OpenLLM-France/wikimedia huggingface dataset:
# The Story teller (1850)/Jack Easy

JACK EASY.
Jack Easy came to a good fortune at the death of his father, and mounted his hobby without its ever having been properly broken in; he galloped over the plains of Fancy, went off in a full eanter to the road of Dissipation, and leaped over all ​the five-barred gates of Advice and Discretion. It may naturally be supposed, that before long his filly gave him a fall: poor Jack eame down sure enough; but he only shook himself, brushed off the dirt of the road, and mounted again in as high spirits as ever; excepting, that he now began to sit firmer in the saddle, and to look about him: this, however, did not hinder him from getting into a swamp, called a lawsuit, where he remained a eonsiderable time before he could get out; his fortune was now reduced from some thousands to a few hundreds; and by this time, no man better knew the way of life than my friend Jack Easy. He had been through all the dirty cross-roads of business, money-borrowing, bankruptcy, and law; and at last arrived at a jail.
My friend Jack did not despond; he consoled himself with the reflection that he was a single man; some of his misfortunes were the eonsequences of his own imprudence, others of unforeseen accidents, and most of them originated from his good nature and generosity. He, however, never excused; he lumped them all together, took them in good part, and blamed nobody but himself.
Fortune, however, at last put on her best smiles, and paid Jack a visit in the King's Beneh, in the shape of a handsome legaey. Jack smiled at the thing, and onee more mounted his nag. He now rode more cautiously, and turned into the road of Economy, which led to a comfortable inn with the sign of Competency over the door; he had borrowed a martingale from an old hostler called Experience; and for the first time in his life used a curb. He began already to find, that though he did not gallop away as formerly, yet he went on in his journey pleasantly enough. Some dashing riders passed him, laughing at his jog-trot pace; but he had no occasion to envy them long; for presently some of them got into ruts, others were stuek fast in bogs and quagmires, and the rest were thrown from their saddles to the great danger of their necks. Jack Easy, meanwhile, jogged on merrily; he now preferred getting off and opening a gate, to leaping over it; and smiled at an obstacle as at a turnpike, where he must necessarily pay toll. You might now see Jack Easy walking his hobby along the road, enjoying the seene around him, with eontentment sparkling in his eyes. If the way happened to be crowded with horsemen and carriages, you might observe him very readily taking his own side of the road, and letting them pass.
Thus my friend Jack Easy came in with a jog-trot to the end of his journey, leaving his example behind him as a kind of finger-post for the good of other travellers.
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 Story of the Year

English-language translations of Aarets historie include:
* "The Story of the Year" in Hans Andersen's Fairy Tales (1888), translated by Mrs. Henry H. B. Paull
* "The Story of the Year" in Fairy Tales and Other Stories (1914), translated by W. A. Craigie and J. K. Craigie
# The Story teller (1850)

NEW AND IMPROVED SERIES.
No. 3.
THE
STORY TELLER,
CONTAINING
A Choice Selection of
AMUSING AND ENTERTAINING STORIES.
GLASGOW:
PRINTED FOR THE BOOKSELLERS.
1850.
Price One Penny
CONTENTS.
| Prince Lupin and the White Cat,. . . . . . The Yellow Dwarf,. . . . . . The Three Wishes,. . . . . . Puss in Boots,. . . . . . The Three Beggars,. . . . . . The Soldier's Wife,. . . . . . Jack Easy,. . . . . . | PAGE 3 7 11 13 17 21 23 |
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 Strand Magazine/Volume 4/Issue 24

December, 1892. (transcription project)
Layout 4
​ Her Majesty Queen Victoria. From a Photo. by W. & D. Downey.
(From a Photograph presented by Her Majesty to Moulvie Rafiüddin Ahmad.)
* The Queen's Hindustani Diary, by Moulvie Rafiüddin Ahmad.
* Shafts from an Eastern Quiver, No. VI. The Hindu Fakir of the Silent City, by Charles J. Mansford. Illustrated by A. Pearse.
* Illustrated Interviews. No. XVIII. William Howard Russell, LL.D., by Harry How.
* The Black Virgin, from the French of Charles Epheyre. Illustrated by J. Finnemore.
* Portraits of Celebrities at Different Times of their Lives.
* Dadabhai Naoroji,
* Henry Ponsonby,
* Edna Lyall,
* William Howard Russell,
* Sir Noel Paton,
* Frederic William Farrar,
* George Newnes
* A Description of the Offices of the Strand Magazine. Illustrated by A. J. Johnson.
* The Toilers of the Rocks, from the German of Ferdinand de Saar. Illustrated by Paul Hardy.
* Types of English Beauty.
* A Vision of the Night, by Richard Marsh. Illustrated by John Gülich.
* Zig-Zags at the Zoo, No. V. Zig-Zag Elephantine by Arthur Morrison. Illustrated by J. A. Shepherd.
* Adventures of Sherlock Holmes Adventure XIII. The Adventure of Silver Blaze, by A. Conan Doyle. Illustrated by Signey Paget.
* Zerbin the Wood-Cutter, from the French of E. Laboulaye. Illustrated by H. R. Millar.
* The Queer Side of Things
** Old Professor Willett, by Jas. F. Sullivan.
** Home for the Holidays.
** Preparing for the Pantomime at Drury Lane.
** Club Types, by H. M. Beerbohm.
** Pal's Puzzle Page by Jean de Paléologue
This work is in the public domain in the United States because it was published before January 1, 1929.
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 Strand Magazine/Volume 2/Issue 7

July, 1891. (transcription project)
Layout 4
​ "THE SNOW QUEEN." (Tableaux Vivants.)
* Tableaux Vivants. Illustrations by P. Naumann.
* "Woke Up At Last," by Kate Lee. Illustrations by Gordon Browne.
* Anecdotes of the War Path (continued), written and illustrated by Irving Montagu.
* "Why He Failed". Illustrations by A. Pearse.
* A Regiment on Wheels. Illustrations by W. B. Wollen.
* Portraits of Celebrities at Different Times of their Lives.
* The Duke of Fife.
* Mrs. Beerbohm Tree.
* George Augustus Sala.
* Henry Stacy Marks.
* Miss Mary Moore.
* David James.
* Max O'Rell.
* "Sister Gabrielle," a Reminiscence of Max O'Rell During the War, by His Wife. Illustrations by Jean de Paléologue.
* Illustrated Interviews. No. I. Cardinal Manning, by Harry How. Illustrations by W. H. J. Boot.
* Adventures of Sherlock Holmes. Adventure I. A Scandal in Bohemia, by A. Conan Doyle. Illustrations by Sidney Paget.
* "The Bundle of Letters," from the Hungarian of Moritz Jokai. Illustrations by Paul Hardy.
* The State of the Law Courts. IV. The Criminal Courts. Illustrations by A. Ludovici.
* Captain Mayne Reid: Soldier and Novelist, by Maltus Questell Holyoake.
* "The King and the Artist,", a Story for Children; from the Spanish. By Mariana Monteiro. Illustrations by H. R. Millar.
This work is in the public domain in the United States because it was published before January 1, 1929.
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 Tenant of Wildfell Hall (1920 John Murray edition)

* information about this edition.
* sister projects: Wikipedia article, Wikidata item.
This 1920 John Murray edition is based on Thomas Hodgson's 1854 Parlour Library edition — a heavily condensed edition that omitted large amounts of material including almost entire chapters, and re-arranged other material to compensate for the omissions. It is therefore regarded as a "mutilated" text. For others editions, see The Tenant of Wildfell Hall.
# The Tenant of Wildfell Hall

The Tenant of Wildfell Hall is the second and final novel by English author Anne Brontë, published in 1848 under the pseudonym Acton Bell.
It is framed as a letter from Gilbert Markham to his friend and brother-in-law about the events leading to his meeting his wife. The novel challenged the prevailing morals of the Victorian era. Especially shocking was Helen's slamming of her bedroom door in the face of her husband after continuing abuse, thereby overturning the sexual politics for the time. One critic went so far as to pronounce it "utterly unfit to be put into the hands of girls", though another cited it as "the most entertaining novel we have read in a month past." It is considered to be one of the first feminist novels.
    — Excerpted from The Tenant of Wildfell Hall on Wikipedia, the free online encyclopedia.
* The 1st edition, published in three volumes by T. C. Newby around 1 July 1848. T. C. Newby was renowned for poorly supervising the printing and correction of the novels that he published. This edition is no exception; it contains many errors.
* The emended 1st edition, published in three volumes by T. C. Newby later in July 1848. This edition incorporated many corrections into the unsold sheets of the 1st edition.
* The 1st American edition, published by Harper Brothers on 28 July 1848. Newby misled Harper Brothers as to the authorship, resulting in the 1st American edition being attributed to "Acton Bell, author of Wuthering Heights". This edition was heavily edited by the Harper Brothers house-editor, and is therefore not regarded as authoritative.
* The 2nd edition, published mid-August 1848, incorporating more corrections and an author's preface, but also introducing some new errors.
* The Parlour Library edition, published by Thomas Hodgson in 1854 as issue 106 of the Parlour Library series. Hodgson condensed the book into a single volume by omitting large amounts of material including, most notably, Markham's opening letter to Halford. Other material was rearranged to compensate for the omissions. This edition is therefore regarded as corrupt or "mutilated".
* 1920 John Murray edition, based upon the mutilated 1854 edition
* The Clarendon edition, published in 1992 by The Oxford University Press. This is based on the English first edition, but incorporates the English second edition's corrections and author's preface. This is now regarded as the canonical edition.
# The Reign of Greed

THE REIGN OF GREED
The Reign of Greed
A Complete English Version of El Filibusterismo from the Spanish of
José Rizal
By Charles Derbyshire
Manila Philippine Education Company 1912
Copyright, 1912, by Philippine Education Company Entered at Stationers’ Hall, London Registrado en las Islas Filipinas
All rights reserved
CONTENTS
| Chapter | Page |
THE REIGN OF GREED
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The Rock-cut Temples of India/The Caves of Ajunta/Façade, No. 24—Ajunta

FAÇADE, No. 24.—AJUNTA.
NUMBER 24 was intended to have been a twenty-pillared Cave, and, if finished, would have measured about 74 ft. each way. But only one pillar in the interior is sculptured, and one range exists only as a wall, with slits in it.
The pillars of the verandah have been finished, but not the friezes, which no doubt were intended to crown them, judging from the mass of plain rock that is left over them, as if for that purpose.
From such details as exist, we may infer that, if completed, this would have been one of the most carefully finished Caves of the series.
In the pillars of the verandah we have another instance of the falling-leaf ornament which became so fashionable at Delhi and elsewhere, in the eleventh and twelfth centuries, and which occurs also in the Choultrie to Cave No. 19, which may probably be of the same age.
Though so rare at Ajunta, the falling-leaf ornament is almost universal at Ellora, as will be seen in the illustrations that follow.
# The Rock-cut Temples of India/The Caves of Ajunta/Façade of Cave No. 4—Ajunta

FAÇADE OF CAVE No. 4.—AJUNTA.
THE fourth Cave from the end is situated higher up in the cliff than the others at this end of the series, and as the path to it has broken away, it was so completely hid from below by the ledge in front of it, that I was not aware of its existence till I perceived it from the opposite side of the valley when leaving—too late to return. I have therefore no dimensions and no such intimate knowledge of it as would enable me to speak confidently either as to its age or any of its arrangements. This is the more to be regretted as, both from its dimensions as well as from the simple grandeur of its details, it looks as if it were one of the finest Viharas of the series.
# The Rock-cut Temples of India/The Caves of Ajunta/Interior of Chaitya No. 19—Ajunta

INTERIOR OF CHAITYA No. 19.—AJUNTA.
VIEW taken from the entrance showing the arrangement of the interior and illustrating also the effect of the mode of lighting. The whole light being introduced through one great opening in the centre of the façade throws a brilliant light on the altar—the principal object—and also in the triforium belt and the capitals of the pillars, being exactly where it is most wanted for artistic effect. The spectator himself stands in the shade. The light on the floor is subdued, and the roof and aisles fade into comparative gloom. It is perhaps the most artistic mode of lighting a building of this class that has ever been invented, certainly superior to anything that was done by the Romans, or during the middle ages. It might require the brilliant climate of India to admit of its application to any large hall; but, for a small chapel or room, the one great light behind and above the worshippers is the most perfect arrangement which has yet been attempted.
# The Rock-cut Temples of India/The Caves of Ajunta/Façade, Cave No. 5—Ajunta

FAÇADE CAVE No. 5.—AJUNTA.
NUMBER 5 is a small Cave with no remarkable peculiarity about it, and unfinished, so that it is impossible to be quite certain of its age, but as the series of Caves seem to have gradually extended from the central groups towards the extremities, it may probably rank next in time to the last described. On careful examination, however, it will be seen that its pillars, though of the same order as the next in succession, No. 4, are so inferior in design that it may probably be an insertion of a later date, and its unfinished state would also lead to the supposition that it may be among those last attempted at this place.
# The Rock-cut Temples of India/The Caves of Ajunta/Hindoo Sculpture, Chaitya No. 19—Ajunta

HINDOO SCULPTURE. CHAITYA No. 19.—AJUNTA.
OPPOSITE to the Choultrie last described is an alto-relievo of a considerably more modern date than the Chaitya to which it is attached, and probably the only thing that can be ascribed to the Brahmans at Ajunta.
It represents Vishnu sitting under the canopy of the seven headed snake—a very common Brahmanical arrangement—with Sareswati by his side. On the other side stands an attendant with a chowrie in his hand.
Though more modern than the Chaitya, it is not necessary to assume that this group was carved after the Caves were deserted. There were internals long before the final expulsion of the Buddhists, when the Brahmans had the upper hand, and this piece of sculpture is so free from the usual extravagance of Hindoo sculpture, that it must be old—older probably than the Caves at either end of the series.
In style, it resembles very much the sculptures at Elephanta, and some of those at Ellora.
# The Rock-cut Temples of India/The Caves of Ajunta/Façade, Cave No. 7—Ajunta

FAÇADE CAVE No. 7.—AJUNTA.
NUMBER 7 is peculiar among the Caves of Ajunta, though not unlike some at Cuttack.
It consists merely of a large verandah 63 ft. 4 in. in length, by 13 ft. 7 in. in breadth, with the cells opening at the back of it. The front line of the verandah is broken by the projection of two porches, of two pillars each. These are particularly interesting here, as they are extremely similar to the pillars at Elephanta, and those in the Doomar Lena at Ellora, and therefore probably not far distant in date. There is also a chapel with two pillars at each end of the verandah.
Though it cannot pretend to rival in magnificence some of the other Viharas at Ajunta, as an architectural composition it is probably as pleasing as any others—externally at least.
# The Rock-cut Temples of India/The Caves of Ajunta/Great Window of Chaitya No. 19—Ajunta

GREAT WINDOW OF CHAITYA No. 19.—AJUNTA.
REPRESENTS the upper part of the façade, the lower or entrance part of which was shown in the last view. It shows the same general arrangement as the first Cave described; but, as will be observed, the purely wooden decorations have become considerably modified in the course of time. The niches and little semicircular canopies have lost so much of their wooden origin that, if they could not be traced back, their derivation would hardly be suspected. The wooden forms, however, still remain the same on the inner face of the great arch, and in the overhanging part of the rock which crowns the façade. This shows the same beam and rafter arrangement as the verandah of the last Vihara described, and is, indeed, universal throughout India.
# The Rock-cut Temples of India/The Caves of Ajunta/Interior of Verandah, Cave No. 1—Ajunta

INTERIOR OF VERANDAH, CAVE No. 1.—AJUNTA.
INTERNALLY the verandah does not present so pleasing an aspect at the present day as the exterior, in consequence of its having depended for effect principally on paintings, and these have perished.
Owing to the shadows, the internal photograph shows better than those of the exterior the system on which these pillars are designed. First, a square cubical base, the same height for all. On this an octagonal frustrum of a shaft also uniform in height. The transition being broken by a seated figure at each angle. In the centre pillars this changes into a sixteen-sided figure at top and bottom. In the next two only at the top, on the outside ones not at all; but all have belts of thirty-two sides in the centres,—the same system being observable not only throughout their architecture, but in every phase of Hindoo thought or design.
# The Rock-cut Temples of India/The Caves of Ajunta/General View of Caves—Ajunta

GENERAL VIEW OF CAVES.—AJUNTA.
IMMEDIATELY below the rocks shown on the last photograph, the river makes a sudden bend to the left, on the outer sweep of which the Caves are situated.
This view is interesting as showing the two great platforms of trap-rock of which this country is composed, The upper, perfectly flat, forms the plain of the Deccan. The lower, equally horizontal, is the one in which the caves are situated. The river Tapty flows over a third, which it also cuts through lower down. And above all these three is an upper stratum, but only existing in detached horizontal fragments, which give so peculiar a form to the celebrated hill forts of this part of India.
# The Rock-cut Temples of India/The Caves of Ajunta/Head of Ravine—Ajunta

HEAD OF RAVINE.—AJUNTA.
THE town of Ajunta is situated on the level of the plains of the Deccan, on the top of the Ghat. The Caves are situated about 200 feet lower down, at the bottom of a second stratum of the trap rocks. Half way between them a platform of harder rock divides the height into two nearly equal strata of 100 feet each.
After leaping over the two artificial obstructions shewn in the last view, the river descends by numerous small falls through the first stratum in a course of about two miles long. It then reaches the edge of the lower platform, over which it falls by seven short leaps, in a narrow space just to the right of the rocks shown in the view, which close the upper end of the lower ravine.
# The Triumphs of Temper (11th ed.)/Canto 2

CANTO II.
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Published Sept$^r$. 1st. 1785, by T. Cadell, Strand.
END OF THE SECOND CANTO.
* ↑ Nescia mens hominum fati fortisque futuræ, Et servare modum, rebus sublata secundis. Turno tempus erit, magno cum optaverit emptum Intactum Pallanta, et cum spolia ista diemque Æneid x, v. 501. & seq.Oderit.
* ↑ Ζευ ῶατερ, ου νεμεσιζη, ορῶ.ν ταδε καρτερα εργα, &c. Iliad i. v. 872, et seq.
# The Triumphs of Owen. A Fragment

For a detailed, annotated version of this poem, visit The Thomas Gray Archive
<poem> Owen's praise demands my song, Owen swift, and Owen strong; Fairest flower of Roderic's stem, Gwyneth's shield and Britain's gem. He nor heaps his brooded stores, Nor on all profusely pours; Lord of every regal art, Liberal hand and open heart.
Big with hosts of mighty name, Squadrons three against him came; This the force of Eirin hiding; Side by side as proudly riding, On her shadow long and gay Lochlin ploughs the watery way; There the Norman sails afar Catch the winds and join the war: Black and huge along they sweep, Burthens of the angry deep.
Dauntless on his native sands The Dragon-son of Mona stands; In glittering arms and glory dressed, High he rears his ruby crest. There the thundering strokes begin, There the press and there the din; Talymalfra's rocky shore Echoing to the battle's roar. Where his glowing eye-balls turn, Thousand banners round him burn. Where he points his purple spear, Hasty, hasty Rout is there, Marking with indignant eye Fear to stop and shame to fly. There Confusion, Terror's child, Conflict fierce and Ruin wild, Agony that pants for breath, Despair and honourable Death. <poem>
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 Triumphs of Temper (11th ed.)/Canto 1

THE
TRIUMPHS of TEMPER.
London, Publish'd Sept$^r$. 1st. 1787, by T. Cadell, Strand.
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
London. Published Sept$^r$. 1st. 1785, by T. Cadell, Strand.
END OF THE FIRST CANTO.
# The Triumphs of Temper (11th ed.)/Canto 3

CANTO III.
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
END OF THE THIRD CANTO.
# The Triumphs of Temper (11th ed.)/Canto 4

CANTO IV.
London, Published Sept$^r$. 1st. 1788, by T. Cadell, Strand.
London, Published Sept$^r$. 1st. 1788, by T. Cadell, Strand.
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
END OF THE FOURTH CANTO.
# The Triumphs of Temper (11th ed.)

THE
TRIUMPHS
OF
TEMPER;
A POEM:
IN SIX CANTOS.
By WILLIAM HAYLEY, Esq.
THE ELEVENTH EDITION, CORRECTED.
LONDON:
PRINTED FOR T. CADELL, JUN. AND W. DAVIES, IN THE STRAND. 1801
[R. Noble, Printer, Old Bailey.]
* Preface
* Canto I.
* Canto II.
* Canto III.
* Canto IV.
* Canto V.
* Canto VI.
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 Siege of Valencia; The Last Constantine: with Other Poems/The Myrtle-Bough

VI.
THE MYRTLE-BOUGH.
Still green, along our sunny shore  The flowering myrtle waves, As when its fragrant boughs of yore  Were offer'd on the graves; The graves, wherein our mighty men Had rest, unviolated then.
Still green it waves! as when the hearth  Was sacred through the land; And fearless was the banquet's mirth,  And free the minstrel's hand; And guests, with shining myrtle crown'd, Sent the wreath'd lyre and wine-cup round.
Still green! as when on holy ground  The tyrant's blood was pour'd: —Forget ye not what garlands bound  The young deliverer's sword! —Though earth may shrowd Harmodius now, We still have sword and myrtle-bough!