OpenLLM-France/wikimedia huggingface dataset:
# Iolanthe

The seventh Savoy opera by W S Gilbert and Arthur Sullivan, first performed in the Savoy Theatre on 25 November 1882.
An entirely Original fairy Opera,
IN TWO ACTS,
ENTITLED
IOLANTHE;
OR,
THE PEER AND THE PERI.
WRITTEN BY
COMPOSED BY
W. S. GILBERT
ARTHUR SULLIVAN
Authors of "Trial by Jury," "The Sorcerer," "H.M.S. Pinafore," "The Pirates of Penzance," "Patience," &c., &c., &c.
PRICE ONE SHILLING.
London:
CHAPPELL & CO., 50, NEW BOND STREET, W.
CITY BRANCH—15, POULTRY, E.C.
Produced at the Savoy Theatre, under the management of Mr. R. D'Oyly Carte, Saturday, Nov. 25, 1882.
IOLANTHE;
OR,
THE PEER AND THE PERI.
Dramatis Personæ.
Chorus of Dukes, Marquises, Earls, Viscounts, Barons and Fairies.
Act I.—An Arcadian Landscape.
Act II.—Palace Yard, Westminster.
Date—between 1700 and 1882.
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
# Hunt v. Oliver (118 U.S. 211)

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United States Supreme Court
118 U.S. 211
Hunt v. Oliver
Argued: May 10, 1886. ---
Henry M. Duffield and Geo. F. Edmunds, for appellants, Garrett B. Hunt and another.
Alfred Fussell and C. F. Burton, for appellee, David D. Oliver.
WOODS, 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
# Hunt v. Palao

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* sister projects: Wikidata item.
United States Supreme Court
45 U.S. 589
Hunt v. Palao
THIS was a motion made to bring up the record in the above case, which had been decided by the Territorial Court of Appeals of Florida previously to the admission of Florida as a State.
The motion was as follows: —
'Mr. Westcott, in behalf of John Hunt, submitted to the court a certified copy of the record of the opinion of said Court of Appeals, and of said judgment in said case, and suggested to the court that said Court of Appeals was defunct by the admission of the Territory of Florida as a State, on the 4th of March last, and that all the records and papers of said Court of Appeals, and the record aforesaid in said case, had been placed, by the act of the General Assembly of the said State, in the custody and keeping of the clerk of the Supreme Court of said State, and also that said case was a case of Federal jurisdiction; and he moved this court to allow a writ of error to remove said record and judgment into this court, with directions to the clerk of this court to direct the same to the judges of said Supreme Court of said State, and to the clerk aforesaid having the custody of said record as aforesaid, in order that said record and judgment may be certified to this court, and a return to said writ of error made by said clerk of said Supreme Court of said State.'
Mr. Chief Justice TANEY 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
# Hunt v. Oliver

* Search for titles containing or beginning with: "Hunt v. Oliver."
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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.
* Hunt v. Oliver (109 U.S. 177)
* Hunt v. Oliver (118 U.S. 211)
# Hunt v. Oliver (109 U.S. 177)

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
109 U.S. 177
Hunt v. Oliver
Henry M. Duffield, for appellants.
Alfred Russell, C. F. Burton, and Nathl. Wilson, for appellee.
WAITE, C. 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).
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# I, Mary MacLane/Chapter 28

To-morrow
I TAKE it for granted God knows all about me.
If God should read this it would not be news to him.
But his knowledge of me is not immediate knowledge nor immediately interesting to him. He knows my Twos-and-Twos but he does not make Fours of them.
I am formed of loose Twos which wait for God to make them Fours.
I can not do it myself. When I've tried the added Twos come out threes, seventies, nines, twelves—all the mysterious numbers. Never Fours.
Long ago I decided not to try but to wait for God.
I juggle with temperamental and psychic Twos and experiment in hysteric additions.
But it's no good my trying to make Fours.
If God does not take it up I shall be eternal Twos.
And I seem not greatly to care: whenever that comes home to me I merely light a carefree cigarette.
# I, Mary MacLane/Chapter 3

To-morrow
IF I should meet God to know and speak to the first thing but one I should ask him would be, 'What was your idea, God, in making me?'
I can believe he had some Purpose in it.
I'm in most ways a devilish person. There's sevenfold more evil than good in me. It is evil of a mixed and menacing kind, the kind that goes dressed in brave and beauty-tinted clothes and is sane and sound. While the good in me is ill and forlorn and nervously afraid—a something of tear-blurred eyes and trembling fingers.
Yet God has made many things less plausible than me. He has made sharks in the ocean, and people who hire children to work in their mills and mines, and poison ivy and zebras—
—and he has made besides a Wonder of things: Thin Pink Mountain Dawns, Young English Poets, Hydrangeas in the sudden Blue of their first Bloom, human Singing Voices,—more things, always more—
When I think of them all a joyous thrill breaks over me like a little frenzied wave. It is delirium-of-bliss to feel oneself living though shadows be pitch-black.
God has a Purpose in making everything, I think.
I am half-curious about the Purpose that goes with me. He might have made me for his own amuse​ment. He might have made me to discipline my Soul with some blights and goads or to punish it for bacchanalian ease and pleasure in the long-distant centuries-old past. He might have made me to season or scourge other lives, as I may touch them, with Mary-Mac-Lane-ness. He might have made me to point a twisted moral.
I muse about it with doubts.
But if I knew my Purpose I belike would not swerve a hair's-breadth from my own course which is an unhallowedly selfish one.
If I could myself see a way of truth I would walk in it. I have it in me to worship. I long to worship. And I am game, wearily and coldly game: when I start I go on through to the end.
But I see no way of truth—none for me. And God is eternally absent and reticent. So I go on in the way where I find myself. And muse about it. And damn it faintly as I make nothing of it.
# I, Mary MacLane/Chapter 30

To-morrow
FLEETING times I wonder if it is my defect or others' that no human family tie holds and warms me.
There is none. I think about it with wistfulness.
The only tie-of-blood feeling that clings to me is of my warming and keeping-alive. And it is very feeble. It grows more feeble.
It is a trivial matter as I look at it universally.
But as I look at it earthlily: there would be an abnormalness, a lostness in one when the mother who bore her got from it at best but a small cool dislike.
It makes me feel humanly lost.
'Lost' is the shuddering life-long lonely word that brushes against me some nights and noons.
# Japanese flower arrangement/Chapter 5

CHAPTER FIVE
THE TWO PRINCIPAL FORMS OR STYLES USED IN FLOWER ARRANGEMENT
IN and Yo are the names of the two styles in one or the other of which every Japanese arrangement must be made.
In is the female style. It has Earth to the right.
Yo is the male and has Earth to the left.
These statements may not seem to agree with the diagrams, but it should be remembered that the Japanese put themselves in the place of the vase, and in this book directions are given from the Japanese standpoint.
Outside of Japan, where many meanings and symbolisms are attached to the sex of the style, it will not matter which arrangement you make, except for consideration of ​the space your flowers are to be placed in. When they are not to be placed in the center of a mantel-shelf or table but at one side, Earth should project towards the widest space, not towards the end. Otherwise let the natural curves of the flowers decide the sex of your arrangement. So that if Heaven or central flower has naturally a decidedly In bend, make a feminine arrangement, with Earth going to the right.
| "Yo" or male | "In" or female |
Or should Heaven have a natural curve in the opposite direction, put Earth to the ​left in the hollow and make a male or left-sided arrangement.
Earth's lateral bend is due to the need of such a line to balance the curve of Heaven in the opposite direction.
# Japanese fragments

As serialized in Once a Week from July 7 to October 13, 1860. The creators of the prints and drawings reproduced in this book are unknown.
* Part 1
* Part 2
* Part 3
* Part 4
* Part 5
* Part 6
* Part 7
* Part 8
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
# Japanese flower arrangement/Chapter 6

CHAPTER SIX
TO MAKE AN ARRANGEMENT OF
FIVE FLOWERS
ARRANGEMENTS of five flowers or branches are called Gogyo. They should be arranged like the cut.
    No. 1 represents Heaven.
    No. 2 represents Man.
    No. 5 represents Earth.
But they are placed in the arrangement as they are numbered; No. 3 and No. 4 being attributes to Heaven and Man.
Forming "Steps" or "Dan"
In some arrangements you can make the flowers form "dan" or "steps," like this: If the branches have many flowers or leaves, or if you are arranging numbers of branches together, then put the greater part of the ​flowers or leaves, as the case may be, in the encircled place in the right-hand figure in the diagram. This is the main body of the arrangement and is called do. Never use this style of arrangement with three flowers.
# Japanese flower arrangement/Chapter 7

CHAPTER SEVEN
HOW TO ARRANGE FIVE
CHRYSANTHEMUMS
SELECT the flowers most graceful in shape for Heaven and Man, which would here be No. 3 for Heaven and No. 1 for Man, with No. 5 for Earth, leaving Nos. 2 and 4 as tasuke or attributes. The tasuke should never be taken from the most striking material or most beautiful flowers, for those must be used in the more prominent positions of Heaven, Man, and Earth.
Heaven should have a fully opened flower, turning a trifle towards the back, so as to reveal the back of the flower. The tasuke of Heaven can be either a half-opened flower or a bud. For Man use a half-opened flower or a full-blown one. Earth should be full-blown and should be faced straight ​upwards. One of the five flowers should be behind the leaves. This naturally will be one of the tasuke, as No. 2 in the cut, showing the five chrysanthemums arrangement completed.
# Japanese flower arrangement/Chapter 8

CHAPTER EIGHT
RULES FOR BENDING FLOWERS
AND BRANCHES
BENDING the flowers and branches into the shapes desired is a very important part of Japanese arrangement, and there are many methods by which this bending may be accomplished.
Flowers Bent by Hand
To Bend Larger Stems of a Woody Nature also Small Branches
These large, tough branches can sometimes be bent by hand pressure, especially branches of spring blossoms, such as the ​fruit blossoms and the flowering shrubs. The branch to be bent is held in the palms of one's hands like this:
Another method is to tie down the branch for twelve hours, or attach weights to branches as shown on the opposite page.
Branches may be bent until they break if the broken part comes beneath the surface of the water, but the bark must not be injured on any part visible above the water. Branches can also be bent over the knee.
The last resort with an obstinate branch is to use wedges, which is seldom done except ​by the school of Enshiu-Ryu; but by their use very large branches may be curved as one wishes. It is done in this way on the
Another way to facilitate bending an obstinate branch is first to heat it at the place where the bend should come, then bend by wrapping it with paper dipped in vinegar over the heated spot.
Bending of Leaves
By this is meant the turning over of leaves so that their backs may be seen. For this use only the fingers dipped in water. The foliage of daffodil, narcissus, and iris is bent in this way.
# Jaquith v. Alden

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
189 U.S. 78
Jaquith v. Alden
Argued: January 12, 1903. --- Decided: April 27, 1903
F. N. Woodward et al. filed their petition in bankruptcy, and were adjudicated bankrupts November 26, 1901. They had become insolvent August 15, and on that day were not indebted to G. Edwin Alden, who afterwards, in ignorance of the insolvency, made sales to Woodward et al., and received payments from them therefor in the regular course of business, and without any idea or intention on the part of Alden of obtaining a preference thereby, the sales and payments being as follows: Sales.
Aug. 17, 1901 Rubber............... $289.46 " 28, " "................... 657.89 Sept. 30, " "................... 644.28 Oct. 18, " "................... 535.99 Oct. 18, " Cartage.................. .50 " 31, " Asbestine.............. 10.40
Payments.
Sept. 4, 1901 Payment of bill Aug. 17 $289.46 Sept. 28, 1901 Payment of bill Aug. 28 657.89 Oct. 29, 1901 Payment of bill Sept. 30 644.28
The merchandise sold Woodward et al. was manufactured by them, and the result of the transactions was to increase their estate in value. Alden petitioned to be allowed to prove his claim of $546.89.
The referee disallowed the claim unless at least the amount of $633.88 was surrendered to the estate. The district judge reversed the judgment of the referee and allowed the claim, and the decree of the district court was affirmed by the circuit court of appeals (118 Fed. 270) on the authority of Dickson v. Wyman, 55 L. R. A. 349, 49 C. C. A. 574, 111 Fed. 726. Thereupon an appeal to this court was allowed and a certificate granted under § 25, b, 2.
Mr. Harry J. Jaquith in propria persona for appellant.
Messrs. Eugene M. Johnson, Arthur T. Johnson, and Alonzo R. Weed for appellee.
Mr. Chief Justice Fuller 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
# Irving Trust Co. v. Bowditch

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United States Supreme Court
293 U.S. 311
Irving Trust Co. v. Bowditch
No. 173 Argued: Nov. 6, 1934. ---
Messrs. Lester D. Melzer and Irving L. Ernst, both of New York City, for petitioner.
Mr. Burton E. Eames, of Boston, Mass., for respondent.
Mr. Justice ROBERTS 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
# Irving Trust Company v. Day

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* sister projects: Wikidata item.
United States Supreme Court
314 U.S. 556
Irving Trust Company v. Day
Argued: and Submitted Dec. 11, 1941. --- Decided: Jan 5, 1942
Mr. Philip Zierler, of Brooklyn, N.Y., for appellants.
Mr. Andrew F. Van Thun, Jr., of Brooklyn, N.Y., for appellee.
Mr. Ralph L. Kaskell, Jr., of Jamaica, L.I., N.Y., for appellants Edward and Robert McGlone, infants, by their guardian.
Mr. Justice JACKSON 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
# Irving Trust Co. v. Bowditch/Opinion of the Court

* Court Documents
* Case Syllabus
* Opinion of the Court
This case is ruled by No. 22, Irving Trust Co. v. Perry, Inc., 293 U.S. 307, 55 S.Ct. 150, 79 L.Ed. 379, decided this day. The stipulation in the lease is in all pertinent respects similar to that involved in No. 22. The judgment of the Circuit Court of Appeals, affirming an order of the District Court admitting proof of claim, was therefore right, and is affirmed.
So ordered.

## 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
# Irwin v. Dixion

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United States Supreme Court
50 U.S. 10
Irwin v. Dixion

## 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).
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# Keys of love (1790)

THE
Keys of Love.
To which are added,
The LASS of Gallowater.
The Wounded Farmer's Son.
The TIPPLING FARMER.
Entered according to Order.
* The Keys of love
* The Lass of Gallowater
* The Wounded Farmer's Son
* The Tippling Farmer
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
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# In Memoriam (Tennyson)/Canto 114

cxiv.
Is it, then, regret for buried time That keenlier in sweet April wakes, And meets the year, and gives and takes The colours of the crescent prime?
Not all: the songs, the stirring air, The life re-orient out of dust, Cry thro' the sense to hearten trust In that which made the world so fair.
Not all regret: the face will shine Upon me, while I muse alone; The dear, dear voice that I have known Will speak to me of me and mine:
Yet less of sorrow lives in me For days of happy commune dead; Less yearning for the friendship fled, Than some strong bond which is to be.
# In Memoriam (Tennyson)/Canto 116

cxvi.
Contemplate all this work of Time, The giant labouring in his youth; Nor dream of human love and truth, As dying Nature's earth and lime;
But trust that those we call the dead, Are breathers of an ampler day For ever nobler ends. They say, The solid earth whereon we tread
In tracts of fluent heat began, And grew to seeming-random forms, The seeming prey of cyclic storms, Till at the last arose the man;
Who throve and branch'd from clime to clime, The herald of a higher race, And of himself in higher place, If so he type this work of time
Within himself, from more to more; And, crown'd with attributes of woe Like glories, move his course, and show That life is not as idle ore,
But iron dug from central gloom, And heated hot with burning fears; And dipp'd in baths of hissing tears, And batter'd with the shocks of doom
To shape and use. Arise and fly The reeling Faun, the sensual feast; Move upward, working out the beast, And let the ape and tiger die.
# In Memoriam (Tennyson)/Canto 117

cxvii.
Doors, where my heart was used to beat So quickly, not as one that weeps I come once more; the city sleeps; I smell the meadow in the street;
I hear a chirp of birds; I see Betwixt the black fronts long-withdrawn A light-blue lane of early dawn, And think of early days and thee,
And bless thee, for thy lips are bland And bright the friendship of thine eye; And in my thoughts with scarce a sigh I take the pressure of thine hand.
# In Memoriam (Tennyson)/Canto 111

cxi.
'Tis held that sorrow makes us wise; Yet how much wisdom sleeps with thee Which not alone had guided me, But served the seasons that may rise;
For can I doubt who knew thee keen In intellect, with force and skill To strive, to fashion, to fulfil— I doubt not what thou wouldst have been:
A life in civic action warm, A soul on highest mission sent, A potent voice of Parliament, A pillar steadfast in the storm,
Should licensed boldness gather force, Becoming, when the time has birth, A lever to uplift the earth And roll it in another course,
With many shocks that come and go, With agonies, with energies, With overthrowings, and with cries, And undulations to and fro.
# In Memoriam (Tennyson)/Canto 112

cxii.
Who loves not knowledge? Who shall rail Against her beauty? May she mix With men and prosper! Who shall fix Her pillars? Let her work prevail.
But on her forehead sits a fire: She sets her forward countenance And leaps into the future chance, Submitting all things to desire.
Half-grown as yet, a child, and vain— She cannot fight the fear of death. What is she, cut from love and faith, But some wild Pallas from the brain
Of Demons? fiery-hot to burst All barriers in her onward race For power. Let her know her place; She is the second, not the first.
A higher hand must make her mild. If all be not in vain; and guide Her footsteps, moving side by side With wisdom, like the younger child:
For she is earthly of the mind, But wisdom heavenly of the soul. O, friend, who camest to thy goal So early, leaving me behind,
I would the great world grew like thee, Who grewest not alone in power And knowledge, but from hour to hour In reverence and in charity.
# In Memoriam (Tennyson)/Canto 118

cxviii.
I trust I have not wasted breath: I think we are not wholly brain, Magnetic mockeries; not in vain, Like Paul with beasts, I fought with Death;
Not only cunning casts in clay: Let Science prove we are, and then What matters Science unto men, At least to me? I would not stay.
Let him, the wiser man who springs Hereafter, up from childhood shape His action like the greater ape, But I was born to other things.
# In Memoriam (Tennyson)/Canto 110

cx.
High wisdom holds my wisdom less, That I, who gaze with temperate eyes On glorious insufficiencies, Set light by narrower perfectness.
But thou, that fillest all the room Of all my love, art reason why I seem to cast a careless eye On souls, the lesser lords of doom.
For what wert thou? some novel power Sprang up for ever at a touch, And hope could never hope too much, In watching thee from hour to hour,
Large elements in order brought, And tracts of calm from tempest made, And world-wide fluctuation sway'd In vassal tides that followed thought.
# In Memoriam (Tennyson)/Canto 11

xi.
Calm is the morn without a sound, Calm as to suit a calmer grief, And only thro' the faded leaf The chestnut pattering to the ground:
Calm and deep peace on this high wold, And on these dews that drench the furze, And all the silvery gossamers That twinkle into green and gold:
Calm and still light on yon great plain That sweeps with all its autumn bowers, And crowded farms and lessening towers, To mingle with the bounding main:
Calm and deep peace in this wide air, These leaves that redden to the fall; And in my heart, if calm at all, If any calm, a calm despair:
Calm on the seas, and silver sleep, And waves that sway themselves in rest, And dead calm in that noble breast Which heaves but with the heaving deep.
# In Memoriam (Tennyson)/Canto 113

cxiii.
Now fades the last long streak of snow, Now burgeons every maze of quick About the flowering squares, and thick By ashen roots the violets blow.
Now rings the woodland loud and long, The distance takes a lovelier hue, And drown'd in yonder living blue The lark becomes a sightless song.
Now dance the lights on lawn and lea, The flocks are whiter down the vale, And milkier every milky sail On winding stream or distant sea;
Where now the seamew pipes, or dives In yonder greening gleam, and fly The happy birds, that change their sky To build and brood; that live their lives
From land to land; and in my breast Spring wakens too; and my regret Becomes an April violet, And buds and blossoms like the rest.
# In Memoriam (Tennyson)/Canto 115

cxv.
O days and hours, your work is this, To hold me from my proper place, A little while from his embrace, For fuller gain of after bliss:
That out of distance might ensue Desire of nearness doubly sweet; And unto meeting, when we meet, Delight a hundredfold accrue,
For every grain of sand that runs, And every span of shade that steals, And every kiss of toothed wheels, And all the courses of the suns.