OpenLLM-France/wikimedia huggingface dataset:
# Slavery in the United States/Preface

PREFACE.
In the following pages, the reader will find embodied the principal incidents that have occurred in the life of a slave, in the United States of America. The narrative is taken from the mouth of the adventurer himself; and if the copy does not retain the identical words of the original, the sense and import, at least, are faithfully preserved.
Many of his opinions have been cautiously omitted, or carefully suppressed, as being of no value to the reader; and his sentiments upon the subject of slavery, have not been embodied in this work. The design of the writer, who is no more than the recorder of the facts detailed to him by another, has been to render the narrative as simple, and the style of the story as plain, as the laws of the language would permit. To introduce the reader, as it were, to a view of the cotton fields, and exhibit, not to his imagination, but to his very eyes, the mode of life to which the slaves on the southern plantations must conform, has been the primary object of the compiler.
The book has been written without fear or prejudice, and no opinions have been consulted in its composition. The sole view of the writer has been to make the citizens of the United States acquainted with each other, and to give a faithful portrait of the manners, usages, and customs of the southern people, so far as those manners, usages, and customs ​have fallen under the observations of a common negro slave, endued by nature with a tolerable portion of intellectual capacity. The more reliance is to be placed upon his relations of those things that he saw in the southern country, when it is recollected that he had been born and brought up in a part of the state of Maryland, in which, of all others, the spirit of the "old aristocracy," as it has not unaptly been called, retained much of its pristine vigour in his youth; and where he had an early opportunity of seeing many of the most respectable, best educated, and most highly enlightened families of both Maryland and Virginia, a constant succession of kind offices, friendly visits, and family alliances, having at that day united the most distinguished inhabitants of the two sides of the Potomac, in the social relations of one people.
It might naturally be expected, that a man who had passed through so many scenes of adversity, and had suffered so many wrongs at the hands of his fellow-man, would feel much of the bitterness of heart that is engendered by a remembrance of unatoned injuries; but every sentiment of this kind has been carefully excluded from the following pages, in which the reader will find nothing but an unadorned detail of acts, and the impressions those acts produced on the mind of him upon whom they operated.
Layout 2
# Short Grass

PAWNEE BEND, in the days when Texas trail herds still came up to Kansas loading pens, was a community of unpainted board shacks, saloons, and lawlessness. To this town came Bill Dunham, age twenty-four, late of a peaceful farming section of Kansas, seeking his fortune. His quiet demeanor deceives a cowboy in a saloon and when the latter essays to make the granger dance, Bill takes the cowboy's gun and neatly shoots off both his boot heels.
So begins this story of the western ranges where a killer Marshal ruled as law, judge, and hangman; a story of great trail herds and fighting men; and above all a story of Bill Dunham who in spite of his quiet manners and lawful ways became the most dreaded man of the region.
Here is a tale in which suspense and racing thrill keep pace with a genuine poignance of human drama staged against a real background of the West.
Short Grass
By George W. Ogden Author of "The Cow Jerry," "West of Dodge," etc.
Dodd, Mead and Company New York : : : 1927
Copyright, 1926 By Dodd, Mead and Company, Inc.
Printed in the U. S. A. by Quinn & Boden Company, Inc. Book Manufacturers RahwayNew Jersey
Contents
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 1966, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 57 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
# Spirella Catalogue (1933)/Images

Spirella Catalogue
* Palme d'Or, International Institute of Hygiene, Paris
* Grand Prix; with Palm, Paris
* Grand Prix, International Medical Congress,Paris
* Cup of Honour, Milan
* Institute of Hygiene
* Cross of Honour, Milan
* Grand Prix, Belgium
* Gran Premio, Rome
* Grand Prix, Bristol
* Style 1322—Brassiere-Girdle
* Style 1225—Brassiere-Girdle
* Style 1264—Brassiere-Girdle
* Style 1462—Brassiere-Girdle
* Style 1165—Brassiere-Girdle
* Style 1368—Brassiere-Girdle
* Style 1138—Brassiere-Girdle
* Style 1338—Brassiere-Girdle
* Style 1332—Brassiere-Girdle
* Back Lacing
* Partial Back Lacing
* Plain Top
* Reinforcement
* Cut-Out Back
* Style 4127—Girdle
* Style 4321—Girdle
* Style 4162—Girdle
* Style 4131—Girdle
* Style 1078—Horse Suppotting Garment
* Style 1071—Horse Suppotting Garment
* Style 1075—Horse Suppotting Garment
* Back Lacing
* Inner Belt
* Front Hook and Eye Fastening in 20-Type Girdle
* Side Hook and Eye Fastening in 60 and 30 Type Girdles
* Girdle Top
* Style 125—Corset
* Style 9028—Corset
* Style 9822—Corset
* Style 764—Corset
* Style 362—Corset
* Style 9065—Corset
* Style 9862—Corset
* Style 733—Corset
* Style 531—Corset
* Style 9138—Corset
* Style 9832—Corset
* Style 785—Abdominal Corset
* Style 9781—Abdominal Corset
* Concealed Back Lacing
* Inner Belt in Back-Laced Corset
* Inner Belt in Front-Laced Corset
* Close Fitting Skirt
* Style 378—Maternity Support
* Style 2374—Maternity Brassiere
* Style 5022—Abdominal Belt
* Style 5062-Abdominal Belt
* Style 5032—Abdominal Belt
* Style 5082—Abdominal Belt
* Style 5028—Sacro-iliac Belt
* Style 5068—Sacro-iliac Belt
* Style 5038—Sacro-iliac Belt
* Style 2127—Bandeau Brassiere
* Style 2324—Brassiere
* Style 2222—Brassiere
* Style 2060—Bandeau Brassiere
* Style 2962—Brassiere
* Style 2368—Brassiere
* Style 2662—Brassiere
* Style 2768—Diaphragm Reducing Brassiere
* Style 2738—Diaphragm Reducing Brassiere
* Style 2835—Brassiere
* Style 2435—Brassiere
* Style 2532—Brassiere
* Style 2734—Brassiere
* Style 2333—Brassiere
* Back Lacing
* Front Lacing
* Partial Front Lacing
* Supporters Omitted
* Plain Top
* Cut-Out Back
* Elastic Gores
* Style 8558
* Style 9559
* Spirella Pads
* Style L
* Style F
* Slender Figure—20-type
* Slender Figure—20-type
* Slender Figure—20–type
* Slender Figure—20–type
* Slender Figure—20–type
* Slender Figure—20-type
* Slender Figure—20-type
* Slender Figure—20-type
* Slender Figure—20-type
* Medium Figure—60–type
* Medium Figure—60–type
* Medium Figure—60–type
* Medium Figure—60–type
* Medium Figure—60–type
* Medium Figure—60–type
* Medium Figure—60–type
* Medium Figure—60–type
* Medium Figure—60–type
* Medium Figure—60–type
* Medium Figure—60–type
* Stout Figure—30-type
* Stout Figure—30-type
* Stout Figure—30-type
* Stout Figure—30-type
* Stout Figure—30-type
* Stout Figure—30-type
* Stout Figure—30-type
* Stout Figure—30-type
* Stout Figure—30-type
* Stout Figure—30-type
* Stout Figure—30-type; Full to Prominent Abdomen
* Stout Figure—30-type
* Stout Figure—30-type; Prominent Abdomen
* Stout Figure—30-type; Pendulous Abdomen
# Spirella Catalogue (1933)/91

| STYLE 5083—ABDOMINAL BELT | THE 5081 SERIES | THE 5081 SERIES |
| | ADAPTABILITY—This series is designed for conditions of prominent or pendulous abdomen which often appear on 30-type figures. It is ex-cellent for post-operative use. This belt is scientifically designed to give a sling support upward and backward. The heights and lengths in the back, together with the back lacing and back wires, aid in distributing the weight of the abdomen over the broad, flat muscles of the back. The curved shaping of the front of the garment allows room for the abdominal flesh and snugs in under and supports the abdomen. The side lacings with holding-knots in the groin are placed in position to secure the direct support over the abdomen. Basic Features—Fastening in Centre Front; Fastening at Right Side. (see page 98.) MEASUREMENTS Waist Sizes—32 to 46. Larger sizes, special—see Price List. Hip Sizes—May be ordered 3, 4, 6, 8 or 9 inches larger than waist, without extra charge. Style 5081 (Top is 4 inches larger than waist) F 2½ UA 3½ B 4½ F 8 or 8½ (TF 10) H 10 B 10 Style 5082 (Top is 5 inches larger than waist) F 2½ UA 3½ B 4½ F 9 or 9½ (TF 11) H 10½ B 10½ Style 5083 (Top is 6 inches larger than waist) F 3½ UA 4½ B 5½ F 10 or 10½ (TF 12) H 12 B 11½ HOW TO ORDER—The style in the series to order is determined by the client's waist to bust line measurement. A brassiere is usually required with this belt to take care of the upper part of the figure. For complete information on How to Order, see page 98. | ADAPTABILITY—This series is designed for conditions of prominent or pendulous abdomen which often appear on 30-type figures. It is ex-cellent for post-operative use. This belt is scientifically designed to give a sling support upward and backward. The heights and lengths in the back, together with the back lacing and back wires, aid in distributing the weight of the abdomen over the broad, flat muscles of the back. The curved shaping of the front of the garment allows room for the abdominal flesh and snugs in under and supports the abdomen. The side lacings with holding-knots in the groin are placed in position to secure the direct support over the abdomen. Basic Features—Fastening in Centre Front; Fastening at Right Side. (see page 98.) MEASUREMENTS Waist Sizes—32 to 46. Larger sizes, special—see Price List. Hip Sizes—May be ordered 3, 4, 6, 8 or 9 inches larger than waist, without extra charge. Style 5081 (Top is 4 inches larger than waist) F 2½ UA 3½ B 4½ F 8 or 8½ (TF 10) H 10 B 10 Style 5082 (Top is 5 inches larger than waist) F 2½ UA 3½ B 4½ F 9 or 9½ (TF 11) H 10½ B 10½ Style 5083 (Top is 6 inches larger than waist) F 3½ UA 4½ B 5½ F 10 or 10½ (TF 12) H 12 B 11½ HOW TO ORDER—The style in the series to order is determined by the client's waist to bust line measurement. A brassiere is usually required with this belt to take care of the upper part of the figure. For complete information on How to Order, see page 98. |
| 90 | For materials and prices, see Price List. | 91 |
# Spirella Catalogue (1933)/9

| STYLE 1225—BRASSIERE-GIRDLE | THE 1224 SERIES—SLENDE OR 20-TYPE | THE 1224 SERIES—SLENDE OR 20-TYPE |
| | ADAPTABILITY—This series is designed for average figures of the 20-type, requiring no pronounced correction for figure irregularities or physical ailments. It gives a pleasing bust contour, follows the outline of the figure underneath the bust defining the waist curves, affords mild control through the hips and harmonizes the lines of the slender figure. Basic Features—Back Lacing; Lace Cup Bust; Plain Top in soft material, self-material or lace; Interchangeable Tops; Cut-Out Back. (See pages 24 to 26.) MEASUREMENTS Bust Sizes—28 to 36. Waist Sizes—May be ordered 5, 6, 7 or 8 inches smaller than bust, without extra charge. Hip Sizes-May be ordered the same as the bust or 1, 2, 3 or 4 inches larger than bust, without extra charge. Style 1224 F 7 W to BL 4½ or 5 W to T(ob) 8 UA 5 B 4½ F 6 or 6½ (TF 10) H 12½ B 12 Style 1225 F 7½ W to BL 5½ W to T(ob) 8½ UA 5½ B 5 F 6½ or 7 (TF 10½) H 13 B 13 Style 1226 F 8 W to BL 6½ or 7 W to T(ob) 9 UA 6 B 5½ F 7 or 7½ (TF 11½) H 14½ B 14½ HOW TO ORDER—The style in the series to order is determined by the client's centre front below measurement; but when there is more than one style in the series with the correct centre front below measurement, choose the one which has also the back below measurement nearest to the client's needs. The top in the series to order is determined by the client's waist to bust line measurement. For complete information on How to Order, see page 27. | ADAPTABILITY—This series is designed for average figures of the 20-type, requiring no pronounced correction for figure irregularities or physical ailments. It gives a pleasing bust contour, follows the outline of the figure underneath the bust defining the waist curves, affords mild control through the hips and harmonizes the lines of the slender figure. Basic Features—Back Lacing; Lace Cup Bust; Plain Top in soft material, self-material or lace; Interchangeable Tops; Cut-Out Back. (See pages 24 to 26.) MEASUREMENTS Bust Sizes—28 to 36. Waist Sizes—May be ordered 5, 6, 7 or 8 inches smaller than bust, without extra charge. Hip Sizes-May be ordered the same as the bust or 1, 2, 3 or 4 inches larger than bust, without extra charge. Style 1224 F 7 W to BL 4½ or 5 W to T(ob) 8 UA 5 B 4½ F 6 or 6½ (TF 10) H 12½ B 12 Style 1225 F 7½ W to BL 5½ W to T(ob) 8½ UA 5½ B 5 F 6½ or 7 (TF 10½) H 13 B 13 Style 1226 F 8 W to BL 6½ or 7 W to T(ob) 9 UA 6 B 5½ F 7 or 7½ (TF 11½) H 14½ B 14½ HOW TO ORDER—The style in the series to order is determined by the client's centre front below measurement; but when there is more than one style in the series with the correct centre front below measurement, choose the one which has also the back below measurement nearest to the client's needs. The top in the series to order is determined by the client's waist to bust line measurement. For complete information on How to Order, see page 27. |
| 8 | For materials and prices, see Price List. | 9 |
# Snow-Drop (Grimm/Taylor and Jardine)

* "Snow-Drop" in German Popular Stories (1823) (transcription project)
* "Snowdrop" in Grimm's Goblins (1876)

## See also

* "Snow-Drop" (1912), Taylor and Jardine translation, revised by Marian Edwardes
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Snow White and the Seven Dwarfs

* information about this edition.
* sister projects: Wikipedia article, Wikidata item.

## Illustrations

* "There's the bird again. He seems to know the way better than you do."
* "I wish I might live in your nest, little bird"
* From an underground passage . . . six of the Seven Dwarfs clamber into sight
* She sits on Blick's bed to tell her story
* "We must stew all the other ingredients together before Brangomar comes"
* And off she strides toward the house of the Seven Dwarfs
* They kneel about her in consternation
* "Ah, she did taste it! I thought she would if I went away"
* Here for nearly a year they have watched over her, day and night
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
# Snow White

* related portals: Brothers Grimm.
* sister projects: Wikipedia article, Commons category, Wikidata item.
English-language translations of Schneewittchen include:
* "Snow-Drop" (1823), translated by Edgar Taylor and David Jardine, in German Popular Stories
* "Snow-white", translated by Lucy Crane, illustrated by Walter Crane, in Household stories from the collection of the Bros Grimm (1882)
* "Little Snow-white", translated by Margaret Raine Hunt, in Grimm's Household Tales, Volume 1 (1884)
* "Snowdrop", translated by Miss Blackley, May Sellar and unknown value, edited by Andrew Lang, illustrated by Lancelot Speed, in The Red Fairy Book (1890)
* "Snowwhite", translated by Joseph Jacobs, illustrated by John D. Batten, in Europa's Fairy Book (1895)
* "Snowdrop", translated by Alice Lucas, illustrated by Arthur Rackham, in The Fairy Tales of the Brothers Grimm (1909)
* "Snow-drop", translated by Edgar Taylor, David Jardine and Marian Edwardes, edited by Marian Edwardes, illustrated by Robert Anning Bell, in Grimm's Household Tales (1912)
* Snow White and the Seven Dwarfs, illustrated by Charles Buckles Falls (1913)
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
# Snow Man

* Search for titles containing or beginning with: "Snow Man."
* 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.

## Poems

* "The Snow Man" (1923, "One must have a mind of winter"), a poem by Wallace Stevens

## Short stories

* "The Snow Man", a short story by Hans Christian Andersen
* "The Snowman" (1938), a short story by Loretta Burrough

## See also

* Snow
* Man
# Snow-White and Rose-Red

English-language translations of Schneeweißchen und Rosenrot include:
* "Snow-white and Rose-red" in The Blue Fairy Book (1889)
* "Snow-White and Rose-Red" in Grimm's Household Tales, Vol. 2 No. 161.
# Stops of Various Quills

By W·D·HOWELLS
Illustrated by
Howard Pyle
NEW YORK
HARPER AND BROTHERS
MDCCCXCV
Copyright, 1895, by Harper & Brothers.
All rights reserved.
| I. | NOVEMBER |
| II. | MIDWAY |
| III. | TIME |
| IV. | FROM GENERATION TO GENERATION |
| V. | THE BEWILDERED GUEST |
| VI. | COMPANY |
| VII. | HEREDITY |
| VIII. | TWELVE P.M. |
| IX. | CHANGE |
| X. | IN THE DARK |
| XI. | TO-MORROW |
| XII. | LIVING |
| XIII. | IF |
| XIV. | SOLITUDE |
| XV. | RESPITE |
| XVI. | QUESTION |
| XVII. | HOPE |
| XVIII. | THE BURDEN |
| XIX. | CALVARY |
| XX. | CONSCIENCE |
| XXI. | REWARD AND PUNISHMENT |
| XXII. | SYMPATHY |
| XXIII. | STATISTICS |
| XXIV. | PARABLE |
| XXV. | VISION |
| XXVI. | SOCIETY |
| XXVII. | GOOD SOCIETY |
| XXVIII. | FRIENDS AND FOES ​ |
| XXIX. | SPHINX |
| XXX. | MATERIALS OF A STORY |
| XXXI. | THE KING DINES |
| XXXII. | LABOR AND CAPITAL |
| XXXIII. | EQUALITY |
| XXXIV. | JUDGMENT DAY |
| XXXV. | MORTALITY |
| XXXVI. | ANOTHER DAY |
| XXXVII. | SOME ONE ELSE |
| XXXVIII. | LIFE |
| XXXIX. | WEATHER-BREEDER |
| XL. | PEONAGE |
| XLI. | RACE |
| XLII. | TEMPERAMENT |
| XLIII. | WHAT SHALL IT PROFIT? |
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
# Stopping a War/Chapter 3

3. Food for Cannon and Food for Thought
During the years that preceded 1914, millions of workers all over Europe had striven to prevent another war. One of the greatest leaders in this movement, the Frenchman, Jean Jaurès, gave his energy and finally his life in the struggle against war and militarism.
After four years of carnage, the reasons for anti-war activity were plainer than ever, and while it was true that many of the militants had died and many more had lost faith, among those who remained the hatred of war was stronger than ever. As for the masses, they were learning that if the workers were to prevent a repetition of the horror of 1914 they must be prepared to act in their own behalf.
France was one of the chief sufferers during the World War. With her million and three-quarters of soldiers killed on the field of battle, with her long lines of mutilated men, with her ruined cities, her desolated countryside and the intolerable burden of debt heaped upon the people as a result of the struggle, Frenchmen had good reason to know the costs of war.
Among the workers peace sentiment is always strong. They know from bitter experience that they must not only do the fighting at the front, but that at home, when the blood-letting is over, they and their descendants must pay for the war. To the intelligent worker in modern Europe war cannot be justified without a lot of explaining.
Home and country seemed to be threatened in 1914. The World War easily became a war of defence in the minds of French workers and peasants.
The Riff War of 1925 was clearly a war of aggression. The soil of France was neither invaded nor threatened by the Riffs. The Riff campaign was a part of the effort of French imperialism to extend its power over North Africa and particularly over the Riff minerals. The majority of French workers and peasants were not even remotely concerned in the outcome of such a conflict.
​Had there been no working class press in France and no understanding of the sweep of modern historic forces these facts might never have reached the French masses, But the French workers had learned their lesson in the bitter days following 1914, and in 1917 the Russian Revolution had broken across the world.
# Stopping a War/Chapter 4

4. What Could the Workers Do?
Hostilities began between the French and the Riffians during April, 1925. Officially the date is April 28, although there is some dispute concerning the exact day. On May Day, 1925, the French armies were again taking the field. France was at war.
There were many apologists for the Riff War. French journalists described it as an effort to maintain French "prestige" in North Africa. French politicians insisted that the unstable Painlevé Ministry did not want the war but considered it an inevitable phase of French colonial policy. French militarists accepted the struggle as a welcome relief from the years of inaction that had followed the signing of the Armistice. To official France, a war was a war.
But to the French workers war meant higher prices, higher taxes, privation, suffering, death. Millions of them were ready to oppose the Moroccan campaign.
When the Riff War threatened, multitudes of French workers desired to prevent it. When it broke out they wished to stop it. They knew that the imperial government of France had forced the war and that the imperialists would not make peace until their economic objectives had been attained. They were equally certain that the League of Nations would do nothing to enforce peace. The unrebuked rape of Egypt by Great Britain during the preceding year was too fresh in their minds to allow them to have many illusions about the usefulness of the League in a war crisis forced by one of the League's leading members.
If the Government would not stop the war, and if the League could not stop it, some new method must be found to meet the crisis. The leaders of progressive working class opinion in France decided that the only hope for effective opposition to the war lay in organized working class action. They therefore determined to oppose the war; to attack and expose the French ruling class during the war as war makers and war profiteers, and to make every effort to fraternize with their fellow workers in the "enemy country," the Riff.