OpenLLM-France/wikimedia huggingface dataset:
# The Lily of the Valley (Balzac, tr. Wormeley)/Envoi

    Felix de Vandenesse to Madame la Comtesse Natalie de Manerville:
    I yield to your wishes. It is the privilege of the women whom we love more than they love us to make the men who love them ignore the ordinary rules of common-sense. To smooth the frown upon their brow, to soften the pout upon their lips, what obstacles we miraculously overcome! We shed our blood, we risk our future!
    You exact the history of my past life; here it is. But remember this, Natalie; in obeying you I crush under foot a reluctance hitherto unconquerable. Why are you jealous of the sudden reveries which overtake me in the midst of our happiness? Why show the pretty anger of a petted woman when silence grasps me? Could you not play upon the contradictions of my character without inquiring into the causes of them? Are there secrets in your heart which seek absolution through a knowledge of mine? Ah! Natalie, you have guessed mine; and it is better you should know the whole truth. Yes, my life is shadowed by a phantom; a word evokes it; it hovers vaguely above me and about me; within my soul are solemn memories, buried in its depths like those marine productions seen in calmest weather and which the storms of ocean cast in fragments on the shore.
    The mental labor which the expression of ideas necessitates has revived the old, old feelings which give me so much pain when they come suddenly; and if in this confession of my past they break forth in a way that wounds you, remember that you threatened to punish me if I did not obey your wishes, and do not, therefore, punish my obedience. I would that this, my confidence, might increase your love.
Until we meet,
Felix.
# The Metropolitan Museum of Art Bulletin

The Metropolitan Museum of Art Bulletin is published by the The Metropolitan Museum of Art, New York.
* Volume 1 (1906)
* Volume 2 (1907)
* Volume 3 (1908)
* Volume 4 (1909)
* Volume 5 (1910)
* Volume 6 (1911)
* Volume 7 (1912)
* Volume 8 (1913)
** Number 6
*** A Picture by Hieronymus Bosch
# The Life and Works of Christopher Dock/Spiritual Magazine/No. 41b

THE GOLDEN A. B. C. OF A PIOUS CHILD
A disciple of the Lord Jesus shall be:
| 1. | — Attentive to the word of Christ. Acts xvi, 14. |
| 2. | — Fervent in spirit. Romans xii, 11. |
| 3. | — Submissive to Christ. Titus ii, 14. |
| 4. | — Humble toward God and man. Matth. xi, 29. |
| 5. | — Honest in demeanor. Romans xii, 17. |
| 6. | — Fruitful in good deeds. John xi, 5. |
| 7. | — Believing in the Lord Jesus. Acts xvi, 15. |
| 8. | — Heavenly in spirit. Philip iii, 20. |
| 9. | — Ever rejoicing in the Lord. Philip iv, 4. |
| 10. | — Chaste and pure in heart. Matth. v, 8. |
| 11. | — Sincere and without offence. Philip i, 10. |
| 12. | — Compassionate to the unfortunate. I Peter iii, 8. |
| 13. | — Sober for prayer. I Peter iv, 8. |
| 14. | — Proper in all things. I Cor. xiv, 40. |
| 15. | — Resplendent in sacred ornaments. Isaiah lxi, 10. |
| 16. | — Sprinkled from an evil conscience. Hebr. x, 22. |
| 17. | — Rich in gifts of the Holy Spirit. I Cor. i, 4, 5. |
| 18. | — Tender-hearted. Ephes. iv, 32. |
| 19. | — Faithful to Jesus unto death. Rev. ii, 10. |
| 20. | — Submitting one to another. Ephes. v, 21. |
| 21. | — Valiant at all times. Luke xxi, 36. |
| 22. | — Sober and modest. Titus ii, 12. |
# The Life and Writings of Alexandre Dumas/Appendix B

APPENDIX B.
The Chief Events in Dumas's Life, with their Dates.
| Birth at Villers-Cotterets | July 24, 1802 |
| Death of his Father, General Dumas | 1806 |
| Becomes a Clerk with M. Mennesson, the Notary | 1816 |
| Becomes a Clerk with M. Lefévre, Crépy | 1822 |
| Runaway trip to Paris. | 1822 |
| Return to Paris—Clerkship in the Orléans Bureau | 1823 |
| Birth of Alexandre Dumas fils | 1824 |
| Production of "La Chasse et l'Amour" | September 22, 1825 |
| Publication of "Nouvelles Contemporaines" | 1826 |
| Kean and the English Shakespeare Company in Paris. | 1827 |
| Production of "Henri Trois," Théâtre Français | Feb. 10, 1829 |
| Production of "Christine" at the Odéon | March 29, 1830 |
| "The Revolution of July"; the Soisson Expedition | July 30 and 31, 1830 |
| "The Revolution in La Vendée"; as Special Commissioner | August, 1830 |
| Production of "Antony" | 1831 |
| Attacked by the Cholera | 1832 |
| Gaillardet and "La Tour de Nesle" | 1832 |
| Publication of "Isabel de Bavière" | 1832 |
| Swiss Travels | 1832 |
| Visit to England. | 1833 |
| Travels in the South of France, Corsica, Calabria, Sicily | 1834 |
| Travels in Hyères, Etna, Naples, etc. | 1835-6 |
| Death of Dumas's Mother | 1838 |
| Travels in Belgium and on the Rhine | 1838 |
| Production of "Mademoiselle de Belle-Isle' | 1839 ​ |
| Marriage with Mdlle. Ida Ferrier. | March 1840 |
| Residence in Italy | 1840-1-2 |
| Production of "Une Mariage sous Louis XV." | 1841 |
| Voyage with Louis Napoleon | 1842 |
| Production of "Les Demoiselles de St Cyr" | 1843 |
| Finally rejected by the Académie | 1843 |
| Publication of "Les Trois Mousquetaires" and "Monte Cristo" | 1844 |
| Travels in Spain and along the N. coast of Africa | 1846-7 |
| Opening of Dumas's Theatre, the "Historique" | February 1847 |
| Opening of the "Palace" of Monte Cristo | July 1847 |
| Second Republic: Dumas a Candidate for the Chamber of Deputies | 1848 |
| Coup d'état: Dumas leaves Paris for Brussels | 1851 |
| Return to Paris: the "Mousquetaire" founded, with Dumas as Editor and Chief Contributor | Nov. 12, 1853 |
| Visit to England | May-June, 1857 |
| Travels in Russia and the Caucasus | 1858-9 |
| Joins Garibaldi's Sicilian Expedition | May 1860 |
| Stay in Naples | 1860-64 |
| Return to Paris | 1864 |
| Travels in Germany (Frankfort), etc.: after the Prusso-Austrian War | 1866 |
| Lectures at the Havre Exhibition | 1868 |
| Seized with illness | 1869 |
| Taken to Puys, near Dieppe, by his Son | 1870 |
| Death there | December 5, 1870 |
| Body removed to Villers-Cotterets by his Son | May 1872 |
| Unveiling of the Statue to Dumas, in Malesherbes, Paris | November 4, 1883 |
# The Modern Art of Taming Wild Horses/Chapter 6

REMARKS ON THE HORSE.
But before we attempt to do anything more with the colt, I will give you some of the characteristics of his nature, that you may better understand his motions. Every one that has ever paid any attention to the horse, has noticed his natural inclination to smell everything which to him looks new and ​frightful. This is their strange mode of examining everything. And, when they are frightened at anything, though they look at it sharply, they seem to have no confidence in this optical examination alone, but must touch it with the nose before they are entirely satisfied; and, as soon as this is done, all is right.
# The Modern Art of Taming Wild Horses/Chapter 25

HOW TO MAKE A HORSE LIE DOWN.
Everything that we want to teach the horse must be commenced in some way to give him an idea of what you want him to do, and then be repeated till ​he learns it perfectly. To make a horse lie down, bend his left fore leg and slip a loop over it, so that he cannot get it down. Then put a surcingle around his body, and fasten one end of a long strap around the other fore leg, just above the hoof. Place the other end under the surcingle, so as to keep the strap in the right direction; take a short hold of it with your right hand; stand on the left side of the horse, grasp the bit in your left hand, pull steadily on the strap with your right; bear against his shoulder till you cause him to move. As soon as he lifts his weight, your pulling will raise the other foot, and he will have to come on his knees. Keep the strap tight in your hand, so that he cannot straighten his leg if he rises up. Hold him in this position, and turn his head towards you; bear against his side with your shoulder, not hard, but with a steady, equal pressure, and in about ten minutes he will lie down. As soon as he lies down, he will be completely conquered, and you can handle him as you please. Take off the straps, and straighten out his legs; rub him lightly about the face and neck with your hand the way the hair lies; handle all his legs, and after he has lain ten or twenty minutes, let him get up again. After resting him a short time make him lie down as before. Repeat the operation three or four times, which will be sufficient for one lesson. Give him two lessons a day, and when you have given him four lessons, he will lie down by taking ​hold of one foot. As soon as he is well broken to lie down in this way, tap him on the opposite leg with a stick when you take hold of his foot, and in a few days he will lie down from the mere motion of the stick.
# The Modern Art of Taming Wild Horses/Chapter 3

HOW TO STABLE A COLT WITHOUT TROUBLE.
The next step will be, to get the horse into a stable or shed. This should be, done as quietly as possible, so as not to excite any suspicion in the horse of any danger befalling him. The best way to do this, is to lead a gentle horse into the stable first and hitch him, then quietly walk around the colt and let him go in of his own accord. It is almost impossible to get men who have never practised on this principle to go slowly and considerately enough about it. They do not know that in handling a wild horse, above all ​other things, is that good old adage true, that "haste makes waste;" that is, waste of time–for the gain of trouble and perplexity.
One wrong move may frighten your horse, and make him think it necessary to escape at all hazards for the safety of his life—and thus make two hours' work of a ten minutes' job; and this would be all your own fault, and entirely unnecessary—for he will not run unless you run after him, and that would not be good policy unless you knew that you could outrun him, for you will have to let him stop of his own accord after all. But he will not try to break away unless you attempt to force him into measures. If he does not see the way at once, and is a little fretful about going in, do not undertake to drive him, but give him a little less room outside, by gently closing in around him. Do not raise your arms, but let them hang at your side, for you might as well raise a club: the horse has never studied anatomy, and does not know but that they will unhinge themselves and fly at him. If he attempts to turn back, walk before him, but do not run; and if he gets past you, encircle him again in the same quiet manner, and he will soon find that you are not going to hurt him; and then you can walk so close around him that he will go into the stable for more room, and to get farther from you. As soon as he is in, remove the quiet horse and shut the door. This will be his first notion of confinement—not ​knowing how he got into such a place, nor how to get out of it. That he may take it as quietly as possible, see that the shed is entirely free from dogs, chickens, or anything that would annoy him. Then give him a few ears of corn, and let him remain alone fifteen or twenty minutes, until he has examined his apartment, and has become reconciled to his confinement.
# The Modern Art of Taming Wild Horses/Chapter 5

THE KIND OF HALTER.
Always use a leather halter, and be sure to have it made so that it will not draw tight around his nose if he pulls on it. It should be of the right size to fit his head easily and nicely; so that the nose-band will not be too tight or too low. Never put a rope halter on an unbroken colt, under any circumstances ​whatever. They have caused more horses to hurt or kill themselves than would pay for twice the cost of all the leather halters that have ever been needed for the purpose of haltering colts. It is almost impossible to break a colt that is very wild with a rope halter, without having him pull, rear, and throw himself, and thus endanger his life; and I will tell you why. It is just as natural for a horse to try to get his head out of anything that hurts it, or feels unpleasant, as it would be for you to try to get your hand out of a fire. The cords of the rope are hard and cutting; this makes him raise his head and draw on it, and as soon as he pulls, the slip noose (the way rope halters are always made) tightens, and pinches his nose, and then he will struggle for life, until, perchance, he throws himself; and who would have his horse throw himself, and run the risk of breaking his neck, rather than pay the price of a leather halter? But this is not the worst. A horse that has once pulled on his halter can never be as well broken as one that has never pulled at all.
# The Modern Art of Taming Wild Horses/Chapter 26

HOW TO MAKE A HORSE FOLLOW YOU.
Turn him into a large stable or shed, where there is no chance to get out, with a halter or bridle on. Go to him and gentle him a little, take hold of his halter and turn him towards you, at the same time touching him lightly over the hips with a long whip. Lead him the length of the stable, rubbing him on the neck, saying in a steady tone of voice as you lead him, "Come along, boy!" or use his name instead of "boy," if you choose. Every time you turn touch him slightly with the whip, to make him step up close to you, and then caress him with your hand. He will soon learn to hurry up to escape the whip and be caressed, and you can make him follow you around without taking hold of the halter. If he should stop and turn from you, give him a few sharp cuts about the hind legs, and he will soon turn his head towards you, when you must always caress him. A few lessons of this kind will make him run after you, when he sees the motion of the whip — in twenty or thirty minutes he will follow you about the stable. After you have given him two or three lessons in the stable, take him out into a small field and train him; ​and from thence you can take him into the road and make him follow you anywhere, and run after you.
# The Modern Art of Taming Wild Horses/Chapter 27

HOW TO MAKE A HORSE STAND WITHOUT HOLDING.
After you have him well broken to follow you, place him in the centre of the stable—begin at his head to caress him, gradually working backwards. If he move, give him a cut with the whip, and put him back to the same spot from which he started. If he stands, caress him as before, and continue gentling him in this way until you can get round him without making him move. Keep walking around him, increasing your pace, and only touch him occasionally. Enlarge your circle as you walk around, and if he then moves, give him another cut with the whip, and put him back to his place. If he stands, go to him frequently and caress him, and then walk around him again. Do not keep him in one position too long at a time, but make him come to you occasionally, and follow you around the stable. Then make him stand in another place, and proceed as before. You should not train your horse more than half an hour at a time.
# The Modern Art of Taming Wild Horses/Chapter 23

TO BREAK A HORSE TO HARNESS.
Take him in a light stable, as you did to ride him; take the harness and go through the same ​process that you did with the saddle, until you get him familiar with it, so that you can put it on him, and rattle it about without his caring for it. As soon as he will bear this, put on the lines, caress him as you draw them over him, and drive him about in the stable till he will bear them over his hips. The lines are a great aggravation to some colts, and often frighten them as much as if you were to raise a whip over them. As soon as he is familiar with the harness and lines, take him out and put him by the side of a gentle horse, and go through the same process that you did with the balking horse. Always use a bridle without blinds when you are breaking a horse to harness.
# The Modern Art of Taming Wild Horses/Chapter 24

HOW TO HITCH A HORSE IN A SULKY.
Lead him to and around it; let him look at it, touch it with his nose, and stand by it till he does not care for it; then pull the shafts a little to the left, and stand your horse in front of the off wheel. Let some one stand on the right side of the horse, and hold him by the bit, while you stand on the left side, facing the sulky. This will keep him straight. Run your left hand back, and let it rest on his hip, and lay hold of the shafts with your right, bringing them up very gently to the left hand, which still remains stationary. Do not let anything but your arm touch his back, and as soon as you have the shafts square over him, let the person on the opposite ​side take hold of one of them, and lower them very gently to the shaft-bearers. Be very slow and deliberate about hitching; the longer time you take the better, as a general thing. When you have the shafts placed, shake them slightly, so that he will feel them against each side. As soon as he will bear them without scaring, fasten your braces, &c., and start him along very slowly. Let one man lead the horse, to keep him gentle, while the other gradually works back with the lines till he can get behind and drive him. After you have driven him in this way a short distance, you can get into the sulky, and all will go right. It is very important to have your horse go gently when you first hitch him. After you have walked him awhile, there is not half so much danger of his scaring. Men do very wrong to jump up behind a horse to drive him as soon as they have him hitched. There are too many things for him to comprehend all at once. The shafts, the lines, the harness, and the rattling of the sulky, all tend to scare him, and he must be made familiar with them by degrees. If your horse is very wild, I would advise you to put up one foot the first time you drive him.
# The Modern Art of Taming Wild Horses/Chapter 4

TIME TO REFLECT.
And now, while your horse is eating those few ears of corn, is the proper time to see that your halter is ready and all right, and to reflect on the best mode of operations; for in horsebreaking it is highly important that you should be governed by some system. And you should know, before you attempt to do anything, just what you are going to do, and how you are going to do it. And, if you are experienced in the art of taming wild horses, you ought to be able to tell, within a few minutes, the length of time it would take you to halter the colt, and teach him to lead.
# The May Queen (Tennyson)

* "The May Queen", in Poems (1833)
* "The May Queen", in Poems, Volume 1 (1843)
# The May-tree

* Search for titles containing or beginning with: "The May-tree."
* sister projects: Wikipedia article, 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.
* The May-tree, a poem by William Barnes
* The May-tree, a poem by Václav Jaromír Picek
# The Mayor of Casterbridge

The Mayor of Casterbridge (1886), subtitled, The Life and Death of a Man of Character is a tragic novel set in the fictional town of Casterbridge. For More information, see The Mayor of Casterbridge.
* Chapter 1
* Chapter 2
* Chapter 3
* Chapter 4
* Chapter 5
* Chapter 6
* Chapter 7
* Chapter 8
* Chapter 9
* Chapter 10
* Chapter 11
* Chapter 12
* Chapter 13
* Chapter 14
* Chapter 15
* Chapter 16
* Chapter 17
* Chapter 18
* Chapter 19
* Chapter 20
* Chapter 21
* Chapter 22
* Chapter 23
* Chapter 24
* Chapter 25
* Chapter 26
* Chapter 27
* Chapter 28
* Chapter 29
* Chapter 30
* Chapter 31
* Chapter 32
* Chapter 33
* Chapter 34
* Chapter 35
* Chapter 36
* Chapter 37
* Chapter 38
* Chapter 39
* Chapter 40
* Chapter 41
* Chapter 42
* Chapter 43
* Chapter 44
* Chapter 45
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 1928, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 95 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 Midsummer Night

The Midsummer Night, or Shakespeare and the Fairies (Die Sommernacht) was written in 1789, when Tieck was sixteen. It was first published in the Rheinisches Taschenbuch by Edward Bulow in 1851.
THE MIDSUMMER NIGHT
OR SHAKESPEARE AND
THE FAIRIES.
FROM THE GERMAN OF LUDWIG TIECK.
BY MARY C. RUMSEY.
LONDON: PRINTED BY C. WHITTINGHAM. 1854.
To the Memory of
LUDWIG TIECK
AND HIS DEVOTION TO
SHAKESPEARE
THIS VERSION OF HIS YOUTHFUL
TRIBUTE TO THE POET IS
DEDICATED
* Preface
* The Midsummer Night
PRINTED BY C. WHITTINGHAM
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The Mystery of the Blue Train

THE MYSTERY OF THE BLUE TRAIN
       By Agatha Christie
    The Mysterious Affair at Styles
    The Mystery of the Blue Train
    The Murder of Roger Ackroyd
    The Man in the Brown Suit
    The Murder on the Links
    The Secret of Chimneys
    The Secret Adversary
    Poirot Investigates
    The Big Four
THE MYSTERY
of
THE BLUE TRAIN
AGATHA CHRISTIE
Author of
The Murder of Roger Ackroyd
NEW YORK
DODD, MEAD AND COMPANY
1928
Copyright, 1928 By DODD, MEAD AND COMPANY, Inc.
Published July, 1928 Second printing July, 1928
PRINTED IN U. S. A.
MANUFACTURED IN THE UNITED STATES OF AMERICA BY THE VAIL-BALLOU PRESS, INC., BINGHAMTON, N. Y.
Dedicated to
TWO DISTINGUISHED MEMBERS OF THE O. F. D.
CARLOTTA and PETER
CONTENTS
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 1976, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 47 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 Little Lame Prince and His Travelling-Cloak

* information about this edition.
* sister projects: Wikidata item.
This story, ostensibly written for children, is widely considered to be one of Miss Mulock's finest allegories.
Table of Contents
* Chapter I
* Chapter II
* Chapter III
* Chapter IV
* Chapter V
* Chapter VI
* Chapter VII
* Chapter VIII
* Chapter IX
* Chapter X
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 New International Encyclopædia/Köberle, Georg

Edition of 1905. See also Georg Köberle on Wikipedia; and the disclaimer.
KÖBERLE, kẽ'bẽr-le, Georg (1819-98). A German author and dramatist, born at Nonnenhorn. He studied at the gymnasium at Augsburg; was sent to the Collegium Germanicum at Rome, but ran away from that institution and studied at Munich. At Leipzig (1846) he published his Aufzeichnungen eines Jesuitenzöglings im deutschen Kolleg in Rom, which created a sensation, and which he followed up (1870) with Deutsche Antwort auf welsche Projekte: Enthüllungen über die Palastrevolution im Vatikan. He is better known for his plays, Des Künstlers Weihe, Zwischen Himmel und Erde, Max Emanuels Brautfahrt, George Washington, and Die Heldin von Yorktown, which were published mostly between 1840 and 1853. He lived at Heidelberg (1853-56) as theatrical manager. On the publication of his Theaterkrisis im neuen deutschen Reich (1872), he was appointed manager of the royal theatre at Karlsruhe. After 1873 he lived at Mannheim, Vienna, and Dresden, and wrote: Meine Erlebnisse als Hoftheaterdirektor (1874); Berliner Leimruten und deutsche
Gimpel (1875); Der Verfall der deutschen Schaubühne und die Bewältigung der Theaterkalamität (1880); Brennende Theaterfragen (1887); and Das Drangsal der deutschen Schaubühne (1890).