OpenLLM-France/wikimedia huggingface dataset:
# Catholic Encyclopedia (1913)/Jean de La Bruyère

From volume 8 of the work.
Born at Paris in 1645; died at Chantilly in 1696. He was the son of a comptroller general of municipal revenue. An advocate in the Parlement of Paris, he soon gave up the bar and purchased a post from the Treasurer of Finances at Caen (1673), continuing to reside at Paris. He was leading a studious life there "in the solitude of his study" according to his own expression, when Bossuet's friendship secured his admission into the house of Condé to teach history to the Duc de Bourbon, grandson of the victor of Rocroi. This boy was then six years old, and for two years received lessons from his new tutor. The latter only half succeeded in his task, but he secured the friendship of the great Condé, and remained at Chantilly attached to the duke's person, with a pension of 3000 livres, until he died of an attack of apoplexy in 1696, having been for three years a member of the French Academy. Favourably placed for seeing the world, and led to judge it without indulgence, both because of the rebuffs which he must have experienced in his subordinate position and because of his upright but proud and morose nature, he published anonymously in 1688 "Les Caractères de Théophraste, traduits du Grec, avec les caractères et les moeurs de ce siècle." The book met with great success. Though his means were modest, the author freely gave his manuscript to the bookseller Michallet as a contribution towards the dowry of his daughter, and it is claimed that it brought in nearly 300,000 francs. The first part of the book was a not very remarkable translation of a faulty text. The second part assumed larger proportions, especially as regards the "portraits." La Bruyère continued to add to it from the first edition (1689) to the ninth (1696). The first fifteen chapters, he said with some complacency in his rather loosely-drawn plan, "are preparations for the sixteenth and last, 'Des esprits forts,' in which Atheism is attacked and perhaps overthrown."
La Bruyère must not be regarded as a profound and powerful moralist like Pascal. He is a keen, honest, Christian observer and, above all, an admirable writer. But the stylist and the artist are too much in evidence; he lacks the large simplicity of the authors of the preceding generation. His art is, however, inimitable. Particularly striking is the variety, the finish of detail, the profusion of wit, the skill in securing an effect, the inexhaustible resources of his diction; his works are an inventory of the powers of the French language. By his ideas as well as his life he belongs to the seventeenth century, but his brief and sententious phrases foreshadow the eighteenth.
FOURNIER, La comedie de La Bruyère (1867); ALLAIRE, La Bruyère dans la maison de Condé (1886).
GEORGES BERTRIN
# Catholic Encyclopedia (1913)/Jean d'Okeghem

From volume 11 of the work.
Also called Okekem, Okenghem, Okegnan, Ockenheim. Contrapuntist, founder and head of the second Netherland school (1450-1550), b. about 1430, presumably at Termonde, in East Flanders; d. 1495. After serving as a choir boy at the cathedral of Antwerp (1443-4), he is said to have become the pupil of Gilles Binchois and Guillaume Dufay. He entered Holy orders, and in 1453 assumed the post of chief chanter at the Court of Charles VII of France, where he became choir-master. At the expense of the king, he visited Flanders and Spain, but most of his time was spent in Tours where he acted, by royal appointment, as treasurer of the church of St. Martin until his death. At first he followed his predecessors and teachers in his manner writing, but eventually introduced the principle of free imitation in the various voices of his compositions. Previously the strict canon was the ideal contrapuntal form, but he introduced the practice of allowing every new voice to enter freely on any interval and at any distance from the initial note of the original theme. The innovation was epoch making and of the greatest consequence in the development of the a cappella style. The new principle inaugurated an unprecedented era of activity with Okeghem's disciples, chief among whom were Josquin Desprèz, Pierre de la Rue, Antoine Brumel, Jean Ghiselin, Antoine and Robert de Fevin, Jean Mouton, Jacob Obrecht, etc.
Numerous fragments of his work are contained in the histories of music by Forkel, Burney, Kiesewetter, and Ambrose, while in the Proske Library of the Ratisbon cathedral are preserved his "Missa cujusvis toni" for four voices and a collection of "Cantiones sacrae" for four voices. His contemporary, Guillaume Cretin, wrote a poem on the death of Okeghem, in which he mentions that Okeghem produced the greatest masterpiece of his time-a motet in canon form for thirty-six real voices. While the belief in the existence of such a monster production was kept alive by tradition, it was feared that it had been lost. In his "Quellenlexikon", Robert Eitner expresses the opinion, shared by Michel Brenet, that the supposedly lost work is contained in a volume "Tomus III psalmorum", printed in Nuremberg in the sixteenth century by Johannes Petreius. Hugo Riemann reproduces the work in his "Handbuch der Musikgeschichte", I, ii. While the composition requires thirty-six voices, more than eighteen are never active simultaneously. The only words used are "Deo gratias" and there are no modulations from one key into another-probably to maintain as much clearness as is possible under the circumstances. Riemann doubts whether the composition was intended to be performed by vocalists; he thinks that it was to be played on instruments or perhaps to serve as a exhibition of the master's surpassing skill.
Barbure, Jan van Okeghem (Antwerp 1868); Thoman Deploration de G. Cretin sur le trepas de Jean Okeghem, musicien (Paris 1864); Brenet, Jean de Okeghem (Paris, 1893); De Marcy Jean Okeghem (Paris, 1895).
JOSEPH OTTEN
# Catholic Encyclopedia (1913)/Jean de Hautefeuille

From volume 7 of the work.
French physicist, b. at Orléans, 20 March, 1647; d. there, 18 October, 1724. He was the son of a baker and was brought up in humble circumstances. While a mere boy he attracted the notice of the Duchess of Bouillon and was aided by her in his studies. She proved a generous patroness to him during her life and left him a pension at her death. He travelled in her suite through England and Italy, and received several benefices from her, after his entrance into the ecclesiastical state. He was endowed with an inventive turn of mind, and gave much attention to the practical problems of mechanics and particularly of horology. One of his most important achievements in the improvement of timepieces was the proposal to employ a spiral spring with a balance wheel in place of a pendulum to control the mechanism. Huyghens and Hooke had also made the same suggestion, and each claimed the right of priority. To Huyghens, however, must he given the credit of perfecting the device, and the first watch provided with a hair spring is said to have been made under his direction. In acoustics Hautefeuille investigated the action of speaking trumpets, and wrote an essay on the cause of echoes which was crowned by the Academy of Bordeaux in 1718. He made improvements in lenses, and suggested a method of raising water by the explosive action of gun-powder. The phenomenon of the tides also excited his interest, and he invented an instrument called a thalassameter for their registration.
Though not without genius, Hautefeuille lacked the power of perfecting his inventions. He was too often inclined to publish his ideas prematurely and then abandon them to take up something new. The Paris Academy of Sciences attested the value and usefulness of many of his discoveries, but it never conferred on him the honour of electing him as a member. He was the author of a number of essays an a variety of subjects. Among them may be mentioned: "Explication de l'effet des trompettes parlantes" (1673); "Pendule perpétuelle, avec un moyen d'élever l'eau par la poudre à canon (1678); "L'art de respirer sous l'eau" (1692); "Nouvelle moyen de trouver la déclinaison de l'aiguille aimantée avec une grande précision" (1683); "Microscope micrométrique, gynomon horizontal, et instrument pour prendre les hauteurs des astres" (1703); "Problèmes d'horlogerie" (1719); "Nouveau système du flux et du reflux de la mer" (1719).
DELAUNAYE, in Biographie unverselle, XVIII; MONTUCLA, Hist. des math. (Paris, 1799), II, 421; POGGENDORP, Gesch. d. Physik (Leipzig, 1879).
HENRY M. BROCK
# City of Dallas v. Stanglin/Concurrence Stevens

* Court Documents
* Case Syllabus
* Opinion of the Court
* Concurring Opinion Stevens
Justice STEVENS, with whom Justice BLACKMUN joins, concurring in the judgment.
In my opinion the opportunity to make friends and enjoy the company of other people-in a dance hall or elsewhere-is an aspect of liberty protected by the Fourteenth Amendment. For that reason, I believe the critical issue in this case involves substantive due process rather than the First Amendment right of association. Nonetheless, I agree with the Court that the city has adequately justified the ordinance's modest impairment of the liberty of teenagers. Indeed, I suspect that the ordinance actually gives teenagers greater opportunity to associate than they would have if the Class E dance-hall provision were invalidated. I therefore join the Court's judgment.

## Notes

* ↑ I do not join the Court's assessment of this case under the Equal Protection Clause. Although the equal protection issue received nominal attention in the trial court, see Pet. for Cert. C-1 to C-7, it was neither reviewed by the Texas Court of Appeals nor briefed before us. See 744 S.W.2d 165 (1987); Pet. for Cert. 3; Brief for Petitioners 4.
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
# City of Covington v. Kentucky

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
173 U.S. 231
City of Covington v. Kentucky
William Goebel, for plaintiff in error.
Ramsey Washington and W. S. Taylor, for the Commonwealth of Kentucky.
Mr. Justice HARLAN 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
# City of Covington v. South Covington & C. St. Railway Company

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

## Dissenting Opinion

    Hessin Clarke
United States Supreme Court
246 U.S. 413
City of Covington v. South Covington & C. St. Railway Company
Argued: March 19 and 20, 1918. --- Decided: April 15, 1918
Messrs. A. E. Stricklett and Frederick W. Schmitz, both of Covington, Ky., for appellant.
Messrs. Alfred C. Cassatt, Richard P. Ernst, and Frank W. Cottle, all of Cincinnati, Ohio, for appellee.
Mr. Justice HOLMES 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
# Collected poems, 1901-1918 (Vol. 2)/The Bookworm

THE BOOKWORM
I'M tired — Oh, tired of books," said Jack,
"I long for meadows green, And woods where shadowy violets
Nod their cool leaves between;
I long to see the ploughman stride
His darkening acres o'er,
To hear the hoarse sea-waters drive
Their billows 'gainst the shore;
I long to watch the sea-mew wheel
Back to her rock-perched mate;
Or, where the breathing cows are housed,
Lean dreaming o'er the gate.
Something has pone, and ink and print
Will never bring it back;
I long for the green fields again,
I'm tired of books," said Jack.
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 1956, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 67 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
# Collected poems, 1901-1918 (Vol. 2)/The Barber's

THE BARBER'S
GOLD locks, and black locks,
Red locks and brown,
Topknot to love-curl
The hair wisps down;
Straight above the clear eyes,
Rounded round the ears,
Snip-snap and snick-a-snick,
Clash the Barber's shears;
Us, in the looking-glass,
Footsteps in the street,
Over, under, to and fro,
The lean blades meet;
Bay Rum or Bear's Grease,
A silver groat to pay —
Then out a-shin-shan-shining
In the bright, blue day.
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 1956, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 67 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
# Collected poems, 1901-1918 (Vol. 2)/The Dunce

THE DUNCE
WHY does he still keep ticking?
Why does his round white face
Stare at me over the books and ink,
And mock at my disgrace?
Why does that thrush call, "Dunce, dunce, dunce!"?
Why does that bluebottle buzz?
Why does the sun so silent shine? —
And what do I care if it does?
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 1956, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 67 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
# Collected poems, 1901-1918 (Vol. 2)/The Dwarf

THE DWARF
"NOW, Jinnie, my dear, to the dwarf be off,
That lives in Barberry Wood,
And fetch me some honey, but be sure you don't laugh, —
He hates little girls that are rude, are rude,
He hates little girls that are rude."
Jane tapped at the door of the house in the wood,
And the dwarf looked over the wall,
He eyed her so queer, 'twas as much as she could
To keep from laughing at all, at all,
To keep from laughing at all.
His shoes down the passage came clod, clod, clod,
And when he opened the door,
He croaked so harsh, 'twas as much as she could
To keep from laughing the more, the more,
To keep from laughing the more.   As there, with his bushy red beard, he stood,
Pricked out to double its size,
He squinted so cross, 'twas as much as she could
To keep the tears out of her eyes, her eyes,
To keep the tears out of her eyes.
He slammed the door, and went clod, clod, clod,
But while in the porch she bides,
He squealed so fierce, 'twas as much as she could
To keep from cracking her sides, her sides,
To keep from cracking her sides.
He threw a pumpkin over the wall,
And melons and apples beside,
So thick in the air that to see them all fall,
She laughed, and laughed, till she cried, cried, cried;
Jane laughed and laughed till she cried.
Down fell her teardrops a pit-apat-pat,
And red as a rose she grew ; —
"Kah! kah," said the dwarf, "is it crying you're at?
It's the very worst thing you could do, do, do,
It's the very worst thing you could do."
He slipped like a monkey up into a tree,
He shook her down cherries like rain;
"See now," says he, cheeping, "a blackbird I be,
Laugh, laugh, little Jinnie, again — gain — gain,
Laugh, laugh, little Jinnie, again."
Ah me! what a strange, what a gladsome duet
From a house in the deeps of a wood!
Such shrill and such harsh voices never met yet
A-laughing as loud as they could, could, could,
A-laughing as loud as they could.   Come Jinnie, come dwarf, cocksparrow, and bee,
There's a ring gaudy-green in the dell,
Sing, sing, ye sweet cherubs, that flit in the tree;
La! who can draw tears from a well, well, well,
Who ever drew tears from a well!
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 1956, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 67 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
# Collected poems, 1901-1918 (Vol. 2)/The Englishman

THE ENGLISHMAN
I MET a sailor in the woods,
A silver ring wore he,
His hair hung black, his eyes shone blue, And thus he said to me: —
"What country, say, of this round earth,
What shore of what salt sea, Be this, my son, I wander in,
And looks so strange to me?"   Says I, "O foreign sailorman,
In England now you be,
This is her wood, and there her sky,
And that her roaring sea."
He lifts his voice yet louder,
"What smell be this," says he,
"My nose on the sharp morning air
Snuffs up so greedily?"
Says I, "It is wild roses
Do smell so winsomely,
And winy briar, too," says I,
"That in these thickets be."
"And oh!" says he, "what leetle bird
Is singing in yon high tree,
So every shrill and long-drawn note
Like bubbles breaks in me?"
Says I, "It is the mavis
That perches in the tree,
And sings so shrill, and sings so sweet,
When dawn comes up the sea."
At which he fell a-musing,
And fixed his eye on me,
As one alone 'twixt light and dark
A spirit thinks to see.
"England!" he whispers soft and harsh,
"England!" repeated he,
"And briar, and rose, and mavis,
A-singing in yon high tree.
"Ye speak me true, my leetle son,
So — so, it came to me,
A-drifting landwards on a spar, And grey dawn on the sea.
"Ay, ay, I could not be mistook;
I knew them leafy trees,
I knew that land so witchery sweet,
And that old noise of seas.
"Though here I've sailed a score of years,
And heard 'em, dream or wake,
Lap small and hollow 'gainst my cheek,
On sand and coral break;
"'Yet now,' my leetle son, says I,
A-drifting on the wave,
'That land I see so safe and green,
Is England, I believe.
"'And that there wood is English wood,
And this here cruel sea, The selfsame old blue ocean
Years gone remembers me.
"'A-sitting with my bread and butter
Down ahind yon chitterin' mill;
And this same Marinere' — (that's me),
'Is that same leetle Will! —
"'That very same wee leetle Will
Eating his bread and butter there,
A-looking on the broad blue sea
Betwixt his yaller hair!'
"And here be I, my son, thrown up
Like corpses from the sea,
Ships, stars, winds, tempests, pirates past, Yet leetle Will I be!"
He said no more, that sailorman, But in a reverie
Stared like the figure of a ship
With painted eyes to sea.
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 1956, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 67 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
# Collected poems, 1901-1918 (Vol. 2)/The Fairies Dancing

THE FAIRIES DANCING
I HEARD along the early hills,
Ere yet the lark was risen up,
Ere yet the dawn with firelight fills
The night-dew of the bramble-cup, —
I heard the fairies in a ring
Sing as they tripped a lilting round
Soft as the moon on wavering wing.
The starlight shook as if with sound,
As if with echoing, and the stars
Prankt their bright eyes with trembling gleams;
While red with war the gusty Mars
Rained upon earth his ruddy beams.
He shone alone, low down the West,
While I, behind a hawthorn-bush,
Watched on the fairies flaxen-tressed
The fires of the morning flush.
Till, as a mist, their beauty died,
Their singing shrill and fainter grew;
And daylight tremulous and wide
Flooded the moorland through and through;
Till Urdon's copper weathercock
Was reared in golden flame afar,
And dim from moonlit dreams awoke
The towers and groves of Arroar.
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 1956, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 67 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
# Collected poems, 1901-1918 (Vol. 2)/The Christening

THE CHRISTENING
THE bells chime clear, Soon will the sun behind the hills sink down;
Come, little Ann, your baby brother dear
Lies in his christening-gown.
His godparents,
Are all across the fields stepped on before,
And wait beneath the crumbling monuments,
This side the old church door.
Your mammie dear
Leans frail and lovely on your daddie's arm;
Watching her chick, 'twixt happiness and fear,
Lest he should come to harm.
All to be blest
Full soon in the clear heavenly water, he
Sleeps on unwitting of it, his little breast
Heaving so tenderly.
I carried you,
My little Ann, long since on this same quest,
And from the painted windows a pale hue
Lit golden on your breast;
And then you woke,
Chill as the holy water trickled down,
And, weeping, cast the window a strange look, Half smile, half infant frown.
I scarce could hear
The shrill larks singing in the green meadows,
'Twas summertide, and, budding far and near,
The hedges thick with rose.
And now you're grown
A little girl, and this same helpless mite
Is come like such another bud half-grown,
Out of the wintry night.
Time flies, time flies!
And yet, bless me! 'tis little changed am I;
May Jesu keep from tears those infant eyes,
Be love their lullaby!
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 1956, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 67 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.
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# Collected poems, 1901-1918 (Vol. 2)/The Buckle

THE BUCKLE
I HAD a silver buckle,
I sewed it on my shoe,
And 'neath a sprig of mistletoe
I danced the evening through.
I had a bunch of cowslips,
I hid them in a grot,
In case the elves should come by night
And me remember not.
I had a yellow riband,
I tied it in my hair, That, walking in the garden,
The birds might see it there.
I had a secret laughter,
I laughed it near the wall:
Only the ivy and the wind
May tell of it at all.
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 1956, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 67 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