptian Isis, typifying the Earth, was represented as sympathizing with the sorrowing children of Earth, both as a bountiful mother, bestowing upon them her fruits and golden harvests, and in her more gloomy aspects—as in autumnal decay, in tempests, and wintry desolation—as sighing over human frailty, and over the wintry deserts of the human heart. The worship connected with this tradition was vague and symbolical, having no well-defined body of doctrine as to sin, salvation, or a future life. Day and Nignt, Summer and Winter, Birth and Death, as shown in Nature, were seized upon as symbols of vaguely understood truths.]
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
# The Anchor

First published in The Empire, 13 March 1855
Strong trust of the bold sailor On the shores of sudden storm! How massive is its structure, How able is its form! Old ocean's bed-rock gripping With the hurricane's tug 'twill cope, And therefore 'tis the emblem held Of faith and stedfast hope.
Where never plummet sounded, By the bleak and stormy steep, Like a thunderbolt down rushing It is shot into the deep: Down where some mute sea monster Its hideous hulk uprears, And mightiest Silence drowned hath lain For many a thousand years.
In some famed bay of battle When plung'd with sullen roar— In Navarine, Aboukir, Or by Danish Elsinore; How meetly there it slumbers: Beneath the sounding wave. Amid the bones of gallant Tars In glory's watery grave!
In the bright and land-locked Haven— The weary voyage o'er, While only pleasant breezes Breathe welcome from the shore, Its noble form down dropping Into the quiet sand, Gives signal to the first glad boat Off putting for the strand.
Firm surety in the calmness, Strong resquer in the storm, A child when first beholding Thy aptitude of form, Might well divine the dangers With which 'tis thine to cope, And take thee as an emblem meet Of faith and stedfast hope.
This work is in the public domain in Australia because it was created in Australia and the term of copyright has expired. According to Australian Copyright Council - Duration of Copyright, the following works are public domain:
* published non-government works whose author died before January 1, 1955,
* anonymous or pseudonymous works and photographs published before January 1, 1955, and
* government works published more than 50 years ago (before January 1, 1974).
This work is also in the public domain in the United States because it was first published outside the United States (and not published in the U.S. within 30 days), and it was first published before 1989 without complying with U.S. copyright formalities (renewal and/or copyright notice) and it was in the public domain in Australia on the URAA date (January 1, 1996). This is the combined effect of Australia having joined the Berne Convention in 1928, and of 17 USC 104A with its critical date of January 1, 1996.
Because the Australian copyright term in 1996 was 50 years, the critical date for copyright in the United States under the URAA is January 1, 1946.
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
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
# The Book of Scottish Song/I ance knew content

I ance knew content.
[Thomas Lyle.]
I ance knew content, but its smiles are awa', The broom blooms bonnie, an' grows sae fair; Each tried friend forsakes me, sweet Phebe an' a', So I ne'er will gae down to the broom ony mair.
How light was my step, and my heart, O how gay! The broom blooms bonnie, the broom blooms fair; Till Phebe was crown'd our queen of the May, When the bloom o' the broom strew'd its sweets on the air.
She was mine when the snaw-draps hung white on the lea, Ere the broom bloom'd bonnie, an' grew sae fair; Till May-day, anither wysed Phebe frae me. So I ne'er will gae down to the broom ony mair.
Sing, Love, thy fond promises melt like the snaw, When broom waves lonely, an' bleak blaws the air; For Phebe to me now is naething ava, If my heart could say, "Gang to the broom nae mair."
Durst I trow that thy dreams in the night hover o'er, Where broom blooms bonnie, and grows sae feir; The swain (who, while waking, thou thinks of no more,) Whisp'ring, "Love, will ye gang to the broom ony mair?"
No! Fare thee well, Phebe; I'm owre wae to weep, Or to think o' the broom growing bonnie an' fair; Since thy heart is anither's, in death I maun sleep, 'Neath the broom on the lea, an' the bawm sunny air.
# The Book of Scottish Song/I gaed a waefu' gate

I gaed a waefu' gate.
[Written by Burns in 1789 for the Museum. The subject of the song was a daughter of the Rev. Mr. Jeffrey of Lochmaben, now Mrs. Renwick of New York. The air was composed by Robert Riddle of Glenriddle, Esq., and called "The blue-eyed lassie."]
I gaed a waefu' gate yestreen, A gate I fear I'll dearly rue; I gat my death frae twa sweet een, Twa lovely een o' bonnie blue. 'Twas not her golden ringlets bright, Her lips like roses wet wi' dew, Her heaving bosom, lily-white— It was her een sae bonnie blue.
She talk'd, she smiled, my heart she wiled, She charm'd my soul I wist na how, But aye the stound, the deadly wound, Cam' frae her een sae bonnie blue. But, spare to speak, and spare to speed, She'll aiblins listen to my vow: Should she refuse, I'll lay me dead To her twa een sae bonnie blue.
# The Book of Scottish Song/I had a dream

I had a dream.
[William Miller of Glasgow.—Here first printed.]
I had a dream o' ither days, A sinless dream o' joy, It rame like sunshine through a clud Life's dark spots to destroy. ​It came when I was sick at heart, And sleepless was mine e'e, When luve was fause, an' wily tongues Turn'd frien' to enemie.
I thocht a saft han' lay in mine, A sma' waist in my arm, A wee heart beatin'—throbbin' fast Wi' love an' life-bluid warm.
In quiet streams I've seen fair flowers Hid 'neath the bank they grew, Sae in her deep blue een I read Flower-thochts o' various hue.
O, dinua look sae kind, Willie, Or else wi' joy I'll dee, An' dinna read my heart, Willie, Wi' thae lang lucks o' your e'e.
A maiden's heart should be, Willie, A sacred thing to men, Its workin's in an hour o' joy Man-body ne'er can ken.
The flower that in the shade wad live Will wither in the sun,— An' joy may work on maiden-heart What grief wad ne'er ha'e done.
The marrin' o' a melody— The stoppin' o' a stream— A sudden lapse in sunny licht— The burstin' o' a dream.
I woke—and on my glassy een The paley moonbeam shone: Speak on, I cried,—speak on, but, lo! The weel kent voice was gone!
# The Book of Scottish Song/I canna sleep

I canna sleep.
[William Anderson, author of "Landscape Lyrics," &c. Written in 1833. Printed here for the first time.]
I canna sleep a wink, lassie, Whan I gang to bed at night, But still o' thee I think, lassie, Till morning sheds its light. I lie and think o' thee, lassie, And I toss frae side to side, Like a vessel on the sea, lassie, When stormy is the tide.
My heart is no my ain, lassie, It winna bide wi' me, Like a birdie it has gane, lassie, To nestle saft wi' thee. I canna lure it back, lassie, Sae keep it to yoursel', But, oh! it sure will brak, lassie, If you dinna use it well.
Whare the treasure is, they say, lassie, The spirit lingers there, And mine has fled away, lassie, You needna ask me where: I marvel oft if rest, lassie, On my eyes and heart wad bide, If I thy troth possess'd, lassie, And thou wert at my side.
# The Book of Scottish Song/I canna smile

I canna smile.
[James Murray.—Here first printed.—Tune, "I canna leave my Highland hame."]
I canna smile, I canna sing, I ha'e nae heart for lightsome glee, I downa thole the mirth o' spring, Sin' they ha'e ta'en my lad frae me. I fain wad sigh and sab again, 'Twad maybe help to soothe my care; I fain wad greet to drown my pain, For, oh! my heart is beating sair.
When wandering up the flowery dell, To meet wi' him that's far away, I heard a widow'd mavis tell Its sorrows in a doolfu' lay. I could ha'e wept till day's decline, To hear its note of wild despair— Now a' that birdie's grief is mine, And I can sab and greet nae mair.
Aince mair I'll seek our trysting tree, And wander o'er our haunts again; Aince mair I'll climb the height sae hie, And look far o'er the pathless main— I'll look to where the welkin dark Seems resting on the azure sea, Where last I saw the fading bark That wafted far my love frae me.
# The Book of Scottish Song/I ha'e nae kith

I ha’e nae kith.
[Jacobite Song.]
I ha'e nae kith, I ha'e nae kin, Nor ane that's dear to me; For the bonnie lad that I lo'e best, He's far ayont the sea. He's gane wi' ane that was our ain, And we may rue the day, When our king's ae daughter came here To play sic foul play.
O gin I were a bonnie bird, Wi' wings that I might flee, Then would I travel o'er the main, My ae true love to see. Then I wad tell a joyfu' tale, To ane that's dear to me, And sit upon a king's window And sing my melody.
The adder lies i' the corbie's nest, Aneath the corbie's wing, And the blast that reaves the corbie's brood, Will soon blaw hame our king. Then blaw ye east, or blaw ye west, Or blaw ye o'er the faem, O bring the lad that I lo'e best, And ane I darena name.
# The Book of Scottish Song/I am married

I am married.
Now I'll whistle, now I'll sing, Now I'll caper, now I'll fling, Now the chairs about I'll ding; For guess ye, man, I'm married.
The happy day is come at last, A' my doubts and fears are past, A' my cares behind me cast, For fast and firm I'm married.
Oh! how happy I am now, Happier than a prince, I trow, When I pree her bonnie mou', And think that I am married.
The bachelor's a stupid ass, Pretends he disna like a lass, Weary may his moments pass, Till ance that he gets married.
Oh! the Eumph, he disna ken, That they're far the happiest men Wha a bonnie lass ha'e ta'en, And kiss'd her, and got married.
Never heed the want o' siller, Gif her cheek's a rosy colour, Clap her aye, and whisper till her, What think ye to be married? ​She'll ablins say, "Ye're no that blate, To speak to me at sic a rate;" But never fear, for sune or late, Fu' glad they're to be married.
Then ye'll whistle, then ye'll sing. Then ye'll caper, then ye'll fling, Wow but it's a happy thing, When ane gets coshly married!