OpenLLM-France/wikimedia huggingface dataset:
# Part 4: Bethlehem
### Contents

* Canto 1: In Saddle
* Canto 2: The Ensign
* Canto 3: The Island
* Canto 4: An Intruder
* Canto 5: Of the Stranger
* Canto 6: Bethlehem
* Canto 7: At Table
* Canto 8: The Pillow
* Canto 9: The Shepherds' Dale
* Canto 10: A Monument
* Canto 11: Disquiet
* Canto 12: Of Pope and Turk
* Canto 13: The Church of the Star
* Canto 14: Soldier and Monk
* Canto 15: Symphonies
* Canto 16: The Convent Roof
* Canto 17: A Transition
* Canto 18: The Hillside
* Canto 19: A New-Comer
* Canto 20: Derwent and Ungar
* Canto 21: Ungar and Rolfe
* Canto 22: Of Wickedness the Word
* Canto 23: Derwent and Rolfe
* Canto 24: Twilight
* Canto 25: The Invitation
* Canto 26: The Prodigal
* Canto 27: By Parapet
* Canto 28: David's Well
* Canto 29: The Night Ride
* Canto 30: The Valley of Decision
* Canto 31: Dirge
* Canto 32: Passion Week
* Canto 33: Easter
* Canto 34: Via Crucis
* Canto 35: Epilogue
# Clarel/Part 4/Canto 11
## 11. Disquiet

At breakfast in refectory there The priest--if Clarel not mistook-- The good priest wore the troubled air Of honest heart striving to brook Injury, which from words abstained, 5 And, hence, not readily arraigned; Which to requite in its own sort Is not allowed in heaven's high court, Or self-respect's. Such would forget, But for the teasing doubt or fret 10 Lest unto worldly witness mere The injury none the less appear To challenge notice at the least.
Ungar withdrew, leaving the priest Less ill at ease; who now a thought 15 Threw out, as 'twere in sad concern For one whose nature, sour or stern, Still dealt in all unhandsome flings
At happy times and happy things: " 'The bramble sayeth it is naught:' 20 Poor man!" But that; and quite forbore To vent his grievance. Nor less sore He felt it--Clarel so inferred, Recalling here too Mortmain's word Of cutting censorship. How then? 25 While most who met him frank averred That Derwent ranked with best of men, The Swede and refugee unite In one repugnance, yea, and slight. How take, construe their ill-content? 30 A thing of vein and temperament? Rolfe liked him; and if Vine said naught, Yet even Vine seemed not uncheered By fair address. Then stole the thought Of how the priest had late appeared 35 In that one confidential hour, Ambiguous on Saba's tower. There he dismissed it, let it fall: To probe overmuch seems finical. Nor less (for still the point did tease, 40 Nor would away and leave at ease), Nor less, I wonder, if ere long He'll turn this off, not worth a song, As lightly as of late he turned
Poor Mortmain's sally when he burned? 45
# Clarel/Part 4/Canto 15
## 15. Symphonies

Meanwhile with Vine there, Clarel stood Aside in friendly neighborhood, And felt a flattering pleasure stir At words--nor in equivocal tone Freakish, or leaving to infer, 5 Such as beforetime he had known-- Breathed now by that exceptional one In unconstraint:  "'Tis very much The cold fastidious heart to touch 10 This way; nor is it mere address That so could move one's silver chord. How he transfigured Ungar's sword! Delusive is this earnestness Which holds him in its passion pale-- 15 Tenant of melancholy's dale Of mirage? To interpret him, Perhaps it needs a swallow-skim Over distant time. Migrate with me Across the years, across the sea.-- 20 How like a Poor Clare in her cheer (Grave Sister of his order sad) Showed nature to that Cordelier Who, roving in the Mexic glade, Saw in a bud of happy dower 25 Whose stalk entwined the tropic tree, Emblems of Christ's last agony:
In anthers, style, and fibers torn, The five wounds, nails, and crown of thorn; And named it so the passion-flower. 30 What beauty in that sad conceit! Such charm, the title still we meet. Our guide, methinks, where'er he turns For him this passion-flower burns; And all the world is elegy. 35 A green knoll is to you and me But pastoral, and little more: To him 'tis even Calvary Where feeds the Lamb. This passion-flower-- But list!" 40  Hid organ-pipes unclose A timid rill of slender sound, Which gains in volume--grows, and flows Gladsome in amplitude of bound. Low murmurs creep. From either side 45 Tenor and treble interpose, And talk across the expanding tide: Debate, which in confusion merges-- Din and clamor, discord's hight: Countering surges--paeans--dirges-- 50 Mocks, and laughter light.  But rolled in long ground-swell persistent, A tone, an under-tone assails
And overpowers all near and distant; Earnest and sternest, it prevails. 55  Then terror, horror--wind and rain-- Accents of undetermined fear, And voices as in shipwreck drear: A sea, a sea of spirits in pain!  The suppliant cries decrease-- 60 The voices in their ferment cease: One wave rolls over all and whelms to peace.
 But hark--oh, hark! Whence, whence this stir, this whirr of wings? Numbers numberless convening-- 65
Harps and child-like carolings In happy holiday of meaning:
To God be glory in the hight, For tidings glad we bring; Good will to men, and peace on earth 70 We children-cherubs sing!
To God be glory in the depth, As in the hight be praise; He who shall break the gates of death A babe in manger rays. 75
Ye people all in every land, Embrace, embrace, be kin: Immanuel's born in Bethlehem, And gracious years begin!
 It dies; and, half around the heavenly sphere, 80 Like silvery lances lightly touched aloft-- Like Northern Lights appealing to the ear, An elfin melody chimes low and soft. That also dies, that last strange fairy-thrill: Slowly it dies away, and all is sweetly still. 85
# Collier's New Encyclopedia (1921)/Boston University

Edition of 1921; disclaimer.
BOSTON UNIVERSITY, a coeducational institution in Boston, Mass.; organized in 1869 under the auspices of the Methodist Episcopal Church. The university reported at the end of 1919; Professors and instructors, 364; students, about 5,700; volumes in the libraries, 63,000; productive funds, $3,212,448; income, $160,000; president, L. H. Murlin, D. D., LL. D,
# Collier's New Encyclopedia (1921)/Bosworth

Edition of 1921; disclaimer.
​BOSWORTH, or MARKET BOSWORTH, a small market town in Leicestershire, England, 12 miles W. by S. of Leicester. On a moor 2 miles to the S. was fought (1485) the battle in which Richard III. was slain, and which terminated the Wars of the Roses. On an elevation, called Crownhill, Lord Stanley placed the crown on the head of the Earl of Richmond, Henry VII.
# Collier's New Encyclopedia (1921)/Boussa

Edition of 1921; disclaimer.
BOUSSA (bös'a), or BUSSANG, a city of Africa, in the Sudan, on the Niger, near where are rapids; about lat. 10° 40' N. It was here that Mungo Park met his death in 1805. Pop. est. between 15,000 and 20,000.
# Collier's New Encyclopedia (1921)/Boswellia

Edition of 1921; disclaimer.
​BOSWELLIA, named after Dr. John Boswell, of Edinburgh, Scotland. A fine genus of terebinthinous trees belonging to the order amyridaceæ (amyrids). B. thurifera, called also B. serrata, furnishes the resin called olibanum, which is believed to have been the frankincense of the ancients. It is found in India, as also is B. glabra, the resin of which is used instead of pitch. The products of the entire genus are more or less used in pharmacy.
# Collier's New Encyclopedia (1921)/Boswell, James

Edition of 1921; disclaimer.
BOSWELL, JAMES, a Scotch biographer; the eldest son of Lord Auchinleck, one of the Supreme Judges of Scotland, born in Edinburgh, Oct. 29, 1740. He was educated at Edinburgh and Cambridge, became a member of the Scottish bar, but rarely practiced. In 1763 he became acquainted with Dr. Johnson—a circumstance which he himself calls the most important event of his life. In 1768, when Corsica attracted much attention, he published his account of Corsica, with “Memoirs of Paoli.” In 1785 he settled at London, and was called to the English bar. Being on terms of the closest intimacy with Dr.
Johnson, he carefully recorded his sayings, opinions, and actions, for future use in a biography. In 1773 he accompanied Johnson on a tour to the Scottish Highlands and the Hebrides, publishing an account of the excursion after their return. His “Life of Samuel Johnson,” one of the best pieces of biography in the language, was published in 1791. He died in London, May 19, 1795. His son, Alexander, born in 1775, created a Baronet in 1821, killed in a duel in 1822, excelled as a writer of Scotch humorous songs.
# Collier's New Encyclopedia (1921)/Boston Mountains

Edition of 1921; disclaimer.
BOSTON MOUNTAINS, a mountain range in western Arkansas, extending into the Indian Territory; highest summits, 3,000 feet above the sea.
# Collier's New Encyclopedia (1921)/Boston Tea Party, The

Edition of 1921; disclaimer.
BOSTON TEA PARTY, THE, a famous exploit preceding the American Revolution. In order to make as emphatic a protest as possible against the British crown's policy of taxing imports, a party of Bostonians, disguised as Indians, threw into the water on the night of Dec. 16, 1773, the cargoes of three English tea ships that had just arrived in the harbor. Enraged at this act, Parliament passed (March, 1774) the Boston Port Bill, taking away from that town the privileges of a port of entry from June 1, 1774, on. This bill aroused much indignation in the colonies and was an important factor in precipitating the outbreak of hostilities.
# Collier's New Encyclopedia (1921)/Botany Bay

Edition of 1921; disclaimer.
​BOTANY BAY, a bay of New South Wales, Australia, 5 miles S. of Sydney. It was discovered by Captain Cook, on his first voyage, in 1770, and named by him from the great number of new plants found in its vicinity. In 1787 it received England's first penal colony in the East; and, though it was supplanted the very next year by Port Jackson, yet it long continued to be the popular designation, not merely of this penal settlement, but of the Australian convict settlements generally.
# Collier's New Encyclopedia (1921)/Bourse

Edition of 1921; disclaimer.
BOURSE, an exchange where merchants, bankers, etc., meet for the transaction of financial business. It is used especially of the Stock Exchange of Paris. In the United States the great exchange in Philadelphia is styled the Bourse.
# Complete Encyclopaedia of Music/A/Accessory sounds

Accessory sounds. Little sounds which aid in producing effect in a secondary manner.
# Complete Encyclopaedia of Music/A/Accidens

Accidens. A French term, applied to flats, sharps, and naturals, which are found before or after particular notes in the course of a piece.
# Complete Encyclopaedia of Music/A/Accidental chords

Accidental chords. Chords which must contain one, and often do contain several notes, not belonging to their own proper harmony—which may be occasioned either by means of anticipation or suspension.
# Complete Encyclopaedia of Music/A/Accidental notes

Accidental notes. Notes which do not belong to the harmony.
# Complete Encyclopaedia of Music/A/Accidental harmonies

Accidental harmonies. Koch terms the three harmonies of the key essential, and the three relatives accidental. Koch, in his Lexicon, has placed his accidental harmonies in this point of view. He considers them as connecting chords, and seems to agree with Kirnberger, who asserts that, by a species of transition, the harmony of the triad is thus united to another of its inversions.
# Complete Encyclopaedia of Music/A/Acciajuoli, Filippo

Acciajuoli, Filippo. A dramatic poet and composer, born at Rome, in 1637. He wrote the words and composed the music to several operas. He is the first composer whose name we observe to a comic opera, such as was his "Girello," performed with success in 1675. His grand operas were "La Damira Placata," played in 1680, and "Ulisse."
# Complete Encyclopaedia of Music/A/Accidental

Accidental. An epithet applied to such accessory sharps, flats, or naturals as do not appertain to the original key of any piece ; something non-essential, as songs are accidental to a play.
# Complete Encyclopaedia of Music/A/Accessory tones

Accessory tones. Harmonics. Tones faintly heard in higher octaves, as the principal tone dies away.
# Complete Encyclopaedia of Music/A/Acciaccare

Acciaccare. (I.) A broken and unexpected way of striking a chord.
# Complete Encyclopaedia of Music/A/Acciaccatura

Acciaccatura, or ACCIACCATURE. (I.) (Old term, nearly equivalent to Appoggiatura.) Clementi says that, in the old music, this character, half beat, is sometimes found placed on the semitone above, and taken as a flat. Acciaccatura is particularly used to indicate the manner in which certain passages are intended to be performed on the harpsichord, and signifies that sweeping of the chords, and dropping of sprinkled notes, which are particularly proper in accompaniments, and which constitute one of the greatest beauties of that instrument. Germiniani asserts, in his "Treatise on Good Taste," published in 1749, that the Acciaccatura had been then in use above a hundred years. It is said by some to be a useless ornament ; still it is much used by the most skilful performers, and is a grace peculiar to the piano-forte and organ. It is always expressed by a small note before the principal note, and is generally a semitone below the principal note, as follows:—
There is another species of Acciaccatura, which is expressed by the sign , and is termed by some the Double Acciaccatura.
# Color (Cullen)/For an Evolutionist and His Opponent

For an Evolutionist and His Opponent
# Color (Cullen)/For a Singer

For a Singer
# Color (Cullen)/For a Virgin

For a Virgin
# Color (Cullen)/For an Anarchist

For an Anarchist
# Color (Cullen)/Fruit of the Flower

Fruit of the Flower
# Color (Cullen)/For a Preacher

For a Preacher
# Color (Cullen)/For a Wanton

For a Wanton
# Color (Cullen)/For an Atheist

For an Atheist
# Color (Cullen)/For an Unsuccessful Sinner

For an Unsuccessful Sinner
# Color (Cullen)/For a Skeptic

For a Skeptic
# Complete Encyclopaedia of Music/A/Alberghi, Paolo

Alberghi, Paolo, of Faenza, was a celebrated violin pupil of Tartini.
# Complete Encyclopaedia of Music/A/Alberici, G

Alberici, G., vicar general at Rome, died there in 1610. He wrote biographical sketches of celebrated Venetian writers, among whom he has noticed many eminent musicians.
# Complete Encyclopaedia of Music/A/Alberici, L

Alberici, L. An Italian poet and composer, at the end of the seventeenth and beginning of the eighteenth century. He died in 1701.
# Complete Encyclopaedia of Music/A/Alberici, P. G

Alberici, P. G., an Italian poet and corn poser at the beginning of the eighteenth century, published a musical dialogue for four voices, at Orvietto, in 1703.
# Complete Encyclopaedia of Music/A/Alberici, v

Alberici, v. See ALBRICI.
# Complete Encyclopaedia of Music/A/Albericus

Albericus, cardinal and Benedictine monk of the convent of Monteassin, was one of the most learned men of his time. He died at Rome in 1106. He was the author of a dialogue on music.
# Complete Encyclopaedia of Music/A/Albers, F. B

Albers, F. B., a composer at Jena, was living in 1785.
# Complete Encyclopaedia of Music/A/Albert

Albert. A singer at the opera in London in 1820. His voice was a baritone.
# Complete Encyclopaedia of Music/A/Albert, Henry

Albert, Henry, a good composer and poet, was born at Lodestein in 1604, and was afterwards organist at Konigsberg, where he died in 1668. He was the author of much church music, still sung in Prussia.
# Complete Encyclopaedia of Music/A/Alberghi, I

Alberghi, I., an Italian composer and singer, was living in 1760.
# Complete Encyclopaedia of Music/A/Argyropilus

Argyropilus, a Greek professor at Florence in 1430, died at Rome in 1474. He wrote a volume of songs entitled "Monodia."
# Complete Encyclopaedia of Music/A/Aria

Aria. (I.) An air. See that word.
# Complete Encyclopaedia of Music/A/Aria di bravura

Aria di bravura. (I.) A melody at once florid, rapid, and energetic. Its divisions are volatile, and the passages every where striking, bold, and heroic. The execution of this species of air is generally confined to soprano voices, and it is only to powers of the first order that we can look for its just performance.
# Complete Encyclopaedia of Music/A/Aria parlante

Aria parlante. By aria parlante the Italians mean that species of cantilena, the style of which lies between air and measured recitative; a kind of speaking melody, or recitative a tempo, like that of " Comfort ye my people," in Handel's "Messiah," and the greater part of Purcell's celebrated song of "Mad Bess."
# Complete Encyclopaedia of Music/A/Aria tedesca

Aria tedesca. (I.) An air composed in the German style.
# Complete Encyclopaedia of Music/A/Argives

Argives. This ancient people is said to have excelled in the practice of music ; whether vocal or instrumental, or both, history is silent; probably both, as many instruments were used by them.
# Complete Encyclopaedia of Music/A/Aria d'abilita

Aria d'abilita. (I.) By the expression aria d'abilita is to be understood a melody of difficult execution; a song that ranks far above the plain and familiar style, and the just performance of which calls forth all the powers of the singer.
# Complete Encyclopaedia of Music/A/Aria. buffa

Aria. buffa. (I.) A comic air. The appellation given by the Italians to the humorous songs in their comic operas.
# Complete Encyclopaedia of Music/A/Aria concertata

Aria concertata. (I.) The aria concertata is a grand species of vocal composition for a single voice, the accompaniments of which are constructed in the concert style, enriched and embellished with solo passages for the various Instruments concerned.
# Complete Encyclopaedia of Music/A/Aria fugata

Aria fugata. (I.) Fugued air. An elaborate species of melody, much used formerly, and frequently found in the operas of Handel, Bononcini, and their contemporaries. The aria fugata was so called because the accompanying parts were written in fugue. This labored kind of song writing is now judiciously declined, as undramatic, because deficient in the first of all lyric qualities - passionate expression.
# Chicago Poems/Momus

MOMUS
Momus is the name men give your face, The brag of its tone, like a long low steamboat whistle Finding a way mid mist on a shoreland, Where gray rocks let the salt water shatter spray Against horizons purple, silent.
Yes, Momus, Men have flung your face in bronze To gaze in gargoyle downward on a street-whirl of folk. They were artists did this, shaped your sad mouth, Gave you a tall forehead slanted with calm, broad wisdom; All your lips to the corners and your cheeks to the high bones Thrown over and through with a smile that forever wishes and wishes, purple, silent, fled from all the iron things of life, evaded like a sought bandit, gone into dreams, by God.
I wonder, Momus, Whether shadows of the dead sit somewhere and look with deep laughter On men who play in terrible earnest the old, known, solemn repetitions of history.
A droning monotone soft as sea laughter hovers from your kindliness of bronze, You give me the human ease of a mountain peak, purple, silent; Granite shoulders heaving above the earth curves, Careless eye-witness of the spawning tides of men and women Swarming always in a drift of millions to the dust of toil, the salt of tears, And blood drops of undiminishing war.
# Constitution of the Republic of South Africa, 1993/1994-07-22/Chapter 11A

Chapter 11A
Volkstaat Council
Provision for establishment of Volkstaat Council
184A. (1) The establishment of a Volkstaat Council is hereby authorised.
(2) The Council shall consist of 20 members elected by members of Parliament who support the establishment of a Volkstaat for those who want it.
(3) The Council shall conduct its affairs according to rules made by the Council.
Functions of Council
184B. (1) The Council shall serve as a constitutional mechanism to enable proponents of the idea of a Volkstaat to constitutionally pursue the establishment of such a Volkstaat, and shall for this purpose be competent—
(a)
(b)
(c)
(d)
(2) The procedures to be followed by the Council in the performance of its functions under subsection (1), shall be prescribed by an Act of Parliament.
(3) The procedures provided for in this Constitution with regard to the finalisation of provincial boundaries, shall not be construed as precluding the establishment of such a Volkstaat, and in the event of the acceptance of the concept of a Volkstaat, alternative provision shall be made by an Act of Parliament for the finalisation of the boundaries of any affected province or provinces.
# Constitution of the Republic of South Africa, 1993/1994-04-27/Schedule 5

Schedule 5
Procedure for Election of President
1. Nominations of candidates for election as President shall be called for by the Chief Justice or the other judge presiding at the meeting at which the President is to be elected.
2. Every nomination shall be submitted on the form prescribed by the Chief Justice and shall be signed by two members of Parliament and also by the person nominated, unless the person nominated has in writing signified his or her willingness to accept the nomination.
3. The names of the persons duly nominated as provided for in item 2 shall be announced at the meeting at which the election is to take place by the person presiding thereat, and no debate shall be allowed at the election.
4. If in respect of any election only one nomination has been received, the person presiding at the meeting shall declare the candidate in question to be duly elected.
5. Where more than one candidate is nominated, a vote shall be taken by secret ballot, each person present and entitled to vote having one vote, and any candidate in whose favour the majority of all the votes cast is recorded, shall be declared duly elected by the person presiding at the meeting.
6. (a) If no candidate obtains a majority of all the votes so cast, the candidate who has received the smallest number of votes shall be eliminated and a further ballot shall be taken in respect of the remaining candidates, this procedure being repeated as often as may be necessary until a candidate receives a majority of all the votes cast and is declared duly elected.
(b) Whenever two or more candidates being the lowest on the poll have received the same number of votes, the meeting shall by separate vote, to be repeated as often as may be necessary, determine which of those candidates shall for the purpose of paragraph (a) be eliminated.
7. Whenever—
(a)
(b)
and there is an equality of votes between those two candidates, the person presiding at the meeting shall at the time the result of the election is announced, fix the time at and date on which a further meeting will be held, being a date not more than seven days thereafter.
8. At the further meeting referred to in item 7, the provisions of this Schedule shall apply as if such further meeting were the first meeting called for the purpose of the election in question.
9. (1) The Chief Justice shall make rules in regard to the procedure to be observed at a meeting at which the President is to be elected, and rules defining the duties of the presiding officer and of any person appointed to assist him and prescribing the manner in which the ballot at any such meeting shall be conducted.
(2) Any such rules shall be made known in such manner as the Chief Justice may consider necessary.
# Constitution of the Republic of South Africa, 1993/1994-04-27/Schedule 7

Schedule 7