OpenLLM-France/wikimedia huggingface dataset:
# Harlem Shadows/One Year After

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I
Not once in all our days of poignant love, Did I a single instant give to thee My undivided being wholly free. Not all thy potent passion could remove The barrier that loomed between to prove The full supreme surrendering of me. Oh, I was beaten, helpless utterly Against the shadow-fact with which I strove. For when a cruel power forced me to face The truth which poisoned our illicit wine, That even I was faithless to my race Bleeding beneath the iron hand of thine, Our union seemed a monstrous thing and base! I was an outcast from thy world and mine.
II
Adventure-seasoned and storm-buffeted, I shun all signs of anchorage, because The zest of life exceeds the bound of laws. ​New gales of tropic fury round my head Break lashing me through hours of soulful dread; But when the terror thins and, spent, withdraws, Leaving me wondering awhile, I pause— But soon again the risky ways I tread! No rigid road for me, no peace, no rest, While molten elements run through my blood; And beauty-burning bodies manifest Their warm, heart-melting motions to be wooed; And passion boldly rising in my breast, Like rivers of the Spring, lets loose its flood.
# Harlem Shadows/On the Road

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Roar of the rushing train fearfully rocking, Impatient people jammed in line for food, The rasping noise of cars together knocking, And worried waiters, some in ugly mood, Crowding into the choking pantry hole To call out dishes for each angry glutton Exasperated grown beyond control, From waiting for his soup or fish or mutton. At last the station's reached, the engine stops; For bags and wraps the red-caps circle round; From off the step the passenger lightly hops, And seeks his cab or tram-car homeward bound; The waiters pass out weary, listless, glum, To spend their tips on harlots, cards and rum.
# Harlem Shadows/Poetry

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Sometimes I tremble like a storm-swept flower, And seek to hide my tortured soul from thee. Bowing my head in deep humility Before the silent thunder of thy power. Sometimes I flee before thy blazing light, As from the specter of pursuing death; Intimidated lest thy mighty breath, Windways, will sweep me into utter night. For oh, I fear they will be swallowed up— The loves which are to me of vital worth, My passion and my pleasure in the earth— And lost forever in thy magic cup! I fear, I fear my truly human heart Will perish on the altar-stone of art!
# Harlem Shadows/Polarity

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Nay, why reproach each other, be unkind, For there's no plane on which we two may meet? Let's both forgive, forget, for both were blind, And life is of a day, and time is fleet.
And I am fire, swift to flame and burn, Melting with elements high overhead, While you are water in an earthly urn, All pure, but heavy, and of hue like lead.
# Harlem Shadows/Rest in Peace

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No more for you the city's thorny ways, The ugly corners of the Negro belt; The miseries and pains of these harsh days By you will never, never again be felt.
No more, if still you wander, will you meet With nights of unabating bitterness; They cannot reach you in your safe retreat, The city's hate, the city's prejudice!
'Twas sudden—but your menial task is done, The dawn now breaks on you, the dark is over, The sea is crossed, the longed-for port is won; Farewell, oh, fare you well! my friend and lover.
# Harlem Shadows/Subway Wind

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Far down, down through the city's great, gaunt gut The gray train rushing bears the weary wind; In the packed cars the fans the crowd's breath cut, Leaving the sick and heavy air behind. And pale-cheeked children seek the upper door To give their summer jackets to the breeze; Their laugh is swallowed in the deafening roar Of captive wind that moans for fields and seas; Seas cooling warm where native schooners drift Through sleepy waters, while gulls wheel and sweep, Waiting for windy waves the keels to lift Lightly among the islands of the deep; Islands of lofty palm trees blooming white That lend their perfume to the tropic sea, Where fields lie idle in the dew drenched night, And the Trades float above them fresh and free.
# Harlem Shadows/Outcast

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For the dim regions whence my fathers came My spirit, bondaged by the body, longs. Words felt, but never heard, my lips would frame; My soul would sing forgotten jungle songs. I would go back to darkness and to peace, But the great western world holds me in fee, And I may never hope for full release While to its alien gods I bend my knee. Something in me is lost, forever lost, Some vital thing has gone out of my heart, And I must walk the way of life a ghost Among the sons of earth, a thing apart; For I was born, far from my native clime, Under the white man's menace, out of time.
# Harlem Shadows/Spring in New Hampshire

First published in The Liberator, Issue No. 18, August, 1919, republished in the Cambridge Magazine 10 Summer (1920) and in Spring in New Hampshire (1920) p.10
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(To J. L. J. F. E.)
Too green the springing April grass, Too blue the silver-speckled sky, For me to linger here, alas, While happy winds go laughing by, Wasting the golden hours indoors, Washing windows and scrubbing floors.
Too wonderful the April night, Too faintly sweet the first May flowers, The stars too gloriously bright, For me to spend the evening hours, When fields are fresh and streams are leaping, Wearied, exhausted, dully sleeping.
# Harlem Shadows/Summer Morn in New Hampshire

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All yesterday it poured, and all night long I could not sleep; the rain unceasing beat Upon the shingled roof like a weird song, Upon the grass like running children's feet. And down the mountains by the dark cloud kissed, Like a strange shape in filmy veiling dressed, Slid slowly, silently, the wraith-like mist, And nestled soft against the earth's wet breast.
But lo, there was a miracle at dawn! The still air stirred at touch of the faint breeze, The sun a sheet of gold bequeathed the lawn, The songsters twittered in the rustling trees. And all things were transfigured in the day, But me whom radiant beauty could not move; For you, more wonderful, were far away, And I was blind with hunger for your love.
# THE INTEROGATIV FORM

In English we change an assertion into a question by changing the order of the words,
| I have. | Have I ? |
| He will go. | Will he go ? |
| You have seen. | Have you seen ? |
But we seldom put a verb, unless an auxiliary, before the subject. We use, instead, the emphatic form with do.
You go. Do you go ? instead of Go you ? He speaks. Does he speak ?
In Volapük the sign of the question is the syllable li, generally placed either before or after the verb and united to it by a hyphen. The accent of the verb is unchanged. Li should not be placed after the verb, when this would bring two l's or three consonants together, as li-binoms ? not binoms-li?
| Man binom gudik, | Man binom-li gudik ? |
| Labob, | Labob-li ? |
| Ogoloms, | Li-ogoloms ? |
| Elogols, | Li-egolols ? |
If the sentence contains an interrogativ word, such as, who ? which ? what ? how ? when ? where ? li is unnecessary.
Kim binom man at ? Who is this man ? Man kiom binom at ? What man is this ? Kipladi man at golom ? Where (whither) is this man going ?
# PREPOSITIONS AND THE KIMIFAL

In English we make a distinction between in and into.
Into expresses motion from the outside to the interior, while in relates wholly to the interior.
This distinction is exprest in Volapük either by putting the noun into the kimifal or by adding -i to the preposition.
| Binob in gad, | I am in the garden. |
| Golob in gadi, or |
| golob ini gad, | I am going into the garden. |
In Volapük there are other prepositions subject to the same distinction; when they denote place, where, they govern the kimfal; when they denote direction, whither, they govern the kimifal or take the ending i.
Buk seistom su tab, the book lies on the table. Seitom buki su tabi, he lays the book on [on to] the table.
This distinction is not always necessary nor always observed, and the list, given in Schleyer's grammar, of prepositions which may govern the kimifal is incorrect, because based on the German prepositions.
The ending i is sometimes added to adverbs of place, giving them the meaning of motion towards.
Binob domo. I am at home. Kipladi golol? Where are you going [to]? Golob domoi, I am going home [wards].
Similarly the ending a is used to denote motion from in a few words.
| Is, | isa, | isi. | Here, | hence, | hither. |
| Us, | usa, | usi. | There, | thence, | thither. |
| Kiöp, | kiöpa, | kiöpi. | Where, | whence, | whither. |
It would seem quite as natural and correct to say de is, de us, de kiöp ; al (or ali) is, al us, al kiöp.
To express duration of time the preposition du is used. But sometimes the preposition is omitted (as in English) and then the noun may remain in the kimfal or be put into the kimifal. Thus there are three forms of expression; we prefer to retain the du.
| Äblibob in Rom du yels kil, |
| Äblibob in Rom yels kil, | I remained in Rome [during] three years. |
| Äblibob in Rom yelis kil, |
# SYNOPSIS OF THE VOLAPÜK INFLECTION

The changes of form which words may take are all contained in the following
table:
| 1. | Plural Ending | | | | -s |
| 2. | Case Endings | | - | -a | -e | -i |
| | | | nom. | pos. | dat. | obj. |
| | | | who? | whose? | to whom? | whom. |
| 3. | Gender Prefixes | | | ji- | | om- |
| | | | | fem. | | mas. |
| | Gender Ending | | | | -os |
| | | | | | neu. |
| 4. | Adjectiv Endings | | -ik | -id |
| | | | | | -um | -ün |
| | | | | | comp. | sup. |
| 5. | Adverb Endings | | -o | -na |
| | | | | | -umo | -üno |
| 6. | Person Endings | | -ob | -ol | -om | -of | -os | -on |
| | | | | | m. | f. | n. | indef. |
| | | | 1 | 2 | - | 3 | - |
| 7. | Tense Arguments |
| | | Activ | | - | ä- | e- | i- | o- | u- |
| | Passiv | | pa- | pä- | pe- | pi- | po- | pu- |
| | | | pres. | imp. | per. | plup. | fut. | fut per. |
| | | | does | did | has | had | will | will have |
| | Freq. Activ | | ai- | äi- | ei- | ii- | oi- | ui- |
| | Passiv | | pai- | päi- | pei- | pii- | poi- | pui- |
| | Gerundiv Arguments | | | | ö- | | pö- |
| | | | | | act. | | pas. |
| 8. | Mood Endings | | -öl | -ön | -öd | -ös | -öz | (-öx) | -öv | -la | -li | -ok |
| | | | part | inf. | | imp. | | pot. | cond. | conj. | interrog. | ref. |
| 9. | Preposition Ending | | | | | | ü |
| 10. | Interjection Ending | | | | | | ö |
# DERIVED PREPOSITIONS

Prepositions derived from nouns end in ü. (They are generally translated by three English words: a preposition, a noun, another preposition.
| Stimü, in honor of. | Stim, honor. |
| Kodü, by reason of. | Kod, cause. |
| Sukü, in consequence of. | Suk, following. |
| Yufü, by aid of. | Yuf, aid. |
| Danü, thanks to. | Dan, thank. |
| Tefü, regarding, concerning. | Tef, reference. |
Some prepositions are used both with and without the ending ü, as dem or demü.
# THE FREQUENTATIV FORM OR AORIST

When a verb refers to the habitual performance of an action, this may be indicated by adding the letter i (pronounced as a separate syllable) to the tense augment. Thus,
| ai-, | äi-, | ei-, | ii-', | oi-, | ui-. |
| pai-, | päi-, | pei-, | pii-, | poi-, | pui-. |
In English we have no special form for habitual action , but, on the other hand, we use the verb to be with the participle in -ing to express action continuing temporarily.
Fidob bodi, I am eating bread. Aifidob bodi, I eat bread (am in the habit of eating bread). Äpenob penedi, I wrote a letter, or I was writing a letter. Äipenob penedis mödik, I used to write many letters. The form "to be ----ing" is adopted in Volapük. Binob penöl, I am writing. Ai- is also used as a prefix denoting universality with other words. Aikel, whoever; aikitim, whenever; aikiöp, wherever.
# Conditional, Conjunctiv, and Potential
#### THE CONDITIONAL AND CONJUNCTIV

The conditional mood expresses something not as actually occurring, but as what would be, under a certain supposition. The conjunctiv is the mood, which expresses this supposition, preceded by if, if.
These two moods are formed by adding to the pätüp or pitüp the endings -öv and -la. The latter is written with a hyphen and the accent remains on the preceding syllable.
If äbinob-la liegik, äbinoböv givik, if I were rich I would be generous.
Ibinomöv givik, if ibinom-la liegik, he would have been generous if he had been rich.

#### THE POTENTIAL

A form seldom used, but mentioned by Schleyer, has the ending -öx, and the meaning might possibly.
Pelomöx, he might possibly pay.
# THE IMPERATIV

The ending of the simple imperativ is öd, following the person-ending.
Gololöd! Go ! (to one person.) Gololsöd! Go ! (to more than one person.) Pafögivolsöd! Be ye forgiven ! Lit binomöd ! Let there be light ! (Be light !) Senitonöd! Pay attention ! (indefinitely.)
There are two modifications of the imperativ, the courteous or softened form in -ös and the harsh form in -öz; called by some grammarians the optativ and the jussiv. The former expresses a request and the latter a positiv command.
# THE USE OF PREPOSITIONS

In English we often use one of the common prepositions in several different meanings, which may not coincide with the meanings of any one Volapük preposition. In Volapük it is intended that each preposition should have only two meanings, the literal and the figurativ.
The following list is intended for reference in case of doubt :
It must be remembered also that there are many words in English which are used sometimes as prepositions, sometimes as adverbs : to run down the hill; to tear down the house.
By, the doer, fa by, beside, nebü by, past, bei by, by means of, dub by, each, a a del, day by day ; a tel, two by two.
At, close to, len at, in a town, in at, o'clock, not translated.
| Among Between | bevü | In English we use between in speaking of two objects, and among of more than two; in Volapük there is no distinction. |
Before, speaking of place, bifu speaking of time, büfü.
After, in time, pos ; after, behind, po.
Ago ; where we use this adverb of time, for example "two years ago," the Volapük expression is, "before two years." Similarly, for "two years hence," after two years.
Of, belonging to, translated by the kimafal ; of, concerning (I speak of this subject), dö ; of, composed of, containing, originating from, coming from (a glass of water, Schleyer of Constance), de.
To, the indirect object of a verb, generally meaning in relation to, translated by the kimefal ; to, denoting progress to a place, al.
From, departure from, de from, on account of, dem or demü.
For, in favor of, in exchange for, plo ; for, instead of, pla ; for, during (for years), du for, on account of dem or demü.
Towards, direction of movement, äl; towards, disposition tovards, kol towards, nearly (towards three o'clock), za.
With, in company with, ko with, as an instrument, me.
But, except, plä, sesumü but, only, te.
Till, until; jü al, jü in, jü su, jü len, etc.
Without, deprived of, nen without, outside of, plö, mofü.
About, surrounding, zi about, concerning, dö about, approximately, za.
# THE REFLEXIV

The reflexiv form is the same as the activ voice with the addition of -ok.
Vatükob, I wash. Vatükobok, I wash myself.
An equivalent expression, sometimes used, is Vatükob obi.
| Vatükol, you wash, | | Vatükolok, |
| | or, | Vatükol oli, | you wash yourself. |
Vatükomok or vatükom oki, he washes himself. (Vatükom omi would mean he washes him, two different persons.)
In the plural the s usually follows the ok, but may be made to precede it, if that form is thought more euphonious. Vatükoboks, or vatükobsok, we wash ourselvs. Vatükomoks, they wash themselvs. If the object is exprest by a separate pronoun in the plural it is translated "each other." Löfomoks, they love themselvs; Löfoms okis, they love each other. Löfobsok, we love ourselvs; Löfobs obis, we love each other.
# Griffith v. Connecticut

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
218 U.S. 563
Griffith v. Connecticut
Statement by Mr. Justice White: Upon a prosecution originating in the police court of the city of Hartford, in Hartford county, Connecticut, the plaintiff in error was tried and convicted in the superior court of the county, upon an information alleging, in six counts, the commission of offenses against chapter 238 of the Public Acts of Connecticut of 1907. The offenses charged were the exacting on certain loans of money a rate of interest greater than 15 per cent per annum, contrary to the provisions of the 1st section of the act, and in accepting notes for an amount greater than that actually loaned, with intent to evade the provisions of said 1st section, contrary to the provisions of the 2d section of the act. During the course of the trial, the accused, in various forms, assailed the validity of the statute referred to because of repugnancy to the contract clause of the Constitution of the United States, and to the equal protection clause of the 14th Amendment. From a judgment imposing a fine as to the conviction upon each count, an appeal was taken to the supreme court of errors. The judgment of the superior court was affirmed (83 Conn. 1, 74 Atl. 1068), and the case was then brought here. Since the filing of the record, the state of Connecticut has moved that the writ of error be dismissed, or, in the alternative, that the judgment be affirmed.
Mr. I. Henry Harris for plaintiff in error.
Mr. Hugh M. Alcorn for defendant in error.
[Argument of Counsel from pages 565-567 intentionally omitted]
Mr. Justice White, after making the foregoing statement, 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
# Griffith Gaunt

Griffith Gaunt is an novel by Charles Reade, originally serialized in The Atlantic Monthly from December 1865 – November 1866
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
# Griffith

* Search for titles containing or beginning with: "Griffith."
* sister projects: Wikipedia article, taxonomy, 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.
* Griffith, John (fl.1553), Welsh præmonstratensian, and a monk of the order of Cistercians
* Griffith, Maurice (d. 1558), Welshman, bishop of Rochester
* Griffith, Ralph Thomas Hotchkin
# Griffin v. United States (502 U.S. 46)/Concurrence Blackmun

* Court Documents
* Case Syllabus
* Opinion of the Court
* Concurring Opinion Blackmun
Justice BLACKMUN, concurring in the judgment.
I agree with the Court that petitioner has not made out a violation of the Due Process Clause, although I do not follow the Court on its self-guided tour of the common law. See ante, at 49-52. It is enough, I think, to observe that petitioner has not presented any sustained constitutional argument whatsoever.
I agree further with the Court's conclusion that Yates v. United States, 354 U.S. 298, 77 S.Ct. 1064, 1 L.Ed.2d 1356 (1957), does not require reversal in this case, and that petitioner has not sufficiently distinguished Turner v. United States, 396 U.S. 398, 90 S.Ct. 642, 24 L.Ed.2d 610 (1970). See ante, at 56-59. I would emphasize more strongly than does the Court, however, the danger of jury confusion that was inherent in this multiple-defendant, 23-count indictment and the resulting 5- to 6-week trial.
The Court rightly observes that "it would generally be preferable" for the trial court to remove unsupported theories from the jury's consideration. See ante, at 60. I would also note that the Government had two other means of avoiding the possibility, however remote, that petitioner was convicted on a theory for which there was insufficient evidence: The Government either could have charged the two objectives in separate counts, or agreed to petitioner's request for special interrogatories. The Court wisely rejects, albeit silently, the Government's argument that these practices, but not the complex and voluminous proof, would likely have confused the jury. I would go further than the Court and commend these techniques to the Government for use in complex conspiracy prosecutions.

## 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
# Harlem Shadows/Thirst

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My spirit wails for water, water now! My tongue is aching dry, my throat is hot For water, fresh rain shaken from a bough, Or dawn dews heavy in some leafy spot. My hungry body's burning for a swim In sunlit water where the air is cool, As in Trout Valley where upon a limb The golden finch sings sweetly to the pool. Oh water, water, when the night is done, When day steals gray-white through the window-pane, Clear silver water when I wake, alone, All impotent of parts, of fevered brain; Pure water from a forest fountain first, To wash me, cleanse me, and to quench my thirst!
# Harlem Shadows/To One Coming North

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At first you'll joy to see the playful snow, Like white moths trembling on the tropic air, Or waters of the hills that softly flow Gracefully falling down a shining stair.
And when the fields and streets are covered white And the wind-worried void is chilly, raw, Or underneath a spell of heat and light The cheerless frozen spots begin to thaw,
Like me you'll long for home, where birds' glad song Means flowering lanes and leas and spaces dry, And tender thoughts and feelings fine and strong, Beneath a vivid silver-flecked blue sky.
​But oh! more than the changeless southern isles, When Spring has shed upon the earth her charm,
You'll love the Northland wreathed in golden smiles By the miraculous sun turned glad and warm.
# Harlem Shadows/The Tropics in New York

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Bananas ripe and green, and ginger-root, Cocoa in pods and alligator pears, And tangerines and mangoes and grape fruit, Fit for the highest prize at parish fairs,
Set in the window, bringing memories Of fruit-trees laden by low-singing rills, And dewy dawns, and mystical blue skies In benediction over nun-like hills.
My eyes grew dim, and I could no more gaze; A wave of longing through my body swept, And, hungry for the old, familiar ways, I turned aside and bowed my head and wept.
# Harlem Shadows/Through Agony

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I
All night, through the eternity of night, Pain was my portion though I could not feel. Deep in my humbled heart you ground your heel, Till I was reft of even my inner light, Till reason from my mind had taken flight, And all my world went whirling in a reel. And all my swarthy strength turned cold like steel, A passive mass beneath your puny might. Last night I gave you triumph over me, So I should be myself as once before, I marveled at your shallow mystery, And haunted hungrily your temple door. I gave you sum and substance to be free, Oh, you shall never triumph any more!
II
I do not fear to face the fact and say, How darkly-dull my living hours have grown, My wounded heart sinks heavier than stone, ​Because I loved you longer than a day! I do not shame to turn myself away From beckoning flowers beautifully blown, To mourn your vivid memory alone In mountain fastnesses austerely gray. The mists will shroud me on the utter height, The salty, brimming waters of my breast Will mingle with the fresh dews of the night To bathe my spirit hankering to rest. But after sleep I'll wake with greater might, Once more to venture on the eternal quest.