OpenLLM-France/wikimedia huggingface dataset:
# The Children of the Night (1921)/John Evereldown

JOHN EVERELDOWN
"Where are you going to-night, to-night,— Where are you going, John Evereldown? There's never the sign of a star in sight, Nor a lamp that's nearer than Tilbury Town. Why do you stare as a dead man might? Where are you pointing away from the light? And where are you going to-night, to-night,— Where are you going, John Evereldown?"
"Right through the forest, where none can see, There's where I'm going, to Tilbury Town. The men are asleep,—or awake, may be,— But the women are calling John Evereldown. Ever and ever they call for me, And while they call can a man be free? So right through the forest, where none can see, There's where I'm going, to Tilbury Town."
"But why are you going so late, so late,— Why are you going, John Evereldown? Though the road be smooth and the path be straight, There are two long leagues to Tilbury Town. Come in by the fire, old man, and wait! Why do you chatter out there by the gate? And why are you going so late, so late,— Why are you going, John Evereldown?"
"I follow the women wherever they call,— That's why I'm going to Tilbury Town. God knows if I pray to be done with it all, But God is no friend to John Evereldown. So the clouds may come and the rain may fall, The shadows may creep and the dead men crawl,— But I follow the women wherever they call, And that's why I'm going to Tilbury Town."
# The Children of the Night (1921)/L’Envoi

L’ENVOI
Now in a thought, now in a shadowed word, Now in a voice that thrills eternity, Ever there comes an onward phrase to me Of some transcendent music I have heard; No piteous thing by soft hands dulcimered, No trumpet crash of blood-sick victory, But a glad strain of some still symphony That no proud mortal touch has ever stirred.
There is no music in the world like this, No character wherewith to set it down, No kind of instrument to make it sing. No kind of instrument? Ah, yes, there is! And after time and place are overthrown, God’s touch will keep its one chord quivering
# The Children of the Night (1921)/On the Night of a Friend's Wedding

ON THE NIGHT OF A FRIEND’S WEDDING
If ever I am old, and all alone, I shall have killed one grief, at any rate; For then, thank God, I shall not have to wait Much longer for the sheaves that I have sown The devil only knows what I have done, But here I am, and here are six or eight Good friends, who most ingenuously prate About my songs to such and such a one.
But everything is all askew to-night,— As if the time were come, or almost come For their untenanted mirage of me To lose itself and crumble out of sight, Like a tall ship that floats above the foam A little while, and then breaks utterly.
# The Children of the Night (1921)/Richard Cory

New York: Scribner's, page 35. Rewritten and set to music as a song of the same name in 1966 by Simon and Garfunkel
RICHARD CORY
Whenever Richard Cory went down town, We people on the pavement looked at him: He was a gentleman from sole to crown, Clean favored, and imperially slim.
And he was always quietly arrayed, And he was always human when he talked; But still he fluttered pulses when he said, "Good-morning," and he glittered when he walked.
And he was rich,—yes, richer than a king,— And admirably schooled in every grace: In fine, we thought that he was everything To make us wish that we were in his place.
So on we worked, and waited for the light, And went without the meat, and cursed the bread; And Richard Cory, one calm summer night, Went home and put a bullet through his head.
# The Children of the Night (1921)/Horace to Leuconoë

HORACE TO LEUCONOË
I pray you not, Leuconoë, to pore With unpermitted eyes on what may be Appointed by the gods for you and me, Nor on Chaldean figures any more. ’T were infinitely better to implore The present only:—whether Jove decree More winters yet to come, or whether he Make even this, whose hard, wave-eaten shore Shatters the Tuscan seas to-day, the last— Be wise withal, and rack your wine, nor fill Your bosom with large hopes; for while I sing, The envious close of time is narrowing;— So seize the day,—or ever it be past,— And let the morrow come for what it will.
# The Children of the Night (1921)/Kosmos

KOSMOS
Ah,—shuddering men that falter and shrink so To look on death,—what were the days we live, Where life is half a struggle to forgive, But for the love that finds us when we go? Is God a jester? Does he laugh and throw Poor branded wretches here to sweat and strive For some vague end that never shall arrive? And is He not yet weary of the show?
Think of it, all ye millions that have planned, And only planned, the largess of hard youth! Think of it, all ye builders on the sand, Whose works are down!—Is love so small, forsooth? Be brave! To-morrow you will understand The doubt, the pain, the triumph, and the Truth!
# The Children of the Night (1921)/Luke Havergal

LUKE HAVERGAL
Go to the western gate, Luke Havergal,— There where the vines cling crimson on the wall,— And in the twilight wait for what will come. The wind will moan, the leaves will whisper some— Whisper of her, and strike you as they fall; But go, and if you trust her she will call. Go to the western gate, Luke Havergal— Luke Havergal.
No, there is not a dawn in eastern skies To rift the fiery night that's in your eyes; But there, where western glooms are gathering, The dark will end the dark, if anything: God slays Himself with every leaf that flies, And hell is more than half of paradise. No, there is not a dawn in eastern skies— In eastern skies.
Out of a grave I come to tell you this,— Out of a grave I come to quench the kiss That flames upon your forehead with a glow That blinds you to the way that you must go. Yes, there is yet one way to where she is,— Bitter, but one that faith can never miss. Out of a grave I come to tell you this— To tell you this.
There is the western gate, Luke Havergal, There are the crimson leaves upon the wall. Go,—for the winds are tearing them away,— Nor think to riddle the dead words they say, Nor any more to feel them as they fall; But go! and if you trust her she will call. There is the western gate, Luke Havergal— Luke Havergal.
# The Children of the Night (1921)/Reuben Bright

REUBEN BRIGHT
Because he was a butcher and thereby Did earn an honest living (and did right), I would not have you think that Reuben Bright Was any more a brute than you or I; For when they told him that his wife must die, He stared at them, and shook with grief and fright, And cried like a great baby half that night, And made the women cry to see him cry.
And after she was dead, and he had paid The singers and the sexton and the rest, He packed a lot of things that she had made Most mournfully away in an old chest Of hers, and put some chopped-up cedar boughs In with them, and tore down the slaughter-house.
# Ante-Nicene Fathers/Volume VI/Dionysius/Extant Fragments/Containing Various Sections of the Works/The Epistle to Bishop Basilides/Canon IV

Canon IV.
As to those who are overtaken by an involuntary flux in the night-time, let such follow the testimony of their own conscience, and consider themselves as to whether they are doubtfully minded in this matter or not. And he that doubteth in the matter of meats, the apostle tells us, “is damned if he eat.” In these things, therefore, let every one who approaches God be of a good conscience, and of a proper confidence, so far as his own judgment is concerned. And, indeed, it is in order to show your regard for us (for you are not ignorant, beloved,) that you have proposed these questions to us, making us of one mind, as indeed we are, and of one spirit with yourself. And I, for my part, have thus set forth my opinions in public, not as a teacher, but only as it becomes us with all simplicity to confer with each other. And when you have examined this opinion of mine, my most intelligent son, you will write back to me your notion of these matters, and let me know whatever may seem to you to be just and preferable, and whether you approve of my judgment in these things. That it may fare well with you, my beloved son, as you minister to the Lord in peace, is my prayer.

## Footnotes

* ↑ διακρίνονται.
* ↑ Rom. xiv. 23. [Gr. κατακέκριται = is condemned = self-condemned. Wordsworth cites Cicero, De Officiis, i. 30.]
* ↑ [The entire absence of despotic authority in these episcopal teachings is to be noted. 2 Cor. i. 24.]
# Ante-Nicene Fathers/Volume VI/Dionysius/Extant Fragments/Containing Various Sections of the Works/The Epistle to Bishop Basilides
## Contents

* Canon I
* Canon II
* Canon III
* Canon IV
# Ante-Nicene Fathers/Volume VI/Dionysius/Extant Fragments/Containing Various Sections of the Works/The Epistle to Bishop Basilides/Canon II

Canon II.
The question touching women in the time of their separation, whether it is proper for them when in such a condition to enter the house of God, I consider a superfluous inquiry. For I do not think that, if they are believing and pious women, they will themselves be rash enough in such a condition either to approach the holy table or to touch the body and blood of the Lord. Certainly the woman who had the issue of blood of twelve years’ standing did not touch the Lord Himself, but only the hem of His garment, with a view to her cure. For to pray, however a person may be situated, and to remember the Lord, in whatever condition a person may be, and to offer up petitions for the obtaining of help, are exercises altogether blameless. But the individual who is not perfectly pure both in soul and in body, shall be interdicted from approaching the holy of holies.

## Footnotes

* ↑ Matt. ix. 20; Luke viii. 43.
# Ante-Nicene Fathers/Volume VI/Dionysius/Extant Fragments/Containing Various Sections of the Works/The Epistle to Bishop Basilides/Canon III

Canon III.
Moreover, those who are competent, and who are advanced in years, ought to be judges of themselves in these matters. For that it is proper to abstain from each other by consent, in order that they may be free for a season to give themselves to prayer, and then come together again, they have heard from Paul in his epistle.

## Footnotes

* ↑ Referring to the relations of marriage, dealt with in 1 Cor. vii. 5, etc.
# The Countess Kathleen and Various Legends and Lyrics/The Rose of Peace

Written in 1892 and published in The Countess Kathleen and Various Legends and Lyrics. Included in The Rose collection (1893).
If Michael, leader of God’s host
When Heaven and Hell are met,
Look’d down on you from Heaven’s door-post
He would his deeds forget.
Brooding no more upon God’s wars In his Divine homestead, He would go weave out of the stars A chaplet for your head.
And all folk seeing him bow down,
And white stars tell your praise, Would come at last to God’s great town,
Led on by gentle ways;
And God would bid his warfare cease.
Saying all things were well; And softly make a rosy peace, A peace of Heaven with Hell.
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 1939, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 84 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 Countess Kathleen and Various Legends and Lyrics/The Rose of the World

Written in 1892 and published in The Countess Kathleen and Various Legends and Lyrics. Included in The Rose collection (1893).
Who dreamed that beauty passes like a dream? For these red lips, with all their mournful pride, Mournful that no new wonder may betide, Troy passed away in one high funeral gleam,
And Usna's children died.
We and the labouring world are passing by:
Amid men's souls, that waver and give place
Like the pale waters in their wintry race,
Under the passing stars, foam of the sky,
Lives on this lonely face.
Bow down, archangels, in your dim abode:
Before you were, or any hearts to beat,
Weary and kind one lingered by His seat;
He made the world to be a grassy road
Before her wandering feet.
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 1939, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 84 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 Countess Kathleen and Various Legends and Lyrics/To the Rose upon the Rood of Time

Written in 1892 and published in The Countess Kathleen and Various Legends and Lyrics. Included in The Rose collection (1893).
Red Rose, proud Rose, sad Rose of all my days!
Come near me, while I sing the ancient ways:
Cuchulain battling with the bitter tide;
The Druid, grey, wood-nurtured, quiet-eyed, Who cast round Fergus dreams, and ruin untold; And thine own sadness, whereof stars, grown old
In dancing silver-sandalled on the sea,
Sing in their high and lonely melody.
Come near, that no more blinded by man's fate, I find under the boughs of love and hate, In all poor foolish things that live a day,
Eternal beauty wandering on her way.
Come near, come near, come near—Ah, leave me still A little space for the rose-breath to fill! Lest I no more hear common things that crave;
The weak worm hiding down in its small cave,
The field-mouse running by me in the grass,
And heavy mortal hopes that toil and pass;
But seek alone to hear the strange things said By God to the bright hearts of those long dead,
And learn to chaunt a tongue men do not know.
Come near; I would, before my time to go,
Sing of old Eire and the ancient ways:
Red Rose, proud Rose, sad Rose of all my days.
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 1939, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 84 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 Countess Kathleen and Various Legends and Lyrics/The Two Trees

Written in 1892 and published in The Countess Kathleen and Various Legends and Lyrics. Included in The Rose collection (1893).
Beloved, gaze in thine own heart, The holy tree is growing there; From joy the holy branches start, And all the trembling flowers they bear. The changing colours of its fruit Have dowered the stars with merry light; The surety of its hidden root Has planted quiet in the night; The shaking of its leafy head Has given the waves their melody, And made my lips and music wed, Murmuring a wizard song for thee. There the Loves a circle go, The flaming circle of our days, Gyring, spiring to and fro In those great ignorant leafy ways; Remembering all that shaken hair And how the wingèd sandals dart, Thine eyes grow full of tender care: Beloved, gaze in thine own heart.
Gaze no more in the bitter glass The demons, with their subtle guile, Lift up before us when they pass, Or only gaze a little while; For there a fatal image grows That the stormy night receives, Roots half hidden under snows, Broken boughs and blackened leaves. For all things turn to barrenness In the dim glass the demons hold, The glass of outer weariness, Made when God slept in times of old. There, through the broken branches, go The ravens of unresting thought; Flying, crying, to and fro, Cruel claw and hungry throat, Or else they stand and sniff the wind, And shake their ragged wings; alas! Thy tender eyes grow all unkind: Gaze no more in the bitter glass.
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 1939, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 84 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 Countess Kathleen and Various Legends and Lyrics/To Ireland in the Coming Times

Written in 1892 and published in The Countess Kathleen and Various Legends and Lyrics. Included in The Rose collection (1893).
Know, that I would accounted be True brother of a company That sang, to sweeten Ireland's wrong, Ballad and story, rann and song; Nor be I any less of them, Because the red-rose-bordered hem Of her, whose history began Before God made the angelic clan, Trails all about the written page. When Time began to rant and rage The measure of her flying feet Made Ireland's heart begin to beat; And Time bade all his candles flare To light a measure here and there; And may the thoughts of Ireland brood Upon a measured quietude.
Nor may I less be counted one With Davis, Mangan, Ferguson, Because, to him who ponders well, My rhymes more than their rhyming tell Of things discovered in the deep, Where only body's laid asleep. For the elemental creatures go About my table to and fro, That hurry from unmeasured mind To rant and rage in flood and wind; Yet he who treads in measured ways May surely barter gaze for gaze. Man ever journeys on with them After the red-rose-bordered hem. Ah, faeries, dancing under the moon, A Druid land, a Druid tune!
While still I may, I write for you The love I lived, the dream I knew. From our birthday, until we die, Is but the winking of an eye; And we, our singing and our love, What measurer Time has lit above, And all benighted things that go About my table to and fro, Are passing on to where may be, In truth's consuming ecstasy, No place for love and dream at all; For God goes by with white footfall. I cast my heart into my rhymes, That you, in the dim coming times, May know how my heart went with them After the red-rose-bordered hem.
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 1939, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 84 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 Countess Kathleen and Various Legends and Lyrics/To Some I Have Talked with by the Fire

Written in 1892 and published in The Countess Kathleen and Various Legends and Lyrics. Included in The Rose collection (1893).
While I wrought out these fitful Danaan rhymes, My heart would brim with dreams about the times When we bent down above the fading coals And talked of the dark folk who live in souls Of passionate men, like bats in the dead trees; And of the wayward twilight companies Who sigh with mingled sorrow and content, Because their blossoming dreams have never bent Under the fruit of evil and of good: And of the embattled flaming multitude Who rise, wing above wing, flame above flame, And, like a storm, cry the Ineffable Name, And with the clashing of their sword-blades make A rapturous music, till the morning break And the white hush end all but the loud beat Of their long wings, the flash of their white feet.
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 1939, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 84 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 Countess Kathleen and Various Legends and Lyrics/The Sorrow of Love

Written in 1892 and published in The Countess Kathleen and Various Legends and Lyrics. Included in The Rose collection (1893).
The brawling of a sparrow in the eaves, The brilliant moon and all the milky sky, And all that famous harmony of leaves, Had blotted out man's image and his cry.
A girl arose that had red mournful lips And seemed the greatness of the world in tears, Doomed like Odysseus and the labouring ships And proud as Priam murdered with his peers;
Arose, and on the instant clamorous eaves, A climbing moon upon an empty sky, And all that lamentation of the leaves, Could but compose man's image and his cry.
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 1939, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 84 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 Countess Kathleen and Various Legends and Lyrics/The White Birds

Written in 1892 and published in The Countess Kathleen and Various Legends and Lyrics. Included in The Rose collection (1893).
I would that we were, my beloved, white birds on the foam of the sea! We tire of the flame of the meteor, before it can fade and flee; And the flame of the blue star of twilight, hung low on the rim of the sky, Has awakened in our hearts, my beloved, a sadness that may not die.
A weariness comes from those dreamers, dew-dabbled, the lily and rose; Ah, dream not of them, my beloved, the flame of the meteor that goes, Or the flame of the blue star that lingers hung low in the fall of the dew: For I would we were changed to white birds on the wandering foam: I and you!
I am haunted by numberless islands, and many a Danaan shore, Where Time would surely forget us, and Sorrow come near us no more; Soon far from the rose and the lily, and fret of the flames would we be, Were we only white birds, my beloved, buoyed out on the foam of the sea!
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 1939, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 84 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