OpenLLM-France/wikimedia huggingface dataset:
# The Rock-cut Temples of India/The Caves of Ajunta/Cave No. 22—Ajunta

CAVE No. 22.—AJUNTA.
THE Vihara No. 22 is a small Cave, only 17 ft. square, without pillars except two, which are merely rough hewn, in front of the sanctuary. The whole Cave, in fact, has the appearance of having been left unfinished internally, and whatever external decoration it may once have had, is now lost, owing to the façade having fallen down from the decay of the rock in which it was sculptured.
It is now used as a residence, if not by Major Gill himself, at least by his followers, whose portraits are seen in the photograph. Their various ranks and stations will be easily recognised by any one familiar with an Indian household, from the fierce jemadar, who is attitudinizing on the right, to the mehtur boy, who is sitting with his back against the door-jamb on the left.
# The Robert Edwards

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
19 U.S. 187
The Robert Edwards
APPEAL from the Circuit Court of South Carolina.
This cause was argued by Mr. Winder and Mr. Raymond, for the appellant and claimant, and by the Attorney-General for the United States.
Mr. Justice LIVINGSTON 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
# The Robin Redbreast

* "The Robin Redbreast" in The Ascent of Man (1889)
* "The Robin Redbreast" in Poetical works of Mathilde Blind (1900)
# The Robe of Grass

First published in The Lone Hand, 1 May 1913
HERE lies the woven garb he wore Of grass he gathered by the shore Whereon the phantom waves still fret and foam And sigh along the visionary sand. "Where is he now?" you cry. "What desolate land Gleams round him in dull mockery of home?"
You knew him by the robe he cast About him, grey and worn at last. "It fades," you murmur, "changes, lives and dies. Why has he vanished? Whither is he fled? And is there any light among the dead? Can any dream come singing where he lies?"
Ah peace! lift up your clouded eyes, Nor where this curious relic lies Grope in the blown dust for the print of feet. Dim, twittering, ghastly sounds are these; but he Laughs now as ever, still aloof and free, Eager and wild and passionate and fleet.
Because he has dropped the part he played, Shall love be baffled and dismayed? Let the frail earth and all its visions melt, And let the heart that loves, the eye that sees, Seek him amid immortal mysteries, For lo, he dwells where he has ever dwelt.
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 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 1933, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 90 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
# The Robin is the One

* "The Robin" in Poems: Second Series (1891)
* "The robin is the one" in The Complete Poems of Emily Dickinson (1924)
# The Queen's Court Manuscript with Other Ancient Bohemian Poems/A Song under the Vyssegrad

A SONG UNDER THE VYSSEGRAD.
Hail, Vyssegrad lofty! our sun beaming bright! How proud and how bold thou dost stand on the height, And all foreigners strik’st from the rock with affright!
Beneath thee the river rolls rapid and strong, Veltava her waves rolleth swiftly along.
By Veltava’s bright waves, that transparently fleet, Thick shrubs a cool arbour afford from the heat.
There merrily soundeth the nightingale’s strain, Or sadly he pipes, tiny songster, his pain, As joy or as sorrow his heart doth contain.
O were I the nightingale in the green grove, How speedily thither I’d fly, where my love Late at even, at even, doth wander and rove!
And when love waketh all things, and all that’s alive For love with deep longings doth struggle and strive;
I long and I pine, fairest maiden, for thee!— Take pity, fair maiden, take pity on me!
# The Queen's Court Manuscript with Other Ancient Bohemian Poems/Benes Hermanow

BENES HERMANOW.
O tell me, Sun, thou gentle Sun, Why thou dost mourning go? And wherefore thou dost shine on us, A people full of woe? Where, where’s our prince, our army? He To Otto’s court is gone;— Who from the foe our land shall free Thus orphan’d and alone?
In columns long the Germans march, The Germans Saxons are, Into our country from the hills, That wave with woods afar. “Give, give, ye wretches, silver, gold, “And all that ye possess, “Or else ye shall in flames behold “Mansions and cottages!” And they have burn’d our all, have ta’en Our gold and silver too, Our cattle they have driv’n away, And now towards Trosky go.
O do not, peasant, do not mourn! The grass again will grow, Although it long has trodden been By footsteps of the foe. Twine, twine, of wild flowers twine a wreath For your deliv’rers brow! The green corn glitters fresh again, And all a change doth know.
Yea, quickly all a change did know, Lo! how the people all To council Benes Hermanow Against the foe doth call!
Now stream the peasants where the wood ’Neath Hrubá Skála grows, And each is weapon’d with a flail, That ’gainst the Saxons goes, ’Tis Benes leads the van, the folk Doth follow wrathful wise, And vengeance, vengeance every man Against the plund’rers cries.
O anger fierce and savage wrath Did fill both armies then, And in the inmost breasts did storm Of the enraged men! And fury in the foemen’s eyes Against each other glows, And club ’gainst club on high they raise, And spears to spears oppose. On one another rush’d the hosts, As wood on wood were hurl’d, And like the lightning of the sky, So gleam’d the swords they whirl’d. A fearful cry arising thence The forest beasts doth fright, And scareth all the wingéd fowls To the third ridge’s height.
And from the rocky hills throughout The vales upon the breeze Spread strokes of maces and of swords, Like fall of ancient trees.
Thus motionless both armies stood Against each other there, On heels that firm implantéd stay, On legs that steadfast are. But Benes wends himself on high, And towards the right doth swing His sword, the army thither hastes; Then towards the other wing He points, towards the left they rush; Thence towards the rocky pass; And from the rocks upon the foe They hurl the stony mass. Now to the plain the fight descends, The Germans they must fly, The Germans they must shriek aloud, The Germans they must die!
# The Quaker and Clown

* "The Quaker and Clown" (n.d.), from a chapbook printed in Edinburgh
* "The Quaker and Clown" (1800), from a chapbook printed in Glasgow
* "The Quaker and Clown" (1804), from a chapbook printed in Glasgow
# The Quangle Wangle's Hat

* related portals: Children's literature, Children's poetry.
* sister projects: Wikidata item.
A poem first published in Laughable Lyrics in 1876
THE QUANGLE WANGLE'S HAT
I.
ON the top of the Crumpetty Tree
 The Quangle Wangle sat,
But his face you could not see,
 On account of his Beaver Hat.
For his Hat was a hundred and two feet wide, With ribbons and bibbons on every side And bells, and buttons, and loops, and lace, So that nobody ever could see the face
 Of the Quangle Wangle Quee.
II.
The Quangle Wangle said  To himself on the Crumpetty Tree, "Jam, and jelly, and bread  Are the best of food for me! But the longer I live on this Crumpetty Tree The plainer than ever it seems to me That very few people come this way And that life on the whole is far from gay!"  Said the Quangle Wangle Quee.
III.
But there came to the Crumpetty Tree,  Mr. and Mrs. Canary; And they said, "Did ever you see  Any spot so charmingly airy? May we build a nest on your lovely Hat? Mr. Quangle Wangle, grant us that! O please let us come and build a nest Of whatever material suits you best,  Mr. Quangle Wangle Quee!"
IV.
And besides, to the Crumpetty Tree  Came the Stork, the Duck, and the Owl; The Snail and the Bumble-Bee,  The Frog and the Fimble Fowl (The Fimble Fowl, with a Corkscrew leg;) And all of them said, "We humbly beg, We may build our homes on your lovely Hat,— Mr. Quangle Wangle, grant us that!  Mr. Quangle Wangle Quee!"
V.
And the Golden Grouse came there,  And the Pobble who has no toes, And the small Olympian bear,  And the Dong with a luminous nose. And the Blue Baboon who played the flute, And the Orient Calf from the Land of Tute, And the Attery Squash, and the Bisky Bat,— All came and built on the lovely Hat  Of the Quangle Wangle Quee.
VI.
And the Quangle Wangle said  To himself on the Crumpetty Tree, "When all these creatures move  What a wonderful noise there'll be!" And at night by the light of the Mulberry moon They danced to the Flute of the Blue Baboon, On the broad green leaves of the Crumpetty Tree, And all were as happy as happy could be,  With the Quangle Wangle Quee.
# The Queen's Court Manuscript with Other Ancient Bohemian Poems

* related portals: Czech literature.
* sister projects: Commons category, Wikidata item.
This book contains poems of the so called Queen's Court Manuscript (or Manuscript of Dvůr Králové), one poem (Libussa's Judgment) from the Zelená Hora Manuscript, and poems A Song under the Vyssegrad and Love Song of King Vaceslav I. All these poems come from allegedly medieval manuscripts and all of them except the last one were later proved to be a 19th-century literary hoax. An exception is the Love Song of King Vaceslav I which was originally a part of German Codex Manesse from the 14th century, only its Czech version comes from a manuscript, which was proved to be a forgery as well. Suspected authors of all or at least some of these forgeries are Václav Hanka and Josef Linda. Translator Albert Henry Wratislaw considered them genuine.
THE
QUEEN’S COURT MANUSCRIPT,
WITH
Other Ancient Bohemian Poems,
TRANSLATED FROM THE ORIGINAL SLAVONIC INTO ENGLISH VERSE
BY A. H. WRATISLAW, M.A., FELLOW AND TUTOR OF CHRIST’S COLLEGE, CAMBRIDGE.
BOLESLAW JABLONSKY.
CAMBRIDGE: JOHN DEIGHTON; LONDON: GEORGE BELL.
1852.
TO THE
Countess Ludmila Berchtold née Wratislaw
AND ALL TRUE SLAVONIC HEARTS
THESE RELICS
OF THE ANCIENT LITERARY GLORIES OF BOHEMIA
IN AN ENGLISH DRESS
ARE RESPECTFULLY AND AFFECTIONATELY DEDICATED
BY THE TRANSLATOR .
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The Quatrains of Omar Khayyam

This translation of Khayyam's Rubaiyat was first published in 1882 with 253 quatrains; an expanded edition with 500 quatrains was published in 1883.
* Quatrains of Omar Khayyám, London: Trübner & Co. (1883).
* "The Rubaiyat", in The Sacred Books and Early Literature of the East, Vol. VIII, (ed.) by Charles F. Horne, New York: Parke, Austin, & Lipscomb (1917).
# The Queen

* Search for titles containing or beginning with: "The Queen."
* 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.
* The Queen, poem by Dora Sigerson Shorter
* The Queen, British society magazine founded 1861
* "The Queen", short story by Mary Raymond Shipman Andrews
# The Penance

* Search for titles containing or beginning with: "The Penance."
* sister projects: 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.
* The Penance, short story by Saki
* Penance, poem by Canadian war-poet John McCrae
* Penance, poem by Thomas Hardy
# The Romance of Tristan and Iseult

* related portals: French literature.
* sister projects: Wikidata item.
The legend of Tristan and Iseult is an influential romance and tragedy, retold in numerous sources with as many variations. The tragic story of the adulterous love between the Cornish knight Tristan (Tristram) and the Irish princess Iseult (Isolde, Yseut, etc.), the narrative predates and most likely influenced the Arthurian romance of Lancelot and Guinevere, and has had a substantial impact on Western art and literature since it first appeared in the 12th century. While the details of the story differ from one author to another, the overall plot structure remains much the same.
Layout 2
TRISTAN & ISEULT
H·BELLOC
The Romance of Tristan & Iseult
Drawn from the best French Sources and Re-told by J. Bédier Rendered into English by H. Belloc
New York Dodd, Mead & Company 1914
∴ "Le Roman de Tristan et Iseut," by M. Joseph Bédier, was crowned by the French Academy
Printed by Ballantyne, Hanson & Co. at the Ballantyne Press, Edinburgh
CONTENTS
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The Poetical Works of Robert Burns/On Mr. W. Cruikshank, of the High School, Edinburgh

ON MR. W. CRUIKSHANK,
OF THE HIGH SCHOOL, EDINBURGH.
# The Poetical Works of Robert Burns/O, were I on Parnassus' Hill!

O, WERE I ON PARNASSUS' HILL!
TUNE—'MY LOVE IS LOST TO ME.'
# The Poetical Works of Robert Burns/On a Scotch Bard, gone to the West Indies

ON A SCOTCH BARD, GONE TO THE WEST INDIES.
# The Poetical Works of Robert Burns/Peggy's Charms (2)

PEGGY'S CHARMS.
# The Poetical Works of Robert Burns/Poem on Pastoral Poetry

POEM ON PASTORAL POETRY.
# The Poetical Works of Robert Burns/O May, thy Morn

O MAY, THY MORN.
# The Poetical Works of Robert Burns/On Mr. M'Murdo

ON MR. M'MURDO.
# The Poetical Works of Robert Burns/Peggy's Charms (1)

PEGGY'S CHARMS.
TUNE—'NEIL GOW'S LAMENTATION FOR ABERCAIRNY.'
# The Poetical Works of Robert Burns/O bonie was yon rosy Brier

O BONIE WAS YON ROSY BRIER.
TUNE—'I WISH MY LOVE WAS IN A MIRE.'
# The Poetical Works of Robert Burns/On scaring some Water Fowl in Loch-Turit

ON SCARING SOME WATER FOWL
IN LOCH-TURIT, A WILD SCENE AMONG THE HILLS OF OCHTERTYRE.
# The Review of English Studies/Volume 1/A Comparison between the Two Stages

A COMPARISON BETWEEN THE TWO STAGES, … 1702
Malone, who has been followed by others, down to and including M. Paul Dottin in his recently published reprint of Robinson Crusoe Examined and Criticised, ascribes this book to Gildon. I should be glad to be told what, if any, evidence there is to support such an attribution, which seems to me quite incredible. The author loses no opportunity of abusing the players, an indulgence which a practising dramatist, as Gildon was, is hardly likely to have allowed himself, and, in particular, goes out of his way to attack the private character of Mrs. Bracegirdle, to whom Gildon had expressed his acknowledgments for her “admirable Action” in the preface before his Love’s Victim, in the preceding year.
In the course of the Comparison it is proposed to examine the then recent plays, but one of the interlocutors protests that the very memory of ’em gives his stomach the puke; the examination is consequently confined to a brief enumeration, and among those lumped together, “cum multis aliis quæ nunc—and so forth—all Damn’d, every Son and Daughter for ever,” is (Gildon’s) Phaeton (p. 32). A little later on (p. 54), “Etheridge, Dryden, Wicherly, Otway, Congreve and Vanbrug” are mentioned as “extraordinary men” that “the latter part of this Age has produced,” these names are immediately contrasted with D—s, D—y, G—n, S—e, B—y, and the speaker concludes “but above all, commend me to the ingenious Author of the Trip to the Jubilee.” I have not learned that excess of modesty was characteristic of Gildon so that he would be apt to include himself among inferior writers, and I am unwilling to believe that he would treat a man with insolent contempt, as Farquhar is treated in this book, and accept from him an Epilogue for his play The Patriot in the following year.
G. T-D.
# The Reverend Mullineux

I'd reckon his weight as eight-stun-eight, And his height as five-foot-two, With a face as plain as an eight-day clock And a walk as brisk as a bantam-cock -- Game as a bantam, too, Hard and wiry and full of steam, That's the boss of the English Team, Reverend Mullineux!
Makes no row when the game gets rough -- None of your "Strike me blue!" "Yous wants smacking across the snout!" Plays like a gentleman out-and-out -- Same as he ought to do. "Kindly remove from off my face!" That's the way that he states his case, Reverend Mullineux.
Kick! He can kick like an army mule -- Run like a kangaroo! Hard to get by as a lawyer-plant, Tackles his man like a bull-dog ant -- Fetches hom over too! Didn't the public cheer and shout Watchin' him chuckin' big blokes about, Reverend Mullineux!
Scrimmage was packed on his prostrate form, Somehow the ball got through -- Who was it tackled our big half-back, Flinging him down like an empty sack, Right on our goal-line too? Who but the man that we thought was dead, Down with a score of 'em on his head, Reverend Mullineux.
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
# The Review of English Studies/Volume 1

The Review of English Studies
Vol. I
Advisory Panel.
The Review of English Studies
A Quarterly Journal of English Literature and the English Language
Edited by R. B. McKerrow
Volume I.
Contents
⁂ Articles having reference to a particular period are arranged in approximate chronological order of their subjects
Articles
Notes and Observations
This work is in the public domain in the United States because it was published before January 1, 1929.
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
# The Review of English Studies/Volume 1/A Poem attributed to Prior

NOTES AND OBSERVATIONS
A POEM ATTRIBUTED TO PRIOR
An Epistle from the Elector of Bavaria to the French King: After the Baud of Ramillies (Tonson, 1706), has been traditionally ascribed to Prior. A. R. Walter was inclined to accept the attribution. I think it can be disproved on two grounds.
(1) The opening sentences of the Dedicatory Epistle to the Lord Keeper of the Great Seal make it clear that the writer was a lawyer. “None of the Profession, over which Your Lordship presides, ought to appear in Verse, without asking Pardon of Your Lordship for the Transgression.”
(2) I have recently examined a volume of folio poems in which a different attribution is given. This volume, which was lately sold along with others of the same provenance, contains the armorial bookplate of a John Plumtre. The arms are those of the well-known Nottingham family; and there can be little doubt that the original owner, who has written his name on a number of the pieces, was that John Plumtre who is mentioned by Nichols as having been member for Nottingham in several parliaments. If so, he was likely to be well informed; and the contents of the volume suggest that he was a judicious person. It contains some five and twenty poetical pamphlets: epicedes on the death of Dryden; poems celebrating the victories of Marlborough; satirical pieces; and a few elegant trifles, including Prior’s To a Young Gentleman in Love and Philips’s ode Ad Henricum St. John. The dated pieces are all between 1700 and 1708, except one which is 1690.
On several of the pieces the original owner has written the author’s name. On this piece he has written “John Plumptre the Gift of y$^e$ Author” and “By Stephen Clay Esq.” Stephen Clay (as I learn from Foster’s Alumni and the Calendar of the Inner Temple Records) was a demy of Magdalen, 1690–1702, and was called to the bar November 24, 1700. Sir Charles Frith tells me ​that there are poems by him in the Miscellaneous Works of the Earl of Roscommon, 1709, pp. 162, 164.
Other attributions in the volume, which may possibly be of interest, are:
R. W. Chapman.
# The Singers' Companion/Banks of Allan Water

BANKS OF ALLAN WATER.
On the banks of Allan water, When the sweet spring time did fall, Was the Miller’s lovely daughter, Fairest of them all. For his bride a soldier sought her, And a wining tongue had he; On the banks of Allan water, None so gay as she.
On the banks of Allan water, When brown Autumn spread its store, There I saw the Miller’s daughter; But she smiled no more. For the summer grief had brought her, And her soldier false was he; On the banks of Allan water, None so sad as she.
On the banks of Allan water, When the winter snow fell fast, Still was seen the Miller’s daughter, Chilling blew the blast. But the Miller’s lovely daughter, Both from cold and care was free—— On the banks of Allan water, There a corse lay she!
# The Singer (Pushkin)

Written in 1816 while Pushkin studied in the Imperial Lyceum, Tsarskoye Selo. First published in 1817. Revised in 1818-19.
* The Singer
* Did you hear beyond the grove the night voice
* Of the singer of love who sings of his sadness?
* In the morning, when the fields were silent,
* It was the plaintive and simple sound of the pipe.
* Did you hear it?
* Did you meet in the desolate darkness of the forest
* The singer of love who sings of his sadness?
* Did you notice a trace of tears or smile,
* Or a gentle and mournful glance?
* Did you meet him?
* Did you sigh to hear the tender voice
* Of the singer of love who sings of the sadness?
* When you saw the young man in the forest,
* And met the look of his mournful eyes,
* Did you sigh? 1816/1819
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.