OpenLLM-France/wikimedia huggingface dataset:
# The Children of the Night (1921)/Charles Carville’s Eyes

CHARLES CARVILLE’S EYES
A melancholy face Charles Carville had, But not so melancholy as it seemed,— When once you knew him,—for his mouth redeemed His insufficient eyes, forever sad: In them there was no life-glimpse, good or bad,— Nor joy nor passion in them ever gleamed; His mouth was all of him that ever beamed, His eyes were sorry, but his mouth was glad.
He never was a fellow that said much, And half of what he did say was not heard By many of us: we were out of touch With all his whims and all his theories Till he was dead, so those blank eyes of his Might speak them. Then we heard them, every word.
# The Children of the Night (1921)/Cliff Klingenhagen

New York: Scribner's, page 48
CLIFF KLINGENHAGEN
Cliff Klingenhagen had me in to dine With him one day; and after soup and meat, And all the other things there were to eat, Cliff took two glasses and filled one with wine And one with wormwood. Then, without a sign For me to choose at all, he took the draught Of bitterness himself, and lightly quaffed It off, and said the other one was mine.
And when I asked him what the deuce he meant By doing that, he only looked at me And grinned, and said it was a way of his. And though I know the fellow, I have spent Long time a-wondering when I shall be As happy as Cliff Klingenhagen is.
# The Children of the Night (1921)/For a Book by Thomas Hardy

FOR A BOOK BY THOMAS HARDY
With searching feet, through dark circuitous ways, I plunged and stumbled; round me, far and near, Quaint hordes of eyeless phantoms did appear, Twisting and turning in a bootless chase,— When, like an exile given by God’s grace To feel once more a human atmosphere, I caught the world's first murmur, large and clear, Flung from a singing river's endless race.
Then, through a magic twilight from below, I heard its grand sad song as in a dream: Life's wild infinity of mirth and woe It sang me; and, with many a changing gleam, Across the music of its onward flow I saw the cottage lights of Wessex beam.
# The Children of the Night (1921)/Fleming Helphenstine

FLEMING HELPHENSTINE
At first I thought there was a superfine Persuasion in his face; but the free glow That filled it when he stopped and cried, "Hollo!" Shone joyously, and so I let it shine. He said his name was Fleming Helphenstine, But be that as it may;—I only know He talked of this and that and So-and-So, And laughed and chaffed like any friend of mine.
But soon, with a queer, quick frown, he looked at me, And I looked hard at him; and there we gazed With a strained shame that made us cringe and wince: Then, with a wordless clogged apology That sounded half confused and half amazed, He dodged,—and I have never seen him since.
# The Children of the Night (1921)/For Some Poems by Matthew Arnold

FOR SOME POEMS BY MATTHEW ARNOLD
Sweeping the chords of Hellas with firm hand, He wakes lost echoes from song's classic shore, And brings their crystal cadence back once more To touch the clouds and sorrows of a land Where God's truth, cramped and fettered with a band Of iron creeds, he cheers with golden lore Of heroes and the men that long before Wrought the romance of ages yet unscanned.
Still does a cry through sad Valhalla go For Balder, pierced with Lok's unhappy spray— For Balder, all but spared by Frea’s charms; And still does art's imperial vista show, On the hushed sands of Oxus, far away, Young Sohrab dying in his father’s arms.
# The Chronicles of Clovis/Acknowledgment

Layout 2
Acknowledgment
"THE Background" originally appeared in the "Leinsters' Magazine"; "The Stampeding of Lady Bastable" in the "Daily Mail"; "Mrs. Packletide's Tiger," "The Chaplet," "The Peace Offering," "Filboid Studge" and "Ministers of Grace" (in an abbreviated form) in the "Bystander"; and the remainder of the stories (with the exception of "The Music on the Hill," "The Story of St. Vespaluus," "The Secret Sin of Septimus Brope," "The Remoulding of Groby Lington," and "The Way to the Dairy," which have never previously been published) in the "Westminster Gazette." To the Editors of these papers I am indebted for courteous permission to reprint them.
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 Chronicles of Clovis

* related portals: General literature, Humor.
* sister projects: Wikipedia article, Wikidata item.
In 1908, H. H. Munro (Saki) gave up foreign reporting and settled in London. Many of his stories from this period feature Reginald and Clovis, young men-about-town who take mischievous delight in the discomfort or downfall of their conventional, pretentious elders. Warning: template has been deprecated.
Layout 2
THE CHRONICLES OF CLOVIS
BY THE SAME AUTHOR
REGINALD
REGINALD IN RUSSIA
ETC.
OFCLOVIS
BY H. H. MUNRO ("SAKI")
LONDON: JOHN LANE, THE BODLEY HEAD
NEW YORK: JOHN LANE COMPANY. MCMXII
WILLIAM BRENDON AND SON, LTD., PRINTERS, PLYMOUTH
TO THE LYNX KITTEN, WITH HIS RELUCTANTLY GIVEN CONSENT,
THIS BOOK IS AFFECTIONATELY
DEDICATED.
H. H. M. August, 1911
CONTENTS
Page
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 Child's Own Music Book/To Babyland

TO BABYLAND
# The Child's Own Music Book/Welsh Lullaby

Lyrics by Harold Boulton
WELSH LULLABY
# The Child's Own Music Book/When the Rain Stops

WHEN THE RAIN STOPS
# The Child's Own Music Book/Three Blind Mice

THREE BLIND MICE
# The Child's Own Music Book/Upon a Lowly Manger

UPON A LOWLY MANGER
M. Atwood
# The Child's Own Music Book/The Wild Rose

THE WILD ROSE
J. Strauss
# The Child's Own Music Book/Tree Song

TREE SONG
The children must stand in a row, and be ready to begin singing, with their arms extended to the left, the backs of the hands uppermost to wave to and fro in time to the music during the singing of the first line, dropping them gently during the refrain of the second, "So are we." During the singing of the third line they will bend gracefully, regaining the upright position for the fourth.
For the second verse, arms must be raised straight from the shoulder, and the fore-finger of each hand point up, the head thrown back, and the eyes following the direction of the left hand; during the third line the arms are at the side, and the head is merely held very erect to emphasize the words.
# The Child's Own Music Book/Twinkle, Twinkle, Little Star

Twinkle, Twinkle, Little Star
# The Child's Own Music Book/Winkum, Winkum

WINKUM, WINKUM
# The Child's Own Music Book/Yankee Doodle (1)

YANKEE DOODLE
# The American Language/Chapter 37

In capitalization the English are a good deal more conservative than we are. They invariably capitalize such terms as Government, Prime Minister and Society, when used as proper nouns; they capitalize Press, Pulpit, Bar, etc., almost as often. In America a movement against this use of capitals appeared during the latter part of the eighteenth century. In Jeffersons first draft of the Declaration of Independence nature and creator, and even god are in lower case. During the 20s and 30s of the succeeding century, probably as a result of French influence, the movement against the capitals went so far that the days of the week were often spelled with small initial letters, and even Mr. became mr. Curiously enough, the most striking exhibition of this tendency of late years is offered by an English work of the highest scholarship, the Cambridge History of English Literature. It uses the lower case for all titles, even baron and colonel before proper names, and also avoids capitals in such words as presbyterian, catholic and christian, and in the second parts of such terms as Westminster abbey and Atlantic ocean.
There are also certain differences in punctuation. The English, as everyone knows, put a comma after the street number of a house, making it, for example, 34, St. James&#146;s street. They usually insert a comma instead of a period after the hour when giving the time in figures, e. g., 9, 27, and omit the o when indicating less than 10 minutes, e. g., 8, 7, instead of 8.07. They do not use the period as the mark of the decimal, but employ a dot at the level of the upper dot of a colon, as in 3.1416. They cling to the hyphen in such words as to-day, to-night and good-bye; it begins to disappear in America.
There remains a class of differences that may as well be noticed under spelling, though they are not strictly orthographical. Specialty, aluminum and alarm offer examples. In English they are speciality, aluminium and alarum, though alarm is also an alternative form. Specialty, in America, is always accented on the first syllable; speciality, in England, on the third. The result is two distinct words, though their meaning is identical. How aluminium, in America, lost its fourth syllable I have been unable to determine, but all American authorities now make it aluminium and all English authorities stick to aluminium. Perhaps the boric-boracic pair also belongs here. In American boric is now almost universally preferred, but it is also making progress in England. How the difference between the English behove and the American behoove arose I do not know. Equally mysterious is the origin of the American snicker, apparently a decadent form of the English snigger.
# The Art of Nijinsky/Conclusion

CHAPTER VI
CONCLUSION
The praise which the Russian Ballet has almost universally received in England seems to offer one of the rare instances of our ability to appreciate a good thing when we see it. On that we may congratulate ourselves. But I am reminded that this appreciation is by no means universal, and that in Russia itself there is a section of opinion to whom the later developments of the Diaghilew ballet are frankly abhorrent.
Hitherto, we must remember, the ballet in Russia has been an exclusively aristocratic form of art. It has relied ​for its existence on State patronage, and has inevitably preserved the bias of all things royal towards the conventional and the correct. But now that private enterprise has furnished an independent outlet, the ballet has become a splendid playground for that personal and adventurous spirit which is the first result of emancipation. This, of course, means many enemies in the country of its origin, and explains the fact that, like so many achievements of the modern Russian spirit, the new art of Russian dancing is an art of exiles.
In this country, however, the Russian Ballet has had to face no active hostility, and a recent pronouncement of Mr, Gordon Craig affords, I think, the only serious and public criticism of its principles.
Briefly, his complaint is that the appeal ​of the ballet is too material—the beauty of individual human bodies acting upon our senses, stimulating a physical appreciation which excludes the serene spiritual revelation that is the aim of art.
If anyone has a right to make such a stricture it is Mr. Craig; and however little we may be disposed to take his point of view, it may at least remind us that there are worlds of feeling which the Russians have still to conquer, and that Nijinsky himself, though, indeed, he has shown us something of the dance under its first ritual inspiration, has as yet done nothing to restore to it that social significance which was once the secret of its appeal.
That for the Future, In the meantime, we may be well content. The memory of a hundred wonderful nights ​is enough. And if Nijinsky never danced again we should know that his fame would be safe—the fame of one who, more perhaps than any man living, has made beauty for his generation.
# The Art of Poetry (Dryden)

A poem, where we all perfections find, Is not the work of a fantastic mind; There must be care, and time, and skill, and pains; Not the first head of inexperienced brains. Yet sometimes artless poets, when the rage Of a warm fancy does their minds engage, Puffed with vain pride, presume they understand, And boldly take the trumpet in their hand: Their fustian muse each accident confounds; Nor can she fly, but rise by leaps and bounds, Till, their small stock of learning quickly spent, Their poem dies for want of nourishment. In vain mankind the hot-brained fool decries, No branding censures can unveil his eyes; With impudence the laurel they invade, Resolved to like the monsters they have made. Virgil, compared to them, is flat and dry; And Homer understood not poetry: Against their merit if this age rebel, To future times for justice they appeal. But waiting till mankind shall do them right, And bring their works triumphantly to light, Neglected heaps we in bye-corners lay, Where they become to worms and moths a prey.
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 Art of Nijinsky/Index

* Top
* A
* B
* C
* D
* E
* F
* G
* H
* I
* J
* K
* L
* M
* N
* O
* P
* Q
* R
* S
* T
* U
* V
* W
* X
* Y
* Z
​INDEX OF NAMES AND BALLETS
Bakst, Léon, 20, 67
Benois, M., 20
Blake, William, 29
Bolm, Adolf, 16
Calvocoressi, M., 4
Carnaval, Le, 43-47, 81
Catherine II, the Empress, 13
Chopin, 52
Cléopatre, 81
Coppélia, 60
Craig, Gordon, 17, 103, 103
Debussy, Claude, 83
Diaghilew, M,, 2, 18-21
Dieu Bleu, Le, 81
Duncan, Isadora, 17, 66
Elssler, Fanny, 53
Flitch, Crawford, 4
Fokine, Michel, 20, 23, 39, 44, 80, 81
Gauguin, Paul, 83
Gautier, Théophile, 48
Genée, Adeline, 60
Grisi, 53
Hewlett, Maurice, 67
Ingres, 79
Ivanovna, the Empress Anna, 13
Jeux, 69-74, 80, 83 , 86, 87, 88, 95
Karamzine, 14
Karsavina, Mme., 16, 49
Lac des Cygnes, Le, 34-38
Manet, 79
Mordkin, Michel, 16, 28
Morris, Margaret, 65
Moussorgsky, 19
Mullock, Dorothy, 34
Murray, Prof. Gilbert, 64
Nijinsky, Waslaw, 7-9, 12, 15, 16, 20-33, 37, 40-43, 53, 54, 57, 58, 61, 62, 66, 68, 69, 80, 82, 83, 85, 87, 88, 94, 99, 100, 103, 104
Noverre, 13, 43
L'Oiseau de Feu, 84
Pater, Walter, 6
Pavilion d'Armide, Le, 31, 39-43, 81
Pavlova, Anna, 11, 16, 28
Petipa, Marius, 15, 38
​Pétrouchka, 60-64, 84, 85
Pouchkine, 12
Prélude à l'Aprés-Midi d'un Faune, 64-68, 80, 86, 95
Reinhardt, Prof., 17, 81
Rimsky-Korsakov, 19
Sacre du Printemps, Le, 23, 80, 83, 88-99
Scheherazade, 55-59, 81
Schumann, Robert, 44, 45
SpectredelaRose, Le, 47-50, 81
Stravinsky, Igor, 83, 84
Svétlow, M., 4
Sylphides, Les, 26, 31, 44, 50-54, 81
Taglioni, 53
Terry, Ellen, 30
Thamar, 59, 81
Tschaikovsky, 38
Vestris, 6, 14
Weber, 50
Printed by Ballantvne, Hanson & Co. at Paul's Work, Edinburgh
# The Art of Nijinsky/Table

TABLE OF BALLETS
TABLE OF BALLETS PERFORMED IN LONDON IN WHICH NIJINSKY HAS APPEARED
| Title of Ballet | Inventor of the Dances | Designer of Scenery and Costumes | Composer of Music |
| Giselle | Corali | Benois | Adams |
| Le Lac des Cygnes | Petipa | Korovin and Golovin | Tschaikovsky |
| Aurora et le Prince. (Pas de Deux from La Belle au Bois Dormant) | Petipa | — | Tschaikovsky |
| Le-Pavillon d'Armide | Fokine | Benois | Tcherepnin |
| Narcisse | Fokine | Bakst | Tcherepnin |
| Le Spectre de la Rose | Fokine | Bakst | Weber |
| Les Sylphides | Fokine | Bakst | Chopin |
| Le Carnaval | Fokine | Bakst | Robert Schumann |
| Scheherazade | Fokine | Bakst | Rimsky-Korsakov |
| Cléopatre | Fokine | Bakst | Arensky |
| Le Dieu Bleu | Fokine | Bakst | Reynaldo Hahn |
| Pétrouchka | Fokine | Benois | Stravinsky |
| Prélude à l'Apres-Midi d'un Faune | Nijinsky | Bakst | Debussy |
| Jeux | Nijinsky | Bakst | Debussy |
# The Babies of Walloon

The following poem was inspired by a true story. In 1891, two young girls aged six and nine, the daughters of a lengthsman on the railway at Walloon, Queensland, were sent on an errand by their parents and were presumably attracted by some water-lilies in a pool near their home. They were subsequently found drowned in six feet of water.
He was lengthsman on the railway, and his station scarce deserved That “pre-eminence in sorrow” of the Majesty he served, But as dear to him and precious were the gifts reclaimed so soon— Were the workman’s little daughters who were buried near Walloon.
Speak their names in tones that linger, just as though you held them dear; There are eyes to which the mention of those names will bring a tear. Little Kate and Bridget, straying in an autumn afternoon, Were attracted by the lilies in the water of Walloon.
All is dark to us. The angels sing perhaps in Paradise Of the younger sister’s danger, and the elder’s sacrifice; But the facts were hidden from us, when the soft light from the moon Glistened on the water-lilies o’er the Babies at Walloon.
Ah! the children love the lilies, while we elders are inclined To the flowers that have poison for the body and the mind. Better for the “strongly human” to have done with life as soon, Better perish for a lily like the Babies of Walloon.
For they gather flowers early on the river far away, Where the everlasting lilies keep their purity for aye, And while summer brings our lilies to the run and the lagoon May our children keep the legend of the Babies of Walloon.
This work is in the public domain in Australia because it was created in Australia and the term of copyright has expired. According to Australian Copyright Council - Duration of Copyright, the following works are public domain:
* published non-government works whose author died before January 1, 1955,
* anonymous or pseudonymous works and photographs published before January 1, 1955, and
* government works published more than 50 years ago (before January 1, 1974).
This work is also in the public domain in the United States because it was first published outside the United States (and not published in the U.S. within 30 days), and it was first published before 1989 without complying with U.S. copyright formalities (renewal and/or copyright notice) and it was in the public domain in Australia on the URAA date (January 1, 1996). This is the combined effect of Australia having joined the Berne Convention in 1928, and of 17 USC 104A with its critical date of January 1, 1996.
Because the Australian copyright term in 1996 was 50 years, the critical date for copyright in the United States under the URAA is January 1, 1946.
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 Aziola

* "The Aziola", in The Keepsake (1829), edited by Mary Shelley
* "The Aziola", in The Complete Poetical Works of Percy Bysshe Shelley (1914)
# The Babes in the Wood (1800)/The Yorkshire beauty

Dated from period of activity of publisher and external evidence.
The Yorkshire Beauty.
WHEN I was a pratty boy, Some twunty years ago, I was the pride o' mammy's heart, She made me quite a ſhaw, Such a beauty's I did graw, did graw, Such a beauty's I did graw,
Straught hair I had and goggle eyes, With ſuch a roguiſh leer A braud flat noſe, beſides a mouth That reach'd fra' ear ta ear, Such a beauty &c.
​One day a-playing with the pigs, I chanc'd to brak my noſe, They ſtack me in a corn-field To fright away the crows, Such a beauty, &c.
My mammy prais'd my wond'rous charms And when ſhe did me fill. For fear a ſpoon would ſpoil my mouth, She fed me with a quill, Such a beauty, &c.
Now the plague of being handſome, Upon my ſoul it's true, I cud waſh myſel' as ugly, oy, As ony yаn o' yau. Such a beauty, &c.
To monkeybanks, whun e'er I wasnt, I beat 'ere all dead hollow; I wun a flaming gold-lac'd hat, By grinning through a callar, Such a beauty, &c.
Now ladies wha a lover want, Pray donna me deſpiſe, But tak me to your tender arms, And ſun me wi' your eyes, Such a beauty I will graw, will graw, Such a beauty I will graw.
FINIS
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 Babes in the Wood (1800)

Dated from period of activity of publisher and external evidence.
THE
Babes in the Wood
To which is added,
The Yorkshire Beauty.
Edinburgh, Printed by J. Morren.
* The Babes in the Wood
* The Yorkshire Beauty
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 Complete Works of Swami Vivekananda/Volume 8/Epistles - Fourth Series/CXXXI Rakhal

CXXXI
(Translated from Bengali)
To Swami Brahmananda
SRINAGAR,
1st August, 1898.
MY DEAR RAKHAL,
You are always under a delusion, and it does not leave you because of the strong influence, good or bad, of other brains. It is this: whenever I write to you about accounts, you feel that I have no confidence in you. . . . My great anxiety is this: the work has somehow been started, but it should go on and progress even when we are not here; such thoughts worry me day and night. Any amount of theoretical knowledge one may have; but unless one does the thing actually, nothing is learnt. I refer repeatedly to election, accounts, and discussion so that everybody may be prepared to shoulder the work. If one man dies, another — why another only, ten if necessary — should be ready to take it up. Secondly, if a man's interest in a thing is not roused, he will not work whole-heartedly; all should be made to understand that everyone has a share in the work and property, and a voice in the management. This should be done while there is yet time. Give a responsible position to everyone alternately, but keep a watchful eye so that you can control when necessary; thus only can men be trained for the work. Set up such a machine as will go on automatically, no matter who dies or lives. We Indians suffer from a great defect, viz we cannot make a permanent organisation — and the reason is that we never like to share power with others and never think of what will come after we are gone.
I have already written everything regarding the plague. Mrs. Bull and Miss Müller and others are of opinion that it is not desirable to spend money uselessly when hospitals have been started in every Ward. We lend our services as nurses and the like. Those that pay the piper must command the tune.
The Maharaja of Kashmir has agreed to give us a plot of land. I have also visited the site. Now the matter will be finalised in a few days, if the Lord wills. Right now, before leaving, I hope to build a small house here. I shall leave it in the charge of Justice Mukherjee when departing. Why not come here with somebody else and spend the winter? Your health will improve, and a need, too, will be fulfilled. The money I have set apart for the press will be sufficient for the purpose, but all will be as you decide. This time I shall surely get some money from N.W.P., Rajputana, and other places. Well, give as directed . . . money to a few persons. I am borrowing this amount from the Math and will pay it back to you with interest.
My health is all right in a way. It is good news that the building work has begun. My love to all.
Yours affectionately,
VIVEKANANDA.
# The Complete Works of Swami Vivekananda/Volume 8/Epistles - Fourth Series/CXXXV Joe

CXXXV
To Miss Josephine MacLeod
57 RAM KANTA BOSE STREET,
CALCUTTA,
12th November, 1898.
MY DEAR JOE,
I have invited a few friends to dinner tomorrow, Sunday. . . .
We expect you at tea. Everything will be ready then.
Shri Mother is going this morning to see the new Math. I am also going there. Today at 6 p.m. Nivedita is going to preside. If you feel like it, and Mrs. Bull strong, do come.
Ever yours in the Lord,
VIVEKANANDA.