OpenLLM-France/wikimedia huggingface dataset:
# Appletons' Cyclopædia of American Biography/Pond, Frederick Eugene

Edition of 1900.
​POND, Frederick Eusrene, author, b. in Pack- waukee, Marquette co., Wis., 8 April, 1856. He- received a common-school education, and early turned his attention to sporting matters. He was among the first to urge the organization of a Na- tional sportsman's association, and in 1874 was the prime mover in forming the Wisconsin sportsman's association for the protection of fish and game From 1881 till 1886 he was field-editor of the New York " Turf, Field, and Farm," with the exception of six months in 1883, when he was associate editor of the "American Field," of Chicago, Ill., and be- came later editor of " Wildwood's Magazine " in the latter city. On 31 Jan., 1882, he nearly lost his life in the fire that destroyed the " World " build- ing in New York city. Under the pen-name of " Will Wildwood " he has published "Handbook for Young Sportsmen" (Milwaukee 1876): Mr- raoirs of Eminent Sportsmen " (New York, 1878); and " The Gun Trial and Field Trial Records of America" (1885). He has edited Frank Forester's " Fugitive Sporting Sketches " (Milwaukee, 1879); the same author's " Sporting Scenes and Charac- ters" (Philadelphia, 1880); and Isaac McLellan's "Poems of the Rod and Gun" (New York, 1886). He has also written an introduction to " Frank Forester's Poems," edited by Morgan Herbert ( 1 N* T i.
# Leonora

* Search for titles containing or beginning with: "Leonora."
* sister projects: Wikipedia article, 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.
* "Leonora", a poem by Dinah Maria Craik
* Leonora, work by Maria Edgeworth
* "Leonora", a poem by Amanda Theodosia Jones
* "Leonora", a poem by Letitia Elizabeth Landon
* "Leonora", a poem by Edwin Arlington Robinson
* "Leonora", by William Robert Spencer, a translation of Lenore by Gottfried August Bürger
* "Leonora", by John Thomas Stanley, a translation of Lenore by Gottfried August Bürger
* "Leonora" by Everil Worrell. in Weird Tales, 9 (1) (January 1927)
# Sandman

* Search for titles containing or beginning with: "Sandman."
* sister projects: Wikipedia article, 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.
* Ole Lukøie, a tale by Hans Christian Andersen
* The Sand-Man, a poem by Paul Lawrence Dunbar
* The Sandman, a tale by E. T. W. Hoffmann
# Appletons' Cyclopædia of American Biography/Wilson, John Laird

Edition of 1889.
​WILSON, John Laird, journalist, b. in Croft- head, Bridge of Weir, Renfrewshire, Scotland, 20 Sept., 1832. He is the eldest son of Alexander Wilson, an architect and surveyor. He was gradu- ated at the University of Glasgow in 1852, studied at the Theological hall of the United Presbyterian church in Edinburgh, and was licensed as a preacher of the gospel in 1857. In the same year he accepted a call to the west of Scotland. After several years' successful work he resigned this charge, on account of feeble health, and went to Egypt, where he re- gained his strength. In the summer of 1866 Mr. Wilson came to this country, and was on the edi- torial staff of the New York " Herald " before the close of the year. In 1874 he retired from the " Herald," and, at the head of a joint-stock com- pany, established the New York "Scotsman," but the following year he abandoned the enterprise. He has contributed largely to periodicals, and has published "The Battles of the Civil War" (2 vols., New York, 1878), and "John WyclifTe, Patriot and Reformer — a Biography" (1884). He is now pre- paring a history of the Huguenots.
# Lay thy loof in mine lass (Stirling)/Lay thy loof in mine lass

Lay thy loaf in mine, lass.
O 'ay that loof in mine, lass, in mine lass, ⟨in⟩ mine lass, And swear on thy white hand, lass, that thou wilt be my (illegible text) A slave to love’s unbounded sway, He aft has wrought me metsie wae, But now he is my deadly fae Un'ess thou be mine ain. O lay thy loof in mine, lass In mine, lass, in mine lass, &c.
There's monie a lass has broken my rest, That for a blink ha'e lo'rd best, But then art Queen within my breast, For ever to remain O lay &c
Dear lad, gin ye be leel and true, Their's ane I like sae wee as you, (illegible text) there’s my loof I swear and vow, For life to be your ain Now there's my loof in thine 'ad, In thine lad, in thine 'ad, In hopes you wi ip ove kin' lad, and take me for your ain.
# Merry fairs of Falkirk/Lay thy loof in mine lass

Lay thy loof in mine lass
O lay that loof in mine, lass, in mine lass, in mine lass, And swear on thy white hand, lass, that thou wilt be my ain A slave to love's unfounded sway, He aft ⟨he's⟩ wrought me meikle wae, But now he is my deadly sae, Unless thou be mine ain. O lay thy loof in mine, lass, In mine, lass in mine lass, &c.
There's monie a lass has brake my rest, That for a blink ha'e lo'ed best, But thou art Queen within my breast, For ever to remain
O lay &c.
Dear lad, gin ye'll be leel and true, There's nane I like sae weel as you, ​Sae there's my loof I swear and vow, For I fe to be your ain Now there's my loof in thine lad, In thine lad, in thine lad, In hopes you will prove kin' lad, and tak me for your ain
# Land in the Ocean/Lay Thy Loof in Mine, Lass

LAY THY LOOF IN MINE, LASS.
FINIS.
# George and Britain Save (1825, Stirling)/Lay Thy Loof in Mine, Lassie

LAY THY LOOF IN MINE LASS.
# How to Learn Easily/Chapter 1

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# The Poetical Works of Robert Burns/The Bonie Wee Thing

THE BONIE WEE THING.
TUNE—'THE LADS OF SALTCOATS.'
# The Poetical Works of Robert Burns/Louis, what reck I by thee?

LOUIS, WHAT RECK I BY THEE?
TUNE—MY MOTHER'S AYE GLOWRING O'ER ME.'
# How to Learn Easily/Chapter 2

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Another important thing in the taking and the learning of notes is the forgetting of things which should be forgotten. It has been said by some psychologist that forgetting is only less important than remembering. By glancing over our notes we may select the important things and neglect the dead and adynamic things which are to be forgotten passively. Nothing once impressed, it seems, ever leaves the brain, save by gross loss of cerebral tissue; the impression in some form continues during life. What we actually have in our recallable working minds is, then, only a small fraction of what in some mysterious manner is impressed in our brains. So it is true that only a relatively small portion of the notes can be remembered properly; the rest may be forgotten. Some things are quick, and become active agents in our education; but some, too, are wholly dead for us, and are (and should be) lost out of our effective minds.
# The Book of Scottish Song/The Banks of Aith

The Banks of Nith.
[Burns.—Tune, "Robie donna Gorack." Mr. Riddell of Glenriddel also composed an air to this song. "The poet," says Allan Cunningham, "imagined himself in a distant land; and recalling the romantic hills and lovely valleys of Nithsdale, as he mused, composed this sweet song. The Comyns 'once had high command' in the district: one of their strong places was at Castledykes, immediately below Dumfries: another was at Dalswinton, a spot of great beauty, now the residence of one more than worthy of being its proprietor—James Macalpine Leny, Esq. Part of Comyn's Castle was standing as late as the year 1794. The walls were twelve feet thick, composed of hewn free-stone, and cemented with mortar of such strength that the stones separated any where save at the joints. The castle had evidently been consumed by fire. Opposite Dalswinton stands The Isle, an old tower surrounded by gardens and orchards. Ellisland is farther up the Nith; with Friars-Carse, and Blackwood, the property of William Copland, descended from John Copland who took David Bruce prisoner in the battle of Durham. The house of Blackwood stands on a bend of the stream; behind is a lofty hill studded with fine clumps of natural wood, the relics of the old Caledonian forest; before it the Nith winds along a rich extent of holmland; while towards the north, in the middle of the high road from Glasgow, grows that magnificent oak called the 'Three Brethren.' Three straight, tall shafts spring up at an equal distance from each other, and it is believed that they unite in the ground below: they are of similar girth: the branches of each are perfectly alike; and the peasantry say there is not a bough nor a leaf on one but the same will be found on the other. The three, at a distance, seem one vast tree, of a conical shape."]
The Thames flows proudly to the sea, Where royal cities stately stand; But sweeter flows the Nith, to me, Where Cummins ance had high command: When shall I see that honour'd land, That winding stream I love so dear! Must wayward fortune's adverse hand For ever, ever keep me here?
How lovely, Nith, thy fruitful vales, Where spreading hawthorns gaily bloom! How sweetly wind thy sloping dales, Where lambkins wanton through the broom! Though wandering, now, must be my doom, Far from thy bonnie banks and braes, May there my latest hours consume, Amang the friends of early days!
# Seven excellent songs/The banks of Nith

THE BANKS OF NITH.
The Thames flows proudly to the sea, Where royal cities stately stand; But sweeter flows the Nith to me, Where Cummins ance had high command: When shall I see that honoured land, That winding stream I love so dear! Must wayward fortune’s adverse hand For ever, ever keep me here.
How lovely, Nith, thy fruitful vale, Where spreading hawthorns gaily bloom; How sweetly wind thy sloping dales Where lambkins wanton thro’ the broom! Tho’ wandering, now, must be my doom, Far from thy bonnie banks and braes May there my latest hours consume, Amang the friends of early days!
# The Poetical Works of Robert Burns/The Banks of Nith ("The Thames flows proudly to the sea")

THE BANKS OF NITH.
TUNE—'ROBIE DONNA GORACH.'
# The Banks of Nith ("The Thames flows proudly to the sea")

* "The banks of Nith", in Seven excellent songs (n.d.), a chapbook printed in Newton Stewart
* "The Banks of Aith", in The Book of Scottish Song (1843), edited by Alexander Whitelaw
* "The Banks of Nith", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
# How to Learn Easily/Chapter 3

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CHAPTER III EDUCATIVE IMAGINATION
In the previous chapter we ran over some of the practical considerations of observation and of taking notes, both on the tablets of our memories (observation) and on tablets of paper,—note-books. How, practically, we can further the use of these notes, both cerebral and manuscript, in the learning-process, is our next inquiry. This process in practice may be analyzed and understood, and thus improved materially, in any given mind.
Imagination, as we shall discuss it, may not be easily defined except by suggesting what it is not: It is not falsehood and untruth, but a most essential form of mental truth; and educationally it is of great practical use and importance. We may wonder how imagination, as we think of it, can be important in learning at all. The reason for this doubt is that a wrong meaning of the term "imagination" has crept into general un​Page:How To Learn Easily (Dearborn).djvu/94 ​Page:How To Learn Easily (Dearborn).djvu/95 ​Page:How To Learn Easily (Dearborn).djvu/96 ​Page:How To Learn Easily (Dearborn).djvu/97 ​Page:How To Learn Easily (Dearborn).djvu/98 ​Page:How To Learn Easily (Dearborn).djvu/99 ​Page:How To Learn Easily (Dearborn).djvu/100 ​Page:How To Learn Easily (Dearborn).djvu/101 ​Page:How To Learn Easily (Dearborn).djvu/102 ​Page:How To Learn Easily (Dearborn).djvu/103 ​Page:How To Learn Easily (Dearborn).djvu/104 ​Page:How To Learn Easily (Dearborn).djvu/105 ​Page:How To Learn Easily (Dearborn).djvu/106 ​Page:How To Learn Easily (Dearborn).djvu/107 ​Page:How To Learn Easily (Dearborn).djvu/108 ​Page:How To Learn Easily (Dearborn).djvu/109 ​Page:How To Learn Easily (Dearborn).djvu/110 ​Page:How To Learn Easily (Dearborn).djvu/111 ​Page:How To Learn Easily (Dearborn).djvu/112 ​Page:How To Learn Easily (Dearborn).djvu/113 ​Page:How To Learn Easily (Dearborn).djvu/114 ​Page:How To Learn Easily (Dearborn).djvu/115 ​Page:How To Learn Easily (Dearborn).djvu/116 ​Page:How To Learn Easily (Dearborn).djvu/117 ​Page:How To Learn Easily (Dearborn).djvu/118 ​Page:How To Learn Easily (Dearborn).djvu/119 ​Page:How To Learn Easily (Dearborn).djvu/120 ​Page:How To Learn Easily (Dearborn).djvu/121 ​Page:How To Learn Easily (Dearborn).djvu/122 ​Page:How To Learn Easily (Dearborn).djvu/123 ​Page:How To Learn Easily (Dearborn).djvu/124 ​Page:How To Learn Easily (Dearborn).djvu/125 ​Page:How To Learn Easily (Dearborn).djvu/126 ​Page:How To Learn Easily (Dearborn).djvu/127 ​Page:How To Learn Easily (Dearborn).djvu/128 ​Page:How To Learn Easily (Dearborn).djvu/129 ​Page:How To Learn Easily (Dearborn).djvu/130 ​organizing of the organic imagination. This is emotional suggestion which is of much value to easy learning.
# The Book of Scottish Song/O lay thy loof in mine

O lay thy loof in mine.
[Burns.—Tune, "Cordwainer's March."]
O lay thy loof in mine, lassie; In mine, lass, in mine, lass; And swear on thy white hand, lass, That thou wilt be mine ain. A slave to love's unbounded sway, He aft has wrought me meikle wae; But now he is my deadly fae, Unless thou be my ain.
There's mony a lass has broke my rest, That for a blink I ha'e lo'ed best; But thou art queen within my breast, For ever to remain. O lay thy loof in mine, lass, In mine, lass, in mine, lass, And swear on thy white hand, lass, That thou wilt be my ain.
# The Poetical Works of Robert Burns/Bonie Peg

BONIE PEG.
# The Poetical Works of Robert Burns/O guid Ale comes

O GUID ALE COMES.
# The Poetical Works of Robert Burns/O lay thy loof in mine

O LAY THY LOOF IN MINE, LASS.
# The Poetical Works of Robert Burns/O ay my Wife she dang me

O AY MY WIFE SHE DANG ME.
# Lay thy loof in mine lass (Stirling)/Lord Thomas of Winsberry

Lord Thomas of Winsberry
It fell upon a time that the proud King of France,
went a hunting for five months and more, His daughter fell in love with Lord Winsberry, who from Scotland was newly come o’er
You're welcome, welcome dear father she said, you're welcome again to your own For I have been sick and very very sick, thinking long for your coming home.
Put off put off your gown of green he says, and spread it on yonder green, and tell them from me that in mourning you are, or that you have lain with a man,
She’s put off her gown of green, and spread it on the strand, Her haunches were round and her belly was big, from her face the colour is gone.
O is it to a man of might he says; or is it to a man that’s mean, or is it to one of these rank rebels, that lately from Scotland came.
O it is to a man of might she says, it is to one that is mean, It is to Lord Thomas of Winsberry,
​The king called up his merry men all, by one by two and by three, Go fetch me Lord Thomas of Winsberry, for to-morrow he shall die
They sought him up they sought him down, as fast as fast could be, There they found Lord Thomas of Winsberry, sitting under an orange tree
Get up get up Lord Thomas they said, get up and bound your way, For the king has sworn by his honoured crown, that to morrow is thy dying day,
O what have I robb'd? or what have I stolen? or what have I killed or slain? That I should be afraid to speak to your king, for I have done him no wrong.
Lord Thomas came tripping up the stair, His cloathing was of the silk, His fine yellow hair hung dangling down, his skin was white as the milk.
And when he came before the king, he kneeled down on his knee, Says what is your will with me my liege? what is your will with me?
I think no wonder Lord Thomas says, that my daughter fell in love with thee; ​If thou wert a woman as thou art a man, my bed-fellow thou wouldst be.
Will you marry my daughter Jean, by the faith of my right hand, Thou’se have part of my gold part of my gear, and a third part of my land.
Yes I will marry thy daughter Jean, by the faith of my right hand, I'll have none of your gold none of your ear, I have enough in fair Scotland,
She has mounted on a milk white steed, himself on a dapple grey, He’s got as much land in fair Scotland, as they can ride in a summer’s day.
# Lay thy loof in mine lass (Stirling)/William and Margaret

William and Margaret.
WHEN all was wrapt in dark midnight, and all was fast asleep; In glided Marg'ret's grimly Ghost, and stood at William’s feet.
Her face was like the April morn, clad in a wintry cloud
And clay cold was her lilly hand, that held the sable shroud.
So shall the fairest face appear, when youth and years are shown; ​uch is the robe that Kings must wear when death has reft the crown.
Her blood is like the springing flow'r, that sips the silver dew
The rose was budded in her cheek, and op'ning to the view.
But love had like the canker worm, consum’d her early prime: The rose grew pale and left her cheek, she died before her prime:
Awake, she cry’d, thy true love calls, came from her midnight grave; Now let thy pity hear the maid, thy love refus'd to save.
This is the d rk and f arful hour, when injur’d ghosts complain,
Now dreary graves give up their dead, to hunt the faithless swain.
Bethink thee William, of thy fault, thy pledge and broken oath, And give me back my maiden vow, and give me back my troth
How could you say my face was fair, and yet that face forsake? How could you win my virgin heart, yet leave that hurt to break,
​How could you promise love to me, and not that promise keep? Why did you swear my eyes were bright, yet leave these eyes to weep?
How could you s y my lips were red, and made the scarlet pa e? And why did I young witless maid, believe your flattering tale?
That face, alas,! no more is fair; these lips no longer red, Dark are mine eyes, now clos'd in death, and every charm is fled.
The hungry worm my sister is, this winding sheet I wear
And cold and weary lasts that night, till that last morn appear.
But hark! the cock has warn'd me hence, a last and long adieu; Come see false man, how low she lies, that died for love of you.
Now birds did sing and morning smil'd and shew’d her glist'ring head; Pale William shook in ev'ry limb; then raving left his bed.
He hy'd him to the fatal place, where Marg'ret's body lay, And stretch'd him on the green grass (illegible text), that wrapt her breathless clay,
​And thrice he call'd on Marg'ret's name, and thrice he wept full f r , Then laid his cheek to the cold earth, and words spoke never more.
# Songs (Brechin 1834)

SONGS.
WILLIAM AND MARGARET;
⟨PITY⟩ THE LADS THAT ARE FREE;
JANET AN’ ME;
YOUNG WILLIE THE PLOUGHMAN,
AND
BRUCE'S LINES.
BRECHIN:
PRINTED FOR ALEXANDER BLACK, BOOKSELLER.
1834
* William and Margaret
* Pity the Lads that are Free
* Janet an' Me
* Young Willie the Ploughman
* Bruce's Lines
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