OpenLLM-France/wikimedia huggingface dataset:
# The Rock-cut Temples of India/The Caves of Ellora/Vimana, Kylas—Ellora

VIMANA, KYLAS.—ELLORA.
THE Vimana itself, shown in the above view, is the most remarkable feature of the whole design, and also the most purely southern. It terminates in an octagonal dome, as is universally the case south of the Kistnah. Below this each angle of each storey has a square dome, and, in the centre, an oblong one. The interstices are filled in with sculpture, and sculptured ornaments of various kinds, giving an extreme variety of light and shade to the whole composition.
The temple at Dhumnar is the only other Hindoo temple of the same class as the Kylas; but it is as purely northern in design, and on the whole, perhaps, more elegant in style, though from its comparatively small dimensions, it is far from having the same effect.
The five smaller Temples which surround the great Vimana are similar in design, and, as may be supposed, add very much to the effect of the whole.
# The Rock-cut Temples of India/The Caves of Ellora/Teen Tal—Ellora

TEEN TAL.—ELLORA.
IMMEDIATELY to the north of the Buddhist group just described are three Caves, which are singularly interesting as showing the steps by which a Buddhist Vihara was converted into a Brahmanical Chaori.
The first, called Do Tal, or Dookya Ghur, is a Buddhist Vihara of two stories. Most of its details are so similar to those above described, that it may be assumed to be, without doubt, of the same age. It is strictly Buddhistic in all its details, and shows no more tendency towards Brahmanism than what was pointed out in speaking of the Viswakarma. It apparently was intended to have three stories, but has been left unfinished.
The next, or Teen Tal, as it name indicates, is three stories in height, and very similar to the last in arrangement and detail. Its sculptures, too, are all Buddhist, though deviating so far from the usual simplicity of that style as almost to justify the Brahmans in appropriating them as they have done.
The pillars of the lower storey, shown in the illustration, are of the usual Ellora type; but though bold in outline, are frittered away in detail, as is only too usual at their age.
# The Rock-cut Temples of India/The Caves of Ellora/Vihara—Ellora

VIHARA.—ELLORA.
THE principal Vihara attached to this Chaitya is that called Dehr warra, one of the largest excavations of its class, being 110 ft. deep by 70 ft. in width, including the side recesses. Unfortunately it is much too low to have a good effect architecturally, and its details are infinitely inferior to those of Ajunta of the same age.
The other Viharas are smaller—about the same average size as those of Ajunta, and more similar to them in plan. But the details of their architecture are almost all identical, as in this illustration, with those of the Viswakarma, and they seem so much alike in style that all were probably executed within the limits of the same century as the Chaitya itself,—most probably all within the limit of one thousand years from this date.
# The Rock-cut Temples of India/The Caves of Ellora/Sculpture, Kylas—Ellora 2

SCULPTURE, KYLAS.—ELLORA.
BETRAYS the same rudeness in execution as the last, and the same inelegance of detail, but possesses a wild picturesqueness and vigour which charms in spite of its defects.
The figure on the right is a giant Dwarpal, or porter, guarding the entrance. Behind him a figure in a chariot, apparently Arjuna, with his bow; and behind him again one of those figures to whom the Brahmans on the spot give the name that occurs most readily to their memories.
It is not, however, the art of these sculptures that makes the Kylas so wonderful so much as their quantity and variety; for after you have examined all those of the Temple itself, with its porches, and those of the stone bridges that connect one part with the other, there is still the cloister, and above this the beautiful Temple of Lanka and others cut in the rock on the sides of the pit, which make up together an exhibition of human labour and perseverance seldom surpassed.
# The Poem of Antarah

* related portals: Arabic literature.
* sister projects: Wikidata item.
One of seven poems hanged in the Islamic Kaaba, predating the birth of Muhammad.
English-language translations of The Poem of Antarah include:
* The Poem of Antar translated by F. E. Johnson (c.1894)
* The Poem of Antara translated by William Jones (1881)
# The Poem of Labīd

One of seven poems hanged in the Islamic Kaaba, predating the birth of Muhammad.
English-language translations of The Poem of Labīd include:
* The Poem of Labid translated by C. J. Lyall
* The Poem of Lebeid translated by William Jones (1881)
# The Poem of Imru' al-Qais

* related portals: Arabic literature.
* sister projects: Wikidata item.
One of seven poems hanged in the Islamic Kaaba, predating the birth of Muhammad.
English-language translations of The Poem of Imru' al-Qais include:
* The Poem of Imru-ul-Quais translated by F. E. Johnson (c.1894)
* The Poem of Amriolkais translated by William Jones (1881)
# The Poem of Labid (Lyall)

* related portals: Islamic poetry.
* sister projects: Wikidata item.
One of seven poems hanged in the Kaaba. First published in “The Mo‘allaqah of Lebîd, with the life of the poet as given in the Kitâb-el-Aghânî” (pp. 82–83), in the Journal of the Asiatic Society of Bengal, volume 46, part 1, no. 1. Scan
Yea, everything is vain, except only God alone,  and every pleasant thing must one day vanish away!
And all the race of men—there shall surely come among them  a Fearful Woe, whereby their fingers shall grow pale:
And every mother's son, though his life be lengthened out  to the utmost bound, comes home at last to the Grave:
And every man shall know one day his labour's worth,  when his loss or gain is cast up on the Judgment Day.
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
# The Poem of Zuhayr

* related portals: Arabic literature.
* sister projects: Wikidata item.
One of seven poems hanged in the Islamic Kaaba, predating the birth of Muhammad.
English-language translations of The Poem of Zuhayr include:
* The Poem of Zuhair translated by F. E. Johnson (c.1894)
* The Poem of Zohair translated by William Jones (1881)
# The Poems and Prose Remains of Arthur Hugh Clough/Volume 1

THE
POEMS AND PROSE REMAINS
OF
ARTHUR HUGH CLOUGH
WITH A SELECTION FROM HIS LETTERS AND A MEMOIR
EDITED BY HIS WIFE
IN TWO VOLUMES
With a Portrait
VOL. I. LIFE : LETTERS : PROSE REMAINS
London MACMILLAN AND CO. 1869
PREFACE.
This edition of Arthur Clough's writings contains all that has been heretofore printed, and all such additional matter as, after careful consideration, has been deemed worthy to be given to the public. There is much that is exceedingly fragmentary, for the aim has been to include, not finished productions alone, but whatever else can throw light on the mind and character of the writer.
The editor desires gratefully to acknowledge the valuable assistance which she has received in making these selections and in arranging these volumes from Mr. J. A. Symonds, to whose taste and judgment any measure of success that may have been achieved is chiefly due.
CONTENTS
OF
THE FIRST VOLUME.
ERRATA.
Vol. I.
Page 43, line 3 from bottom, for prospects read prospect Page„ 44, l. 15, for prospects read prospect
Vol. II.
Layout 2
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
# The Poems and Prose Remains of Arthur Hugh Clough

* Volume I.
* Volume II.
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
# The Story of the Other Wise Man

A short story giving the fictitious account of the travels of an alternate Magi to witness the birth of Jesus. It was later turned into a film starring Martin Sheen.
Layout 2
I saw him moving among the throngs of men in populous Egypt.
The Story of THE OTHER WISE MAN
By HENRY VAN DYKE Author of “The Mansion” “The Lost Boy’’ “The Child Christ in Art” Etc.
With Many Drawings in Color and Line by J. R. FLANAGAN
Harper & Brothers Publishers New York and London
The Story of the Other Wise Man
Copyright, 1895, 1899, 1907, 1920, by Harper & Brothers Printed in the United States of America Published May, 1920
E-U
CONTENTS :
| Page ||
| Preface | xi |
| The Sign in the Sky | 3 |
| By the Waters of Babylon | 27 |
| For the Sake of a Little Child | 43 |
| In the Hidden Way of Sorrow | 57 |
| A Pearl of Great Price | 65 |
ILLUSTRATIONS :
| I saw him moving among the throngs of men in populous Egypt | Frontispiece |
| “Hear me, then, my father and my friends, while I tell you of the new light and truth” | Facing p. 10 |
| The dim starlight revealed the form of a man lying across the road | Facing p.” 32 |
| “I am all alone in this place, and I am waiting to give this jewel to the prudent captain who will leave me in peace” | Facing p.” 52 |
| “The King whom you are seeking is not to be found in a palace, nor among the rich and powerful” | Facing p.” 58 |
| In all this populous and intricate world of anguish, though he found none to worship, he found many to help | Facing p.” 60 |
| “Pilate has sent him to the cross because he said that he was the ‘King of the Jews’” | Facing p.” 66 |
| As she bent over him, fearing that he was dead, there came a voice through the twilight, very small and still, like music sounding from a distance | Facing p.” 70 |
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 Story of the Robins

THE
STORY OF THE ROBINS.
DESIGNED TO TEACH CHILDREN
The Proper Treatment of Animals.
BY
MRS. TRIMMER
With Coloured Illustrations.
LONDON:
FREDERICK WARNE AND CO.,
BEDFORD STREET, STRAND.
NEW YORK: SCRIBNER, WELFORD, AND ARMSTRONG.
LONDON:
PRINTED BY J. AND W. RIDKE,
BARTHOLMEW CLOSE.
PREFACE.
For more than eighty years the "Story of the Robins" has delighted the children of Great Britain. It is now offered to them, for the first time, with illustrations printed in colours, which it is hoped, will add an additional charm to a book so long and deservedly popular with the young.
August, 1873.
CONTENTS.
Harriet and Frederick viewing the Robins' Nest.
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
# The Roman Index of Forbidden Books (Betten)/Section I/Chapter 9

9. The Spirit of the Examiners.
As to the spirit that should actuate the examiners of publications, some further rules are laid down by Benedict XIV in the Bull "Sollicita ac provida" which are very instructive.
"Ipsos . . . monemus ac vehementer hortamur ut in examine iudicioque ​όlibrorum sequentes regulas diligenter inspiciant accurateque custodiant." "We wish to admonish and exhort them most urgently to study carefully and observe accurately the following rules for examining and judging books:
I. Let them not imagine that it is their duty to use every means to bring about the condemnation of the books submitted to them. They ought rather to study such books conscientiously, without passion or anxiety (sedato animo), in order to furnish such well-found observations, such objective reasons, as will enable the Congregation to pass a just verdict.
2. Should a consultor find that he is not competent to judge a book which he is asked to examine, let him know that he will not be free from guilt, either before God or man, unless he at once confesses his incompetence. Far from damaging his reputation with the pope or the cardinals, such an avowal will rather gain their esteem and praise for his straghtforwardness and honesty.
3. Let them set aside absolutely all ​prejudice in favor of nation, family, school or order; let them relinquish all party spirit, and keep before their minds the undoubted doctrine of the Church, as laid down in the decrees of the councils, in papal documents, etc., knowing that there are opinions that, while they seem certain to one nation, school, or order, are, with the knowledge of the Holy See, opposed by others; the Holy See leaving all these opinions in their degree of probability.
4. It must also be borne in mind that it is impossible to judge fairly the meaning of a passage, unless the entire book is studied, and unless the various statements found in different sections are compared with one another, and the whole purpose of the book is steadily kept in view.
5. If an author who enjoys the reputation of sound theological learning, has used expressions which might be understood in a wrong as well as in a right meaning, fairness demands that they be, as far as possible, interpreted in his favor.
These and similar rules . . . must be kept before the minds of the consultors, ​in order that they may have due regard for their own conscience, the good name of authors, the interests of the Church, and the welfare of souls."
# The Romance of Isabel, Lady Burton/Book 1

BOOK I
WAITING
(1831—1861)
I have known love and yearning from the years Since mother-milk I drank, nor e'er was free.
Alf Laylah wa Laylah
(Burton's "Arabian Nights").
* CHAPTER I: BIRTH AND LINEAGE
* CHAPTER II: MY CHILDHOOD AND YOUTH
* CHAPTER III: MY FIRST SEASON
* CHAPTER IV: BOULOGNE : I MEET MY DESTINY
* CHAPTER V: FOUR YEARS OF HOPE DEFERRED
* CHAPTER VI: RICHARD LOVES ME
* CHAPTER VII: MY CONTINENTAL TOUR: ITALY
* CHAPTER VIII: MY CONTINENTAL TOUR: SWITZERLAND
* CHAPTER IX: THEY MEET AGAIN
* CHAPTER X: AT LAST
# The Roman Index of Forbidden Books (Betten)/Section II/Chapter 1

SECTION II
A SUMMARY OF THE INDEX
1. Our Duties in Relation to Forbidden Books.
Rule 1. We are not allowed to read any forbidden publication.
Father Génicot, S.J., a reliable and moderate theologian, says: "Were one to read only a few lines which he sees contain doctrine directly opposed to faith or good morals" (and, it must be understood, in a manner highly dangerous to the average reader), "he would sin grievously. But when nothing so extraordinarily harmful occurs, good moralists hold that as much as six pages may be read without mortal sin." He also quotes the opinion of F. Vermeersch, a very good authority, that when a book becomes dangerous only through a long perusal of it, quite a ​considerable portion must be read to incur grievous guilt, and that the reading even of a great portion of a condemned book may be excused from mortal sin, as long as the part read is not injurious in itself and does not tempt one to read further.
As to forbidden newspapers, it would of course be a mortal sin to become a subscriber to them or to indulge in reading such sections as are especially dangerous, though each of them may not be very long. Minor offenses would be venial sins.
Rule 2. No one, whether he be the owner or not, is allowed to keep a forbidden book. He must either destroy it or give or sell it to some one who has permission or he must obtain permission for himself.
Rule 3. It is not lawful for a Catholic publisher or printer to issue or print, or reprint forbidden books. Nor may a bookseller keep such books in stock, unless he has obtained leave to do so; and he may sell them only to those whom he can reasonably presume to have permission for their perusal.
# The Romance of Certain Old Clothes

* "The Romance of Certain Old Clothes" in The Atlantic Monthly 21 (124) (February 186): 209–220.
    — First publication in any form.
* "The Romance of Certain Old Clothes" in A Passionate Pilgrim and Other Tales (Boston: James R. Osgood & Co., 1875): 327–362.
    — First American book edition; revised for publication by James.
* "The Romance of Certain Old Clothes" in Stories Revived (3 volumes, London: Macmillan & Co., 1885) 3: 179–208. (transcription project)
    — First English book edition; again revised for publication by James; this is the last authoritative revision.
* "The Romance of Certain Old Clothes" in Stories Revived (2 volumes, London: Macmillan & Co., 1885) 2: 311–340.
    — Reprint of first English book edition.
* "The Romance of Certain Old Clothes" in The Last of the Valerii, Master Eustace, The Romance of Certain Old Clothes, and Other Tales (London: Macmillan & Co., 1923): 85–109.
    — Volume 26 of The Novels and Stories of Henry James, the first posthumous collection of James' works; uses the Stories Revived book text.
# The Poems of Henry Kendall/Alfred Tennyson

Sydney: Angus & Robertson Ltd., page 124
XII
ALFRED TENNYSON
The silvery dimness of a happy dream I've known of late. Methought where Byron moans, Like some wild gulf in melancholy zones, I passed tear-blinded. Once a lurid gleam Of stormy sunset loitered on the sea, While, travelling troubled like a straitened stream, The voice of Shelley died away from me. Still sore at heart, I reached a lake-lit lea. And then the green-mossed glades with many a grove, Where lies the calm which Wordsworth used to love, And, lastly, Locksley Hall, from whence did rise A haunting song that blew and breathed and blew With rare delights. 'Twas there I woke and knew The sumptuous comfort left in drowsy eyes.
# The Poems of Henry Kendall/Araluen (1)

Sydney: Angus & Robertson Ltd., pages 79–80
ARALUEN
River, myrtle rimmed, and set Deep amongst unfooted dells— Daughter of grey hills of wet, Born by mossed and yellow wells;
Now that soft September lays Tender hands on thee and thine, Let me think of blue-eyed days, Star-like flowers and leaves of shine!
Cities soil the life with rust; Water banks are cool and sweet; River, tired of noise and dust, Here I come to rest my feet.
Now the month from shade to sun Fleets and sings supremest songs, Now the wilful wood-winds run Through the tangled cedar throngs.
Here are cushioned tufts and turns Where the sumptuous noontide lies: Here are seen by flags and ferns Summer's large, luxurious eyes.
On this spot wan Winter casts Eyes of ruth, and spares its green From his bitter sea-nursed blasts, Spears of rain and hailstones keen.
Rather here abideth Spring, Lady of a lovely land, Dear to leaf and fluttering wing, Deep in blooms—by breezes fanned.
Faithful friend beyond the main, Friend that time nor change makes cold; Now, like ghosts, return again Pallid, perished days of old.
​Ah, the days!—the old, old theme, Never stale, but never new, Floating like a pleasant dream, Back to me and back to you.
Since we rested on these slopes Seasons fierce have beaten down Ardent loves and blossoming hopes— Loves that lift and hopes that crown.
But, believe me, still mine eyes Often fill with light that springs From divinity, which lies Ever at the heart of things.
Solace do I sometimes find Where you used to hear with me Songs of stream and forest wind, Tones of wave and harp-like tree.
Araluen—home of dreams, Fairer for its flowerful glade Than the face of Persian streams Or the slopes of Syrian shade;
Why should I still love it so, Friend and brother far away? Ask the winds that come and go, What hath brought me here to-day.
Evermore of you I think, When the leaves begin to fall, Where our river breaks its brink, And a rest is over all.
Evermore in quiet lands, Friend of mine beyond the sea, Memory comes with cunning hands, Stays, and paints your face for me.
# The Poems of Henry Kendall/By the Sea

Sydney: Angus & Robertson Ltd., page 113
BY THE SEA
The caves of the sea have been troubled to-day With the water which whitens, and widens, and fills; And a boat with our brother was driven away By a wind that came down from the tops of the hills. Behold I have seen on the threshold again A face in a dazzle of hair! Do you know that she watches the rain, and the main, And the waves which are moaning there? Ah, moaning and moaning there!
Now turn from your casements, and fasten your doors, And cover your faces, and pray, if you can; There are wails in the wind, there are sighs on the shores, And alas, for the fate of a storm-beaten man! Oh, dark falls the night on the rain-rutted verge, So sad with the sound of the foam! Oh, wild is the sweep and the swirl of the surge; And his boat may never come home! Ah, never and never come home!
# The Poems of Henry Kendall/Campaspe

Sydney: Angus & Robertson Ltd., pages 84–85
CAMPASPE
Turn from the ways of this Woman! Campaspe we call her by name— She is fairer than flowers of the fire—she is brighter than brightness of flame. As a song that strikes swift to the heart with the beat of the blood of the South, And a light and a leap and a smart, is the play of her perilous mouth. ​Her eyes are as splendours that break in the rain at the set of the sun, But turn from the steps of Campaspe—a Woman to look at and shun!
Dost thou know of the cunning of Beauty? Take heed to thyself and beware Of the trap in the droop in the raiment—the snare in the folds of the hair! She is fulgent in flashes of pearl, the breeze with her breathing is sweet, But fly from the face of the girl—there is death in the fall of her feet! Is she maiden or marvel of marble? Oh, rather a tigress at wait To pounce on thy soul for her pastime—a leopard for love or for hate.
Woman of shadow and furnace! She biteth her lips to restrain Speech that springs out when she sleepeth, by the stirs and the starts of her pain. As music half-shapen of sorrow, with its wants and its infinite wail, Is the voice of Campaspe, the beauty at bay with her passion dead-pale. Go out from the courts of her loving, nor tempt the fierce dance of desire Where thy life would be shrivelled like stubble in the stress and the fervour of fire!
I know of one, gentle as moonlight—she is sad as the shine of the moon, But touching the ways of her eyes are: she comes to my soul like a tune— Like a tune that is filled with faint voices of the loved and the lost and the lone, Doth this stranger abide with my silence: like a tune with a tremulous tone. The leopard, we call her, Campaspe! I pluck at a rose and I stir To think of this sweet-hearted maiden—what name is too tender for her?
# The Poems of Henry Kendall/At Euroma

Sydney: Angus & Robertson Ltd., page 81
AT EUROMA
They built his mound of the rough, red ground, By the dip of a desert dell, Where all things sweet are killed by the heat, And scattered o'er flat and fell; In a burning zone they left him alone, Past the uttermost western plain, And the nightfall dim heard his funeral hymn In the voices of wind and rain.
The songs austere of the forests drear, And the echoes of clift and cave, When the dark is keen where the storm hath been, Fleet over the far-away grave, And through the days when the torrid rays Strike down on a coppery gloom, Some spirit grieves in the perished leaves, Whose theme is that desolate tomb.
No human foot or paw of brute Halts now where the stranger sleeps; But cloud and star his fellows are, And the rain that sobs and weeps. The dingo yells by the far iron fells, The plover is loud in the range, But they never come near to the slumberer here, Whose rest is a rest without change.
Ah! in his life, had he mother or wife, To wait for his step on the floor? Did beauty wax dim while watching for him Who passed through the threshold no more? Doth it trouble his head? He is one with the dead; He lies by the alien streams; And sweeter than sleep is death that is deep And unvexed by the lordship of dreams.