OpenLLM-France/wikimedia huggingface dataset:
# A First Series of Hymns and Songs/Descriptive Songs/The Nightingale

49. The Nightingale.
Sweet bird, enchantress of the earth,
Born in the world's young prime,
The only bird of Eden birth
Left to this latter time.
Why on the joyous sunny day
Thy golden notes expend?
To lonely night belongs thy lay;
Save thee she has no friend.
The day, it has a thousand songs,
Of leaflet, bird, and bee;
The merry bell to the day belongs,— The night, it has but thee.
Then for sad solitary night
Reserve thy downy lay;
And she to thee, for this delight,
Full many thanks will pay.
List'ning all still, o'er vale and hill,
While from some copsewood tree
Thou with charm'd trill the air dost fill,
Blending all things in thee.
# A First Series of Hymns and Songs/Descriptive Songs/The Mouse's Petition

21. The Mouse's Petition.
Oh, hear a trembling pris'ner's prayer,
For liberty that sighs;
And never let thine heart be shut
Against the suffrer's cries;
For here forlorn and sad I sit,
Within this wiry grate,
And tremble at th' approach of morn,
Which brings impending fate.
If e'er thy breast with freedom glow'd,
And spurn'd the oppressor's chain,
Oh, do not then with tyrant force
A free-born mouse detain; ​Oh, do not stain with guiltless blood
Thy hospitable hearth,
Nor triumph that thy wiles betray'd
A prize so little worth.
The scatter'd gleanings of a feast
My little meals supply;
But if thine unrelenting heart
That slender boon deny,
The cheerful light, the vital air,
Are blessings widely giv'n;
Let Nature's children all enjoy
The common gifts of Heav'n.
The tender sympathising heart
To all compassion gives,
Casts round the world its glance of love,
And feels for all that lives.
Then hear a trembling pris'ner's prayer,
For liberty that sighs;
And never let thine heart be shut
Against the suff'rer's cries.
# A First Series of Hymns and Songs/Descriptive Songs/The Sea-side

28. The Sea-side.
When in my sweet childhood that's gone
I stood by the side of the main,
At ev'ry new wave that roll'd on,
I wonder'd and wonder'd again;
As I gather'd the shells on its shore,
As I gaz'd on the vessels at sea,
The mystery grew more and more,
And could not interpreted be.
The thoughts which my childhood beguil'd
Were an emblem, I well perceive how;
As I thought of the sea when a child,
So I think of eternity now.
I stand by the side of its sea,
I gather the shells on its shore;
But its depths are mysterious to me
As the depths of the ocean of yore.
​Thus every new year that we live
Brings mysteries strange to descry,
And the best of all homage to give
Is to wonder on still till we die.
Then the sea from Its depth shall go fleeing,
All bare shall eternity be:
And those who now wonder not seeing,
Shall wonder the more when they see.
# A First Series of Hymns and Songs/Descriptive Songs/The Song of the Cormorant

27. The Song of the Cormorant.
Floating, flying, swimming ever,
On the restless sea dwell I;
Boatmen say, "There goes a diver;"
Landsmen, "'Tis a bird of prey."
CHORUS.
Where the deep blue glassy ocean,
Rippling, murmurs pleasantly,
Where it raves in wild commotion,
Calm or tempest, there am I.
Where the crab, with slant meand'ring,
Crawls o'er tangled weeds his way,
Or herring-shoals delight in wand'ring,
There it is I seek my prey.
Where the deep blue glassy, &c.
Nets and lines and tackle ready,
Sailing with the early dawn,
Boatmen see me skim the eddy,
And hail a brother fisherman.
Where the deep blue glassy, &c.
# A Hundred Verses from Old Japan/Poem 85

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85
SHUN-YE HŌSHI
Yomosugara Mono omou koro wa Ake yarade Neya no hima sae Tsurena kari keri.
THE PRIEST SHUN-YE
All through the never-ending night I lie awake and think; In vain I look to try and see The daybreak’s feeble blink Peep through the shutter’s chink.
This priest was the son of the author of verse No. 74. He describes in this poem a sleepless night, when he looks in vain to catch the first glimpse of daybreak through the joints of the sliding screens, that form the walls of a Japanese house. But in the picture, as will be noticed, one of the sliding screens is removed, in order to show the priest within.
# A Hundred Verses from Old Japan/Poem 83

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83
KWŌ-TAI-KŌGŪ NO TAIU TOSHI-NARI
Yo no naka yo Michi koso nakere Omoi iru Yama no oku ni mo Shika zo naku naru.
TOSHI-NARI, A SHINTO OFFICIAL IN ATTENDANCE ON THE EMPRESS DOWAGER
From pain and sorrow all around There ’s no escape, I fear; To mountain wilds should I retreat, There also I should hear The cry of hunted deer.
Toshi-nari was a celebrated poet and nobleman in the reign of the Emperor Gotoba. He, however, gave up his position at Court and entered the church in the year 1176. He was the father of the writers of verses Nos. 94 and 97, and died in the year 1204, at the age of ninety-one.
# A Hundred Verses from Old Japan/Poem 84

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84
FUJIWARA NO KIYOSUKE ASON
Nagaraeba Mata konogoro ya Shinobaremu Ushi to mishi yo zo Ima wa koishiki.
THE MINISTER KIYO-SUKE FUJIWARA
Time was when I despised my youth, As boyhood only can; What would I give for boyhood now, When finishing life’s span An old decrepid man!
Kiyo-suke was the son of the writer of verse No. 79, and lived in the latter part of the twelfth century.
# A Hundred Verses from Old Japan/Poem 87

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87
JAKU-REN HŌSHI
Murasame no Tsuyu mo mada hinu Maki no ha ni Kiri tachi-noboru Aki no yūgure.
THE PRIEST JAKU-REN
The rain, which fell from passing showers, Like drops of dew, still lies Upon the fir-tree needles, and The mists of evening rise Up to the autumn skies.
This verse is a good example of a picture verse, intended to call up the scene to one’s imagination. Jaku-ren was another of the great Fujiwara clan, and lived about the end of the twelfth century.
Murasame means ‘rain falling in showers, here and there’, and the illustration plainly shows it raining on one side of the house only.
# A Hundred Verses from Old Japan/Poem 88

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88
KWŌKA MON-IN NO BETTO
Naniwa e no Ashi no karine no Hito yo yue Mi wo tsukushite ya Koi wataru beki.
AN OFFICIAL OF THE DOWAGER EMPRESS KWŌKA
I’ve seen thee but a few short hours; As short, they seemed to me, As bamboo reeds at Naniwa; But tide-stakes in the sea Can’t gauge my love for thee.
This verse was written some time in the twelfth century; and Naniwa is the ancient name of Ōsaka.
There are several double meanings in this verse; lines 2 and 3 can mean either ‘one section of a reed cut off between the joints’, or ‘one night’s sleep as short as a reed’. In the fourth line also, miotsukushi means a tide-gauge, as explained in the note to verse No. 20, but the whole line, taken as printed, reads, ‘How can I be already tired of thee!’ The contrast here is between the length of only one section of a short reed and the long stake set up to measure the rise and fall of the tide.
The illustration seems to show the lady to whom the verse was addressed.
# A Hundred Verses from Old Japan/Poem 81

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81
GO TOKUDAI-JI SADAIJIN
Hototogisu Nakitsuru kata wo Nagamureba Tada ariake no Tsuki zo nokoreru.
THE MINISTER-OF-THE-LEFT OF THE TOKUDAI TEMPLE
The cuckoo’s echo dies away, And lo! the branch is bare; I only see the morning moon, Whose light is fading there Before the daylight’s glare.
The writer’s name was Sanesada Fujiwara, and he entered the priesthood in the year 1198. The cuckoo, according to Japanese tradition, cries through the night until its eyes become bloodshot. It is supposed to come from the Spirit-land across the mountains of Hades, about the end of the fifth month, to warn the farmer that it is time to sow his rice. In the illustration we see the morning moon setting behind the hills, and the cuckoo flying away.
# A Hundred Verses from Old Japan/Poem 86

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86
SAIGYŌ HŌSHI
Nageke tote Tsuki ya wa mono wo Omowasuru Kakochi-gao naru Waga namida kana.
THE PRIEST SAIGYŌ
O’ercome with pity for this world, My tears obscure my sight; I wonder, can it be the moon Whose melancholy light Has saddened me to-night?
Saigyō was a member of the Fujiwara family, an eccentric monk, and a famous poet, who lived A.D. 1115–1188. He was once in attendance on the Emperor, when a bird by fluttering its wings began scattering the blossoms of a plum tree. The Emperor directed him to drive off the bird, but the priest, with an excess of zeal, killed it by a stroke of his fan. On reaching home his wife told him that she had dreamt that she was changed into a bird and that he had struck her; and this incident made such an impression upon him, that he retired from Court, and spent the rest of his life in the church.
# A Hundred Verses from Old Japan/Poem 89

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89
SHIKISHI NAISHINNŌ
Tama no o yo Taenaba taene Nagaraeba Shinoburu koto no Yowari mo zo suru.
PRINCESS SHIKISHI
The ailments of advancing years Though I should try to hide, Some day the thread will break, the pearls Be scattered far and wide; Age cannot be defied.
The Princess was the daughter of the Emperor Goshirakawa, who reigned A.D. 1156–1158. In this short reign, however, the country suffered from a very severe earthquake and a devastating civil war.
The second line is a play upon the two verbs tae, which are both pronounced the same, but which are written with different ideographic characters. The first couplet, taken literally, reads, ‘If the string of pearls (i. e. my life) break, I must bear it.’
The illustration seems to show the Princess sitting down with a nobleman in attendance.
# A Hundred Verses from Old Japan/Poem 82

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82
DŌ-IN HŌSHI
Omoi-wabi Satemo inochi wa Aru mono wo Uki ni taenu wa Namida nari keri.
THE PRIEST DŌ-IN
How sad and gloomy is the world, This world of sin and woe! Ah! while I drift along Life’s stream, Tossed helpless to and fro, My tears will ever flow.
The Priest Dō-in was a member of the Fujiwara family. The date of this verse is not known, but it was probably written in the twelfth century. The illustration shows the priest alone in his hut, lamenting over the sorrows of humanity.
# A Hundred Verses from Old Japan/Poem 9

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ONO NO KOMACHI
Hana no iro wa Utsuri ni keri na Itazura ni Waga mi yo ni furu Nagame seshi ma ni.
KOMACHI ONO
The blossom’s tint is washed away By heavy showers of rain; My charms, which once I prized so much, Are also on the wane,— Both bloomed, alas! in vain.
The writer was a famous poetess, who lived A.D. 834–880. She is remembered for her talent, her beauty, her pride, her love of luxury, her frailty, and her miserable old age. The magic of her art is said to have overcome a severe drought, from which the country suffered in the year 866, when prayers to the Gods had proved useless.
The first and last couplets may mean either ‘the blossom’s tint fades away under the continued downpour of rain in the world’, or ‘the beauty of this flower (i. e. herself) is fading away as I grow older and older in this life’; while the third line dividing the two couplets means, that the flower’s tint and her own beauty are alike only vanity. This verse, with its double meaning running throughout, is an excellent example of the characteristic Japanese play upon words.
# A Dictionary of Music and Musicians/Cavendish, Michael

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Cavalieri, Emilio del

From volume 1 of the work.
​CAVALIERI, Emilio del, was a Roman gentleman of good family and fine musical perceptions. He was born about the year 1550, and died some time at least before the end of the 16th century, for his most important work, 'La Rappresentazione di Anima e di Corpo,' was performed for the first time in 1600, and all the accounts of him agree in stating that it was never performed in his lifetime. He spent a great portion of his life at the court of Ferdinand del Medicis, who appointed him to the quaintly-named office of 'Inspector-General of the Artists' at Florence. There he lived upon terms of intimacy with Giovanni Bardi of Vernio, Giulio Caccini, Vincenzo Galilei, Peri, Corsi, and Rinuccini, a group of accomplished artists and gentlemen, who were bent upon freeing music from the trammels of the 'stile osservato,' and bringing about some better result from the union of instruments, poetry, and the human voice than had up to their time been achieved.
Cavalieri, then, was one of the earliest projectors of instrumental accompaniment, and among the first to employ that early form of it which goes by the name of the Basso Continuo, with figures and signs attached to guide the different instruments in filling up the intermediate parts. Alessandro Guidotti, who published 'La Rappresentazione di Anima e di Corpo,' after the death of its author, thus explains the system of the 'Basso figurato':—'I numeri piccoli posti sopra le note del basso continuato per suonare, significano le consonanze e le dissonanze di tal numero, come il 3 terza, il 4 quarto, e così di mano in mano.' Cavalieri did not attempt to elaborate the accompaniment thus suggested; a great deal was still left to the players themselves, just as in the plain-song the underlying parts were filled in by what in England was known as 'descant,' and in Italy as 'Il Contrapunto della Mente.' Not the less, however, did the labours of Cavalieri and his contemporaries constitute at once a starting-point and a stride in art. He was also among the earliest employers of vocal ornaments, such as the gruppetto or groppolo, the monachina, the zimbalo, and perhaps the trillo. It may be questioned, however, whether the last-mentioned was the true 'shake'; that is to say, a rapid oscillation between two tones or semitones; or whether it was only a certain vibratory production of the voice, probably considered an elegance in early times, but now more fitly estimated as a fault common among bad singers, and known as the 'tremolo.' [Shake; Tremolo.]
[ E. H. P. ]
# A Dictionary of Music and Musicians/Cavalli, Pietro

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Cazzati, Maurizio

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Cebell

[ M. ]
# A Dictionary of Music and Musicians/Cavalieri, Katharina

From volume 1 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Cavallini, Ernesto

[ G. ]
# A Dictionary of Music and Musicians/Cavatina

From volume 1 of the work.
​CAVATINA originally signified a short song, but has been frequently applied to a smooth melodious air, forming part of a grand scena or movement. Thus Mozart's noble scena 'Andromeda' commences with a recitative 'Ah, lo previdi!' followed by an Aria, Allegro, then more recitatives in several tempi, and lastly a Cavatina, Andantino:—
[ W. H. C. ]
# A Dictionary of Music and Musicians/Celestino, Eligio

From volume 1 of the work.
[ P. D. ]
# A Dictionary of Music and Musicians/Leach, James

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Lays, François

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Lazarus, Henry

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Lead, To

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Lazzarini, Gustavo

From volume 2 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Leader

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Leading Note

From volume 2 of the work.
​LEADING NOTE (Fr. Note sensible; Germ. Leitton). In modern music it is absolutely indispensable for all harmonic progressions to have an appreciable connection with a tonic or keynote, and various lines converge to indicate that note with clearness; among these an important place is occupied by the Leading Note, which is the note immediately below the keynote, and separated from it by the smallest interval in the system, namely a semitone. Helmholtz has pointed out that in actual relationship to the tonic it is the most remote of all the notes in the scale, since the supertonic, which also appears to be very remote, at least comes nearer in being the fifth to the dominant, while the leading note is only the third. For this reason, and also from its not being capable of standing as a root note to any essential diatonic chord in the key, it seems to have no status of its own, but to exist mainly as preparatory to the tonic note, for which, by reason of its close proximity, it seems to prepare the mind when it is heard; and the melodic ​tendency to lead up to the most important note in the scale is the origin of its name.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Lay Vicar

From volume 2 of the work.
​LAY VICAR or LAY CLERK, a singer in Cathedral Choirs. [See Vicar Choral.]
# A Dictionary of Music and Musicians/Lebhaft

From volume 2 of the work.
[ G. ]
# A House of Gentlefolk/Chapter XIV

The young Spartan's legs shook under him when Mihalevitch conducted him into the rather shabbily furnished drawing-room of the Korobyins, and presented him to them. But his overwhelming feeling of timidity soon disappeared. In the general the good-nature innate in all Russians was intensified by that special kind of geniality which is peculiar to all people who have done something disgraceful; the general's lady was as it were overlooked by every one; and as for Varvara Pavlovna, she was so self-possessed and easily cordial that every one at once felt at home in her presence; besides, about all her fascinating person, her smiling eyes, her faultlessly sloping shoulders and rosy-tinged white hands, her light and yet languid movements, the very sound of her voice, slow and sweet, there was an impalpable, subtle charm, like a faint perfume, voluptuous, tender, soft, though still modest, something which is hard to translate into words, but which moved and kindled--and timidity was not the feeing it kindled. Lavretsky turned the conversation on the theater, on the performance of the previous day; she at once began herself to discuss Motchalov, and did not confine herself to sighs and interjections only, but uttered a few true observations full of feminine insight in regard to his acting. Mihalevitch spoke about music; she sat down without ceremony to the piano, and very correctly played some of Chopin's mazurkas, which were then just coming into fashion. Dinner-time came; Lavretsky would have gone away, but they made him stay: at dinner the general regaled him with excellent Lafitte, which the general's lackey hurried off in a street-sledge to Dupre's to fetch. Late in the evening Lavretsky returned home; for a long while he sat without undressing, covering his eyes with his hands in the stupefaction of enchantment. It seemed to him that now for the first time he understood what made life worth living; all his previous assumptions, all his plans, all that rubbish and nonsense had vanished into nothing at once; all his soul was absorbed in one feeling, in one desire--in the desire of happiness, of possession, of love, the sweet love of a woman. From that day he began to go often to the Korobyins. Six months later he spoke to Varvara Pavlovna, and offered her his hand. His offer was accepted; the general had long before, almost on the eve of Lavretsky's first visit, inquired of Mihalevitch how many serfs Lavretsky owned; and indeed Varvara Pavlovna, who through the whole time of the young man's courtship, and even at the very moment of his declaration, had preserved her customary composure and clearness of mind--Varvara Pavlovna too was very well aware that her suitor was a wealthy man; and Kalliopa Karlovna thought "meine Tochter macht eine schone Partie," and bought herself a new cap.
# A Hymn (Brontë)

Eternal power of earth and air, Unseen, yet seen in all around, Remote, but dwelling everywhere, Though silent, heard in every sound. If e'er thine ear in mercy bent When wretched mortals cried to thee, And if indeed thy Son was sent To save lost sinners such as me.
Then hear me now, while kneeling here; I lift to thee my heart and eye And all my soul ascends in prayer; O give me -­ give me Faith I cry.
Without some glimmering in my heart, I could not raise this fervent prayer; But O a stronger light impart, And in thy mercy fix it there!
While Faith is with me I am blest; It turns my darkest night to day; But while I clasp it to my breast I often feel it slide away.
Then cold and dark my spirit sinks, To see my light of life depart, And every fiend of Hell methinks Enjoys the anguish of my heart.
What shall I do if all my love, My hopes, my toil, are cast away, And if there be no God above To hear and bless me when I pray?
If this be vain delusion all, If death be an eternal sleep, And none can hear my secret call, Or see the silent tears I weep.
O help me God! for thou alone Canst my distracted soul relieve; Forsake it not -- it is thine own, Though weak yet longing to believe.
O drive these cruel doubts away And make me know that thou art God; A Faith that shines by night and day Will lighten every earthly load.
If I believe that Jesus died And waking rose to reign above, Then surely Sorrow, Sin and Pride Must yield to peace and hope and love.
And all the blessed words he said Will strength and holy joy impart, A shield of safety o'er my head, A spring of comfort in my heart.
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
# A Japanese-English and English-Japanese Dictionary/A table of Japanese kana

* ——i イい𛀆〓伊膽
* ——ro ロろ𛄂𛄆呂路
* ——ha ハは𛂦𛂡波葉
* ——ba バば𛂣゙〓゙婆羽
* ——pa パぱ𛂞゚
* ——ni ニに𛂌𛂇爾丹
* ——ho ホほ〓𛃀保穗
* ——bo ボぼ〓゙〓゙菩帆
* ——po ポぽ〓゚
* ——he ヘへ〓𛂶閉經
* ——be ベべ𛂷゙𛂶゙辨邊
* ——pe ペぺ𛂹゚
* ——to トと𛁻〓登砥
* ——do ドど𛁻゙〓゙杼度
* ——chi チち𛁦𛁥智千
* ——ji ヂぢ𛁦゙𛁣゙地道
* ——ri リり𛃶𛃱利里
* ——nu ヌぬ𛂑𛂐奴沼
* ——ru ルる𛃺𛃼留流
* ——wo ヲを𛄖𛄚袁尾
* ——wa ワわ𛄋𛄉和輪
* ——ka カか𛀙𛀘加香
* ——ga ガが𛀚゙𛀙゙鵞鹿
* ——yo ヨよ𛃫𛃪與代
* ——ta タた𛁞𛁟多田
* ——da ダだ𛁟゙𛁠゙陀駄
* ——re レれ𛄀𛃾禮連
* ——so ソそ𛁚𛁛曾十
* ——zo ゾぞ𛁚゙𛁛゙叙存
* ——tsu ツつ𛁫〓都津
* ——zu ヅづ𛁩゙𛁭゙頭圖
* ——ne 𛂘ね𛂔𛂗禰根
* ——na ナな𛂁𛂄奈名
* ——ra ラら𛃭〓羅樂
* ——mu ムむ𛃑〓無六
* ——u ウう𛀋〓宇卯
# A Hymn to Venus (Homer, 2)

English-language translations of A Hymn to Venus (titled "To the same") include:
# A Hymn to Venus

* Search for titles containing or beginning with: "A Hymn to Venus."
* 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.
* A Hymn to Venus, translations of a poem by Homer
* A Hymn to Venus [usually titled "To the same"], translations of a poem by Homer
* Hymn to Venus, a poem by Sappho

### See also

* "A Short Hymn to Venus, a poem by Robert Herrick
* "A Hymn to Venus and Cupid", a poem by Robert Herrick