OpenLLM-France/wikimedia huggingface dataset:
# Men-at-the-Bar/Wimberley, Reginald Justus

​Wimberley, Reginald Justus, district magistrate Andaman Islands, a student of the Inner Temple 3 May, 1869 (then aged 29), called to the bar 17 Nov., 1877 (3rd surviving son of late Rev. Charles Wimberley, rector of Scole, Norfolk); born , 1840.
    Care of 8, Durham Villas, Kensington, W.; Andaman Islands.
# Men-at-the-Bar/Winch, Henry

​Winch, Henry, a member of the South-eastern circuit, a student of the Middle Temple 18 Jan., 1870, called to the bar 18 Nov., 1872 (2nd son of Edward Winch, of Chatham, Kent, brewer); born ,
    100, Buckingham Palace Road, S.W.; 6, King's Bench Walk, Temple, E.C.
# Men-at-the-Bar/Wilson, Roland Knyvet

​Wilson, Sir Roland Knyvet, Bart., LL.M., Queen's Coll., Camb., 1875, M.A 1866, from Eton, joint editor of Bar Examination Journal, reader in Indian law at Camb. since 1879, examiner in historical tripos Camb. 1880–2, examiner in jurisprudence, Roman law, and international and constitutional law and history to Inns of Court since 1881, joint examiner in 1884, author of History of Modern English Law, a student of Lincoln's Inn 27 Jan., 1864 (then aged 23), called to the bar 11 June, 1867 (2nd son of George Knyvet Wilson, capt. R.N.); born 27 Aug., 1840; married 27 Dec., 1873, Christiana Whiting, youngest dau. of late Richard Phillips, Esq., F.R.S. (see Foster's Baronetage).
    Cambridge.
# Men-at-the-Bar/Wilson, William Henry Charles

​Wilson, William Henry Charles, matric. London Univ. 1871 from Westminster School, a student of the Middle Temple 2 Nov., 1871, called to the bar 6 June, 1874 (2nd son of late Edward Thomas Wilson, of the Middle Temple, bar.-at-law); born 29 July, 1852; married 27 April, 1877, Ada Caroline, only dau. of late C. J. Corbett, Esq., of Imber Court, Thames Ditton, and Woodgate, Dane Hill, Sussex.
    23, Ladbrook Square, W.; 6, Pump Court, Temple E.C.
# Men-at-the-Bar/Windsor, Edward

​Windsor, Edward, practises before the supreme court of New South Wales, a student of the Middle Temple 23 April, 1836, called to the bar 22 Nov., 1839 (2nd son of Richard Vaughan Windsor, of London, gent.); born , .
    Sydney, New South Wales.
# Men-at-the-Bar/Wilson, Wolstenholme Murray Owen

​Wilson, Wolstenholme Murray Owen, B.A., LL.B., St John's Coll., Camb., 1880, a student of the Inner Temple 16 Nov. 1877 (then aged 20), called to the bar 17 Nov., 1882 (3rd son of late John Wilson, of Preston, co. Lanc.); born , 1857.
    Balham Park Road, S.W.
# Men-at-the-Bar/Wilson-FitzGerald, William Henry

​Wilson-FitzGerald, William Henry, B.A., Univ. Coll., Oxon, 1866, from Rugby, J.P. co. Clare, sheriff 1882, went the Midland circuit, assumed the additional surname of FitzGerald by royal licence , 1872, a student of the Inner Temple 22 April, 1865 (then aged 21), called to the bar 7 June, 1869 (2nd son of Richard Basset Wilson, Esq., of Cliffe Hall, Yorkshire); born 22 April, 1844 (see Foster's Our Noble and Gentle Families).
    Adelphi, Corofin, co. Clare; New University and Kildare Street (Dublin) Clubs.
# Men-at-the-Bar/Winchester, Charles Blake

​Winchester, Charles Blake, assistant collector and magistrate Bombay, a student of Lincoln's Inn 11 June, 1870 (then aged 18), called to the bar 30 April, 1873 (eldest son of Charles Alexander Winchester, late H.B.M.'s consul Shanghai); born , 1852.
    Ahmednagar, Bombay.
# Modern Czech Poetry/Pasquino on the death of Pope Hadrian VI.

[22] [23]
4. PASQUINO NA SMRT PAPEŽE HADRIANA VI.
Hadrian mrtev? Jehlou probodněte hned srdce jeho — ať je mrtev zjista. A že je mrtev, dvakrát, třikrát rcete, ať možno věřit, že to pravda čistá.
Hadrian mrtev! Kdo jsi ducha ctného, vstaň, jdi, kam sborem Řím se valí celý, před dům, kde bydlí lékař zesnulého, hold vzdáti vlasti osvoboditeli!
„Pohanské Plameny“ (1911).
PASQUINO ON THE DEATH OF POPE HADRIAN VI.
Hadrian dead? Then thrust a bodkin straight Into his heart, that he be dead in sooth; And on the tidings twice or thrice dilate, To fix belief that it is sober truth.
Hadrian dead! Rise, honest souls, and go Where Rome all throngs in one united band, To his physician's dwelling, to bestow Homage on him who freed his native land.
“The Pagan Flames” (1911).
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 1970, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 53 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
# Modern Czech Poetry/Pastel. (To Julius Zeyer)

[70] [71]
12. PASTEL. (JULIU ZEYEROVI).
Rád ulice mám, místo dlouhé řady pochmurných domů, v nichž se táhnou sady, zdi kryté břečťanem, kam oko stačí. Jak ticho tam, jen zřídka kdosi kráčí, krok jeho dutě zní; mám rád je z jara, kdy zdá se, mládím zeď že jihne stará, kdy první lístky kmitou tísní stromků, kdy sýkorka se ozve ve svém domku, na bílé bříze, kdy i hlína voní, a staré topoly jak v dumě kloní se k oknům paláců a jaro tuší.
12. PASTEL (TO JULIUS ZEYER).
I love the roads that have not at their edges Dark houses, but are fringed with garden-hedges. Walls ivy-clad on all sides greet the eye: So peaceful 'tis, and rare the passer-by, His tread rings hollow; spring-tide best of all, — Meseems, youth pulses in the ageing wall: When in the throng of trees the leaves first glitter, When in his home the titmouse starts to twitter, On the white birches, 'mid the clod-born scent, And ancient poplars pondering are bent To palace-casements, with spring's advent filled;
[72] [73]
Sám chodívám tu a v mé snící duši jest jaro též. Dnes, poledne se smálo, se stíny větví slunce po zdích hrálo, jdu tudy — kroků hlas, má skráň se zvedá; mně jeptiška vstříc kráčí, sestra šedá; dva hyacinty kvetoucí se nese, květ plápolavý na jednom se třese a druhý jako měsíční svit bílý; a posud zřím, jak jeptišky tvář chýlí se nad květ, jak plaše zrak se kloní.
A fialky ze starých zahrad voní.
„Co život dal“ (1883).
Alone I rove, my dreaming soul is thrilled With spring. Today a smiling noon-tide beamed. Upon bough-shaded walls the sunshine streamed: I wander, — steps resound. I lift my gaze; A nun, grey sister, on my pathway strays: Two blossoming hyacinths she bears with her, On one a blazing blossom is astir: The second doth a moon-white lustre shed: And still I gaze, how the nun droops her head Upon the flower; her timid eyes are bent.
Violets from old-time gardens scatter scent.
“What life gave” (1883).
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 1970, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 53 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
# Modern Czech Poetry/Pity

* related portals: Czech literature.
* sister projects: Wikidata item.
[78] [79]
15. SOUCIT.
Děl Satan Kristu v chvíli pokušení:
„Jen boží svět se v jeden hřbitov mění, krev tryská z ran a teče na bojišti, kam pohlédnu, v očích se slzy blyští, smrt řádí berouc otce, bratry, matky, rve vichr koráby a trhá chatky, rve oheň, kdy chce, dílo lidské ruky, země chvěje se . . . Kdo vypočte vše muky, jimž v plen dán člověk s obrovskou svou prací? On staví stále a kdos stále kácí, on žíti chce a kdos jej v taji rdousí, tam jed se slívá, tam se dýka brousí, tam z bezdna záhubné se valí páry. Má člověk z všeho nemoc, zhoubu, zmary, víc Bůh mu nedal“. Zvedna vlídné zraky, děl Kristus tiše: Soucit dal mu taky!
„Bodláčí z Parnasu“ (1892).
15. PITY.
To Christ in his temptation Satan said:
"God's world is made a dwelling of the dead. Blood flows from wounds, on battle-fields it lies, Where'er I gaze, are tear-besprinkled eyes. Sires, brethren, mothers, Death in his frenzy hales, Ships are destroyed, huts dragged away by gales. Fire mars the work of man, if so it wills. Earth trembles . . . Who shall count the tale of ills That upon man and his great labour prey? He builds, and someone plucks it all away. He yearns to live, and chokes in someone's snare. Here poison flows, — a blade is whetted there. There, from the pit of havoc, vapours drift; Sickness, destruction, ruin, are man's gift. God gave naught else." Christ's upturned eyes were grave: Softly he murmured: "Pity, too, he gave."
“Thorns from Parnassus” (1892).
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 1970, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 53 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
# Modern Czech Poetry/Quis ut deus?

[70] [71]
11. QUIS UT DEUS?
Ve starém chrámě, okny gotickými kam poslední se kradly slunce blesky, ve prachu sloupech kadidla jak dýmy jež vznášely se, oprýskané fresky jsem prohlížel a zachvěla mnou bázeň. Ó zjevení! V plamenů děsnou lázeň se kácel dav sta hlav a berly, mitra a kříže, koruny a meče, žezla, a velký Anděl jako úsměv jitra stál nad tou směsí, jež se v požár svezla, tvář jeho byla slunce na blankytu a „Quis ut Deus“ nesl na svém štítu napsáno blesky, vítězný byl, děsný. V tom se strany, kde mhy a kouře běsný  se valil vír, Smrt přiskočila k němu a ze zadu, by neviděl to, chvatem za slovem Deus „Ego“ psala hnátem a chechtala se při tom vtipu svému.
„Sfinx“ (1883).
11. QUIS UT DEUS?
In the old church, thro' Gothic windows drifting, Stealthily crept the sun's departing rays; Incense its misty pillars was uplifting In drifts of vapour; as I turned my gaze On crumbling frescoes, fear upon me came; What visions! In a dreadful bath of flame A hundred heads, and mitres, rods were borne, With crosses, crowns, and swords and maces pent. A mighty Angel, like the smile of morn, Stood o'er the throng, that with the fire was blent. His countenance, the sun in heaven's field. And "quis ut deus" he upon his shield In flashes bore: dire, conquering was he. Then from the side, where surged on frenziedly Eddies of mist and smoke, Death to him pressed, And from behind, to be unseen, in haste To the word "deus" with a bone he traced "Ego", and fell to tittering at his jest.
“Sphinx” (1883).
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 1970, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 53 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
# Modern Czech Poetry/October sonnet

[18] [19]
2. SONET ŘÍJNOVÝ.
Už jenom rozteskněná elegie z té země vlá zpod šlojířových par… Uvadlá kráska ve všech koutech kryje uvadlé květy, památky svých jar.
A přec ta touha: dál se líbit—žije v ní ještě; dosud neschlad nitra žár, pestré si šerpy kolem těla vije a do vlasů si sází aster pár;
2. OCTOBER SONNET.
Only an anguished melody still flows From earth where hazes cast a veiling net… In every nook the faded beauty stows Her faded blooms, lest springtide she forget.
But the desire, still more to gladden, glows Within; unchilled her inmost ardour yet, And gaudy sashes round her waist she throws And asters in her tresses she has set;
[20] [21]
a smát se chce, jak smávala se kdysi — však ve vráskách jí tuhne tento smích a už z nich jenom soucit, soucit žádá…
A ona vše to tuší as a hádá: Sta slz vždy z rána po šatu jí visí v probdělé teskné noci prolitých.
„Čtyři knihy sonetů“ (1890—1892).
And she would laugh, as she has laughed of old — But 'mid her wrinkles laughter numbly fled And from them only pity, pity cries…
Divining, this perchance she can surmise: Each morn a hundred tears her garb enfold, That in her sleepless, anguished night are shed.
“Four books of sonnets” (1890—1892).
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 1970, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 53 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
# Modern Czech Poetry/Promenade

[34] [35]
3. PROCHÁZKOU.
Z obory, listí kde ztlívá, měkce by ulehla laň, řežábů řada v kraj splývá přes dlouhou, mlhavou pláň.
Přes dlouhé mlhavé pláně u blízkých žlutavých vod, na každé aleji straně spadává řežábů plod.
S rozpiaté zdá se že šňůry, jíž zdoben podzimku háv, padají korále shůry do svadlých stvolů a trav.
Nechť padá snů mých též příval, byť jen jak uvadlý list! Jaké jsem jaro kdys míval, ze spadlých snů dnes chci číst.
„Květy intimních nálad“ (1891).
3. PROMENADE.
In the coppice, where leaves are decaying, The hind would gently repose; On the country-side, ash-trees are swaying O'er the long, dim meadow in rows.
O'er the meadow with long, dim hedges, Where the yellowish waters plash, There falls on the avenue's edges The fruit of the mountain-ash.
'Tis as though the autumn divided The girdle that decked her with gems, And earthward the corals glided On the faded grasses and stems.
Let fall, too, the flood of my dreaming, Though 'tis but as a leaf that is dead! What once as my spring I was deeming, I would cull now from dreams that are shed.
“Blossoms of Intimate Moods” (1891).
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 1970, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 53 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
# Modern Czech Poetry/Morning

* related portals: Czech literature.
* sister projects: Wikidata item.
[72] [73]
13. JITRO.
Svou slávu rozvlinilo letní jitro, na klasu nádheru a v smaragd luk, co perlí mělo, vsypalo v hnizd nitro, co tonů, vtkalo v ptačích písní zvuk.
Strom každý pohnul hlavou těžkou plody, byl jeden úsměv azur nesměrný, a velké šídlo zčeřilo klín vody, a v květech motýl mih' se nádherný.
Kraj odhrnoval clonu bílé páry jak z lázně dívka stoupající vlas, oblouky v zlatě stopené most starý se nad ručejem jako duha třás'.
Šel sekáč polem na rameni s kosou, šel pasák zpívaje si za stádem, šla dívka s loktuší a nohou bosou, jen perly stírala, kde šlápla v zem.
13. MORNING.
The summer morn its glory lavished o'er The cornfields' pomp, the emerald of plains, It let its pearls amid the nests outpour, Its notes it wove amid the birds' refrains.
Each tree has stirred its fruit-o'erladen crest, One boundless smile lay o'er the azure sky, A mighty insect creased the water's breast, 'Mid blossoms gleamed a gorgeous butterfly.
The land its veil of shimmering mist uprolled, As coils a maid her hair when she has bathed; The ancient bridge with arches steeped in gold, Quivered above the toirent, rainbow-swathed.
The reaper fieldward with his sickle stalked, The herdsman strode behind the flock with song; The maid, barefooted, with the seed-cloth walked, Wiping the pearls where'er she passed along.
[74] [75]
V tu něhu, sílu, lesk, v to opojení, v ten azur, nach, vln, klasů jiskření jak temný rachot vpadlo bubnů znění, zdě, šiky vojska, táhly k cvičení.
Zem, dříve píšeň, teď se temně chvěla, do trávy motýl, pták zapadnul v keř, a hromem děla v tiši zahučela, a čistý azur skalil dýmu šeř.
A já se vracel, hořkost v duši, domů. Zde, všecko kde je blankyt, úsměv, květ, kde velký mír s obrovských padá stromů, se člověk učí — jak má zabíjet!
„Dědictví Tantalovo“ (1881).
Amid this grace, this sheen, this mighty spell, This azure, purple, waves and corn agleam, The drum-roll with a dismal clatter fell, Where on parade the troops of warriors stream.
The earth, ere song-like, now in darkness quailed, The moth to grass, the bird to cover fled. The calm was by the thundering guns assailed, The azure was with smoky dusk o'erspread.
And with embittered soul I homeward passed: Yonder, where all is azure, mirth and bloom, Where to the trees a mighty calm clings fast, — There man is learning how to mete out doom.
“The heritage of Tantalus” (1881).
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 1970, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 53 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
# Modern Czech Poetry/On the hill-side

This poem was reprinted from the Anthology of Modern Slavonic Literature in Prose and Verse (1919), see On the Hill-Side.
[34] [35]
4. U STRŽE.
Tu místo nejmilejší lehnout v trávu, a v strnulosti plaché přimknout zraky, nemyslit na nic, netoužit, jen hlavu v podušku trávy vtisknout … Jako vraky rozlité obláčky se ponořují za hory hřbet … A vše tě tady hýčká,
4. ON THE HILL-SIDE.
Here is the sweetest grass-plot for a bed, In softest lethargy to close the eyes, On naught to brood, nor yearn, but let the head Droop in the grassy couch … Like wreckage flies A huddled clot of clouds, that yonder soar Behind the mountain's ridge .… All lulls thee here,
[36] [37]
bzuk hmyzu, trávy, trsů, jež se vzdují, let líných motýlů … Přes tvoje víčka blesk jako z vod se nyní přehoup' jasně. Klid neznámý to u tvé hlavy stojí. Ty cítíš, jak se mrtvým dříme krásně, neb země též má kolébavku svoji!
„Z mého kraje“ (1893).
Insects adrone, grass, plant-stems bending o'er, The flight of sluggish moths … To thee appear Gleams as from waters, with a radiant leap. And by thy head there stands a calm unknown. Thou feel'st 'tis wondrous with the dead to sleep, For Earth has cradle-ditties of her own!
“From My Country” (1893).
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 1970, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 53 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
# Modern Czech Poetry/Once again shall we return…

[38] [39]
6. JEŠTĚ JEDNOU SE VRÁTÍME …
„Ještě jednou se vrátíme“ (1900).
6. ONCE AGAIN SHALL WE RETURN …
“Once again shall we return” (1900).
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 1970, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 53 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
# Modern Czech Poetry/Preface

PREFACE.
The general arrangement of this book is uniform with that of my "Modern Russian Poetry", and here, as there, an endeavour has been made to reconcile linguistic and literary interests. I should like to emphasise this, because the publication of the original texts might lead to the erroneous idea that this was intended mainly as a philological work.
As regards the choice of authors, Březina, Machar, Sova and Vrchlický (perhaps also Bezruč), by their undisputed position in Czech literature, claimed an immediate precedence. I was then left with the familiar problem of little space and much material, and as a result I regretfully had to omit a number of poets whom I should have included in a larger collection. In choosing the single items, I aimed at as wide a variety as possible. Thus, where the work of the poets concerned covers a long period, I have taken examples which indicate something of their artistic development. Critics who are familiar with the material will understand that, for obvious reasons, this process could be carried out only in an imperfect manner. For example, Vrchlický's work covers so wide an area, that I have not even attempted to deal with its later phases. But even in that exceptional instance, I followed my principle as far as I went, and I think that this method will be an advantage to readers who seek literary information.
A few translations are reprinted from my "Anthology of Modern Slavonic Literature"; these are marked with an asterisk.
For several years a large amout of material for my work has been made accessible to me through the generosity of Czech authors and publishers. In this respect, I should here like to ​mention with gratitude the names of Dr. Jaromír Borecký, Fr. Borový, Antonín Klášterský, J. S. Machar, Dr. Arne Novák, J. Otto, Fr. S. Procházka, Antonín Sova, F. Šimáček, Karel Toman and L. N. Zvěřina. Finally I have to thank Josef Baudiš, Mr. Aleš Brož and Dr. Vilém Forster for valuable help in matters of interpretation.P. SELVER.
LONDON, DECEMBER 1919.
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 1970, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 53 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
# Modern Russian Poetry/Valery Brusov

Valery Brusov
(Born 1873)
Brusov's biography coincides with his bibliography. He has filled his life with the labors of a curious-minded poet and a sensitive erudite. In 1913, at the age of forty, he began publishing the complete edition of his works in twenty-five volumes. In addition to poetry, original and translated, it includes two novels, tales, dramas, and critical work. His tales and dramas have a timeless, abstract quality, a curious combination of the Wellsian and the Poe-esque. His two large novels are marvelous studies in the archæaeology of the soul, restoring as they do the psyche of the Roman decadence and of Germany's dying Middle Ages.
Before he came of age he fell under the spell of the French symbolists and his argosy began by sailing under their colors. His European years sharpened these sympathies. He tried to transplant the French vers libre into Russian soil, and among other things, an anthology of French lyrics of the nineteenth century bears witness to his Gallic apprenticeship. Indeed, he achieved a leading place among the Russian symbolists, becoming an editor of their Moscow organ (Vesy: The Balance). Yet although he adopted all the manners and mannerisms of the neo-romantic reaction, such as aversion to reality, violent eroticism and extreme individualism, by temperament Brusov is more of a Parnassian. His later work shows a gravitation toward a soberer and more objective conception of art. His craftsmanship is careful and conscious, whether he wanders down the ages, dedicating a line to every god, or traces the pattern of his own moods, or, like his master Verhaeren, finds a rhythm for the voices of the city. According to Gautier's precept, he works "dans le bloc résistant." He has an eye for imagery and an ear trained to complex orchestration.
The revolution has not exiled Brusov, and he is laboring to preserve the continuity of Russia's culture. In a literary capacity he holds an important Government post.