OpenLLM-France/wikimedia huggingface dataset:
# Good-Night (Buenas Noches)/Chapter 5

Illustrated by Arthur Rackham
It was past the noon angelus when Padre Alonzo came waddling along the path, and he found the garden still still, and filled with the sun-drawn incense of trees and flowers.
“Sst! sst! Tony will be too warm, I fear,” he was saying aloud as he neared the cage. “The little one shall go to a cooler spot.” And with this conclusion, he halted beside the perch of the parrot and lifted the chirping canary down to his knee.
“Buenos dias,” he said to Loretta, pausing a moment; “a good day, truly, but over-hot, so that my ​cassock makes of me a living olla, for I am beaded with water drops from top to toe.”
The parrot shifted a little, and again set her head sidewise, as if she were puzzled and listening. Next, she edged toward him, and uncertainly, putting a foot down, clasping and unclasping the pole, trying it cautiously. Against the vertical piece that made her perch like a cross, she teetered awkwardly and stopped.
“Loretta,” said the padre, in some concern, “hast anything in thy craw? Well, gulp down a stone and grind thy grist. What one swallowest that must one digest.”
Padre Alonzo colored guiltily. “Tony must go to the shade,” he said. ”The sun is hot to the cooking-point.”
Padre Anzar paused a moment, glowering up at Loretta. “Then may it singe the plumage of that vixen,” he answered. “She desecrates our garden.” Another frown, and he passed on.
Padre Alonzo watched him out of sight before he again addressed the parrot. “I fear thou must mend thy ways, Loretta,” he said. ”Here it is Christmas Day, and yet Anzar has no good words for thee. But see,”–he held up a plump hand, displaying one of Gabrielda’s sweet biscuits–“riotous ​as thou art, I have remembered. And now tell me, what hast thou given Tony?”
As though in mute answer, the parrot suddenly lowered her head toward him, and he saw that over the gray of her feathered face was a splash of scarlet, as if a vivid fuchsia petal had fallen there.
“Loretta!” he cried anxiously; “Loretta! thine eyes!”
She lifted her head until her beak pointed past the giant crucifix and straight into the glaring sun.
“Buenos dias,” he prompted tenderly, alarmed now at her unusual silence and the indifference shown his offering; “Loretta, buenos dias.”
But she was settling herself upon ​ her cross-like perch as if for the night. “A-aw, To-o-ny! To-o-ny!” she returned with a little sleepy croak; “buenas noches! buenas noches!”
The University Press, Cambridge, U. S. A.
# Gunther v. Liverpool & L. G. Insurance Company

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
134 U.S. 110
Gunther v. Liverpool & L. G. Insurance Company
C. Bainbridge Smith, for plaintiffs in error.
Wm. Allen Butler, for defendant in error.
GRAY, 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
# Guns for Gold: The Wagner Network Exposed/Witnesses

The following witnesses gave evidence. Transcripts can be viewed on the inquiry publications page of the Committee's website.
Dr Sorcha MacLeod, Associate Professor, University of Copenhagen, Chair, UN Working Group on the use of mercenaries; Christo Grozev, Executive Director and ex-Russia investigator, Bellingcat; Dr Sean McFate, Senior Fellow, Atlantic Council, Professor, National Defense University Q1-65
Jason McCue, Senior Partner, McCue Jury & Partners; Professor Jason Blazakis, Executive Director of the Center on Terrorism, Extremism, and Counterterrorism, Middlebury Institute of International Studies, Senior Research Fellow, The Soufan Center Q66-95
Mikhail Khodorkovsky, Public figure, former political prisoner and pro-democracy activist Q96-107
Leo Docherty MP Parliamentary Under-Secretary of State, Foreign, Commonwealth & Development Office; Ben Fender OBE, Director, Eastern Europe and Central Asia, Foreign, Commonwealth & Development Office; Hazel Cameron, Head of the Human Rights Department, Foreign, Commonwealth & Development Office Q108-282
Layout 2
# Gunther v. San Diego & Arizona Eastern Railway Company

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
382 U.S. 257
Gunther v. San Diego & Arizona Eastern Railway Company
Argued: Nov. 8, 1965. --- Decided: Dec 8, 1965
Charles W. Decker, San Francisco, Cal., for petitioner.
Waldron A. Gregory, San Francisco, Cal., for respondent.
Mr. Justice BLACK 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
# Gunter v. Atlantic Coast Line Railroad Company

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
200 U.S. 273
Gunter v. Atlantic Coast Line Railroad Company
Argued: December 1, 4, 1905. --- Decided: January 15, 1906
Mr. W. F. Stevenson and Messrs. Stevenson & Matheson for appellants.
[Argument of Counsel from pages 274-277 intentionally omitted]
Messrs. Theodore G. Barker, P. A. Willcox, and J. T. Barron for appellee.
Mr. Justice White 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
# Grannis v. Ordean

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
234 U.S. 385
Grannis v. Ordean
HENRY J. GRANNIS, Plff. in Err.,
v.
ROBERT B. WHITESIDE, Margaret Sullivan, Alfred Jaques,
Theodore T. Hudson, et al.
No. 326.
Nos. 325, 326.
Argued April 27 and 28, 1914.
Decided June 8, 1914.
Messrs. Henry J. Grannis and Frederic D. McKenney for plaintiff in error.
Messrs. Alfred Jaques, Theodore T. Hudson, and John G. Williams for defendants in error.
Mr. Justice Pitney 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
# Grant Collector v. Hartford and New Haven Railroad Company/Opinion of the Court

* Court Documents
* Case Syllabus
* Opinion of the Court
United States Supreme Court
93 U.S. 225
Grant Collector v. Hartford and New Haven Railroad Company
The company having returned the entire balance of their gross earnings over and above current expenses, in the shape of dividends and surplus, for the period in question, and paid the regular tax thereon, we do not see why this was not a full compliance with the law. The object of the law was to impose a tax on net income, or profits, only; and that cannot be regarded as net income, or profits, which is required and expended to keept the property up in its usual condition proper for operation. Such expenditure is properly classed with repairs, which are a part of the current expenses. If a railroad company should make a second track when they had but a single track before, this would be a betterment or permanent improvement, and, if paid out of the earnings, would be fairly characterized as 'profits used in construction.' The works of the company would have an additional value to what they had before, with an increased capacity for producing future profits. This kind of expenditure is what Congress meant to reach, when, in the one hundred and twenty-second section referred to, it imposed a tax not only on the dividends of every railroad, canal, and turnpike company, but also on 'all profits of such company carried to the account of any fund, or used for construction.'
The counsel for the government insists that this bridge was a betterment, because it was much more valuable than the old wooden bridge. But the assessor did not include the excess merely: he assessed the whole expenditure bestowed upon the new bridge, without making any allowance for the old one. His idea seems to have been, that all earnings used in new constructions are made taxable by the act, without reference to betterments, or to their being substituted for other constructions. Indeed, his assessment is not for 'profits used in construction,' but for 'earnings used in constructing new Windsor Bridge, $55,712.60.' In this view he was decidedly wrong. Earnings expended on a new structure may or may not be profits. Whether they are or not depends on other things to be taken into the account besides the mere fact of such expenditure. Had the assessment been merely for the increased value of the new bridge over the old one when in good repair, the case might have admitted of very different consideration. Judgment affirmed.

## 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
# Grant Timber Manufacturing Company v. Gray

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
236 U.S. 133
Grant Timber Manufacturing Company v. Gray
Argued and submitted January 19 and 20, 1915.
Decided February 1, 1915.
Messrs. Horace H. White, J. R. Thornton, and Henry Moore, Jr., for plaintiff in error.
Messrs. Patrick H. Loughran and John H. Mathews for defendant in error.
Mr. Justice Holmes 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
# Grant Brothers Construction Company v. United States

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
232 U.S. 647
Grant Brothers Construction Company v. United States
Argued: January 21 and 22, 1914. --- Decided: March 16, 1914
Messrs. Isidore B. Dockweiler, A. C. Baker, and Robert B. Murphey for plaintiff in error.
[Argument of Counsel from pages 648-656 intentionally omitted]
Assistant Attorney General Wallace for defendant in error.
Mr. Justice Van Devanter 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
# Grant Smith-Porter Ship Company v. Rohde

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
257 U.S. 469
Grant Smith-Porter Ship Company v. Rohde
Argued: December 7, 1920. --- Decided: January 3, 1922
Mr. Charles A. Hart, of Portland, Or., for Grant Smith-Porter Ship Co.
[Argument of Counsel from pages 470-473 intentionally omitted]
Mr. Harry A. Hegarty, of Washington, D. C., for Rohde.
Mr. Justice McREYNOLDS 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
# Grant, James

* Search for titles containing or beginning with: "Grant, James."
* 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.
* James Grant, traditional Scottish ballad
* articles in the Dictionary of National Biography:
** "Grant, James (1485?-1553)," in Dictionary of National Biography, 1885-1900, London: Smith, Elder, & Co. (1885–1900) in 63 vols.
** "Grant, James (1706-1778)," in Dictionary of National Biography, 1885-1900, London: Smith, Elder, & Co. (1885–1900) in 63 vols.
** "Grant, James (1720-1806)," in Dictionary of National Biography, 1885-1900, London: Smith, Elder, & Co. (1885–1900) in 63 vols.
** "Grant, James (1738-1811)," in Dictionary of National Biography, 1885-1900, London: Smith, Elder, & Co. (1885–1900) in 63 vols.
** "Grant, James (1743?-1835)," in Dictionary of National Biography, 1885-1900, London: Smith, Elder, & Co. (1885–1900) in 63 vols.
** "Grant, James (1802-1879)," in Dictionary of National Biography, 1885-1900, London: Smith, Elder, & Co. (1885–1900) in 63 vols.
** "Grant, James (1822-1887)," in Dictionary of National Biography, 1885-1900, London: Smith, Elder, & Co. (1885–1900) in 63 vols.
** "Grant, James (1840-1885)," in Dictionary of National Biography, 1885-1900, London: Smith, Elder, & Co. (1885–1900) in 63 vols.
* "Grant, James," in A Short Biographical Dictionary of English Literature, by John William Cousin, London: J. M. Dent & Sons (1910)
* "James Grant" in History of Iowa From the Earliest Times to the Beginning of the Twentieth Century Vol. 4

### See also

* Author:James Grant
# From the Italian

* From the Italian, in The Casket, 1829 (1828).
* Thought from an Italian Poet, in Scenes and Hymns of Life, with Other Religious Poems (Miscellaneous Poems), 1834.
# From the Life

Harvey O'Higgins's volume of short stories, "From the Life," comes with a shock of difference from the conventional form and is a book to be valued. Here is no feather-fluff of romance, no sermonic pill disguised as caramel, no mere effort to entertain the brainless, but life shown seriously, with an inexorable logic of events in harmony with character, Mr. O'Kiggins has chosen for his medium of expression the character study somewhat resembling Dreiser's studies of his "Twelve Men". —Extracted from "Latest Modes in Fiction," by Dorothy Scarborough, in The Bookman, 1919.
FROM THE LIFE Portrait Studies of Some Distinguished Americans
See p. 22
"I DON'T LIVE ANYWHERE," SHE SAID AT LAST
FROM THE LIFE
Imaginary Portraits of Some Distinguished Americans
BY
HARVEY O'HIGGINS
Author of
"ADVENTURES OF DETECTIVE BARNEY" "THE SMOKE-EATERS" ETC.
HARPER & BROTHERS PUBLISHERS NEW YORK AND LONDON
From the Life
Copyright, 1919, by Harper & Brothers Printed in the United States of America
Published September, 1919
H-T
* page
* Owen Carey3
* Jane Shore45
* Thomas Wales Warren89
* Benjamin McNeil Murdock129
* Conrad Norman171
* W. T.217
* Hon. Benjamin P. Divins245
* Sir Watson Tyler269
* District-Attorney Wickson305
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 1929, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 94 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
# From the French

* Search for titles containing or beginning with: "From the French."
* 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.
Poems by George Gordon Byron:
* From the French (Must thou go, my glorious Chief)
* From the French (Ægle, beauty and poet, has two little crimes)
# Glanzman v. Schaffer

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
357 U.S. 347
Glanzman v. Schaffer
Mr. David T. Berman, for petitioner.
Solicitor General Rankin, Assistant Attorney General Doub, Messrs. Roger Fisher and Samuel D. Slade, for respondent.
On petition for writ of certiorari to the United States Court of Appeals for the Second Circuit.
PER CURIAM.

## 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/Africa

Layout 2
The sun sought thy dim bed and brought forth light, The sciences were sucklings at thy breast; When all the world was young in pregnant night Thy slaves toiled at thy monumental best. Thou ancient treasure-land, thou modern prize, New peoples marvel at thy pyramids! The years roll on, thy sphinx of riddle eyes Watches the mad world with immobile lids. The Hebrews humbled them at Pharaoh's name. Cradle of Power! Yet all things were in vain! Honor and Glory, Arrogance and Fame! They went. The darkness swallowed thee again. Thou art the harlot, now thy time is done, Of all the mighty nations of the sun.
# Harlem Shadows/Author's word

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AUTHOR'S WORD
In putting ideas and feelings into poetry, I have tried in each case to use the medium most adaptable to the specific purpose. I own allegiance to no master. I have never found it possible to accept in entirety any one poet. But I have loved and joyed in what I consider the finest in the poets of all ages.
The speech of my childhood and early youth was the Jamaica Negro dialect, the native variant of English, which still preserves a few words of African origin, and which is more difficult of understanding than the American Negro dialect. But the language we wrote and read in school was England's English. Our text books then, before the advent of the American and Jamaican readers and our teachers, too, were all English-made. The native teachers of the elementary schools were tutored by men and women of British import. I quite remember making up verses in the dialect and in English for our moonlight ring ​dances and for our school parties. Of our purely native songs the jammas (field and road), shay-shays (yard and booth), wakes (post-mortem), Anancy tales (transplanted African folk lore), and revivals (religious) are all singularly punctuated by meter and rhyme. And nearly all my own poetic thought has always run naturally into these regular forms.
Consequently, although very conscious of the new criticisms and trends in poetry, to which I am keenly responsive and receptive, I have adhered to such of the older traditions as I find adequate for my most lawless and revolutionary passions and moods. I have not used patterns, images and words that would stamp me a classicist nor a modernist. My intellect is not scientific enough to range me on the side of either; nor is my knowledge wide enough for me to specialize in any school.
I have never studied poetics; but the forms I have used I am convinced are the ones I can work in with the highest degree of spontaneity and freedom.
I have chosen my melodies and rhythms by instinct, and I have favored words and figures ​which flow smoothly and harmoniously into my compositions. And in all my moods I have striven to achieve directness, truthfulness and naturalness of expression instead of an enameled originality. I have not hesitated to use words which are old, and in some circles considered poetically overworked and dead, when I thought I could make them glow alive by new manipulation. Nor have I stinted my senses of the pleasure of using the decorative metaphor where it is more truly and vividly beautiful than the exact phrase. But for me there is more quiet delight in "The golden moon of heaven" than in "The terra-cotta disc of cloud-land."
Finally, while I have welcomed criticism, friendly and unfriendly, and listened with willing attention to many varying opinions concerning other poems and my own, I have always, in the summing up, fallen back on my own ear and taste as the arbiter.
Claude McKay.
# Harlem Shadows/A Prayer

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'Mid the discordant noises of the day I hear thee calling; I stumble as I fare along Earth's way; keep me from falling.
Mine eyes are open but they cannot see for gloom of night; I can no more than lift my heart to thee for inward light.
The wild and fiery passion of my youth consumes my soul; In agony I turn to thee for truth and self-control.
For Passion and all the pleasures it can give will die the death; But this of me eternally must live, thy borrowed breath. ​'Mid the discordant noises of the day I hear thee calling; I stumble as I fare along Earth's way; keep me from falling.
# Harlem Shadows/Absence

Layout 2
Your words dropped into my heart like pebbles into a pool, Rippling around my breast and leaving it melting cool.
Your kisses fell sharp on my flesh like dawn-dews from the limb, Of a fruit-filled lemon tree when the day is young and dim.
Like soft rain-christened sunshine, as fragile as rare gold lace, Your breath, sweet-scented and warm, has kindled my tranquil face.
But a silence vasty-deep, oh deeper than all these ties Now, through the menacing miles, brooding between us lies. ​And more than the songs I sing, I await your written word, To stir my fluent blood as never your presence stirred.
# Harlem Shadows/Alfonso, Dressing to Wait at Table

Layout 2
Alfonso is a handsome bronze-hued lad Of subtly-changing and surprising parts; His moods are storms that frighten and make glad, His eyes were made to capture women's hearts.
Down in the glory-hole Alfonso sings An olden song of wine and clinking glasses And riotous rakes; magnificently flings Gay kisses to imaginary lasses.
Alfonso's voice of mellow music thrills Our swaying forms and steals our hearts with joy; And when he soars, his fine falsetto trills Are rarest notes of gold without alloy.
But, O Alfonso! wherefore do you sing Dream-songs of carefree men and ancient places? Soon we shall be beset by clamouring Of hungry and importunate palefaces.
# Harlem Shadows/A Red Flower

Layout 2
Your lips are like a southern lily red, Wet with the soft rain-kisses of the night, In which the brown bee buries deep its head, When still the dawn's a silver sea of light.
Your lips betray the secret of your soul, The dark delicious essence that is you, A mystery of life, the flaming goal I seek through mazy pathways strange and new.
Your lips are the red symbol of a dream. What visions of warm lilies they impart, That line the green bank of a fair blue stream, With butterflies and bees close to each heart!
Brown bees that murmur sounds of music rare, That softly fall upon the languorous breeze, Wafting them gently on the quiet air Among untended avenues of trees. ​O were I hovering, a bee, to probe Deep down within your scented heart, fair flower, Enfolded by your soft vermilion robe, Amorous of sweets, for but one perfect hour!
# Harlem Shadows/After the Winter

This was published in The Liberator, Vol. 2 No. 7, Jul 1919
Layout 2
Some day, when trees have shed their leaves And against the morning's white The shivering birds beneath the eaves Have sheltered for the night, We'll turn our faces southward, love, Toward the summer isle Where bamboos spire to shafted grove And wide-mouthed orchids smile.
And we will seek the quiet hill Where towers the cotton tree, And leaps the laughing crystal rill, And works the droning bee. And we will build a cottage there Beside an open glade, With black-ribbed blue-bells blowing near, And ferns that never fade.
# Harlem Shadows/Baptism

Layout 2
Into the furnace let me go alone; Stay you without in terror of the heat. I will go naked in—for thus 'tis sweet— Into the weird depths of the hottest zone. I will not quiver in the frailest bone, You will not note a flicker of defeat; My heart shall tremble not its fate to meet, My mouth give utterance to any moan. The yawning oven spits forth fiery spears; Red aspish tongues shout wordlessly my name. Desire destroys, consumes my mortal fears, Transforming me into a shape of flame. I will come out, back to your world of tears, A stronger soul within a finer frame.
# Harlem Shadows/Romance

Layout 2
To clasp you now and feel your head close-pressed, Scented and warm against my beating breast;
To whisper soft and quivering your name, And drink the passion burning in your frame;
To lie at full length, taut, with cheek to cheek, And tease your mouth with kisses till you speak
Love words, mad words, dream words, sweet senseless words, Melodious like notes of mating birds;
To hear you ask if I shall love always, And myself answer: Till the end of days;
To feel your easeful sigh of happiness When on your trembling lips I murmur: Yes; ​It is so sweet. We know it is not true. What matters it? The night must shed her dew.
We know it is not true, but it is sweet— The poem with this music is complete.