OpenLLM-France/wikimedia huggingface dataset:
# The Works of the Rev. Jonathan Swift/Volume 8/Judas

JUDAS. 1731.
BY the just vengeance of incensed skies, Poor bishop Judas late repenting dies. The Jews engag'd him with a paltry bribe, Amounting hardly to a crown a tribe; Which though his conscience forc'd him to restore, (And, parsons tell us, no man can do more) Yet, through despair, of God and man accurst, He lost his bishoprick, and hang'd or burst Those former ages differ'd much from this; Judas betray'd his master with a kiss: But some have kiss'd the Gospel fifty times, Whose perjury's the least of all their crimes; Some who can perjure through a two-inch board, Yet keep their bishopricks, and 'scape the cord: Like hemp, which, by a skilful spinster drawn To slender threads, may sometimes pass for lawn. As ancient Judas by transgression fell, And burst asunder ere he went to Hell; So could we see a set of new Iscariots Come headlong tumbling from their mitred chariots; Each modern Judas perish like the first, Drop from the tree, with all his bowels burst; Who could forbear, that view'd each guilty face, To cry, "Lo! Judas gone to his own place, His habitation let all men forsake, And let his bishoprick another take!"
# The Works of the Rev. Jonathan Swift/Volume 8/On Mr. Pulteney's Being Put Out of the Council

ON MR. PULTENEY'S BEING PUT OUT OF THE COUNCIL. 1731.
SIR Robert, weary'd by Will Pulteney's teazings, Who interrupted him in all his leasings, Resolv'd that Will and he should meet no more, Full in his face Bob shuts the council-door; Nor lets him sit as justice on the bench, To punish thieves, or lash a suburb-wench. Yet still St. Stephen's chapel open lies For Will to enter. — What shall I advise? ​Ev'n quit the House, for thou too long has sat in't, Produce at last thy dormant ducal patent; There, near thy master's throne in shelter plac'd, Let Will unheard by thee his thunder waste. Yet still I fear your work is done but half: For, while he keeps his pen, you are not safe. Hear an old fable, and a dull one too; It bears a moral, when apply'd to you. A hare had long escap'd pursuing hounds By often shifting into distant grounds; Till, finding all his artifices vain, To save his life he leap'd into the main. But there, alas! he could no safety find, A pack of dogfish had him in the wind. He scours away; and, to avoid the foe, Descends for shelter to the shades below: There Cerberus lay watching in his den, (He had not seen a hare the lord knows when) Out bounc'd the mastiff of the triple head; Away the hare with double swiftness fled; Hunted from earth, and sea, and Hell, he flies (Fear lent him wings) for safety to the skies. How was the fearful animal distrest! Behold a foe more fierce than all the rest: Sirius, the swiftest of the heavenly pack, Fail'd but an inch to seize him by the back. He fled to earth, but first it cost him dear: He left his scut behind, and half an ear. Thus was the hare pursued, though free from guilt; Thus, Bob, shalt thou be maul'd, fly where thou wilt. Then, honest Robin, of thy corpse beware; Thou art not half so nimble as a hare: Too ponderous is thy bulk to mount the sky; Nor can you go to Hell, before you die. ​So keen thy hunters, and thy scent so strong, Thy turns and doublings cannot save thee long.
# Three Ages in Bohemia

Poem
English-language translations of Tři doby země České include:
* "The three Ages", in Bohemian Poems, Ancient and Modern by Albert Henry Wratislaw (1849)
* "Three ages in Bohemia⁠", in Bohemian legends and ballads by Flora Pauline Wilson Kopta (1890)
* "Three Ages in Bohemia", in Bohemian legends and other poems by Flora Pauline Wilson Kopta (1896)
# Threats to U.S. Networks/Section 6

Layout 2
​VI. CONCLUSION
It is well understood that the national security environment evolves over time. It is this constant evolution that highlights a major flaw with the FCC’s Section 214 authorizations: once authorized, a company can operate indefinitely without any oversight. Without proper oversight, foreign carriers operating in the United States can expose the United States to potential economic, national security, and law enforcement risks. The federal government has highlighted the potential risks associated with Chinese telecommunications carriers operating in the United States. Three particular carriers have been operating in the United States for approximately 20 years, without sufficient oversight from the FCC and the Executive Branch. Especially when dealing with state-owned telecommunications carriers, greater controls are needed, and the Administration and Congress must work together to ensure sufficient safeguards and oversight mechanisms are in place.
# Three Aspects of the Russian Revolution

Translation of Trois aspects de la Révolution Russe: 7 mai- 25 juin 1917
THREE ASPECTS OF THE RUSSIAN REVOLUTION
EMILE VANDERVELDE
page
THREE ASPECTS OF THE RUSSIAN REVOLUTION
page
WAR AND REVOLUTION
IN THE CAUCASUS
BY
M. PHILIPS PRICE.
In this book Mr. M. Philips Price, who went to the Near East in 1915 as the correspondent of the Manchester Guardian, gives an account of his experiences and observations during his journeys through Northern Persia, Armenia, and the Caucasus. The first two chapters tell the story of the War on the Caucasus Front down to the Fall of Erzerum. Other chapters consist of the journal of his travels through the territories occupied by the Russian Army, where he spent many months in organizing relief for the destitute native population. The last four chapters describe the Revolution in the Caucasus, and discuss the racial problems and the political future of the countries he visited.
page
EMILE VANDERVELDE
page
THREE ASPECTS
OF THE RUSSIAN
REVOLUTION
BY EMILE VANDERVELDE
TRANSLATED BY JEAN E. H. FINDLAY
LONDON : GEORGE ALLEN & UNWIN LTD
RUSKIN HOUSE 40 MUSEUM STREET, W.C. I
page
First published in 1918
(All rights reserved)
page
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Thredgill v. Pintard

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
53 U.S. 24
Thredgill v. Pintard

## 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
# The seven great hymns of the mediaeval church/Veni Sancte Spiritus

THE VENI SANCTE SPIRITUS.
IN the year 997, "whilst the priesthood struggled to regain through their anathemas the property that had been taken from them by violence, a young man, who knew neither to threaten nor to lie, nor to inspire others with fear, succeeded to the royal dignity which his father had usurped. It was Robert, only son of Hugh Capet."—Sismondi, Hist. Français.
This King, "there is no good reason to doubt" (Konigsfeld), was the author of the Veni Sancte Spiritus, a hymn that the best living authority regards as all the loveliest of all the hymns in the whole circle of Latin sacred poetry."—Trench.
The ability of Robert II. to have composed the hymn which ranks next to the Dies Iræ and ​Stabat Mater, is not improbable, for, according to the chronicle of Saint Bertin, he was a saint, a poet, and a musician:
"Robert etoit très-pieux, prudent, lettré, et suffisamment philosophe, mais surtout excellent musicien. Il composa la prose du Saint-Esprit, qui commence par ces mots, Adsit nobis gratia, les rhythmes, Judæ et Hierusalem, et Cornelius Centurio, qu'il offrit à Rome sur l'autel de Saint-Pierre, notés avec le chant qui leur étoit propre, de même que l'antiphone Eripe, et plusieurs autres beaux morceaux."
The translation which is here given is from the Lyra Germanica of Catherine Winkworth. That work professes to be translated from the German; but its version of the Veni Sancte Spiritus is a finer translation than any that professes to be from the Latin.
The only alteration which has been made in the text is the first word of the English version. As there was no reason for rendering the Latin verb by the English interjection "O," it is presumed that this was an unintended error of the usually faithful and scrupulous translator.
* Veni Sancte Spiritus. Robert II.
* The Veni Sancte Spiritus. Catherine Winkworth.
# The seven great hymns of the mediaeval church/Vexilla Regis/Neale

THE VEXILLA REGIS.
DR. NEALE.
1.
THE Royal Banners forward go;
The Cross shines forth in mystic glow;
Where He in flesh, our flesh who made,
Our sentence bore, our ransom paid.
2.
Where deep for us the spear was dy'd,
Life's torrent rushing from His side,
To wash us in that precious flood
Where mingled water flow'd, and blood.
3.
Fulfill'd is all that David told
In true prophetic song of old;
Amidst the nations God, saith he,
Hath reign'd and triumph'd from the Tree.
4.
O Tree of Beauty! Tree of Light!
O Tree with royal purple dight!
Elect on whose triumphal breast
Those holy limbs should find their rest!
5.
On whose dear arms, so widely flung,
The weight of this world's ransom hung:
The price of human kind to pay,
And spoil the Spoiler of his prey.
6.
O Cross, our one reliance, hail!
This holy Passion-tide, avail
To give fresh merit to the faint,
And pardon to the penitent.
7.
To Thee, Eternal Three in One,
Let homage meet by all be done;
Whom by the Cross Thou dost restore,
Preserve and govern evermore.
# The severall Habits of English Women and Theatru Mulierum

* related portals: Fashion, Women, Visual arts, Print media.
* sister projects: Wikipedia article, Commons category, quotes, news, Wikidata item.
This book was published between 1794 and 1812 and is a reprint of two books by Wenceslaus Hollar: The severall Habits of English Women from 1640, and Theatru Mulierum from 1643.
* The severall habits of English women, from the nobilitie to the contry woman, as they are in these times, 1640
* Theatru Mulierum
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 seven great hymns of the mediaeval church/Veni Sancte Spiritus/Winkworth

THE VENI SANCTE SPIRITUS.
CATHERINE WINKWORTH.
1.
COME, Holy Ghost! Thou fire divine!
From highest heaven on us down shine!
Comforter, be Thy comfort mine!
2.
Come, Father of the poor, to earth;
Come with Thy gifts of precious worth;
Come, Light of all of mortal birth!
3.
Thou rich in comfort! Ever blest The heart where Thou art constant guest,
Who giv'st the heavy-laden rest.
4.
Come Thou in whom our toil is sweet,
Our shadow in the noon-day heat,
Before whom mourning flieth fleet.
5.
Bright Sun of Grace! Thy sunshine dart
On all who cry to Thee apart,
And fill with gladness every heart.
6.
Whate'er without Thy aid is wrought,
Or skilful deed, or wiseft thought,
God counts it vain and merely naught.
7.
O cleanse us that we sin no more,
O'er parchèd souls Thy waters pour; Heal the sad heart that acheth sore.
8.
Thy will be ours in all our ways;
O melt the frozen with Thy rays;
Call home the soft in error's maze.
9.
And grant us, Lord, who cry to Thee,
And hold the Faith in unity,
Thy precious gifts of charity.
10.
That we may live in holiness,
And find in death our happiness,
And dwell with Thee in lasting bliss!
# The seven great hymns of the mediaeval church/The Alleluiatic Sequence/Neale

THE ALLELUIATIC SEQUENCE.
DR. NEALE.
| THE strain upraise of joy and praise, | THE strain upraise of joy and praise, | Alleluia. |
| 2. | To the glory of their King Shall the ransom'd people sing | Alleluia. |
| 3. | And the Choirs that dwell on high Shall re-echo through the sky | Alleluia. |
| 4. | They through the fields of Paradise that roam, The blessed ones, repeat through that bright home | Alleluia. |
| 5. | The planets glitt'ring on their heavenly way, The mining constellations, join, and say | Alleluia. |
| 6. | Ye clouds that onward sweep! Ye winds on pinions light! Ye thunders, echoing loud and deep! Ye lightnings, wildly bright! In sweet consent unite your | Alleluia. ​ |
| 7. | Ye floods and ocean billows! Ye storms and winter snow! Ye days of cloudless beauty! Hoar frost and summer glow! Ye groves that wave in spring, And glorious forests, sing | Alleluia. |
| 8. | First let the birds, with painted plumage gay, Exalt their great Creator's praise, and say | Alleluia. |
| 9. | Then let the beasts of earth, with varying strain, Join in Creation's Hymn, and cry again | Alleluia. |
| 10. | Here let the mountains thunder forth, sonorous, | Alleluia. |
| 11. | There, let the valleys sing in gentler chorus, | Alleluia. |
| 12. | Thou jubilant abyss of ocean, cry | Alleluia. |
| 13. | Ye traces of earth and continents, reply | Alleluia. |
| 14. | To God, who all Creation made, |
| 15. | The frequent hymn be duly paid: | Alleluia. |
| 16. | This is the strain, the eternal strain, the Lord of all things loves : | Alleluia. ​ |
| 17. | This is the song, the heav'nly song, that Christ Himself approves : | Alleluia. |
| 18. | Wherefore we sing, both heart and voice awaking, | Alleluia. |
| 19. | And children's voices echo, answer making, | Alleluia. |
| 20. | Now from all men be out-pour'd Alleluia to the Lord; With Alleluia evermore The Son and Spirit we adore. |
| 21. | Praise be done to the Three in One. |
| | Alleluia! Alleluia! Alleluia! Alleluia! | Alleluia! Alleluia! Alleluia! Alleluia! |
# The seven great hymns of the mediaeval church/Veni Creator Spiritus

THE VENI CREATOR SPIRITUS.
"CHARLEMAGNE, réclamé par l'Eglise comme un saint, par les Francais comme leur plus grand roi, par les Allemands comme leur compatriote, par les Italiens comme leur empereur," is the reputed author of this Latin hymn. Men naturally prefer to trace a venerable and renowned composition to an unexpected authorship, and to find the refinement of letters in those otherwise distinguished; still more, to discover in a great soldier and a great king the doubly refined gift of sacred poetry. It is not impossible. "The eloquence of Charlemagne," says his Secretary, "was abundant. He was able to express with facility all he wished; and, not content with his mother-tongue, he bestowed great pains upon foreign languages. He had taken so well to the Latin, that he was able to speak publicly in that ​language almost as easily as in his own. He understood Greek, and studied Hebrew."
There remains of his muse an epitaph on Adrian I., in thirty-eight verses; the Song of Roland, an ode to the scholar Warnefride, and an epigram in hexameter verse. This epigram was found in a manuscript containing a commentary on the Epistle to the Romans, attributed to Origen, and corrected in the hand of Charlemagne. The subject of the hymn seems also to have engaged the attention of the Emperor, for there is a letter by him addressed to his bishops, entitled De gratia septiformis Spiritus. He died at Aix-la-Chapelle, his crown upon his head, and his copy of the Gospels upon his knees, January 28, 814.
The English version of the hymn is the paraphrase of Dryden, of which Warton says: "This is a most elegant and beautiful little morsel, and one of his most correct compositions." There is a translation in the Prayer Book (Ordering of Priests) which is noteworthy, as being the only Breviary hymn retained by the Episcopal Church.
* Veni Creator Spiritus. Charlemagne.
* The Veni Creator Spiritus. Dryden.
# The seven great hymns of the mediaeval church/Veni Creator Spiritus/Dryden

THE VENI CREATOR SPIRITUS.
DRYDEN.
Creator Spirit, by whose aid
The world's foundations first were laid,
Come visit every pious mind,
Come pour Thy joys on human kind;
From sin and sorrow set us free,
And make Thy temples worthy Thee.
O source of uncreated light,
The Father's promised Paraclete!
Thrice holy fount, thrice holy fire,
Our hearts with heavenly love inspire;
Come, and Thy sacred unction bring,
To sanctify us while we sing.
Plenteous of grace, descend from high,
Rich in Thy sevenfold energy!
Thou strength of His almighty hand,
Whose power does heaven and earth command.
Proceeding Spirit, our defence,
Who dost the gifts of tongues dispense,
And crown'st Thy gift with eloquence!
Refine and purge our earthly parts;
But, oh, inflame and fire our hearts!
Our frailties help, our vice control,
Submit the senses to the soul; And when rebellious they are grown,
Then lay Thy hand and hold 'em down.
Chase from our minds th' infernal foe,
And peace the fruit of love bestow;
And lest our feet should step astray,
Protect and guide us on the way.
Make us eternal truths receive,
And practise all that we believe;
Give us Thyself, that we may see
The Father and the Son by Thee.
Immortal honor, endless fame,
Attend the Almighty Father's name:
The Saviour Son be glorified, Who for lost man's redemption died;
And equal adoration be, Eternal Paraclete, to Thee.
# The seven great hymns of the mediaeval church/Vexilla Regis

THE VEXILA REGIS.
THE Vexilla Regis was written about the year 580—two hundred years before the time of Charlemagne, and seven hundred years before the birth of the English language. It is therefore one of the oldest of mediæval hymns.
Venantius Fortunatus, an Italian, whose birth-place is unknown, was in early life a citizen of Ravenna, from which he was driven by the great invasion of the Lombards. He passed into France, and became the fashionable poet of his time. Subsequently he devoted his talents to a holier object, and became the friend of Saint Radegunde and Saint Gregory. He removed to Tours, was made Bishop of Poitiers, and died about the year 600.
​"This world-famous hymn, one of the grandest in the treasury of the Latin Church, was composed by Fortunatus on occasion of the reception of certain relics by Saint Gregory of Tours and Saint Radegunde, previously to the consecration of a church at Poitiers. It is therefore strictly and primarily a processional hymn, though, very naturally, afterwards adapted to Passion-tide."— Mediæval Hymns.
"C'est de Fortunat qu'est le Vexilla Regis composé, à l'occasion du morceau de la vraie croix, envoyé par l'empereur Justin à St. Radegonde."—Biographie Universelle.
The last two verses were added when the hymn was appropriated to Passion-tide. The ending of Fortunatus is this:
"With fragrance dropping from each bough,
Sweeter than sweetest nectar thou:
Decked with the fruit of peace and praise,
And glorious with Triumphal lays:—
"Hail, Altar! Hail, O Victim! Thee Decks now Thy Passion's Victory;
Where Life for sinners death endured,
And life by death for man procured."
* Vexilla Regis. Fortunatus.
* The Vexilla Regis. Dr. Neale.
# Tixall Poetry/The Royal Nun

XLVI.
The Royal Nun.
Chorus of Virgins.
# Tixall Poetry/The Soldier's Song

The Soldier's Song.
# Tixall Poetry/The Recantation

The Recantation.
# Tixall Poetry/The Royal Exile

XLII.
The Royal Exile.
# Tixall Poetry/The Same

LXVII.
The Same.
# Tixall Poetry/The Vicissitudes of Love

VII.
The Vicissitudes of Love.
# Tixall Poetry/The True Use of Power and Riches

LXIV.
The True Use of Power and Riches.
# Tixall Poetry/To Cannall, in Mourning

To
Cannall, in Mourning.
# Tixall Poetry/The Tormented Lover

X.
The Tormented Lover.
# Tixall Poetry/The Witches Song

XXIX.
The Witches Song.
# Tom Tit Tot

* Search for titles containing or beginning with: "Tom Tit Tot."
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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.
* Tom Tit Tot, a folk tale, as told in English Fairy Tales
* Tom Tit Tot, essay by Edward Clodd
# Tom a Bedlam

A "mad song" sung by Tom-a-Bedlam, the archetype of a madman. The poem is referred to in Izaak Walton's Compleat Angler, though it is not entirely certain that this is Basse's version of Tom-a-Bedlam's mad song. It was set to music by John Cooper.
Forth from the dark and dismal Cell,
Or from the deep abyss of Hell,
Mad Tom is come to view the World again.
To see if he can Cure his distempered Brain:
Fears and Cares oppress my Soul;
Hark, how the angry Furies howl;
Pluto laughs, and Proserpine is glad.
To see poor angry Tom of Bedlam mad.
Through the World I wander night and day,
To find my straggling Senses,
In an angry mood I met Old Time
With his Pentateuch of Tenses;
When me he spies
Away he flies.
For Time will stay for no man;
In vain with cries,
I rend the Skies,
For Pity is not common.
Cold and comfortless I lie,
Help, help, oh help, or else I die!
Hark, I hear Apollo's Team,
The Carman 'gins to whistle;
Chaste Diana bends her Bow,
And the Boar begins to bristle.   Come Vulcan with Tools and with Tackles,
To knock off my troublesome shackles:
Bid Charles make ready his Wain,
To bring me my Senses again.
II.
Last Night I heard the Dog-star bark,
Mars met Venus in the Dark;
Limping Vulcan heat an Iron Bar,
And furiously made at the great God of War.
Mars with his weapon laid about.
Limping Vulcan had got the Gout;
His broad Horns did hang so in his light.
That he could not see to aim his blows aright.
Mercury the nimble Post of Heaven
Stood still to see the Quarrel;
Gorrel-bellied Bacchus, Giant-like,
Bestrid a Strong-beer Barrel:
To me he Drank,
I did him thank.
But I could drink no Cider;
He drank whole Butts,
'Till he burst his Guts,
But mine was ne'er the wider.
Poor Tom is very Dry;
A little Drink, for Charity:
Hark ! I hear Actaeon’s Hounds,
The Huntsman Hoops and Hollows;
Ringwood, Rockwood, Jowler, Bowman, All the Chase doth follow.
The Man in the Moon drinks Claret,
Eats Powdered-Beef, Turnip, and Carrot:
But a Cup of Malligo Sack
Will fire the Bush at his Back.
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

## Notes

* ↑ Warwick Bond, R., The Poetical Works of William Basse, London: Bell, 1893, pp.133-4.
# Tom and Polly/Down the burn Davie

DOWN THE BURN DAVIE.
WHEN trees did bud and fields were green, and broom bloom'd fair to see; When Mary was complete fifteen, and love laugh'd in her ee;
Blythe Davie's blinks her heart did move, to speak her mind thus free, Gang down the burn Davie, love, and I shall follow thee.
​Now Davie did each lad surpass, that dwelt on this burn-side, And Mary was the bonniest lass, just fit to be a bride;
Her cheeks were rosy, red end white, her een were bonny b ue; Her looks were like Aurora bright, her lips like dropping dew.
As down the burn they took their way, what t nder tales they said! His cheek to hers he alt did lay, and with her bosom play’d;
Till baith at last impatient grown to be mair fully blest, In yonder vale they lean’d them down, love only saw the rest.
What pass’d, I guess, was harmless play, and naething sure unmeet; For ganging hame I heard them say, they lik’d a wa’k sae sweet;
And that they aften should return, such pleasures to renew, Quoth Mary, Love, I like the burn, and ay shall follow you.
# Tower of Ivory/Dusk

DUSK
Think not I may not know thee kneeling there,
For all I lie so silently in death;
Ay, ever as the candle flickereth,
I watch the light weave shadow in thy hair,
I see thy white hands eloquent in prayer,
I hear the agony of sobbing breath;
And words of faith thy sorrow whispereth
Upon thy lips are echoes of despair.
I hear—and wonder how one time we played
At this; called Death's reflection to Love's glass,
And blurred the image with a laugh, afraid.
Now Death is come and gone, the solemn mass
Low sung, the mirror shattered; fancies pass,
And heart in heart we weep Love's body laid.