OpenLLM-France/wikimedia huggingface dataset:
# Motion Pictures, 1912-1939/Main/AL

McNeile]; basic idea and dialogue, Jack Hulbert; editor, Otto Ludwig; music director, Louis Levy.
* ALMOST A GENTLEMAN. 1939. 65 min., sd.
** Credits: Producer, Cliff Reid; director, ​Leslie Goodwins; story, Harold Shumate; screenplay, David Silverstein, Jo Pagano; editor, Desmond Marquette; music director, Frank Tours.
** © RKO Radio Pictures, Inc.; 31Mar39; LP8767.
* ALMOST A HERO. 1915. 1 reel.
** Credits: Director, Ulysses Davis.
** © The Vitagraph Co. of America (W. R. Cox, author); 10Apr15; LP5006.
© William Steiner (Twede-Dan [pseud.] author); title, descr. & 123 prints, 1Oct19; LU14239.
# Motion Pictures, 1912-1939/Main/AR

* THE ARAB. © 1915. A picturization of the play by Edgar Selwyn.
** © Jesse L. Lasky Feature Play Co., Inc. (Edgar Selwyn and Cecil B. DeMille, authors); title, descr. & 33 prints, 9Jun15; LU5502.
* THE ARAB. 1924. 8 reels. From the play by Edgar Selwyn.
** © Metro-Goldwyn Distributing Corp.; 16Jul24; LP20401.
* THE ARAB. SEE One Stolen Night.
* ARABIA. 1922. 5 reels.
** Credits: Story, Lynn Reynolds, Tom Mix; scenario and direction, Lynn Reynolds; edited and titled by Hettie Grey Baker.
** © William Fox (Fox Film Corp., author); 19Nov22; LP19209.
* ARABIA AND THE BABY. © 1913.
** Credits: Producer, Oscar Eagle.
** © Selig Polyscope Co. (Chris Lane, author); title, descr. & 31 prints, 28Jun13; LU879.
* ARABIA TAKES THE HEALTH CURE. © 1913.
** Credits: Oscar Eagle.
** © Selig Polyscope Co. (Chris Lane, author); title, descr. & 32 prints, 17Apr13; LU613.
* ARABIA, THE EQUINE DETECTIVE. © 1913.
** Credits: Producer, Oscar Eagle.
** © Selig Polyscope Co. (Chris Lane, author); title, descr. & 25 prints, 3Apr13; LU555.
* AN ARABIAN KNIGHT. © 1920.
** © Haworth Pictures Corp. (Gene Wright, author); title, descr. & 255 prints, 15Jul20; LU15354.
* ARABIAN KNIGHTS. (Slim Summerville Comedy) 1931. 2 reels.
** Credits: Director, Stephen Roberts; story, Francis J. Martin, James Mulhauser.
** © Universal Pictures Corp.; 19Mar31; LP2066.
* ARABIAN LOVE. 1922. 5 reels.
** Credits: Director, Jerome Storm; story and scenario, Jules Furthman.
** © William Fox (Fox Film Corp., author); 9Apr22; LP17824.
* ARABIAN NIGHTS. SEE Aladdin and the Wonderful Lamp.
* THE ARABIAN SHRIEKS. 1932. 2 reels, sd.
** Credits: Director, Aubrey Scotto; story, ​Harry W. Conn, Aubrey Scotto.
** © Paramount Publix Corp.; 5Mar32; LP2901.
# Motion Pictures, 1912-1939/Main/AN

* ANIMATED WEEKLY. © 1913.
* © Universal Film Mfg. Co. (Hal Reid, author).
** 58. © title, descr. & 28 prints, 29Apr13; MU54.
** 59. © title, descr. & 26 prints, 29Apr13; MU55.
* © Universal Film Mfg. Co.
** 60. © title, descr. & 26 prints, 5May13; MU53.
# Motion Pictures, 1912-1939/Main/AQ

* AQUA-RHYTHM. (The Grantland Rice Sportlight) 1939. 1 reel, sd.
** Credits: Producer, Jack Eaton; narrator, Ted Husing.
** © Paramount Pictures, Inc.; 24Nov39; MP9776.
* AQUABATS. (Grantland Rice Sportlight) 1937. 1 reel, sd.
** Credits: Narrated by Ted Husing.
** © Paramount Pictures, Inc.; 13Aug37; MP7701.
* AQUATIC ARTISTRY. (Sports Parade Subject) 1936. 1 reel.
** Credits: Director, David Miller; explanatory remarks by Pete Smith.
** © Metro-Goldwyn-Mayer Corp.; 2Jun36; MP6569.
# Minnie's Bishop and Other Stories

"26 stories of humour and pathos;" of Connacht and the Irish.
THE NOVELS OF G·A·BIRMINGHAM
* LALAGE'S LOVERS
* SPANISH GOLD
* THE SEARCH PARTY
* THE SIMPKINS PLOT
* THE MAJOR'S NIECE
* PRISCILLA'S SPIES
* THEE RED HAND OF ULSTER
* ADVENTURES OF DR. WHITTY
* GENERAL JOHN REGAN
* ➛MINNIE'S BISHOP
MINNIE'S BISHOP
BY G. A. BIRMINGHAM
Minnie's Bishop and Other Stories General John Regan The Lost Tribes Spanish Gold Lalage's Lovers The Search Party The Simpkins Plot The Major's Niece Priscilla's Spies The Red Hand of Ulster The Adventures of Dr. Whitty The Seething Pot The Bad Times Hyacinth From Dublin To Chicago
GEORGE H. DORAN COMPANY
NEW YORK
MINNIE'S BISHOP
AND OTHER STORIES
BY G. A. BIRMINGHAM
Author of “General John Regan,” “Spanish Gold,” “The Lost Tribes,” “The Search Party,” etc.,
HODDER & STOUGHTON NEW YORK GEORGE H. DORAN COMPANY
Copyright, 1915, By George H. Doran Company
Copyright, 1915,
By George H. Doran Company
MINNIE'S BISHOP
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 1950, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 73 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
# Minnich v. Gardner King Motor Company

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
292 U.S. 48
Minnich v. Gardner King Motor Company
Argued: March 15, 16, 1934. --- Decided: April 2, 1934
Messrs. John N. Minnich, of Bedford, Pa., and Henry George Gress, of Somerset, Pa., for petitioner.
Mr. A. E. Kountz, of Pittsburgh, Pa., for respondent.
Mr. Justice SUTHERLAND delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Menasha Paper Company v. Chicago & Northwestern Railway Company

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
241 U.S. 55
Menasha Paper Company v. Chicago & Northwestern Railway Company
Argued: April 3, 1916. --- Decided: April 24, 1916
Mr. Felix J. Streyckmans for plaintiff in error.
Messrs. Louis Quarles, George Lines, and Willet M. Spooner for defendant in error.
Mr. Justice McKenna delivered the opinion of the court:

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Menard's Heirs v. Massey

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
49 U.S. 293
Menard's Heirs v. Massey

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Menard v. Goggan

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
121 U.S. 253
Menard v. Goggan
John W. Butterfield, for plaintiff in error.
No appearance for defendant in error.
WAITE, C. J.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Menard v. Goggan/Opinion of the Court

* Court Documents
* Case Syllabus
* Opinion of the Court
United States Supreme Court
121 U.S. 253
Menard v. Goggan
This record does not show that the circuit court had jurisdiction of the suit, which depended alone on the citizenship of the parties. The petition states that Edmund Menard, the plaintiff, 'resides in Randolph county, in the state of Illinois,' and that the defendants, of whom Thomas Goggan, the defendant in error, was one, 'reside in the city of Galveston, in the state of Texas.' There is nothing else from which the citizenship of either party can be inferred, and this is not enough. We have so held at the present term in Continental Ins. Co. v. Rhoads, 119 U.S. 237, 7 Sup. Ct. Rep. 193, where the authorities are cited; Halsted v. Buster, 119 U.S. 341, 7 Sup. Ct. Rep. 276; and Everhart v. Huntsville College, 120 U.S. 223, 7 Sup. Ct. Rep. 555. This judgment must therefore be reversed on the authority of those cases, and, as the fault rests with the plaintiff in error, whose duty it was when bringing the suit to make the jurisdiction appear, the reversal will be at his costs in this court. Hancock v. Holbrook, 112 U.S. 229, 5 Sup. Ct. Rep. 115; Halsted v. Buster, supra. If the necessary citizenship actually existed at the time the suit was begun, it will be for the court below to determine, when the case gets back, whether the record sahll be amended so as to show that fact, and thus make out the jurisdiction.
The judgment of the circuit court is reversed at the costs of the plaintiff in error, and the cause remanded for further proceedings.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Menasha v. Hazard

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
102 U.S. 81
Menasha v. Hazard

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Modern Dancing/Chapter 7

VII
GRACE AND ETIQUETTE
Grace of manner, grace of mind, If for these we strive we'll find Grace of every other kind.
So runs the old nursery rhyme. Like most of these doggerels of our youth, there is a very real lesson underneath the jingle. Grace of manner and grace of mind must be the forerunners of all kinds of grace, and most certainly must lie back of the grace of dancing. Skill in stepping intricate measures and a wide knowledge of many dances do not make either a man or a woman graceful on the floor: there must be besides knowledge of the dance, knowledge of etiquette, of life's little courtesies and life's gentle thoughts. The vulgarity of a dance lies always as much in the mind of the dancer as in the steps, and a suggestive dance is inevitably the outcome of an evil thought, or a lack of knowledge of the finer and better way to dance.
Etiquette means not merely conventional rules, but rules of courtesy as well, and these should be ​scrupulously followed when dancing as well as under all other circumstances. The rules of etiquette are as strict for women as for men, and it is not necessary to be stiff and formal in order to follow them.
Both good manners and good dancing require a man to stand far enough from his partner to allow freedom of movement; he should not hug or clutch her during the dance. His arms should encircle her lightly, and he should barely rest his hand against her back, touching her only with his finger-tips and wrist.
So much has already been said about the vulgarity of the Bunny Hug that nothing need be added here except that many men attempt this sort of "strangle hold" when they are dancing. It is not only wrong from the standpoint of the dancing-teacher, but it is unpleasant for the lady and draws much adverse criticism from onlookers. Moreover, grace of movement is impossible under such circumstances. The two partners should dance in unison, lightly and easily, keeping together by perfection of step and perfect time rather than by the clutch of the man upon the lady's hand.
All this is no more etiquette than it is dancing, no more grace of manners than grace of body or mind, but it marks the difference between the ​good dancer and the poor one, between the gentleman and the roisterer.
In the modern dances the dancer stands with lithe grace and ease, but very erect, and dances with her feet, not with her whole body. Her outstretched fingers rest against the palm of her partner's hand; her other hand rests on his arm, and there should be space between. Then the lady should hold herself erect, that this space may remain there. Flouncing elbows, pumping arms, fantastic dips, and whirlwind turns all detract not only from the grace of the dance, but from the charm of the dancer.
A dip is hardly more than bending the knee. It does not mean an exposure of silk stocking, or should not, if the dancing-costume is properly cut; and it should not be done in a romping spirit. Remember that you are dancing, not doing acrobatic exercises; and your partner is there to dance with, not to hang yourself on in grotesque attitudes and poses to music.
Layout 2
# Modern Dancing/Chapter 12

XII
PROPER DANCE MUSIC
Music is really more expressive of the era in which it appears than books or pictures or any of the arts. To every nation belongs its music, and every nation expresses in its music national characteristics and national dreams.
MR. AND MRS. VERNON CASTLE
was neither dignity nor beauty in the fast Two Step; but every piece of music that lived to be whistled and hummed in those days was set to Two Step time.
Then came the rag, the rag with its syncopated tempo and its subtle phrasing, to which the world turkey-trotted. Now we have the slower and more artistic music of the moment in the merry One Step, the Hesitation Waltz, and the stirring Tango. What will come next no one can prophesy, but we all, I imagine, must admit the fact that the music of to-day is far prettier than the music of yesterday—if it is not played too fast. That is a mistake that is often made, particularly by amateur musicians and dancers; too swift a tempo is set for the music and the dance steps.
All of our modern Tangos and Waltzes to-day should be slow and graceful and full of pretty measures that are stepped in a fashion almost as stately as the old-time Minuet. And for such ​dances one requires a slow tempo. A fast tune means rapid dancing and a lack of ease that robs the dances of their grace and makes them as rompish as the Two Step or the swift Turkey Trot. What is more, the time must be marked, a slight accentuation on the first note of every bar being a great aid to the dancer who is just learning, since it beats time for him. In some dances, notably the Innovation, where a man cannot lead his partner as he may in a dance where he holds her, it is necessary for the two dancers to keep perfect time, or else the entire effect of the dance is lost.
In many respects this dancing alone is a splendid way to learn—if the dancer will count under her breath every beat of the music and keep her steps exact. For the lady who is not sure of the tempo of a dance this is an excellent method of learning the rhythm. The 1, 2, 3, 4 of the One Step is very marked in the better music for this dancing, while the 1, 2, 3 of the Waltz is easily caught and can be counted under the breath, no matter how elaborate the tune. The bass almost always marks the time.
I might, of course, give you a long list of the music of to-day which I consider best for dancing, but in a month or two the list would be passé. There is always in every shop a man to play selections for you. You can tell in an instant ​whether the time is right and cleariy marked, or whether it loses beats, now and then requiring the holding of notes over two beats—all of which is apt to put the amateur dancer out of step.
Layout 2
# Modern Dancing/Chapter 15

CASTLE HOUSE SUGGESTIONS
FOR CORRECT DANCING
Do not wriggle the shoulders. Do not shake the hips. Do not twist the body. Do not flounce the elbows. Do not pump the arms. Do not hop—glide instead.
Avoid low, fantastic, and acrobatic dips.
Stand far enough away from each other to allow free movement of the body in order to dance gracefully and comfortably.
The gentleman should rest his hand lightly against the lady's back, touching her with the finger-tips and wrist only, or, if preferred, with the inside of the wrist and the back of the thumb.
The gentleman's left hand and forearm should be held up in the air parallel with his body, with the hand extended, holding the lady's hand lightly on his palm. The arm should never be straightened out.
Remember you are at a social gathering, and not in a gymnasium.
Drop the Turkey Trot, the Grizzly Bear, the Bunny Hug, etc. These dances are ugly, ungraceful, and out of fashion.
Layout 2
# Mṛcchakaṭikā

* related portals: Sanskrit drama.
* sister projects: Wikipedia article, Commons category, Wikidata item.
मृच्छकटिका (Mṛcchakaṭikā, "The Toy Cart") is a classical Sanskrit drama attributed to Śūdraka.
English-language translations of मृच्छकटिका include:
* The Mrichchakati, or The Toy Cart, translated by Horace Hayman Wilson (1826) (transcription project)
* The Little Clay Cart, [Mṛcchakaṭika], translated by Arthur William Ryder (1905)
This work is in the public domain worldwide because the author died at least 100 years ago. Translations of this work may be copyrighted.
Public domainPublic domainfalsefalse
# Münster, Sebastian

* Search for titles containing or beginning with: "Münster, Sebastian."
* 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.
* "Münster, Sebastian," in Encyclopædia Britannica (11th ed., 1911)
* "Münster, Sebastian," in The New International Encyclopædia, New York: Dodd, Mead and Co. (1905)
* "Münster, Sebastian," in Encyclopædia Britannica, Ninth Edition (17) (1884)
* "Munster, Sebastian" in The Great Historical, Geographical, Genealogical and Poetical Dictionary, 1701
# Münster, Westphalia

* Search for titles containing or beginning with: "Münster, Westphalia."
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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.
* "Münster," in Catholic Encyclopedia, (ed.) by Charles G. Herbermann and others, New York: The Encyclopaedia Press (1913)
* "Münster (Westphalia)," in Encyclopædia Britannica (11th ed., 1911)
* "Münster (Germany)," in The Encyclopedia Americana, New York: The Encyclopedia Americana Corporation (1906)
* "Münster," in The New International Encyclopædia, New York: Dodd, Mead and Co. (1905)
* "Munster" in The Great Historical, Geographical, Genealogical and Poetical Dictionary, 1701
# Münsterberg, Hugo

* Search for titles containing or beginning with: "Münsterberg, Hugo."
* 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.
* "Münsterberg, Hugo," in The Encyclopedia Americana, New York: The Encyclopedia Americana Corporation (1906)
* "Münsterberg, Hugo," in Encyclopædia Britannica (11th ed., 1911)
* "Muensterberg, Hugo," in The New Student's Reference Work, Chicago: F.E. Compton and Co. (1914)
* "Münsterberg, Hugo," in The Cyclopædia of American Biography, New York: (1918)
* "Münsterberg, Hugo," in The Encyclopedia Americana, New York: The Encyclopedia Americana Corporation (1920)
* "Münsterberg, Hugo," in Collier's New Encyclopedia, New York: P. F. Collier & Son Co. (1921)
* "Münsterberg, Hugo," in Encyclopædia Britannica (12th ed., 1922)
* Hugo Münsterberg (author page)
# Münzer, Thomas

* Search for titles containing or beginning with: "Münzer, Thomas."
* 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.
* "Münzer, Thomas," in Collier's New Encyclopedia, New York: P. F. Collier & Son Co. (1921)
* "Münzer, Thomas," in Encyclopædia Britannica (11th ed., 1911)
* "Münzer, Thomas," in The Nuttall Encyclopædia, (ed.) by James Wood, London: Frederick Warne and Co., Ltd. (1907)
* "Münzer, Thomas," in The Encyclopedia Americana, New York: The Encyclopedia Americana Corporation (1906)
* "Münzer, Thomas," in The New International Encyclopædia, New York: Dodd, Mead and Co. (1905)
* "Münzer, Thomas," in Encyclopædia Britannica, Ninth Edition (17) (1884)
* "Münzer, Thomas," in The American Cyclopædia (1879)
* "Muncer, Thomas" in The Great Historical, Geographical, Genealogical and Poetical Dictionary (2nd ed.) by Jeremy Collier, 1701
# Mine and Thine (1904)/The Burial of Robert Louis Stevenson at Samoa

THE BURIAL OF ROBERT LOUIS STEVENSON AT SAMOA
Where shall we lay you down to rest? Where will you sleep the very best? Mirthful and tender, dear and true— Where shall we find a grave for you?
They thought of a spirit as brave as light, And they bore him up to a lonely height, And they laid him there, where he loved to be, On a mountain gazing o'er the sea!
They thought of a soul aflood with song, And they buried him where the summer long ​Myriad birds his requiem sing, And the echoing woods about him ring!
They thought of a love that life redeems, Of a heart the home of perfect dreams, And they left him there, where the worlds aspire In the sunrise glow and the sunset fire!
# Mine and Thine (1904)/The Difference

This poem was not included in Mrs. Coates' collected Poems (1916, in 2 vols.).
THE DIFFERENCE
Had Henley died, his course half run— Had Henley died, and Stevenson Been left on earth, of him to write, He would have chosen to indite His name in generous phrase—or none.
No envious humor, cold and dun, Had marred the vesture he had spun, All luminous, to clothe his knight— Had Henley died!
Ah, well! at rest—poor Stevenson!— Safe in our hearts his place is won. ​There love shall still his love requite, His faults divinely veiled from sight, Whose tears had fallen in benison, Had Henley died!
# Mine and Thine (1904)/Pilgrim Song

PILGRIM SONG
Written for the Society of Mayflower Descendants in the State of Pennsylvania
Pilgrims of the trackless deep, Leaving all, our fathers came, Life and liberty to keep In Jehovah's awful name. Neither pillared flame nor cloud Made the wild, for them, rejoice, But their hearts, with sorrow bowed, In the darkness heard His voice.
Things above them they divined— Thoughts of God, forever true, ​And the deathless Compact signed— Building better than they knew: Building liberty not planned, Law that ampler life controls, All the greatness of our land Lying shadowed in their souls.
In the days that shall succeed, Prouder boast no time shall grant Than to be of them, indeed, Children of their Covenant: Children of the promised day, Bound by hope and memory, Brave, devoted, wise, as they— Strong with love's humility.
# Mine and Thine (1904)/Song of Life

MINE AND THINE
SONG OF LIFE
Maiden of the laughing eyes, Primrose-kirtled, winged, free, Virgin daughter of the skies— Joy—whom gods and mortals prize, Share thy smiles with me!
Yet—lest I, unheeding, borrow Pleasure that to-day endears And benumbs the heart to-morrow— Turn not wholly from me, Sorrow! Let me share thy tears!
​Give me of thy fullness, Life! Pulse and passion, power, breath, Vision pure, heroic strife,— Give me of thy fullness, Life!— Nor deny me death!
# Mine and Thine (1904)/The Clouds

THE CLOUDS
The clouds give back to earth again The moisture they absorb; An atom floating in the sun Is lasting as an orb.
We fear lest ill should fly itself, And wrong at last prevail: Lest good should lack its just reward And light untimely fail:
We falter, and distrust the fate We may not understand; ​Interrogate the oracle, When God is close at hand.
And still the clouds go drifting by, Or fall in fruitful rain: High over us the stars, undimmed, Benignant shine again;
And from that temple, viewless, vast, Where failure is unknown, The Father of existences Keeps watch above his own.
# Mine and Thine (1904)/Picquart

First published in The Century Magazine (July 1902)
PICQUART
For love of justice and for love of truth— Aye, 't was for these, for these he put aside Place and preferment, fortune and the pride Of fair renown; the friends he prized, in sooth, All the rewards of an illustrious youth, And set his strength against a swollen tide, And gave his spirit to be crucified— For love of justice and for love of truth.
Keeper of the abiding scroll of fame, Lo! we intrust to thee a hero's name! Life, like a restless river, hurrying by, ​Bears us so swiftly on, we may forget The name to which we owe so deep a debt; But guard it thou, nor suffer it to die!