OpenLLM-France/wikimedia huggingface dataset:
# Oxford Book of English Verse 1250-1900/The Ecstacy

WHERE, like a pillow on a bed, A pregnant bank swell'd up, to rest The violet's reclining head, Sat we two, one another's best.
Our hands were firmly cemented By a fast balm, which thence did spring; Our eye-beams twisted, and did thread Our eyes upon one double string.
So to engraft our hands, as yet Was all the means to make us one; And pictures in our eyes to get Was all our propagation.
As, 'twixt two equal armies, Fate Suspends uncertain victory, Our souls—which to advance their state, Were gone out—hung 'twixt her and me.
And whilst our souls negotiate there, We like sepulchral statues lay; All day, the same our postures were, And we said nothing, all the day.
If any, so by love refined, That he soul's language understood, And by good love were grown all mind, Within convenient distance stood,
He—though he knew not which soul spake, Because both meant, both spake the same— Might thence a new concoction take, And part far purer than he came.
This ecstasy doth unperplex (We said) and tell us what we love; We see by this, it was not sex; We see, we saw not, what did move:
But as all several souls contain Mixture of things they know not what, Love these mix'd souls doth mix again, And makes both one, each this, and that.
A single violet transplant, The strength, the colour, and the size— All which before was poor and scant— Redoubles still, and multiplies.
When love with one another so Interanimates two souls, That abler soul, which thence doth flow, Defects of loneliness controls.
We then, who are this new soul, know, Of what we are composed, and made, For th' atomies of which we grow Are souls, whom no change can invade.
But, O alas! so long, so far, Our bodies why do we forbear? They are ours, though not we; we are Th' intelligences, they the spheres.
We owe them thanks, because they thus Did us, to us, at first convey, Yielded their senses' force to us, Nor are dross to us, but allay.
On man heaven's influence works not so, But that it first imprints the air; For soul into the soul may flow, Though it to body first repair.
As our blood labours to beget Spirits, as like souls as it can; Because such fingers need to knit That subtle knot, which makes us man;
So must pure lovers' souls descend To affections, and to faculties, Which sense may reach and apprehend, Else a great prince in prison lies.
To our bodies turn we then, that so Weak men on love reveal'd may look; Love's mysteries in souls do grow, But yet the body is his book.
And if some lover, such as we, Have heard this dialogue of one, Let him still mark us, he shall see Small change when we're to bodies gone.
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
# Notable South Australians

* related portals: South Australia.
* sister projects: Wikipedia article, Commons category, Wikidata item.
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* From a sketch by the late J. M. Skipper, Esq.
* Glenelg, Holdfast Bay, S. A., 1837
Notable
South Australians;
OR,
Colonists—Past and Present.
BY
GEORGE E. LOYAU,
(AUTHOR OF "THE REPRESENTATIVE MEN OF SOUTH AUSTRALIA;" "TALES IN VERSE; "AUSTRALASIAN SKETCHES AND REMINISCENCES;" "PERSONAL ADVENTURES;" "HISTORY OF GAWLER;" ESSAYS ON VARIOUS SUBJECTS, ETC. ETC.)
Dedicated by Permission,
to
His Excellency SIR W. C. F. ROBINSON, K.C.M.G., F.R.G.S.
Published under the Author's own immediate Supervision,
Adelaide: CAREY, PAGE & CO., PRINTERS, WAYMOUTH STREET, MDCCCLXXXV.
Dedicated
BY PERMISSION TO
His Excellency Sir W. F. C. Robinson, K.C.M.G.
GOVERNOR OF SOUTH AUSTRALIA,
WITH EVERY TOKEN OF SINCERE RESPECT FOR
HIS MANY VIRTUES,
BY
HIS HUMBLE, BUT SINCERE WELL WISHER,
THE AUTHOR.
Copyright, 1885,
By GEORGE E. LOYAU,
Author and Publisher,
Adelaide,
South Australia.
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
# One Hundred Poems of Kabir/XXX

Indian Edition
XXX
II. 95. ya tarvar men ek pakheru
ya tarvar men ek pakheru, bhog saras vah dole re vaakee sandh lakhye nahin koi, koun bhaav son bole re durmm-daar tahn ati ghan chhayaa, panchhee baseraa leyee re aave saanjh udee jaye savera, maram na kaahu deyee re so panchhee mohi kehu na bataavye, jo bole ghat-maahin re abaran-baran roop nahin rekhaa, baithaa prem ke chhaahin re agam apaar nirantar baasaa, aavat jaat na deesaa re kahyen Kabir suno bhaai saadho, yah kachhu agam kahaani re yaa panchhee ke koun thour hai, boojho pandit gyaanee re
On this tree is a bird: it dances in the joy of life. None knows where it is: and who knows what the burden of its music may be? Where the branches throw a deep shade, there does it have its nest: and it comes in the evening and flies away in the morning, and says not a word of that which it means. None tell me of this bird that sings within me. It is neither coloured nor colourless: it has neither form nor outline: It sits in the shadow of love. It dwells within the Unattainable, the Infinite, and the Eternal; and no one marks when it comes and goes. Kabir says: "O brother Sadhu! deep is the mystery. Let wise men seek to know where rests that bird"
# One Hundred Poems of Kabir/XXVI

Indian Edition
XXVI
II. 75. onkar siwae koi sirjai
onkar siwae koi sirjai, raag-swaroopi ang niraakaar nirgun abinaasi, kar vaahi ko sang naam niranjan nainan-maddhe, naanaa roop dharant nirankaar nirgun avinaasi, apaar athaah ang mahaasukkh magan hoi naachye, upajye ang tarang man aur tan thir n rahatu hai, mahaasukkh ke sang sab chetan sab aanand sab hain dukkh gahant kahaan aadi kah ant aap sukkh bich dharant
All things are created by the Om; The love-form is His body. He is without form, without quality, without decay: Seek thou union with Him!
But that formless God takes a thousand forms in the eyes of His creatures: He is pure and indestructible, His form is infinite and fathomless, He dances in rapture, and waves of form arise from His dance. The body and the mind cannot contain themselves, when they are touched by His great joy. He is immersed in all consciousness, all joys, and all sorrows; He has no beginning and no end; He holds all within His bliss.
# One Hundred Poems of Kabir/XXVIII

Indian Edition
XXVIII
II. 85. nirgun age sargun nacai
nirgun age sargun nacai, baaje sohang tooraa chelaa ke paavn guruji laagye, yahi achambhaa poora
Before the Unconditioned, the Conditioned Thou and I are one!" this trumpet proclaims. The Guru comes, and bows down before the disciple: This is the greatest of wonders.
# One Hundred Poems of Kabir/XXXIV

Indian Edition
XXXIV
II. 110. mohi tohi lagi kaise chute
mohi tohi lagi kaise chute? jaise kamalpatra jal baasaa, aise tum sahib ham daasaa jaise chakor takat nis chandaa, aise tum sahib ham bandaa mohin-tohin aadi-ant ban aayee, ab kaise lagan duraayee kahyen Kabir hamraa man laagaa, jaise sarita sindh samaayee
How could the love between Thee and me sever? As the leaf of the lotus abides on the water: so thou art my Lord, and I am Thy servant. As the night-bird Chakor gazes all night at the moon: so Thou art my Lord and I am Thy servant. From the beginning until the ending of time, there is love between Thee and me; and how shall such love be extinguished? Kabir says: "As the river enters into the ocean, so my heart touches Thee"
# One Hundred Poems of Kabir/XXV

Indian Edition
XXV
II. 45. Hari ne apna ap chipaya
Hari ne apnaa ap chipaya, Hari ne nafeej kar dikhlaya Hari ne mujhe kathin bhich gheri, Hari ne duvidhaa katee meri Hari ne sukh-dukh batlaaye, Hari ne sab boond mitaaye aise Hari pe tan-man baarun, praanhin tajun hari nahin bisaarun
MY Lord hides Himself, and my Lord wonderfully reveals Himself: My Lord has encompassed me with hardness, and my Lord has cast down my limitations. My Lord brings to me words of sorrow and words of joy, and He Himself heals their strife. ​I will offer my body and mind to my Lord: I will give up my life, but never can I forget my Lord!
# One Hundred Poems of Kabir/XXXII

Indian Edition
XXXII
II. 103. naco re mero man, matta hoy
naco re mero man, matta hoy prem ko raag bajaay raiin-din, shabd sunye sab koi Raahu-Ketu nav-grah naachye, janm janm aanand hoi giri-samundar dhartee naachye, lok naachye hans-roi chhapaa-tilak lagaai baans chadh, ho rahaa jag se nyaaraa sahas kalaa kar man merou naachye, reehjye sirjanhaaraa
Dance, my heart! dance to-day with joy. The strains of love fill the days and the nights with music, and the world is listening to its melodies: ​Mad with joy, life and death dance to the rhythm of this music. The hills and the sea and the earth dance. The world of man dances in laughter and tears. Why put on the robe of the monk, and live aloof from the world in lonely pride? Behold! my heart dances in the delight of a hundred arts; and the Creator is well pleased.
# One Hundred Poems of Kabir/XXXI

Indian Edition
XXXI
II. 100. nis din salai ghaw
nis din salai ghaw, neend aavye nahin piyaa-milan kee aas, naihar bhaave nahin khul gaye gagan kivaad, mandir ujiyaar bhayo bhayo hai purush se bhent, tan-man vaar dayo
A sore pain troubles me day and night, and I cannot sleep; I long for the meeting with my Beloved, and my father's house gives me pleasure no more.
The gates of the sky are opened, the temple is revealed: I meet my husband, and leave at His feet the offering of my body and my mind.
# One Hundred Poems of Kabir/XXXIII

Indian Edition
XXXIII
II. 105. man mast hua tab kyon bole
man mast hua tab kyon bole heeraa payo gaanth gathiyayo, baar baar vaako kyon khole halkee thee tab chadhi taraajoo, poori bhayee tab kyon toule surat-kalaari bhayee matvaari madwaa pee gayee bin toule hansaa paaye Mansarovar, taal-talaiyaa kyon dole teraa sahab hai ghar maahin, baahar nainaa kyon khole kahyen Kabir suno bhaai saadho, sahab mil gaye til ole
Where is the need of words, when love has made drunken the heart? I have wrapped the diamond in my cloak; why open it again and again? When its load was light, the pan of the balance went up: now it is full, where is the need for weighing? The swan has taken its flight to the lake beyond the mountains; why should it search for the pools and ditches any more? Your Lord dwells within you: why need your outward eyes be opened? Kabir says: "Listen, my brother! my Lord, who ravishes my eyes, has united Himself with me"
# One Hundred Poems of Kabir/XXIX

Indian Edition
XXIX
II. 87. Kabir kab se bhaye vairagi
prashna Kabir kab se bhaye bairaagi, tumahaari surat kahaan ko laagi?
uttar baichitraa kaa melaa naahin, nahin guru nahin chelaa sakal pasaaraa jin din naahin, jihi din purush akelaa Gorakh, ham tabake ahyen bairaagi, hammari surati brahm so laagee brahm nahin jab topi deenhee, bisnu nahin jab teekaa
siv-saktee ke janmye naahin, tabye jog ham seekha kaasi mein ham pragat bhaye hain, Raamaanand chetaaye pyaas ahad kee saath ham laaye, milan-karan ko aaye sahajye sahajye melaa hoigaa, jaagi bhakti utangaa kahyen Kabir suno ho Gorakh, chalo geet ke sangaa
Gorakhnath asks Kabir: "Tell me, O Kabir, when did your vocation begin? Where did your love have its rise?" Kabir answers: "When He whose forms are manifold had not begun His play: when there was no Guru, and no disciple: when the world was not spread out: when the Supreme One was alone – Then I became an ascetic; then, O Gorakh, my love was drawn to Brahma. Brahma did not hold the crown on his head; the god Vishnu was not anointed as king; the power of Shiva was still unborn; when I was instructed in Yoga.
"I became suddenly revealed in Benares, and Ramananda illumined me; I brought with me the thirst for the Infinite, and I have come for the meeting with Him. In simplicity will I unite with the Simple One; my love will surge up. O Gorakh, march thou with His music!"
# One Hundred Poems of Kabir/XXVII

Indian Edition
XXVII
II. 81. satgur soi daya kar dinha
satgur soi daya kar dinha, taante un-chinhaar main cheenhaa bin nainan ka dekhan-pekhan, bin sarvan kaa sunanaa chand na soor diwas nahin rajanee, tahaan surat lou bhaai binaa ann amrit-ras-bhojan, bin jal trishaa bhujhaai jahaan haras tahn pooran sukh hai, vah sukh kaaso kahnaa kahyen Kabir bal bal satguru kee, dhann shishya kaa lahnaa
It is the mercy of my true Guru that has made me to know the unknown; I have learned from Him how to walk without feet, to see without eyes, to hear without ears, to drink without mouth, to fly without wings; I have brought my love and my meditation into the land where there is no sun and moon, nor day and night. Without eating, I have tasted of the sweetness of nectar; and without water, I have quenched my thirst. Where there is the response of delight, there is the fullness of joy. Before whom can that joy be uttered? Kabir says: "The Guru is great beyond words, and great is the good fortune of the disciple"
# Oh, Void Complaints

Source, including CC-BY-SA license:
Oh, void complaints and vain endeavor, Abortive woes and fruitless pain. The past no miracle will ever Return to former life again.
The world shall never, backward going, Return your scanty dreams, no chance! No sharpened sword, no fire a-glowing May stop the rushing thought’s advance.
It is the living we must follow, And leave the former life beneath. Abandon the persistence hollow, Shake off the withered laurel wreath!
Unstopped the waves of life proceeding! No aid in protests you may raise. Oh, useless wrath and futile pleading! The world shall follow its own ways.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Oh Dem Golden Slippers

* information about this edition.
* sister projects: Wikidata item.
Oh, my golden slippers am laid away, Kase I don't 'spect to wear 'em till my weddin' day, And my long-tail'd coat, dat I loved so well, I will wear up in de chariot in de morn; And my long white robe dat I bought last June, I'm gwine to git changed kase it fits too soon, And de ole grey hoss dat I used to drive, I will hitch him to de chariot in de morn.
Oh, dem golden slippers! Oh, dem golden slippers! Golden slippers I'm gwine to wear, Becase dey look so neat; Oh, dem golden slippers! Oh, dem golden slippers! Golden slippers Ise gwine to wear, To walk de golden street.
Oh, my ole banjo hangs on de wall, Kase it ain't been tuned since way last fall, But de darks all say we will hab a good time, When we ride up in de chariot in de morn; Dars ole Brudder Ben and Sister Luce, Dey will telegraph de news to Uncle Bacco Juice, What a great camp meetin' der will be dat day, When we ride up in de chariot in de morn.
Oh, dem golden slippers! etc.
So, it's good-bye, children, I will have to go Whar de rain don't fall or de wind don't blow, And yer ulster coats, why, yer will not need, When yer ride up in de chariot in de morn; But yer golden slippers must be nice and clean, And yer age must be just sweet sixteen, And yer white kid gloves yer will have to wear, When yer ride up in de chariot in de morn.
Oh, dem golden slippers! etc.
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
# Oh My Darling, Clementine

American western folk ballad, usually credited to Percy Montrose but sometimes to Barker Bradford. The song is believed to have been based on another song called "Down by the River Liv'd a Maiden" by H. S. Thompson (1863)
* "Clementine", version by Barker Bradford (1885).
* "Oh My Darling Clementine", version by Percy Montrose in College Songs (ed.) by Henry Randall Waite (1887).

## See also

* "Down by the River Liv'd a Maiden"
* "Clementine" by Tom Lehrer
# Oh, Whistle, and I'll Come to You My Lad

* Search for titles containing or beginning with: "Oh, Whistle, and I'll Come to You My Lad."
* 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.
* "Oh, whistle and I'll come to you, my lad", a poem by Robert Burns
* "'Oh, Whistle, and I'll Come to You My Lad'", a short story by Montague Rhodes James
# Oh Come, All Ye Faithful (Campbell)

From Annus Sanctus: Hymns of the Church for the Ecclesiastical Year, 1884; copied from hymnsandcarolsofchristmas.com. First published in St. Andrew's Hymnal, 1850.
Oh come, all ye faithful,  Adoring, triumphant, Oh joyful, oh joyful, to Bethlehem repair;  Behold in a manger  The monarch of angels; With glad alleluias his glory declare.
 God eternal of God,  Light eternal of Light, 'Twas thine in thy womb, blessed Maiden, to bear;  True God uncreated,  Not made but begotten; With glad alleluias his glory declare.
 Ye chorus of angels,  From heaven descending, Oh haste ye, oh haste ye, our triumph to share;  Singing, 'Glory to God  In the highest for ever'; With glad alleluias his glory declare.
 All glory for ever  To thee, blessed Jesus, Born to rescue the fallen from woe and despair;  True Word of the Father,  Eternal, incarnate; With glad alleluias his glory declare.
# Oh, whistle and I'll come to you, my lad (Burns)

* "Whistle and I'll come to you", in The Canary (1810), a chapbook printed in Paisley
* "Whistle and I'll come t'ye", in The New Pease Strae (1810–1825?), a chapbook printed in Falkirk
* "Whistle an' I'll come t'ye", in The Black-bird (1818), a chapbook printed in Falkirk
* "O, whistle", in The Book of Scottish Song (1843), edited by Alexander Whitelaw
* "Whistle, and I'll come to you, my Lad", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
# Oh How That German Could Love

1910
Once I got stuck on a sweet little German, And oh what a German was she. The best that was walking, well what's the use talking, Was just made to order for me. So lovely, and witty, more yet she was pretty, You don't know until you have tried. She had such a figure, it couldn't be bigger, And there was some more yet beside.
Oh how that German could love With a feeling that came from the heart She called me her honey, her angel, her money She pushed ev'ry word out so smart She spoke like a speaker, and oh what a speech Like no other speaker could speak Ach my what a German when she kissed her Herman It stayed on my cheek for a week
This girl could squeeze, and it never would hurt For that lady knew just how to squeeze Her loving was killing, more yet she was willing You never would have to say please I just couldn't stop her, for dinner and supper Some kisses and hugs was the food When she wasn't nice it was more better twice When she's bad she was better than good
Oh how that German could love With a sweetness that's sweeter than sweet Just say what you please, you would hug and you'd squeeze Just the shoes that she wore on her feet Her smile was like money that somebody owed you, That somebody wanted to give. When you felt like dying and she started sighing, Ach my it was worthwhile to live.
Sometimes we'd love for a week at a time, And it only would seem like a day. How well I remember, one night in December, I felt like the middle of May. I'll bet all I'm worth that when she came on earth, All the angels went out on parade. No other one turned up, I think that they burned up, The pattern from which she was made.
Oh how that German could love, With a love like you see in a play. When she said, "My dear," it would ring in my ear, For a year, and a week and a day. Her no was like yes, and her yes was like no, It was something like yes, it was, well, When we got together ach donner und vetter, 'Twas love with a capital "L".
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 1989, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 34 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
# Oh Teacher

* related portals: Oswald the Lucky Rabbit, Silent cartoons.
* sister projects: Wikipedia article, Commons category, Wikidata item.
Cast and Crew :
| Crew ||
| Director | Walt Disney (d. 1966) |
| Producer | Walt Disney |
| Based on available information, the latest crew member that is relevant to international copyright laws died in 1966, meaning that this film may be in the public domain in countries and jurisdictions with 57 years p.m.a. or less, as well as in the United States. ||
UNIVERSAL presents OSWALD THE LUCKY RABBIT in
"Oh Teacher"
A Winkler Production by Walt Disney
COPYRIGHT MCMXXVII by UNIVERSAL PICTURES CORPORATION
School Bus
Help
DingDong
Recess—
AN OSWALD COMEDY
THE END
DISTRIBUTED BY UNIVERSAL
This work is in the public domain in the United States because it was published before January 1, 1929.
Copyright law abroad tends to consider the following people authors of a film:
* The principal director
* The screenwriter, and/or other writers of dialogue
* The composer/lyricist (if the film is accompanied by sound)
* The cinematographer
* By extension, the authors of any works that may serve as the basis for a film's plot
The longest-living of these authors 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
# Oh That Beautiful Rag

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 1989, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 34 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
# Oh Uganda, Land of Beauty

* related portals: National anthems.
* sister projects: Wikipedia article, Commons category, Wikidata item.
National anthem of UgandaWarning: template has been deprecated.
OH UGANDA, LAND OF THE BEAUTY
I. Oh, Uganda! may God uphold thee, We lay our future in thy hand; United, free for liberty together we'll always stand.
II. Oh, Uganda! the land of freedom, Our love and labour we give; And with neighbours all At our country's call In peace and friendship we'll live.
III. Oh, Uganda! the land that feeds us, By sun and fertile soil grown; For our own dear land, We'll always stand, The Pearl of Africa's Crown.
# Pell v. McCabe

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
250 U.S. 573
Pell v. McCabe
Argued: Oct. 16, 1919. --- Decided: Nov 10, 1919
Messrs. Lindley M. Garrison, Emanuel J. Myers, and Gordon S. P. Kleeberg, all of New York City, for petitioners.
Messrs. William St. John Tozer, of New York City, and Henry Buist, of Charleston, S.C.., for respondents.
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