OpenLLM-France/wikimedia huggingface dataset:
# Continuing Appropriations Resolution, 2002 (6th)

Note: This is the original legislation as it was initially enacted. Any subsequent amendments hosted on Wikisource may be listed using What Links Here.
Joint Resolution Making further continuing appropriations for the fiscal year 2002, and for other purposes.
    Resolved by the Senate and House of Representatives of the United States of America in Congress assembled,
    That Public Law 107-44 is amended by striking the date specified in section 107(c) and inserting in lieu thereof ``December 15, 2001´´.
Approved December 7, 2001.

## Legislative History

* H.J.Res. 76
* CONGRESSIONAL RECORD, Vol. 147 (2001):
** Dec. 5, considered and passed House and Senate.

## See also

* Continuing Appropriations Resolution, 2002 (disambiguation)
   * Continuing Appropriations Resolution, 2002 (1st): Public Law 107-44
   * Continuing Appropriations Resolution, 2002 (2nd): Public Law 107-48
   * Continuing Appropriations Resolution, 2002 (3rd): Public Law 107-53
   * Continuing Appropriations Resolution, 2002 (4th): Public Law 107-58
   * Continuing Appropriations Resolution, 2002 (5th): Public Law 107-70
   * Continuing Appropriations Resolution, 2002 (7th): Public Law 107-83
   * Continuing Appropriations Resolution, 2002 (8th): Public Law 107-97
This work is in the public domain in the U.S. because it is an edict of a government, local or foreign. See § 313.6(C)(2) of the Compendium II: Copyright Office Practices. Such documents include "legislative enactments, judicial decisions, administrative rulings, public ordinances, or similar types of official legal materials" as well as "any translation prepared by a government employee acting within the course of his or her official duties."
These do not include works of the Organization of American States, United Nations, or any of the UN specialized agencies. See Compendium III § 313.6(C)(2) and 17 U.S.C. 104(b)(5).
A non-American governmental edict may still be copyrighted outside the U.S. Similar to {{PD-in-USGov}}, the above U.S. Copyright Office Practice does not prevent U.S. states or localities from holding copyright abroad, depending on foreign copyright laws and regulations.
Public domainPublic domainfalsefalse
# Continuing Appropriations Resolution, 2002 (7th)

Note: This is the original legislation as it was initially enacted. Any subsequent amendments hosted on Wikisource may be listed using What Links Here.
Joint Resolution Making further continuing appropriations for the fiscal year 2002, and for other purposes.
    Resolved by the Senate and House of Representatives of the United States of America in Congress assembled,
    That Public Law 107-44 is amended by striking the date specified in section 107(c) and inserting in lieu thereof ``December 21, 2001´´.
Approved December 15, 2001.

## Legislative History

* H.J.Res. 78
* CONGRESSIONAL RECORD, Vol. 147 (2001):
** Dec. 13, considered and passed House.
** Dec. 14, considered and passed Senate.

## See also

* Continuing Appropriations Resolution, 2002 (disambiguation)
   * Continuing Appropriations Resolution, 2002 (1st): Public Law 107-44
   * Continuing Appropriations Resolution, 2002 (2nd): Public Law 107-48
   * Continuing Appropriations Resolution, 2002 (3rd): Public Law 107-53
   * Continuing Appropriations Resolution, 2002 (4th): Public Law 107-58
   * Continuing Appropriations Resolution, 2002 (5th): Public Law 107-70
   * Continuing Appropriations Resolution, 2002 (6th): Public Law 107-79
   * Continuing Appropriations Resolution, 2002 (8th): Public Law 107-97
This work is in the public domain in the U.S. because it is an edict of a government, local or foreign. See § 313.6(C)(2) of the Compendium II: Copyright Office Practices. Such documents include "legislative enactments, judicial decisions, administrative rulings, public ordinances, or similar types of official legal materials" as well as "any translation prepared by a government employee acting within the course of his or her official duties."
These do not include works of the Organization of American States, United Nations, or any of the UN specialized agencies. See Compendium III § 313.6(C)(2) and 17 U.S.C. 104(b)(5).
A non-American governmental edict may still be copyrighted outside the U.S. Similar to {{PD-in-USGov}}, the above U.S. Copyright Office Practice does not prevent U.S. states or localities from holding copyright abroad, depending on foreign copyright laws and regulations.
Public domainPublic domainfalsefalse
# Complete Encyclopaedia of Music/B/Bernacchi, Antonio

Bernacchi, Antonio. An Italian singer, engaged by Handel, in the year 1716, for the opera in London. This performer's voice seems by nature to have been feeble and defective ; but he supplied the defects of nature by so much art, that his performance was always much more ad-mired by professors than by the public in general. He staid there at first but one year, after which he went back to Italy, but returned in 1729. After quitting the stage, Bernacchi established a school for singing at Bologna, where he had himself been educated, and where he formed several admirable scholars, who rendered his name and school famous.
# Complete Encyclopaedia of Music/B/Bergt, Christian Gottlob August

Bergt, Christian Gottlob August, organist of St. Peter's Church at Baugen, was born at Freyberg in 1772. He originally studied theology, but soon gave up that pursuit for music. Since the year 1801, he has published many admired vocal compositions for the church, theatre, and chamber. His grand chorus, "Christ Jesus," is said to be one of the most effective ever performed in England. It was sung at the Manchester Philharmonic Concerts.
# Complete Encyclopaedia of Music/B/Bernabei, Ercole

Bernabei, Ercole, the scholar and successor of Benevoli at St. Peter's at Rome, and instructor of the Abbate Steffani, may be ranked among the greatest masters of harmony in the ancient ecclesiastical style of the seventeenth century. This composer, being invited by the Elector of Bavaria to Munich, about the year 1650, entered into the service of that court, where he continued the rest of his life. A specimen of his works may be seen in Stevens's sacred music.
# Complete Encyclopaedia of Music/B/Bernabei, Giuseppe Ant

Bernabei, Giuseppe Ant., son of the preceding, after following his father's steps in the study of ecclesiastical harmony, surpassed him considerably in melody and modulation, as he lived long enough to see a great relaxation in the rigor of ancient rules. Alter succeeding his father as maestro di capella to the Elector of Bavaria, by whom he was honored with the title of conseilleur aulique, and publishing several compositions for the church, replete with musical science of the first class, he lived till the year 1732, extending his existence to the great age of eighty-nine.
# Complete Encyclopaedia of Music/B/Bergognoni, Bernardo

Bergognoni, Bernardo. An opera composer at Venice in the beginning of the last century.
# Complete Encyclopaedia of Music/B/Berlin Academy Of Music

Berlin Academy Of Music. The Berlin Academy of Music was founded in the year 1850. by Dr. A. B. Marx, Dr. T. Kullak, and Herr Julius Stern, of Berlin, and has risen rapidly in the estimation of the European public.
BERLIN, JOHANN DANIEL. Organist in Norway. He published " The Elements of Music," and some other didactic works, at Copenhagen, about the middle of the last century. He died about the year 1775.
# Complete Encyclopaedia of Music/B/Bergomus, Alexander

Bergomus, Alexander. A composer of masses in 1572.
# Complete Encyclopaedia of Music/B/Berls, Johann Rudolph

Berls, Johann Rudolph, was born near Erfurt in 1758. He has composed various symphonies, also some vocal music, since the year 1780.
# Complete Encyclopaedia of Music/B/Bermudo, Juan

Bermudo, Juan, a Spanish musician, wrote, in the sixteenth century, a work entitled "Libro de in Declaration de Instrumentos."
# Death the Knight and the Lady/Chapter 18
### CHAPTER XVIII THE TRUMPETER

I rose from the arm-chair, and I stood, I remember, sucking in my underlip and staring at the floor. Then I turned to the wardrobe, and took out my great sealskin cloak. I threw it round me and it reached to my feet. I wished to conceal my clothes, why, I did not exactly know, but it seemed to me that they ought to be hidden from everyone but Geraldine.
Then I opened the bedroom door softly and peeped into the passage. No one—not a sound. I stole down the corridor to the head of the great staircase, and peeped over into the hall, the lamps were not yet lit. Then I came down the staircase so softly that you might have thought me a shadow only for the faint, silvery jingle of the spurs. I entered the corridor, and the heavy silk curtain fell behind me. Then I found myself standing at the right hand door with my hand pressed to my heart. No actor about to enter before his audience could have felt the nervousness I felt. My heart seemed gone mad. Then I dropped my sealskin cloak and my nervousness fell with it. I tossed my hair back, felt the hilt of my sword, and without knocking, I turned the door handle and entered.
The figure of a girl stood at the open window; she was gazing out at the dusk-stricken garden. Then she turned and saw me. I heard her breath caught back, and I saw in her hand a white rose.
Did I cross the room? I must have crossed it, but I have no recollection of doing so. I knew nothing of the world or the things in the world, save a face that was trying to hide itself on my shoulder, and a voice that was whispering "You have come." Yes, one other thing I knew. A beetle passed by out somewhere in the garden, and the dreamy and mournful boom of his wings mixed sadly with my intoxication, seeming like a voice from long ages ago.
Oh, that meeting in the grey autumn dusk, that voice repeating over and over again the words "You have come." When shall I hear those words again? Never. There is no perhaps for me, I know in some strange way that I shall hear those words again—never. And the fault is mine.
# Death the Knight and the Lady/Chapter 22
### CHAPTER XXII THE END

"—And the ballade humbly prays, The tribute of your sighs, For the hawke's blinde little eyes, —And the cavalier who lies By the four cross ways."
The little falcon came back last night. It has been weeks away, but it came back last night, and I feel it even now pinching at my wrist. It seems to say, "Hurry, you have nearly finished." It seems anxious for me to go with it. Where? I do not know.
I can scarcely write. I am half-blind with what? God only knows. Not tears, for I have no tears left. A darkness has stolen over my brain. In writing this story I have drawn the past up to me like an unwilling ghost: I have kissed it on the forehead, mouth, and eyes, and now that my story is finished it has slipped back into the darkness, and I am left alone.
They have buried Geraldine. Not in the little church in the park, where all the Wilders are buried; she has a grave of her own outside the church, and on the marble headstone is the name "Beatrice Sinclair."
But I shall be buried in the church, and I know that my tablet will bear the inscription, "Sir Gerald Wilder, Kt." so that even our dust may not meet,—what matter?
I am not afraid to die; in fact, if I could be glad about anything, I should now be glad. Death seems to me such a little withered, contemptible figure, for ever jealous of Love—yet sometimes death seems to me like a white marble portico, seen down an alley of cypress trees, under a sky all dark with autumn.
Beneath the ocean spray Strange things lie hid away; And in the gloom Of many a tomb Lie stranger things than they. But in the world, I wis, Nought is more strange than this— The love of Death for May. Nothing more strange above The skies where eagles rove; Nothing below the winter snow Or flowers that spring winds move; Nought in eternity Or time, unless it be The love of Death for Love.
TURNBULL AND SPEARS, PRINTERS, EDINBURGH.
# Death the Knight and the Lady/Chapter 19
### CHAPTER XIX THE TRUMPETER

The fault is mine, for I knew, and Geraldine knew nothing.
I knew the past. I knew of my sin. I knew, by some instinct, that God had brought the past to me. As a means of redeeming my crime He had imposed renunciation upon me as a penance, and I had chosen instead of renunciation this deathly masquerade. I would not be debased, I would not be humbled. God help me—I am humble enough now. All that is what I see now; just then I saw nothing and cared for nothing but Geraldine.
We kissed only once, just like two frightened children, then we both passed into the garden. Geraldine's arm I had drawn round my waist. We wandered, locked together, through the dusk of the garden. We found the dark yew tree walk by instinct; there was a seat and we sat down. We could scarcely see each other, we were utterly dumb, confounded with love.
We heard the wind pass by: we heard the dew fall, and the crying of the night-bird—a hooting sound.
The rest of that evening I only remember in silhouettes, just as a drunkard remembers his drunkenness. I remember the parting. I remember it well, for I saw it reflected in a long mirror. Across the room where we had been sitting, I can see the picture still—a cavalier standing by a girl.
Then I found myself in my bedroom all alone, the clock on the mantel striking twelve. The window-sash was open: the clouds had all broken up, and the moon was shining on the trees. I leaned on the sill, my head supported on my right hand, my left hand on the hilt of my sword. I listened. The wind was sighing amongst the trees, and on the wind I heard something far away and strange. A confused noise, it seemed like the noise of a battle in the distance. I tossed back my hair, and my left hand worked at the hilt of my sword. Yes, it must be a battle, a great battle in the distance. I caught the cry, "Sinclair, Sinclair," and then a cry like the distant sound of a thousand voices, "For the King." I heard the far-off tramp of horses, the vague cries, the clash of steel. Then the imperious call of a trumpet, the call of a battle-trumpet. I sprung to my feet from my stooping attitude. I swung the trumpet from behind me, and seizing it, placed the silver mouthpiece to my lips; then I blew. I blew till the rafters rang and the ceiling shook. I paused, then again I blew. I was drunk, and mad, mad—with the madness of battle. I left the room. The soul of the trumpet seemed to have possessed me, the mad sound of the trumpet beaten back from the walls drove me onwards. Through the corridor, down the great staircase, across the hall, then back up the staircase, along the corridor to my room I passed, the whole house ringing to the sound of the silver trumpet.
Then I found myself lying on my bedroom floor, sick, faint, and covered with a cold perspiration. The trumpet lay beside me. Away upstairs I thought I heard frightened cries, and the banging of a door, then silence. I crawled to the bed. I could scarcely drag my body on to it, my exhaustion was so great. Then I fell into a deep and dreamless sleep.
# Death the Knight and the Lady/Chapter 4
### CHAPTER IV INSTRUCTIONS PERFORMED

Then Wilder opened the hall door and I saw a splendid carriage and pair drawn up, the horses champing and flinging white foam about from their mouths. Wilder came down the steps and helped me in, the tall footman shut the door, and I heard Wilder's voice saying to the coachman, "Coutts'."
Gracious! all the things I thought of as the carriage drove into Oxford Street. It was an open landau, and I wondered that everyone did not stop to stare at me. How strange all the people that were walking seemed, just like mean things that had no business with life; how sweet the violets smelt in my bosom.
How nice Wilder was, not a bit good looking, but so different from the men I had mostly known. He was a gentleman, one could tell that just by his easy and languid voice; and what a hold I had upon him. And this journey to the north, I had a presentiment that it was to be strange, but how could I have told how strange, how beautiful it was to be?
Then the carriage stopped at Coutts', and the tall footman opened the door and touched his hat as I got out. I gave them Wilder's letter and my cheque, and they gave me in return a cheque book.
The next place we stopped at was the Bond Street jewellers. These are the rings I bought, see, they are on my fingers now. I never cared for diamonds. I love colour. My rings are mostly half hoops of sapphires, emeralds, and rubies; they would be vulgar only they are so glorious, and then my hands are so beautiful that you scarcely notice the rings: that was what Geraldine said. Good God! these tears will choke me: if I could only cry, but I can't, it all comes at the back of my throat, like a dull, heavy pain.
Then we drove to the other shop in Bond Street, where they sell travelling bags. I chose the most expensive I could find, a hundred and ten pounds I think it was. All the bottles had heavy gold tops, and I ordered my initials to be put on them. I ordered portmanteaux as well, and the man said everything would be ready next day by six in the evening, initials and all.
It was dark when we got to Redfern's, but that did not matter, for I had no colours to choose; funny, wasn't it, everything I got was either white or black or grey—mourning or half-mourning. I don't know that it was so funny after all, for this kind of dress suits me. I only spent two hundred pounds on dresses; some were to be made and sent after me when I knew the address I was going to, the others were to be sent next morning to Berkeley Square. I could have died laughing at the civility of these people at Redfern's, they thought I was some great lady—and so I was.
It was eight o'clock before I got back to Berkeley Square that evening.
# Death the Knight and the Lady/Chapter 21
### CHAPTER XXI "AND THEY LAID HIM TO HIS REST"

I remember next being in my own bedroom. I was taking off the cavalier's dress, and I felt like a traveller who had returned from some far and beautiful land. I never wept, nor even sighed. And I remember the rest of that strange and ghostly day, the silence of the house, and the room beyond the pretty corridor that held a thing stranger than anything on earth or in the sea. It rained slightly towards dusk. I was looking out of a window on to the garden, later—it may have been midnight for aught I know, I came down the painted corridor, and entered the bedroom. A lamp was burning, and on the bed lay something small and straight, covered with a sheet. I drew away the sheet, and saw the face I had known so well; just the same it looked, only smaller and more helpless, and the smile had faded away into a vague, beseeching look.
Then I remember days that passed, and one day when Wilder said to me, "You will not come?" "Where?" I asked. "To the graveyard."
I was in the library when he spoke. I shook my head.
He left the room; and a little later I heard heavy footsteps, and the tolling of a bell in the distance. I counted, one, two, three—sixteen, then the bell ceased.
# Constitution of the Republic of South Africa, 1993/1996-04-24/Chapter 2

Chapter 2
Citizenship and Franchise
Citizenship
5. (1) There shall be a South African citizenship.
(2) South African citizenship and the acquisition, loss and restoration of South African citizenship shall, subject to section 20 read with section 33(1), be regulated by an Act of Parliament.
(3) Every person who is a South African citizen shall, subject to this Constitution, be entitled to enjoy all rights, privileges and benefits of South African citizenship, and shall be subject to all duties, obligations and responsibilities of South African citizenship as are accorded or imposed upon him or her in terms of this Constitution or an Act of Parliament.
The franchise
6. Every person who is—
(a)
(i)
(ii)
(b)
(c)
shall be entitled to vote in elections of the National Assembly, a provincial legislature or a local government and in referenda or plebiscites contemplated in this Constitution, in accordance with and subject to the laws regulating such elections, referenda and plebiscites.
# Cosmic Songs

Cosmic Songs is a collection of 38 poems.
English-language translations of Písně kosmické include:
Translations of poems that originally appeared in this work include:
* I
* VI
* VII
* VIII
* XII
* XX
* XXI
* XXVI
* XXXI
* XXXVII
# Coshocton Tribune/1930/Jersey City Schoolboy Breaks Goldsborough's Trans-Continental Mark

Eddie August Schneider article published in the Coshocton Tribune on August 19, 1930
Jersey City Schoolboy Breaks Goldsborough's Trans-Continental Mark. Los Angeles, California; August 19, 1930. Edward Schneider, 19-year-old Jersey City school boy, was receiving congratulations today on the new junior transcontinental flight record he established here last night at the completion of a cross-continental airplane dash. Young Schneider completed his flight from Jersey City in 29 hours 41 minutes, flying time when he landed his Cessna cabin plane at the municipal airport here at 7:13 o'clock last night. Flood lights aided the youth in landing. The new record supplants that set by the late Frank Goldsborough last May 4 when he flew from coast to coast in 34 hours, 3 minutes. Goldsborough died following a crash in the Vermont mountains on July 16. Poor visibility delayed Schneider's arrival here after he was forced down earlier in the day at Ontario. Taking off from Ontario at 5:19 p. m., the young flyer later landed at Long Beach, got his bearings and 20 minutes later set his plane down here.
This work is in the public domain in the United States because it was legally published within the United States (or the United Nations Headquarters in New York subject to Section 7 of the United States Headquarters Agreement) before 1964, and copyright was not renewed.
* For Class A renewal records (books only) published between 1923 and 1963, check the Stanford University Copyright Renewal Database.
* For other renewal records of publications between 1922–1950, see the University of Pennsylvania copyright records.
* For all records since 1978, search the U.S. Copyright Office records.
Works could have had their copyright renewed between January 1st of the 27th year after publication or registration and December 31st of the 28th year. As this work's copyright was not renewed, it entered the public domain on January 1st of the 29th year.
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.
It is imperative that contributors ascertain that there is no evidence of a copyright renewal before using this license. Failure to do so will result in the deletion of the work as a copyright violation.
Public domainPublic domainfalsefalse
# Cosmic Songs (37)

* related portals: Czech literature.
* sister projects: Wikidata item.
The poem no. 37 from the collection Cosmic Songs.
English-language translations of Písně kosmické, 37 include:
* Song XXXVII in Bohemian legends and other poems by Flora Pauline Wilson Kopta
* We too must die in The Soul Of A Century by Roderick Aldrich Ginsburg