OpenLLM-France/wikimedia huggingface dataset:
# A Hundred Verses from Old Japan/Poem 2

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JITŌ TENNŌ
Haru sugite Natsu ki ni kerashi Shirotae no Koromo hosu teu Ama-no-kagu yama
THE EMPRESS JITŌ
The spring has gone, the summer’s come, And I can just descry The peak of Ama-no-kagu, Where angels of the sky Spread their white robes to dry.
The Empress Jitō reigned A.D. 690–696, during which time saké was first made and drunk in Japan; she was the daughter of the Emperor Tenchi, the writer of the previous verse, and she married the Emperor Temmu, ascending the throne herself on his death. The poem refers to a snow-capped mountain just visible on the horizon. One of the Nō dramas relates, that an angel once came to a pine forest on the coast near Okitsu, and, hanging her feather mantle on a pine tree, climbed a neighbouring mountain to view Mount Fuji; a fisherman, however, found the robe and was about to carry it off with him, when the angel reappeared and begged him to give it her, as without it she could not return to the moon where she lived. He only consented to do so, however, on condition that she would dance for him; and this she accordingly did, draped in her feathery robe on the sandy beach under the shade of the pine trees; after which she floated heavenward, and was lost to view.
# A Hundred Verses from Old Japan/Poem 20

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MOTO-YOSHI SHINNŌ
Wabi nureba Ima hata onaji Naniwa naru Mi wo tsukushite mo Awamu to zo omou.
THE HEIR-APPARENT MOTO-YOSHI
We met but for a moment, and I’m wretched as before; The tide shall measure out my life, Unless I see once more The maid, whom I adore.
The composer of this verse was the son of the Emperor Yōzei, who reigned A.D. 877–884; he was noted for his love-affairs, and he died in the year 943.
Mi wo tsukushite mo means ‘even though I die in the attempt’, but miotsukushi is a graduated stick, set up to measure the rise and fall of the tide; and Naniwa, the modern seaport of Ōsaka, seems to have been inserted chiefly as the place where this tide-gauge was set up. The poet may have meant, that the river of his tears was so deep as to require a gauge to measure it; or, as Professor MacCauley reads it, he was hinting, that if he could not attain his ends his body would be found at the tide-gauge in Naniwa Bay. The picture seems to show the poet on the verandah and his lady-love looking through the screen.
# A Hundred Verses from Old Japan/Poem 25

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SANJŌ UDAIJIN
Na ni shi owaba Ausaka yama no Sanekazura Hito ni shirarede Kuru yoshi mo gana.
THE MINISTER-OF-THE-RIGHT OF THE SANJŌ (DISTRICT OF KYŌTO)
I hear thou art as modest as The little creeping spray Upon Mount Ōsaka, which hides Beneath the grass; then, pray, Wander with me to-day.
The writer’s real name was Sadakata Fujiwara, and he died A.D. 932. For an account of the Fujiwara family see verse No. 18. Mount Ōsaka mentioned here is the same place as that referred to in verse No. 10, and when spelled Ausaka it means ‘a hill of meeting’. The suggestion is, that if she is really like the creeping vine which grows on Meeting Hill, she will come and meet him.
# A Hundred Verses from Old Japan/Poem 26

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TEI-SHIN KŌ
Ogura yama Mine no momiji-ba Kokoro araba Ima hito tabi no Miyuki matanamu.
PRINCE TEI-SHIN
The maples of Mount Ogura, If they could understand, Would keep their brilliant leaves, until The Ruler of this land Pass with his royal band.
The above is the posthumous name given to Tada-hira Fujiwara, Imperial Chief Minister of State; he died about the year 936. It is related that the Emperor Uda, after his abdication, visited Mount Ogura in Yamashiro province, and was so greatly struck with the autumn tints of the maples, that he ordered Tada-hira to invite his son, the Emperor Daigo, to visit the scene; and this verse was the invitation. The picture shows the Emperor with his attendants, and the maples all around him.
# A Hundred Verses from Old Japan/Poem 19

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ISE
Naniwa gata Mijikaki ashi no Fushi no ma mo Awade kono yo wo Sugushite yo to ya.
THE PRINCESS ISE
Short as the joints of bamboo reeds That grow beside the sea On pebble beach at Naniwa, I hope the time may be, When thou ’rt away from me.
The Princess Ise was the daughter of Tsugukage Fujiwara, the Governor of the Province of Ise; hence her name. She lived at the Imperial Court, and was the favourite maid of honour of the Emperor Uda, who reigned A.D. 888–897. She was noted for her talents and gentle disposition, and was the mother of Prince Katsura. Naniwa is the old name of Ōsaka. The picture shows the Princess on the pebble beach at Naniwa, and to the left are the bamboo reeds.
# A Hundred Verses from Old Japan/Poem 22

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BUNYA NO YASUHIDE
Fuku kara ni Aki no kusa ki no Shiborureba Mube yama kaze wo Arashi to iuramu.
YASUHIDE BUNYA
The mountain wind in autumn time Is well called ‘hurricane’; It hurries canes and twigs along, And whirls them o’er the plain To scatter them again.
This well-known writer lived in the ninth century, and was the father of Asayasu, who composed verse No. 37; he was also Vice-Director of the Imperial Bureau of Fabrics.
The point of this verse lies in the ideographic characters of the original; yama kaze (mountain wind) being written with two characters, which, when combined, form arashi (hurricane), and this, of course, it is quite impossible to reproduce correctly in the translation. The picture shows the wind blowing down from the mountain behind the poet and waving his sleeves about.
# A Hundred Verses from Old Japan/Poem 24

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KWAN-KE
Kono tabi wa Nusa mo tori-aezu Tamuke-yama Momiji no nishiki Kami no mani-mani.
KWAN-KE
I bring no prayers on coloured silk To deck thy shrine to-day, But take instead these maple leaves, That grow at Tamuké; Finer than silk are they.
The name given above means ‘A house of rushes’, but the poet’s real name was Michizane Sugawara; he was a great minister in the Emperor Uda’s reign and a learned scholar; his works comprise twelve books of poetry and two hundred volumes of history; he was degraded in A.D. 901, and died two years later, an exile in Kinshū, aged fifty-nine. He is worshipped as Tenjin Sama, the God of Calligraphy, and is a favourite deity with schoolboys.
Nusa are strips of coloured silk or cloth inscribed with prayers, which were presented at temples in the old days. Tamuke-yama no Hachiman, a temple at Nara, is the scene of this verse; it is famous for its maple leaves, and the poet intended to say, that the crimson colour of its own maples was finer than any brocade that he could offer. Another allusion is, that Tamuke-yama, near Nara, means ‘The Hill of Offerings’.
# A Hundred Verses from Old Japan/Poem 21

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SOSEI HŌSHI
Ima kon to Iishi bakari ni Naga-tsuki no Ariake no tsuki Wo machi izuru kana.
THE PRIEST SOSEI
The moon that shone the whole night through This autumn morn I see, As here I wait thy well-known step, For thou didst promise me— ‘I’ll surely come to thee.’
Sosei is supposed to have been the son of Bishop Henjō, the writer of verse No. 12, born before the latter entered the church, about the year 850. His name as a layman was Hiro-nobu Yoshi-mine, and he became abbot of the Monastery of Riyau-inwin at Iso-no-kami, in the Province of Yamato.
# A Hundred Verses from Old Japan/Poem 23

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ŌYE NO CHISATO
Tsuki mireba Chiji ni mono koso Kanashi kere Waga mi hitotsu no Aki ni wa aranedo.
CHISATO ŌYE
This night the cheerless autumn moon Doth all my mind enthrall; But others also have their griefs, For autumn on us all Hath cast her gloomy pall.
Chisato Ōye is said to have lived about the end of the ninth century; he was the son of a Councillor, and a very fertile poet. He was also famous as a philosopher, and acted as tutor to the Emperor Sei-wa, who reigned A.D. 859–876.
# A Hundred Verses from Old Japan/Poem 18

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FUJIWARA NO TOSHI-YUKI ASON
Sumi-no-ye no Kishi ni yoru nami Yoru sae ya Yume no kayoi-ji Hito-me yokuramu.
THE MINISTER TOSHI-YUKI FUJIWARA
To-night on Sumi-no-ye beach The waves alone draw near; And, as we wander by the cliffs, No prying eyes shall peer, No one shall dream we’re here.
Toshi-yuki, who lived A.D. 880–907, was an officer of the Imperial Guard, and a member of the great and influential Fujiwara family. This family rose into power in the reign of the Emperor Tenchi, and became almost hereditary ministers-of-state. For a long period the Emperors chose their wives from this family only, and to this day a large number of the Japanese nobility are sprung from the same stock. Sumi-no-ye, or Sumi-yoshi, is in the Province of Settsu, near Kobe.
Note the word yoru used twice; in the first instance is a verb, meaning ‘to approach’, and in the next line meaning ‘night’. The illustration shows Toshi-yuki walking on the beach, and evidently waiting for the lady to join him.
# A Cradle Song (Blake, 1789)

This poem was originally published in the collection Songs of Innocence (1789).
# A Creed

* Search for titles containing or beginning with: "A Creed."
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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.
* A Creed, a poem by Ewart Alan Mackintosh
* A Creed, a poem by John Masefield
# A Creed (Masefield)

* information about this edition.
* sister projects: Wikidata item.
I hold that when a person dies
His soul returns again to earth;
Arrayed in some new flesh-disguise
Another mother gives him birth.
With sturdier limbs and brighter brain
The old soul takes the road again.
Such is my own belief and trust;
This hand, this hand that holds the pen,
Has many a hundred times been dust
And turned, as dust, to dust again;
These eyes of mine have blinked and shown
In Thebes, in Troy, in Babylon.
All that I rightly think or do,
Or make, or spoil, or bless, or blast,
Is curse or blessing justly due
For sloth or effort in the past.
My life's a statement of the sum
Of vice indulged, or overcome.
I know that in my lives to be
My sorry heart will ache and burn,
And worship, unavailingly,
The woman whom I used to spurn,
And shake to see another have
The love I spurned, the love she gave.
And I shall know, in angry words,
In gibes, and mocks, and many a tear,
A carrion flock of homing-birds,
The gibes and scorns I uttered here.
The brave word that I failed to speak
Will brand me dastard on the cheek.
And as I wander on the roads
I shall be helped and healed and blessed;
Dear words shall cheer and be as goads
To urge to heights before unguessed.
My road shall be the road I made;
All that I gave shall be repaid.
So shall I fight, so shall I tread,
In this long war beneath the stars;
So shall a glory wreathe my head, So shall I faint and show the scars, Until this case, this clogging mould, Be smithied all to kingly gold.
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
# A Course in Miracles/Workbook for Students/Your grace is given me. I claim it now

Your grace is given me.
God speaks to us. Shall we not speak to Him? He is not distant. He makes no attempt to hide from us. We try to hide from Him, and suffer from deception. He remains entirely accessible. He loves His Son. There is no certainty but this, yet this suffices. He will love His Son forever. When his mind remains asleep, He loves him still. And when his mind awakes, He loves him with a never-changing Love.
If you but knew the meaning of His Love, hope and despair would be impossible. For hope would be forever satisfied; despair of any kind unthinkable. His grace His answer is to all despair, for in it lies remembrance of His Love. Would He not gladly give the means by which His Will is recognized? His grace is yours by your acknowledgment. And memory of Him awakens in the mind that asks the means of Him whereby its sleep is done.
Today we ask of God the gift He has most carefully preserved within our hearts, waiting to be acknowledged. This the gift by which God leans to us and lifts us up, taking salvation's final step Himself. All steps but this we learn, instructed by His Voice. But finally He comes Himself, and takes us in His Arms and sweeps away the cobwebs of our sleep. His gift of grace is more than just an answer. It restores all memories the sleeping mind forgot; all certainty of what Love's meaning is.
God loves His Son. Request Him now to give the means by which this world will disappear, and vision first will come, with knowledge but an instant later. For in grace you see a light that covers all the world in love, and watch fear disappear from every face as hearts rise up and claim the light as theirs. What now remains that Heaven be delayed an instant longer? What is still undone when your forgiveness rests on everything?
It is a new and holy day today, for we receive what has been given us. Our faith lies in the Giver, not our own acceptance. We acknowledge our mistakes, but He to Whom all error is unknown is yet the One Who answers our mistakes by giving us the means to lay them down, and rise to Him in gratitude and love.
And He descends to meet us, as we come to Him. For what He has prepared for us He gives and we receive. Such is His Will, because He loves His Son. To Him we pray today, returning but the word He gave to us through His Own Voice, His Word, His Love:
    Your grace is given me. I claim it now. Father, I come to You. And You will come to me who ask. I am the Son You love.
# A Cradle Song (Colum)

Published in Wild Earth, 1907. Line 2 is sometimes given as "Come gently within." Lines 5-6 are sometimes given as "Where Mary will fold him With mantle of blue!". Similar titles: A Cradle Song
O, men from the fields! Come softly within. Tread softly, softly, O! men, coming in.
Mavourneen is going From me and from you, To Mary, the Mother, Whose mantle is blue!
From reek of the smoke And cold of the floor, And peering of things Across the half-door.
O men from the fields! Soft, softly come thro'. Mary puts round him
Her mantle of blue.
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 1972, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 51 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
# A Course in Miracles/Workbook for Students/Your peace is with me, Father. I am safe

Your peace is with me, Father. I am safe.
Your peace surrounds me, Father. Where I go, Your peace goes there with me. It sheds its light on everyone I meet. I bring it to the desolate and lonely and afraid. I give Your peace to those who suffer pain, or grieve for loss, or think they are bereft of hope and happiness. Send them to me, my Father. Let me bring Your peace with me. For I would save Your Son, as is Your Will, that I may come to recognize my Self.
And so we go in peace. To all the world we give the message that we have received. And thus we come to hear the Voice for God, Who speaks to us as we relate His Word; Whose Love we recognize because we share the Word that He has given unto us.
# A Cowherd

* Search for titles containing or beginning with: "A Cowherd."
* 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.
* “A Cowherd” (“When I hold out my hand”), a poem by Itō Sachio
* “A Cowherd” (“I, a milkman”), a poem by Itō Sachio
# A Cradle Song (Blake, 1794)

From Blake’s Notebook, p. 114, reversed. See also: Songs and Ballads. It was probably intended for Songs of Experience, since there is a poem with the same title in Songs of Innocence, however it was not engraved or included into the cycle, but left in a very rough sketchy manuscript.
A Cradle Song
Sleep, Sleep, beauty bright, Dreaming o'er the joys of night; Sleep, Sleep; in thy sleep Little sorrows sit & weep.
Sweet Babe, in thy face Soft desires I can trace, Secret joys and secret smiles, Little pretty infant wiles.
As thy softest limbs I feel, Smiles as of the morning steal O’er thy cheek & o’er thy breast Where thy little heart doth rest.
O, the cunning wiles that creep In thy little heart asleep. When thy little heart doth wake, Then the dreadful lightnings break.
From thy cheek & from thy eye O'er the youthful harvests nigh Infant wiles & infant smiles Heaven & Earth of peace beguiles.
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
# A Dictionary of Music and Musicians/Saint-Georges, Jules

From volume 3 of the work.
​SAINT-GEORGES, Jules Henri Vernoy, Marquis de,—not to be confounded with the notorious Chevalier de Saint-Georges (1745–1799 or 1801)—born in Paris 1801, died there 1875 [App. p.778 "Dec. 23"], writer of novels, and author of numerous librettos for operas and operas-comiques, was the favourite collaborateur of Halévy. Among his 120 librettos we need only specify those for Donizetti's 'Fille du Regiment'; Adolphe Adam's 'La Marquise,' 'Cagliostro,' 'Le Bijou perdu,' operas; and 'Giselle,' 'La jolie Fille de Gand,' and 'Le Corsaire,' ballets; Auber's 'L'Ambassadrice,' ​'Zanetta,' and 'Les Diamants de la Couronne,' with Scribe; Grisar's 'Lady Melvil,' 'Le Carillonneur de Bruges,' and 'Les Amours du Diable'; Clapisson's 'La Fanchonnette'; and Halévy's 'L'Eclair,' 'Les Mousquetaires de la Reine,' 'Le Val d'Andorre,' 'La Fée aux Roses,' 'Le Juif errant,' 'Le Nabab,' and 'Jaguarita l'Indienne.'
[ G. C. ]
# A Dictionary of Music and Musicians/Saint James's Hall Concert Rooms

From volume 3 of the work.
​SAINT JAMES'S HALL CONCERT ROOMS were erected, at the cost of a company with limited liability, from designs by Owen Jones. Messrs. Lucas were the builders.
The project was taken up by two of the music-publishing firms, Messrs. Beale & Chappell of Regent Street, and Chappell & Co. of New Bond Street; and the company was formed mainly by them, and among their friends. Messrs. T. F. Beale and W. Chappell became the tenants of the Crown for the land, holding it in trust for the Company. The capital was fixed at £40,000, because the original estimate for the new building was £23,000, and the remainder was supposed to be an ample sum for ​compensations, working expenses, etc. It was then unknown that between Regent Street and Piccadilly was the ancient boundary of Thorney Island with its quicksand, but this was encountered in the course of the building, and had to be saturated with concrete at great cost, in order to make a sure foundation. Other demands raised the cost of the building to beyond £70,000. The Great Hall was opened to the public on March 25, 1858, with a concert for the benefit of Middlesex Hospital, given in presence of the Prince Consort.
The principal entrance to the Great Hall is from Regent Street, and that to the Minor Hall from Piccadilly the former street being higher than the latter. The dimensions of the Great Hall are 139 feet in length, 60 in height, and 60 in breadth. It will seat on the Ground Floor 1100; in the Balcony 517; in the Gallery 210; in the Orchestra 300; total 2127. The above is as the numbered benches and seats are usually arranged, but, by placing the seats closer together, many more persons can be seated. Under the further part of the Great Hall is the Minor Hall, 60 feet by 57, having also a Gallery, an Orchestra, and a small room. Under the Regent Street end of the Great Hall is one of the dining rooms, 60 feet by 60, and on the Regent Street level is another dining room 40 feet by 40, with a large banquetting-room on the floor above, etc.
[ W. C. ]
# A Dictionary of Music and Musicians/Sala, Nicola

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Salaman, Charles

From volume 3 of the work.
​SALAMAN, Charles Kensington, born in London, March 3, 1814; began music early—violin, PF., and composition. In 1824 was elected student of the Royal Academy of Music, but soon left it and became pupil of Mr. Neate, the friend of Beethoven. He made his first public appearance at Blackheath, in 1828, as a PF. player; then went to Paris and took lessons of Herz, and in the following summer returned to London and began teaching, playing, and writing.
[ G. ]
# A Dictionary of Music and Musicians/Salcional

From volume 3 of the work.
[ J. S. ]
# A Dictionary of Music and Musicians/Sainton, Prosper

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Stigelli, Georg

​STIGELLI, or STIGHELLI, Georg. His real name was Stiegele, and he was born at Ingstetten, Würtemberg, in 1819. He was educated for the law, but his voice was so promising that he gave that up and devoted himself to music, which he studied in Stuttgart, Paris, and Milan. His early career was spent in Italy, where he had great success at the Scala at Milan, and elsewhere. In 1848 he returned to Germany, and settled at Frankfort as singer and teacher. In 1849 and 50 he was in London, and ​sang at concerts with such success that in 1851 he was engaged at the Royal Italian Opera, Covent Garden, where he first appeared, replacing Signor Mario as Rambaldo in 'Roberto' on April 24; and with that brilliant company he remained as a second tenor, doing thoroughly good work, and meeting with success, both in opera and at concerts, till 1854, after which his name disappears from the lists.
[ G. ]