OpenLLM-France/wikimedia huggingface dataset:
# The Game of Go/Preface

This book is intended as a practical guide to the game of Go. It is especially designed to assist students of the game who have acquired a smattering of it in some way and who wish to investigate it further at their leisure.
As far as I know there is no work in the English language on the game of Go as played in Japan. There is an article on the Chinese game by Z. Volpicelli, in Vol. XXVI of the “Journal of the China Branch of the Royal Asiatic Society.” This article I have not consulted. There is also a short description of the Japanese game in a work on “Korean Games with Notes on the Corresponding Games of China and Japan,” by Stewart Culin, but this description would be of little practical use in learning to play the game.
There is, however, an exhaustive treatise on the game in German by O. Korschelt. This can be found in Parts 21–24 of the “Mittheilungen der deutschen Gesellschaft für Natur- und Völkerkunde Ostasiens.” The student could readily learn the game from Herr Korschelt's article if it were available, but his work has not been translated, and it is obtainable only in a few libraries in this country. In the preparation of this book I have borrowed freely from Herr Korschelt's work, especially in the chapter devoted to the history of the game, and I have also adopted many of his illustrative games and problems.
Herr Korschelt was an excellent player, and acquired ​his knowledge of the game from Murase Shuho, who was the best player in Japan at the time his article was written (about 1880).
My acquaintance with the game has been acquired from Mr. Mokichi Nakamura, a Japanese resident of this country, who is an excellent player, and whose enthusiasm for the game led me to attempt this book. Mr. Nakamura has also supplied much of the material which I have used in it. Toward the end I have had the expert assistance of Mr. Jihei Hashiguchi, with whom readers of the New York Sun are already acquainted.
Wherever possible I have given the Japanese words and phrases which are used in playing the game, and for those who are not familiar with the system of writing Japanese with Roman characters, I may say that the consonants have the sounds used in English, and the vowels the sounds that are used in Italian, all the final vowels being sounded. Thus, “dame” is pronounced as though spelled “dahmay.”
New York, April, 1908.
# The Game of Go (annotated)

In the original published version many illustrations of the games and problems were omitted from chapters 5 to 8. They are added in this version.
THE GAME OF GO
Sato Tadanobu, a Samurai of the Twelfth Century, Defending Himself with a “Goban” when Attacked by His Enemies.
THE GAME OF GO
THE
NATIONAL GAME OF JAPAN
BY
ARTHUR SMITH
NEW YORK
MOFFAT, YARD & COMPANY
1908
Copyright, 1908
BY
ARTHUR SMITH
NEW YORK
All rights reserved
Published, July, 1908
CONTENTS :
| PAGE ||
| Introduction | vii |
| CHAPTER I ||
| History of the Game | 1 |
| CHAPTER II ||
| Description of the Board and Stones | 18 |
| CHAPTER III ||
| Rules of Play | 26 |
| CHAPTER IV ||
| General Methods of Play and Terminology of the Game | 57 |
| CHAPTER V ||
| Illustrative Games | 68 |
| CHAPTER VI ||
| "Joseki" and Openings | 119 |
| CHAPTER VII ||
| The End Game | 186 |
| CHAPTER VIII ||
| Problems | 201 |
# The Fourth Book/Chapter XXXI
## Shrovetide's outward parts anatomized

Shrovetide, continued Xenomanes, is somewhat better proportioned in his outward parts, excepting the seven ribs which he had over and above the common shape of men.
His toes were like a virginal on The peritoneum, or caul wherein  an organ. his bowels were wrapped, like His nails, like a gimlet. a billiard-table. His feet, like a guitar. His back, like an overgrown rack- His heels, like a club. bent crossbow. The soles of his feet, like a cru- The vertebrae, or joints of his  cible. backbone, like a bagpipe. His legs, like a hawk's lure. His ribs, like a spinning-wheel. His knees, like a joint-stool. His brisket, like a canopy. His thighs, like a steel cap. His shoulder-blades, like a mortar. His hips, like a wimble. His breast, like a game at nine- His belly as big as a tun, buttoned pins.  after the old fashion, with a His paps, like a hornpipe.  girdle riding over the middle His armpits, like a chequer.  of his bosom. His shoulders, like a hand-barrow. His navel, like a cymbal. His arms, like a riding-hood. His groin, like a minced pie. His fingers, like a brotherhood's His member, like a slipper. andirons. His purse, like an oil cruet. The fibulae, or lesser bones of his His genitals, like a joiner's planer. legs, like a pair of stilts. Their erecting muscles, like a His shin-bones, like sickles.  racket. His elbows, like a mouse-trap. The perineum, like a flageolet. His hands, like a curry-comb. His arse-hole, like a crystal look- His neck, like a talboy.  ing-glass. His throat, like a felt to distil hip- His bum, like a harrow. pocras. The knob in his throat, like a His loins, like a butter-pot.  barrel, where hanged two His jaws, like a caudle cup.  brazen wens, very fine and His teeth, like a hunter's staff.  harmonious, in the shape of an Of such colt's teeth as his,  hourglass. you will find one at Colonges His beard, like a lantern. les Royaux in Poitou, and His chin, like a mushroom. two at La Brosse in Xaintonge, His ears, like a pair of gloves. on the cellar door. His nose, like a buskin. His tongue, like a jew's-harp. His nostrils, like a forehead cloth. His mouth, like a horse-cloth. His eyebrows, like a dripping-pan. His face embroidered like a mule's On his left brow was a mark of pack-saddle.  the shape and bigness of an His head contrived like a still.  urinal. His skull, like a pouch. His eyelids, like a fiddle. The suturae, or seams of his skull, His eyes, like a comb-box. like the annulus piscatoris, or His optic nerves, like a tinder- the fisher's signet.  box. His skin, like a gabardine. His forehead, like a false cup. His epidermis, or outward skin, His temples, like the cock of a like a bolting-cloth.  cistern. His hair, like a scrubbing-brush. His cheeks, like a pair of wooden His fur, such as above said.  shoes.
# The Golden Bowl

The Golden Bowl is a 1904 novel by Henry James. Set in England, this complex, intense study of marriage and adultery completes what some critics have called the "major phase" of James' career. The Golden Bowl explores the tangle of interrelationships between a father and daughter and their respective spouses. The novel focuses deeply and almost exclusively on the consciousness of the central characters, with sometimes obsessive detail but also with powerful insight.
    Warning: template has been deprecated.
* The Golden Bowl (New York: Charles Scribner's Sons, 1904) (transcription volumes: 1, 2)
    — First American book edition, and first publication in any form
* The Golden Bowl (London: Methuen & Co., 1905) (transcription project)
    — First English book edition
* The Golden Bowl (New York: Charles Scribner's Sons, 1909)
    — Volumes 24 and 25 of The Novels and Tales of Henry James (the "New York Edition")
* The Golden Bowl (London: Macmillan & Co., 1923)
    — Volumes 32 and 33 of The Novels and Stories of Henry James, the first posthumous collection of James' works; uses the "New York Edition" text.
# The Golden Bough (versions)

* First edition of 1890 (two volumes) subtitled A Study in Comparative Religion (transcription volumes: 1, 2)
* Second edition of 1900 (three volumes) subtitled A Study in Magic and Religion
* Third edition (1906–1915 – twelve volumes)
** Part 1: The Magic Art and the Evolution of Kings (1911 – two volumes) Vol. 1 IA Vol. 2 IA
** Part 2: Taboo and the Perils of the Soul (1911) IA
** Part 3: The Dying God (1911) IA
** Part 4: Adonis Attis Osiris (1906 – two volumes) Vol. 1 IA Vol. 2 IA
** Part 5: Spirits of the Corn and of the Wild (1912 – two volumes) Vol. 1 IA Vol. 2 IA
** Part 6: The Scapegoat (1913) IA
** Part 7: Balder the Beautiful (1913 – two volumes) Vol. 1 IA Vol. 2 IA
** Volume 12: Bibliography and General Index (1915) IA
** Aftermath: A Supplement to the Golden Bough (1936) IA sometimes considered volume 13
* Abridged edition of 1922 (one volume) (transcription project)
** Project Gutenberg version of above
# The Golden Bowl (New York: Charles Scribner's Sons, 1909)

1909 edition, New York: Charles Scribner's Sons
* Volume 1
** Preface
** Book 1
*** Chapter 1
*** Chapter 2
*** Chapter 3
*** Chapter 4
*** Chapter 5
*** Chapter 6
** Book 2
*** Chapter 1
*** Chapter 2
*** Chapter 3
*** Chapter 4
*** Chapter 5
*** Chapter 6
*** Chapter 7
** Book 3
*** Chapter 1
*** Chapter 2
*** Chapter 3
*** Chapter 4
*** Chapter 5
*** Chapter 6
*** Chapter 7
*** Chapter 8
*** Chapter 9
*** Chapter 10
*** Chapter 11
* Volume 2
** Book 4
*** Chapter 1
*** Chapter 2
*** Chapter 3
*** Chapter 4
*** Chapter 5
*** Chapter 6
*** Chapter 7
*** Chapter 8
*** Chapter 9
*** Chapter 10
** Book 5
*** Chapter 1
*** Chapter 2
*** Chapter 3
*** Chapter 4
*** Chapter 5
** Book 6
*** Chapter 1
*** Chapter 2
*** Chapter 3
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 Encyclopedia Americana (1920)/Van Braam, Jacob

Edition of 1920. See also Jacob Van Braam on Wikipedia, and the disclaimer.
VAN BRAAM, Jacob. A Dutch soldier of fortune: b. Bergen-op-zoom, in the Netherlands, 1 April 1727. He entered the British naval service and acted as lieutenant with Lawrence Washington under Admiral Vernon, in the expedition to Carthagena. Then, accompanying him to Mount Vernon, he became the military instructor of George Washington, giving him much instruction as to fencing, flags, fortification and the armies of Europe. He accompanied Washington into the Ohio country in October 1753 and acted as translator of the French missives. On account of his alleged wrong rendering of one word, he received more blame than praise for his services, while jealous rivals and enemies made it the occasion for abusive criticism and malignant attack upon Washington himself. The voluminous controversy, which arose in the Virginia colonial legislature over Van Braam's asserted mistranslation, could hardly have arisen in New York, where the Dutch language was generally spoken, and the Netherlanders' association of ideas with the use of the word “assassin,” which was not then in the Dutch language, but common in French and English, was better understood. The ordinary meaning of this word “assassin,” as used in military parlance at this time, was not that of a dastardly or prowling murderer, but rather that of a soldier who attacks suddenly without warning; and this seems to have been the method of the impetuous, young George Washington, in July 1753, when he rushed upon
the French party, during which Jumonville was killed. In view of the whole situation — wind, rain, night, a flickering candle for light and a desire to be fair to both parties — the Dutchman most probably did the best he could and is scarcely to he blamed. During the Revolution, Van Braam served on the British side, though in a letter to Washington, his former pupil, he expressed personal regret at the change of relations and the fortune of war. His subsequent history is not known. Consult the lives of Washington by Marshall and Irving; Winson's ‘Narrative and Critical History of America’ (Vol. V).
# The Encyclopedia Americana (1920)/Van Buren, James Heartt

Edition of 1920. See also the disclaimer.
VAN BUREN, văn bū'rĕn, James Heartt, American Protestant Episcopal bishop: b. Watertown, N. Y., 7 July 1850; d. 9 July 1917. He was graduated from Yale in 1873 and from Berkeley Divinity School, Middletown, Conn., in 1876, took orders in the Episcopal Church in the year last named and for more than 10 years was rector of Saint Stephen's Church, Lynn, Mass. In June 1902 he was consecrated bishop of Porto Rico.
# The Encyclopedia Americana (1920)/Van Zorn

Edition of 1920. See also Van Zorn on Wikipedia, and the disclaimer.
VAN ZORN. This comedy of New York artist life (1914), is one of two published plays by Edwin Arlington Robinson, the other being a tragedy of modern New England, called ‘The Porcupine,’ published at about the same time and just before the volume of poems
called ‘The Man Against the Sky.’ Although ‘Van Zorn’ has had no public performances except a series given in a hall in Brooklyn by a semi-professional company in 1917, it is not, like so many poets' plays, a chamber-drama. It is distinctly a play for the theatre, a play of ideas such as would have found a ready welcome all over the continent. It is one of a limited number of good acting plays, which are literary as well, written by Americans. ‘Van Zorn’ is a comedy of character, the story of a fatalist who, in an attempt to play the part of destiny in a love-affair, runs counter to a man with a destiny better than his own. The theme and the treatment are both unusual, the dialogue is brilliant and the characters, especially the men, are not theatrical types but thoroughly real people. Anyone familiar with Mr. Robinson's poetry would recognize in ‘Van Zorn’ the author of ‘Richard Cory’ and ‘Flammonde,’ his philosophy and his technique — especially his bold elisions — but no more disturbingly than he would recognise the dramatist in ‘Merlin’ or ‘Ben Jonson Entertains a Man From Stratford.’ ‘Van Zorn’ may be classed among important American plays even if it remains a play without a stage history.
# The Encyclopedia Americana (1920)/Vallisneria

Edition of 1920. See also Vallisneria on Wikipedia, and the disclaimer.
VALLISNERIA, the typical genus of the tape-grass family. It is composed of aquatic plants, V. spiralis being the tape-grass or eel-grass, whose long submerged leaves are detested by swimmers; in Chesapeake Bay it is the “wild celery” upon the roots of which the canvasback feeds, and to which are due the admirable flavor of that duck. The leaves are very long and narrow, and float just under the surface in shallow water, the plant being rooted in mud or sand. It spreads widely by stolons, so that it often forms a wide belt along the shore, which is a great refuge for the small fry of water-life, but greatly impedes the passage of boats. Vallisneria is peculiar in its arrangements for cross-fertilization. The leaves are arranged in fascicles, from the axils of which spring the flowers, only one sex on each plant. They are enclosed in a kind of bladder formed by two membranous, concave bracts. There is only one pistillate flower to a bladder, and when ready for fertilisation, the envelope splits and frees this flower, its ovary elongates, and it is pushed upward by the growing stalk, until the whorl of three lanceolate sepals floats on the surface. Above them are three abortive petals, and three stigmas, by-lobed at the apices, and fringed on the edges. They project slightly between the sepals. In the meantime, the bladder about the staminate flowers, which are numerous, on a short axis, and have never risen far above the mud, becomes disrupted, and the flowers, which are globular, and have their three sepals closed tightly over the stamens, float like bubbles to the surface. There they drift about, and soon open. The arched sepals become reflexed, until they look like three boats
tied close together at one end. Two stamens project obliquely from the point of union, tipped with masses of sticky pollen-cells. These tiny crafts are blown about by the winds, and carried by currents, on the surface of the water, sometimes covering it as with a creamy film. In the course of their travels, they almost inevitably strike against the waiting pistillate flowers, riding at anchor, with their three stigmas poised at exactly the angle to allow their fringes to detach the sticky pollen-masses from the other flower. As soon as the pollen adheres firmly to the stigmas, the pistillate flowers are withdrawn beneath the surface by the contraction of the long stalks, which assume a spiral form, and ultimately ripen fruit near the muddy floor of the stream.
# The Encyclopedia Americana (1920)/Van Brunt, Henry

Edition of 1920. See also Henry Van Brunt on Wikipedia, and the disclaimer.
VAN BRUNT, Henry, American architect: b. Boston, Mass., 5 Sept. 1832; d. there, March 1903. He was graduated from Harvard in 1854 and studied architecture. He served in the Union army on staff duty during a part of the Civil War period and subsequently practised his profession in Boston and Kansas City, Mo., and was the designer of many buildings of importance, chief among which is Memorial Hall at Harvard, a work performed with W. R. Ware. Among other buildings designed by him are the First Church Boston and the Public Library, Cambridge. He published ‘Greek Lines and Other Architectural Essays’ (1893).
# The Encyclopedia Americana (1920)/Twichell, Joseph Hopkins

Edition of 1920. See also Joseph Twichell on Wikipedia, and the disclaimer.
TWICHELL, Joseph Hopkins, American Congregational clergyman and author: b. Southington, Conn., 1838. He was graduated at Yale in 1859, and served as chaplain during most of the Civil War. In 1865 he accepted a call to the Asylum Hill Congregational Church, Hartford, Conn. His writings include ‘John Winthrop’ (1891) and ‘Some Old Puritan Love Letters’ (1893).
# The Encyclopedia Americana (1920)/Valleys

Edition of 1920. See also Valley on Wikipedia, and the disclaimer.
VALLEYS, in general, depressions of some magnitude in the surface of the land. Two great classes of valleys may be recognized, — (1) structural, and (2) erosional. The former include depressions due to folding, such as synclines; basins due to subsidence of an area such as might occur in regions of subterranean drainage, or in volcanic regions; fault valleys which when narrow gorges, like that of the
Rhine, are known by the term of “graben,” and others. Erosion valleys embrace by far the more common types, such as river valleys, which range from gorges with vertical sides and completely filled by the river, to depressions many miles in width, with flat bottoms and gently sloping sides. These are carved wholly by the rivers that occupy them. The larger valleys of this type are generally found along the border line between ancient more or less disturbed, and more modern coastal plain strata which lap up against the older ones. By continued erosion the edge of the newer strata is pushed further and further away from the older land, until a valley of great width is produced along the strike of the strata. Valleys of this type are well developed along the Atlantic Coast, next to the crystalline rocks of the Piedmont district. Some valleys of this type have suffered drowning, as appears to be the case in Long Island Sound. Other valleys of this type have become filled with water and transformed into lakes by the stopping up — by glacial drift or warping of the land of their outlets. Such is the case with the valleys now holding the water of some of our Great Lakes, notably Ontario. Valleys due to glacial erosion are not uncommon, although it is probable that glaciers usually do little more than deepen valleys originally formed by streams. A type not included in the two divisions mentioned is found in intra-morainal valleys within the glaciated region. Here the valley is the remnant of the plain around which hills of glacial drift are built. See Mountain; Flood Plains.
# The Gift of Black Folk: The Negroes in the Making of America/Postscript

Postscript
Listen to the Winds, O God the Reader, that wail across the whip-cords stretched taut on broken human hearts; listen to the Bones, the bare bleached bones of slaves, that line the lanes of Seven Seas and beat eternal tom-toms in the forests of the laboring deep; listen to the Blood, the cold thick blood that spills its filth across the fields and flowers of the Free; listen to the Souls that wing and thrill and weep and scream and sob and sing above it all. What shall these things mean, O God the Reader? You know. You know.
# The Gift of the Sea

* "The Gift of the Sea" in Ballads and Barrack-Room Ballads (1892)
* "The Gift of the Sea" in Departmental Ditties and Ballads and Barrack-Room Ballads (1919)
# The Gift of Black Folk: The Negroes in the Making of America/Prescript

PRESCRIPT
Who made America? Who made this land that swings its empire from the Atlantic to the Sea of Peace and from Snow to Fire—this realm of New Freedom, with Opportunity and Ideal unlimited?
Now that its foundations are laid, deep but bare, there are those as always who would forget the humble builders, toiling wan mornings and blazing noons, and picture America as the last reasoned blossom of mighty ancestors; of those great and glorious world builders and rulers who know and see and do all things forever and ever, amen! How singular and blind! For the glory of the world is the possibilities of the commonplace and America is America even because it shows, as never before, the power of the common, ordinary, unlovely man. This is real democracy and not that vain and eternal striving to regard the world as the abiding place of exceptional genius with great black wastes of hereditary idiots.
We who know may not forget but must forever spread the splendid sordid truth that out of the most lowly and persecuted of men, Man made America. And that what Man has here begun with all its want and imperfection, with all its magnificent promise and grotesque failure will some day blossom in the souls of the Lowly.
# The Gift of Tritemius

* “The Gift of Tritemius,” in The Atlantic Monthly, vol. 1, no. 1 (Nov. 1857)
* “The Gift of Tritemius,” in The Complete Poetical Works of John Greenleaf Whittier (1895)
# The Gift of God

* "The Gift of God", in The Man Against the Sky; a Book of Poems (1916)
* "The Gift of God", in Collected Poems (1921)