OpenLLM-France/wikimedia huggingface dataset:
# Littell's Living Age/Volume 132/Issue 1711/Waiting for Spring

* WAITING FOR SPRING.
* Wearily waiting for spring! patience is almost gone;
* The winds sigh coldly and drearily over the land forlorn;
* The trees with outstretched arms standing naked and bare,
* Patiently waiting for spring to clothe them, beauty-fair.
* Silently waiting for spring! down in their earthly bed,
* The tender flowers are longing to lift their bright young heads;
* The running burn moves sadly through leafless bramble boughs,
* An answering voice of gladness vainly it seeks to arouse.
* Longingly waiting for spring! the fading children of earth
* Look with a hopeful smile for nature's coming birth;
* They dream of a life revived, and raise the drooping head,
* As if they fain would catch the first sound of her tread.
* Fearfully waiting for spring! for the silent form and voice,
* That in her glorious beauty will never more rejoice;
* And like a rushing torrent fond mem'ries will awake,
* As spring-time breathes again o'er hearts that well-nigh break.
* Joyfully waiting for spring! the heart of youth would fain
* With happy beaming eyes welcome spring again;
* Bringing fresh hopes and pleasures, breathing no sorrow or blight,
* Winging them onward with her through all her happy flight.
* Peacefully waiting for spring! mind and body at rest,
* Lying with folded hands over a passionless breast;
* Unheeding the raving blasts and the cold wintry day,
* Awaiting the last spring-time, never to pass away.
* Golden Hours. M. C. W.
# Littell's Living Age/Volume 133/Issue 1712/George Odger

See George Odger on Wikipedia
* GEORGE ODGER.
* 1820-1877.
* The first rough month that ends the flowerless time
* Has come, and in this worldly city of ours
* The churches slowly peal their Lenten chime,
* Till Easter-day shall deck their shrines with flowers;
* But to the mourners these are leaden hours,
* Sad, sad the hours that have no chime to tell
* Of coming happiness, nor music hid
* Behind the clangor of the wasting bell.
* No priest bath bent above this coverlid,
* No sacerdotal mercies have made light
* The pangs of dying to this heart to-night;
* Forlorn of flowers this wintry bier must be,
* And yet will I be bold to lay thereon
* A fading yellow daffodil that shone
* In some far western orchard where the dead
* Perchance has wandered in his infancy;
* For he, too, who lies worn on that dim bed,
* He, too, was once, like us, a lover true
* Of flowers and verse and the springs wonders new,
* Until the chilling shadow came between,
* And all the sorrow that his eyes had seen,
* Blanched to those eyes the tender heavens and blue.
* No gift of ours is immortality;
* We cannot bid the soul that dies to-day
* Revive in all men's memories when we die.
* The destiny that bids one fame decay,
* Another flourish, we must all obey;
* Disease, and disappointment, and the worm
* Of benefits forgotten, like a deer
* Hunted him down; the spirit of reform
* Passed him upon his upward pathway drear.
* Others more fortunate shall win their way
* Into success, but let their strength revere
* The shattered virtue that lies weak to-day.
* Temperate he was and calm, whom the world judged
* Most violent; loving the people best,
* Some idle pleasures that the rich possessed
* He, for their reckless pride and folly, grudged
* Those whom of all men he was last to hate.
* Early he learned, by bitter ways of toil -
* Labor that teaches men to bear and wait -
* That he who will not be the fool of fate,
* Whirled in life's undistinguishable coil,
* Must struggle with both hands and haply bleed.
* In such a school Time sowed a hardy seed,
* That overgrew the garden of the heart,
* And bid its bearer choose no thornless part
* In the world's warfare. It may be indeed
* That, heavy with all the burden of all the pain
* That wept around him, and the great wrongs borne
* By men and women in the social strain,
* He less than others of soft words was fain,
* And knew the scathing power of sudden scorn.
* Yet was he true and good, fed by desires
* Pure as the dreams of some Utopian sage,
* Who towards a visioned heaven on earth aspires.
* Somewhat behind, in much before his age,
* Honor be his, that when the tides ran high
* Of rank with rank, inflamed with creed and lie,
* He, suffering most, yet bravely strove to assuage
* The sea of pain, and hush the gathering cry.
* Songs there have been enough in lofty phrase
* On men who all the heights of fame had scaled;
* Let this one rhyme suffice to sing the praise
* Of one who wrestled with his fate, and failed.
* March 4, 1877.
* Examiner.Edmund W. Gosse.
# Littell's Living Age/Volume 132/Issue 1711/On the Heights

* ON THE HEIGHTS.
* As one who climbs unto the mountain's brow
* Finds the strong head which served him on the plain
* Dizzy and blind, the heart whose pulse was low
* Now throbbing wildly with the upward strain,
* So fares the spirit on the heights of thought.
* Reason, the manful, blankly stares and reels,
* While Love, the childlike, consciously o'erwrought,
* Cries out in anguish to the God it feels.
* Spectator. H. G. Hewlett.
# Littell's Living Age/Volume 133/Issue 1712

LITTELL'S LIVING AGE.
| Fifth Series, Volume XVIII. | $\scriptstyle {\left.{\begin{matrix}\ \end{matrix}}\right\}\,$ | No. 1712. — April 7, 1877. | $\scriptstyle {\left\{{\begin{matrix}\ \end{matrix}}\right.}$ | From Beginning Vol. CXXXIII. |
CONTENTS. :
| I. | Fielding's Novels, | Cornhill Magazine, | 3 |
| II. | Carita. By Mrs. Oliphant, author of "Chronicles of Carlingford," "Zaidee," etc., Part XIII., | Cornhill Magazine, | 14 |
| III. | Prussia in the Nineteenth Century. A Historical Retrospect. By John Stuart Blackie, | Contemporary Review, | 28 |
| IV. | Falkland. By Matthew Arnold, | Nineteenth Century, | 34 |
| V. | Green Pastures and Piccadilly. By William Black. Part VIII., | Examiner, | 43 |
| VI. | The Alps in Winter, | Cornhill Magazine, | 47 |
| VII. | The Letawitza. A Gallician Tale. Translated for The Living Age from the | Revue Des Deux Mondes, | 54 |
| VIII. | The Hypocrisies of Nature, | Spectator, | 56 |
| IX. | My Second School, | All The Year Round, | 58 |
| X. | The Origin of Rank, | Saturday Review, | 61 |
POETRY. :
| George Odger, | 2 | Eight Lines from Propertius, | 2 |
| Sweet Love is Dead, | 2 | | |
| Miscellany, | Miscellany, | Miscellany, | 64 |
# Le Roi s'amuse

* related portals: French literature.
* sister projects: Wikipedia article, Commons category, Wikidata item.
Le Roi s'amuse is a tragi-comic play by Victor Hugo. It was first performed on 22 November 1832, but was banned by the government after one evening.
The play serves as the basis for Giuseppe Verdi's 1851 opera Rigoletto.
English-language translations of Le Roi s'amuse include:
* The Fool's Revenge, translated and adapted by Tom Taylor (1868)
* The King's Diversion, translated by Frederick L. Slous (1894) IA
This work is in the public domain worldwide because the author died at least 100 years ago. Translations of this work may be copyrighted.
Public domainPublic domainfalsefalse
# Letters of Julian/Letter 6

From The Works of the Emperor Julian, volume III (1913) Loeb Classical Library.

## 6. To Alypius, brother of Caesarius

[361 Before July, from Gaul]
Syloson, it is said, went up to Darius, reminded him of his cloak and asked him for Samos in return for it. Then Darius prided himself greatly on this, because he considered that he had given much for little; though after all it proved a grievous gift for Syloson. Now consider my conduct compared with that of Darius. In the first place I think that I have behaved better than he in one point at any rate, I mean that I did not wait to be reminded by another. But after preserving the memory of your friendship so long undimmed, the first moment that the god granted me power I summoned you, not among the second but among the very first. So much for the past. Now with reference to the future, will you allow me — for I am a prophet — to foretell something? I think that it will be far more prosperous than in the case I spoke of, only let not Adrasteia take offence when I say so! For you need no king to help you to conquer a city, while I on the other hand need many to help me to raise up again what has fallen on evil days. Thus does my Gallic and barbarian Muse jest for your benefit. But be of good cheer and come, and may the gods attend you.
Added with his own hand . There is good spoil of deer and hunting of small sheep in the winter quarters. Come to your friend who valued you even when he could not yet know your merit.

## Footnotes

* ↑ For Alypius see Introduction.
* ↑ The story of Syloson from Herodotus 3. 139, is told by Julian, Vol. 1. Oration 3. 117B. The "cloak of Syloson'" became a proverb for the overpayment of a benefit.
* ↑ i.e. to Susa. 16.
* ↑ The Persians devastated Samos before Syloson could benefit by the gift.
* ↑ An echo of Plato, Phaedrus 343b.
* ↑ Another name for Nemesis, cf. Vol. 2. Misopogon 370b.
* ↑ If the date assigned to the letter is correct this must be Constantinople which Julian was preparing to occupy in his march against Constantius.
* ↑ This is perhaps a veiled allusion to Julian's plot to defeat the adherents of Constantius.
# Letters of Julian/Letter 60

From The Works of the Emperor Julian, volume III (1913) Loeb Classical Library.

## 60. To Eugenius the Philosopher

We are told that Daedalus dared to do violence to nature by his art, and moulded wings of wax for Icarus. But for my part, though I applaud him for his art, I cannot admire his judgement. For he is the only man who ever had the courage to entrust the safety of his son to soluble wax. But if it were granted me, in the words of the famous lyric poet of Teos, to change my nature to a bird's, I should certainly not "fly to Olympus for Love," — no, not even to lodge a complaint against him — but I should fly to the very foothills of your mountains to embrace "thee, my darling," as Sappho says. But since nature has confined me in the prison of a human body and refuses to lighten and raise me aloft, I approach you with such wings as I possess, the wings of words, and I write to you, and am with you in such fashion as I can. Surely for this reason and this only Homer calls words "winged," that they are able to go to and fro in every direction, darting where they will, like the swiftest of birds. But do you for your part write to me too, my friend! For you possess an equal if not a larger share of the plumage of words, with which you are able to travel to your friends and from wherever you may be, just as though you were present, to cheer them.

## Footnotes

* ↑ A philosopher named Eugenius was the father of the sophist and philosopher Themistius, an older contemporary of Julian, but this letter with its familiar tone cannot have been addressed to a man of advanced age. Schwarz, Cumont and Geffcken reject it on the ground of its sophistic mannerisms, but see Introduction.
* ↑ Anacreon frag. 22, Bergk Ἀναπέτομαι δὴ πρὸς Ὄλυμπον πτερύγεσσι κούφαῖς διὰ τὸν Ἔρωτ᾽.
* ↑ Frag. 126, Bergk.
* ↑ A Platonic commonplace; cf. Julian, Oration 6. 198b; 7. 206b.
# Letters of Julian/Letter 65

From The Works of the Emperor Julian, volume III (1913) Loeb Classical Library.

## 65. To Elpidius, a Philosopher

Even a short letter gives more pleasure when the writer's affection can be measured by the greatness of his soul rather than by the meagre proportions of what he writes. So that if I now address you briefly, do not even so conclude that the accompanying affection is equally slight, but since you know the full extent of my love for you, forgive the brevity of my letter and do not hesitate to answer me in one equally short. For whatever you send me, however trifling, keeps alive in my mind a remembrance of all that is good.

## Footnotes

* ↑ We know from Libanius, Letter 758 Foerster, To Julian, that towards the end of 362 Elpidius was at Antioch and in Julian's confidence. This letter is purely formal and may have been written then, or earlier. There are several letters extant from Libanius to Elpidius. Cumont ascribed this letter to Julian of Caesarea.
# Letters of Julian/Letter 68

From The Works of the Emperor Julian, volume III (1913) Loeb Classical Library.

## 68. To Dositheus

I am almost in tears — and yet the very utterance of your name ought to have been an auspicious sound, — for I recall to mind our noble and wholly admirable father. If you make it your aim to imitate him, not only will you yourself be happy but also you will give to human life, as he did, an example of which it will be proud. But if you are indolent you will grieve me, and you will blame yourself when blaming will not avail.

## Footnotes

* ↑ Otherwise unknown.
* ↑ If the MS. reading is retained, Julian must be referring to someone who had taught them both. This was a regular usage and the teacher of one's own teacher could be referred to as "grandfather."
# Letters of Julian/Letter 62

From The Works of the Emperor Julian, volume III (1913) Loeb Classical Library.

## 62. To Eucleides the Philosopher

Nay, when did you ever leave me, so that I need to write, or when do I not behold you with the eyes of the soul as though you were here with me? For not only do I seem to be with you continually and to converse with you, but I pay attention to my duties now just as zealously as when you were here to guide me. But if you do wish me to write to you, just as though you were not here, then take care that you do not yourself create the impression of not being with me all the more by your very wish that I should write. However, if you do really find pleasure in it I am willing to obey you in this also. At any rate, by your request, you will, as the proverb says, lead a galloping horse into the plain. Come then, see that you return like for like, and in answer to my counter-summons do not grow weary of the unbroken series of letters exchanged between us. And yet I have no wish to hinder the zeal that you display on behalf of the public welfare, nevertheless, in proportion as I keep you free for the pursuit of noble studies, I shall be thought, far from injuring it, to benefit the whole body of Hellenes at once, that is to say, if I leave you like a young and well-bred dog without interference, free to give all your time to tracking down, with a mind wholly free from all else, the art of writing discourses; but if you possess such swiftness that you need neither neglect your friends nor slacken in those other pursuits, come, take both courses and run at full speed!

## Footnotes

* ↑ Libanius often mentions a certain Eucleides, a native of Constantinople, to whom this letter may be addressed; the reference to public affairs may imply that Julian was already Emperor, but it cannot be dated with certainty. Schwarz rejects the letter on stylistic grounds, and Cumont for the same reason attributed it to the sophist Julian of Caesarea, for whom see Introduction under Iamblichus; but, though it is conventional and sophistic, there is nothing in it that the Emperor Julian might not have written.
# Letters of Julian/Letter 63

From The Works of the Emperor Julian, volume III (1913) Loeb Classical Library.

## 63. To Hecebolius

Pindar thinks that the Muses are "silvery," and it is as though he likened the clearness and splendour of their art to the substance that shines most brilliantly. And the wise Homer calls silver "shining," and gives to water the epithet "silvery" because it gleams with the very brightness of the reflected image of the sun, as though under its direct rays. And Sappho the fair says that the moon is "silvery," and that because of this it dims the radiance of the other stars. Similarly one might imagine silver to be more appropriate to the gods than gold; but that to man, at any rate, silver is more precious than gold and more familiar to them because it is not, like gold, hidden under the earth and does not avoid their eyes, but is both beautiful to the eye and more serviceable in daily life, — this, I say, is not my own theory but was held by men of old. If, therefore, in return for the gold coin sent by you I give you a piece of silver of equal value, think not that the favour is less and do not imagine that, as with Glaucus, the exchange is to your disadvantage; for perhaps not even Diomede would have exchanged silver armour for golden, seeing that the former is far more serviceable than the latter, and like lead well fitted to turn the points of spears. All this I am saying in jest, and I take the cue for my freedom of speech to you from what you write yourself. But if you really wish to send me gifts more precious than gold, write, and keep on writing regularly. For even a short letter from you I hold to be more precious than any other blessing that one could name.

## Footnotes

* ↑ See Introduction, under Hecebolius.
* ↑ Frag. 212, Bergk.; cf. Pythian 9. 65, Isthmian 2. 13.
* ↑ These epithets for silver and water are not in our Homer.
* ↑ Frag. 3, Bergk.; cf, Julian, Oration 3. 109c, note, Wright.
* ↑ For this Julianic commonplace cf. Oration 6. 197b, note.
* ↑ A sophistic commonplace; cf. Vol. 2, Letter to Themistius 260a, note. He exchanged bronze armour for golden; Iliad 6. 236.
* ↑ Iliad 11. 237 ἀργύρῳ ἀντομένη, μόλιβος ὥς, ἐτράπετ᾽ αἰχμή.
* ↑ Literally "keynote"; cf. To Iamblichus Letter 74.
# Letters of Julian/Letter 64

From The Works of the Emperor Julian, volume III (1913) Loeb Classical Library.

## 64. To Lucian the Sophist

Not only do I write to you but I demand to receive payment in kind. And if I treat you ill by writing continually, then I beg you to ill-treat me in return and make me suffer in the same way.

## Footnotes

* ↑ A merely sophistic letter of compliment such as this is a conventional "type" of the sort recommended in the contemporary handbooks on epistolary style. Gesner thinks it was addressed to the Lucian who wrote the dialogue Philopatris, preserved with the works of his illustrious namesake, but there is no evidence of this.
# Letters of Julian/Letter 67

From The Works of the Emperor Julian, volume III (1913) Loeb Classical Library.

## 67. To George, a Revenue Official

"Thou hast come, Telemachus!" as the verse says, but in your letters I have already seen you and the image of your noble soul, and have received the impression thereof as of an imposing device on a small seal. For it is possible for much to be revealed in little. Nay even Pheidias the wise artist not only became famous for his statue at Olympia or at Athens, but he knew also how to confine a work of great art within the limits of a small piece of sculpture; for instance, they say that his grasshopper and bee, and, if you please, his fly also, were of this sort; for every one of these, though naturally composed of bronze, through his artistic skill became a living thing. In those works, however, the very smallness of the living models perhaps contributed the appearance of reality to his skilful art; and do you, please, look at his Alexander hunting on horseback, for its whole measurement is no larger than a fingernail. Yet the marvellous skill of the workmanship is so lavished on every detail that Alexander at one and the same time strikes his quarry and intimidates the spectator, scaring him by his whole bearing, while the horse, reared on the very tips of his hoofs, is about to take a step and leave the pedestal, and by creating the illusion of vigorous action is endowed with movement by the artist's skill. This is exactly the effect that you have on me, my excellent friend. For after having been crowned often, already, as victor over the whole course, so to speak, in the lists of Hermes, the God of Eloquence, you now display the highest pitch of excellence in a few written words. And in very truth you imitate Homer's Odysseus, who, by merely saying who he was, was able to dazzle the Phaeacians. But if even from me you require some of what you call "friendly smoke," I shall not begrudge it. Surely the mouse who saved the lion in the fable is proof enough that something useful may come even from one's inferiors.

## Footnotes

* ↑ Geffcken and Cumont reject this letter.
* ↑ Odyssey 16. 23.
* ↑ The ascription to Pheidias the sculptor of works in the 'microtechnique' described here, is sometimes due to the confusion, in the Roman period, of the fifth century Pheidias with a gem-cutter of the same name who lived in the third century B.C. In the Jahrbuch d.k.d. Arch. Institute, 1889, p. 210, Furtwangler, who does not quote this letter, reproduces a gem from the British Museum collection signed by this later Pheidias; it is an Alexander on foot. The anachronism here makes the letter suspect.
* ↑ See Vol. 1, Oration 3, 112a for a reference to this kind of carving.
* ↑ Odyssey 9. 19.
* ↑ George had perhaps in his letter referred to the longing of Odysseus to see even the smoke of his native land, and had compared his friend's letters to that smoke.
* ↑ Babrius, Fable 107; Aesop, Fable 256.
# Letters of Julian/Letter 61

From The Works of the Emperor Julian, volume III (1913) Loeb Classical Library.

## 61. To Sopater

It is an occasion to rejoice the more when one has the chance to address friends through an intimate friend. For then it is not only by what you write that you unite the image of your own soul with your readers. And this is what I myself am doing. For when I despatched the custodian of my children, Antiochus, to you, I could not bear to leave you without a word of greeting. So that if you want to have news of me, you can have from him information of a more intimate sort. And if you care at all for your admirers, as I believe you do care, you will prove it by never missing an opportunity while you are able to write.

## Footnotes

* ↑ This letter is rejected by Schwarz, Cumont and Geffcken; Schwarz on the slender evidence of style classes it with the apocryphal letters to Iamblichus; Cumont also places it in that series, and thinks that this Sopater is the friend of the elder Iamblichus executed by Constantine.
* ↑ No forger would have referred to children of Julian's body; but the phrase may refer to his writings. Libanius, Epitaphius, says of Julian's letters παῖδας τούτους ἀθανάτους καταλέλοιπεν. See also To Iamblichus, Letter 78.