OpenLLM-France/wikimedia huggingface dataset:
# United States Statutes at Large/Volume 6/12th Congress/2nd Session/Chapter 49

Chap. XLIX.—An Act for the relief of Leiws Chacherie.
To be paid for his services as translator.Be it enacted, &c., That the proper accounting officers of the Treasury Department be, and they are hereby authorized and required to pay to Lewis Chacherie the additional sum of fourteen hundred dollars, in consideration of his services as translator of the French and Spanish languages, to the board of commissioners for the western land district of the territory of Orleans, now state of Louisiana, which shall be paid out of any money in the Treasury not otherwise appropriated.
Approved, March 3, 1813.
# United States Statutes at Large/Volume 6/12th Congress/2nd Session/Chapter 59

Chap. LIX.—An Act for the relief of Susannah Wiley.
$500 to be paid to her.Be it enacted, &c., That the proper accounting officers of the Treasury Department be, and they are hereby, authorized to pay unto Susannah Wiley, of Georgetown, in the District of Columbia, out of any money in the Treasury, not otherwise appropriated, the sum of five hundred dollars, in addition to the sum heretofore allowed by law, as a full compensation for the services of her late husband, David Wiley, who was employed by the postmaster general to make a survey of the main post road leading from St. Mary’s, in the state of Georgia, to the city of Washington.
Apporved, March 3, 1813.
# United States Statutes at Large/Volume 6/12th Congress/2nd Session/Chapter 62

Chap. LXII.—An Act for the relief of Nathaniel G. Ingraham, Alexander Phœnix, and William Nexsen, junior.
To be discharged from imprisonment.Be it enacted, &c., That Nathaniel G. Ingraham, Alexander Phœnix, William Nexsen, junior, of the city and state of New York, confined in the debtor’s prison of the city and county of New York, on certain judgments in favour of the United States against them, be discharged from their imprisonment, on payment by them respectively of the costs of suit: Provided ,however, That they and each of them shall first assign and convey all the estate, real and personal, which they or either of them own, or whereto they may be entitled, to some person or persons, under the direction of the Secretary of the Treasury, to be by him designated for that purpose, to be holden for the satisfying of any judgment or judgments obtained against them, or either of them, by the United States, or any debt or debts, due from them, or either of them, to the United States; and nothing in this act shall be construed to impair the right of the United States to any estate which said Ingraham, Phœnix, and Nexsen, or either of them, may have assigned or conveyed to any person or persons whatever, or to prevent the recovering of such estate for satisfying said judgment and debts: And provided, also, That all such estate, real or personal, that said Ingraham, Phœnix, and Nexsen, or either of them now have, or hereafter may acquire, shall be liable for the satisfaction of said judgments and debts, in the same manner as if they had not been imprisoned and discharged; and nothing in this act shall operate to discharge from said judgments, or debts, any person or persons, except said Ingraham, Phœnix, and Nexsen, who may be liable therefor, in whole or in part, in any manner or form whatever.
Apporved, March 3, 1813.
# United States Statutes at Large/Volume 6/12th Congress/2nd Session/Chapter 63

Chap. LXIII.—An Act for the relief of the representatives of Samuel Lapsley, deceased.
Accounts to be settled.Be it enacted, &c., That the accounting officers of the treasury be, and they are hereby authorized and directed to settle the account of John Lysle and Margaret his wife, late Margeret Lapsley, widow and administratrix of Samuel Lapsley, deceased, and that she be allowed the amount of two final settlement certificates, No. 78,446, for one thousand dollars, and No. 78,447, for one thousand three hundred and sixty dollars, and interest from the twenty-second day of March, one thousand seven hundred and eighty-three, issued in the name of Samuel Lapsley, by the commissioner of army accounts for the United States, on the first day of July, one thousand seven hundred and eighty-four, and that the amount due be paid out of any money in the Treausry not otherwise appropriated, to the said John Lysle and Margaret his wife, administratrix, as aforesaid, to be disposed of and distributed according to law.
Apporved, March 3, 1813.
# The Knickerbocker Gallery/The Burial at Marshfield

Layout 2
Yours ever R. S. Chilton
The Burial at Marshfield.
By R. S. Chilton.
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
# California v. LaRue
## Concurring Opinion

    Stewart

## Dissenting Opinions

    Douglas
    Brennan
    Marshall
Supreme Court of the United States
409 U.S. 109
California et al. v. LaRue et al.
Appeal from the United States District Court for the Central District of California
No. 71-36. Argued: October 10, 1972 --- Decided: December 5, 1972
Following hearings, the California Department of Alcoholic Beverage Control issued regulations prohibiting explicitly sexual live entertainment and films in bars and other establishments licensed to dispense liquor by the drink. A three-judge District Court held the regulations invalid under the First and Fourteenth Amendments, concluding that under standards laid down by this Court some of the proscribed entertainment could not be classified as obscene or lacking a communicative element.
Held: In the context, not of censoring dramatic performances in a theater, but of licensing bars and nightclubs to sell liquor by the drink, the States have broad latitude under the Twenty-first Amendment to control the manner and circumstances under which liquor may be dispensed, and here the conclusion that sale of liquor by the drink and lewd or naked entertainment should not take place simultaneously in licensed establishments was not irrational nor was the prophylactic solution unreasonable. Pp. 114-119.
326 F.Supp. 348, reversed.
REHNQUIST, J., delivered the opinion of the Court, in which BURGER, C.J., and STEWART, WHITE, BLACKMUN, and POWELL, JJ., joined. STEWART, J., filed a concurring opinion, post, p. 119. DOUGLAS, J., post, p. 120, BRENNAN, J., post, p. 123, and MARSHALL, J., post, p. 123, filed dissenting opinions.
L. Stephen Porter, Deputy Attorney General of California, argued the cause for appellants. With him on the brief was Evelle J. Younger, Attorney General.
Harrison W. Hertzberg and Kenneth Scholtz argued the cause for appellees. With them on the brief was Warren I. Wolfe.
# The Lonesomest Doll (1928)/Chapter 2

II
Nichette
The lonesomest doll lay in her box in a corner of the Treasure Room in the southwest tower of the Queen’s palace. Around the palace was a high gray wall and a moat; beyond the moat was a walled-in garden; and beyond the garden again was a tiny white cottage covered with roses, where Nichette lived with her father and mother!
Pierre, Nichette’s father, was the porter of the palace, and under the eyes of the Grand Chamberlain he had charge of the keys to the ​western wing where the Queen lived. So of course Pierre knew all about everything, even about the lonesomest doll whom very few per­sons had seen, though every one in the kingdom had heard of her. And of course Nichette knew all about her also.
Ever since she had first sat upon Pierre’s knee, jingling his great bunch of keys in her baby fist, till now when she was a great girl of ten, she had loved to hear about the gates and the doors and the locks which these keys opened. And although she had never gone inside the palace she knew the way in and about almost as well as Pierre himself. And she knew just where the lonesomest doll lay, and up what stairs and along what hallway and through what rooms one must go to find her. She could see the window of the very room from the corner of the Queen’s garden where she was allowed to play. And often when she was there with her own dolls she would look up at the gray tower and wish she could do something to comfort that poor, beautiful doll whose mamma was a little Queen, but did not love her.
Nichette had four ugly wooden dolls of her own, and she loved them dearly. It made her heart ache to think of the lonely doll over there in the palace shut up in her dark box, taken out but once or twice in the long year. Nichette had often planned what she would do if she could but get into that tower, and up to ​that room, and open that oaken chest. Her fingers ached to smooth Mignon’s hair, to kiss her and cuddle her close. She had often begged Pierre to let her go into the west wing, but he always said,—“No, no, child! The Queen does not like children, and will allow none in the pal­ace. It would make her very angry.”
So Nichette knew that she should never even see the lonesomest doll, unless some time she could steal into the palace without any one’s knowing. But fierce soldiers mounted guard at the front gate, and at all the gates except the little one in the garden, to which Pierre held the keys. Through that would be her way—if she had the keys. But she could never, never enter without her father’s keys, and he kept them always by him, very carefully, because he was the Lord Chamberlain’s porter; and he was proud of the trust.
Nichette often wondered if a clever person might not take the keys from his pocket. But she would never dare do this; for Pierre was very stem when one was naughty; and she knew he would think this the naughtiest thing which ​a child could do. So Nichette could only long and long, hope and hope, that some time she might see the lonesomest doll and try to make her happy as a beautiful doll should be.
# The Lonesomest Doll (1928)/Chapter 1

I
Mignon
The lonesomest doll in the world lay staring up at the cover of her box and wished she had never been made. It is no fun to live in a pal­ace if you are kept there in the dark of one tiny little corner. It is no fun to wear a beautiful gown if no one else ever sees it. It is no fun to be a Queen’s doll if your royal mamma never plays with you at all.
Mignon longed to be hugged and kissed and loved like other dolls. She would rather be scarred and knocked about and broken like so ​many wax babies of whom she had heard, than be locked all alone day after day in tiresome safety.
You see, Mignon was the birthday gift which a great foreign Prince had sent to the little Queen Clotilde; and she was the most wonderful doll that had ever been heard of in those days. All this happened long ago, before you could buy such lovely dolls in the shops,—before jointed bodies, and shutting eyes, and real teeth, and china hands with fingers were invented. Yet Queen Clotilde’s doll was even more beautiful than these; for she was made of wax, and her face was painted by a famous artist to look ex­actly like the Queen herself; and Queen Clotilde, you must know, was a wonderfully lovely little girl.
Mignon was not a very large doll—just big enough to hold comfortably. Her hair was golden, like the Queen’s, curly and long. Her eyes were blue, her cheeks pink, and she had the dearest little turned-up nose ever seen, and red, red lips. She could talk, too, which was something in those days,—not like the Queen; ​that would have been too wonderful to believe. But, like some of our accomplished dollies of to-day, Mignon could say “Mamma!” when you squeezed her gently.
The proudest thing about the Queen’s wonder­ful doll was her clothes. There never was seen such a beautiful dress as Mignon wore when she came in her fine satin-lined box, on the Queen’s eighth birthday. She was all in white satin and velvet and the richest lace, copied from the Queen’s own coronation robe, with a long train; and she had a crown on her head. Moreover, the crown was of real gold set with the most beautiful jewels,—rubies, emeralds, sapphires, and diamonds. In the front was a great white pearl, worth the price of a hundred such dollies as you can buy to-day. And up and down the white velvet train was embroidered in gold and silver and precious stones; so that this was the most splendid birthday doll which any little girl ever had.
But that was precisely the trouble. Mignon was too splendid for a real play doll. One would always be afraid of hurting her fine clothes. Be-​sides, with all this gold and jewels, she was so valuable that the Lord Treasurer kept her locked up in a chest in the Treasure Room of the pal­ace; and little Clotilde had her brought out only once or twice a year, to see how she herself had looked on the day when she was crowned Queen. Only once or twice a year to see one’s mamma! This is why Mignon was the lonesomest doll in the world.
# The Lonesomest Doll (1928)/Chapter 4

IV
The Bunch of Keys
It was about two o’clock and everything was very quiet in the village, for most of the people were taking their after-dinner nap. Mother Marie was dozing on the bench beside the cottage door, Nichette imagined. Probably the folk in the Queen’s palace were asleep, too; for most of them were elderly persons whose chief exercise was snoring after dinner,—and a musical exercise it was, to say truth!
It was Nichette’s great chance,—of that she was sure. After waiting for it so long it might never come again. She did not think it could be so very wrong to do what she had in mind; for ​she only wanted to be kind to Mignon. She for­ got that by meddling with what did not belong to her she might get her father into trouble: and she never suspected what strange things would happen,—things which came near to upsetting the whole kingdom.
Nichette took the bunch of keys and tiptoed up to the gate in the wall behind the rosebush.
She thrust the largest key into the lock and twisted hard with both hands. It was a rusty turn; but at last with a hoarse “screek!” the gate swung open, and Nichette stood on the threshold looking for the first time into the won­derful world beyond.
There was the moat and the drawbridge lowered for any one to pass; there was the green trim lawn, and, beyond, the gray towers of the palace where lived the proud little Queen and her beau­tiful lonesome doll. How big the palace seemed; how many windows it had peering down upon one like watchful eyes! How wide a space it was from this wicket to the little door of the southwest turret which Nichette must reach!
For a moment her courage faltered, and she was almost ready to run back to her own chil­dren and leave the Queen’s doll to herself. Then she thought again of poor Mignon and this great chance to see her which might never come again. And she screwed her courage into place again.
With one last glance behind to make sure that no one was following, Nichette stepped through the gateway upon the velvet lawn. The gate ​swung to behind her with a clang, and her heart gave a great thump. But she did not think of retreating.
She felt as though she were living in a fairy tale. There in front of her lay the enchanted castle, with the fair Princess waiting to be wakened from her long loneliness. And Nichette herself was the Prince, who must wake her with a kiss.
Forward, Prince! You have passed the hedge, and now it would be cowardly to turn back.
# The Poetical Works of Robert Burns/Come, let me take thee

COME, LET ME TAKE THEE.
TUNE—'CAULD KAIL.'
# Come, let me take thee

* "Come, let me take", in The Book of Scottish Song (1843), edited by Alexander Whitelaw
* "Come, let me take thee", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
# The Book of Scottish Song/Come, let me take

Come, let me take.
[Written by Burns for Thomson's collection to the tune of "Cauld kail in Aberdeen."]
Come, let me take thee to my breast, And pledge we ne'er shall sunder; And I shall spurn, as vilest dust, The warld's wealth and grandeur: And do I hear my Jeanie own, That equal transports move her? I ask for dearest life alone That I may live to love her.
Thus in my arms, wi' a' thy charms, I clasp my countless treasure; I'll seek nae mair o' heaven to share, Than sic a moment's pleasure: And, by thy een sac bonnie blue, I swear I'm thine for ever! And on thy lips I seal my vow, And break it shall I never.
# The Poetical Works of Robert Burns/Thou hast left me ever, Jamie

THOU HAST LEFT ME EVER, JAMIE.
TUNE—'FEE HIM, FATHER.'
# The Book of Scottish Song/Jamie

Jamie.
[Written by Burns for Thomson's collection, to the beautiful old tune called "Fee him, father."]
Thou hast left me ever, Jamie, Thou hast left me ever; Thou hast left me ever, Jamie, Thou hast left me ever. Aften hast thou vow'd that death Only should us sever; Now thou'st left thy lass for aye— I maun see thee never, Jamie, I'll see thee never.
Thou hast me forsaken, Jamie, Thou hast me forsaken; Thou hast me forsaken, Jamie, Thou hast me forsaken. Thou canst love another jo, While my heart is breaking: Soon my weary e'en I'll close, Never more to waken, Jamie. Never more to waken.
# Seven love songs/Ane and twenty, Tam

Ane and twenty, Tam;
# Seven love songs/Logan Water

Logan Water.
# Seven love songs/Tho you leave me now in sorrow

Tho you leave me now in sorrow.
# The Poetical Works of Robert Burns/On Chloris being ill

ON CHLORIS BEING ILL.
TUNE—'AYE WAUKIN O.'
# The Poetical Works of Robert Burns/Canst thou leave me thus

CANST THOU LEAVE ME THUS.
Tune—'Roy's Wife.'
# The Book of Scottish Song/Katy

Katy.
[This is another song by Burns, to the tune of "The Ruffian's Rant," furnished by him in 1794 for Thomson's collection.]
Canst thou leave me thus, my Katy? Canst thou leave me thus, my Katy? Well though know'st my aching heart, And canst thou leave me thus for pity?
Is this thy plighted fond regard, Thus cruelly to part, my Katy? Is this thy faithful swain's reward— An aching, broken heart, my Katy?
Farewell! and ne'er such sorrows tear That fickle heart of thine, my Katy? Thou may'st find those will love thee dear— But not a love like mine, my Katy.
REPLY.
[By an English lady (Mrs. Riddel of Woodleigh Park.)]
Stay, my Willie—yet believe me, Stay, my Willie—yet believe me; 'Tweel, thou know'st na every pang Wad wring my bosom shouldat thou leave me. ​Tell me that thou yet art true, And a' my wrongs shall be forgiven; And when this heart proves false to thee, Yon sun shall cease his course in heaven.
But to think I was betray'd, That falsehood e'er our loves should sunder! To take the flow'ret to my breast, And find the guilefu' serpent under!
Could I hope thou'dst ne'er deceive me, Celestial pleasures, might I choose 'em, I'd slight, nor seek in other spheres That heaven I'd find withiu thy bosom.
# Canst thou leave me thus

* "Katy", in The Book of Scottish Song (1843), edited by Alexander Whitelaw
* "Canst thou leave me thus", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
# The Poetical Works of Robert Burns/O saw ye my dear

O SAW YE MY DEAR.
TUNE—'WHEN SHE CAM BEN SHE BOBBIT.'
# The Poetical Works of Robert Burns/Charming Month of May

CHARMING MONTH OF MAY.
TUNE—'DAINTY DAVIE.'
# The Poetical Works of Robert Burns/Song ('Anna, thy charms my bosom fire')

SONG.
# The Poetical Works of Robert Burns/John Barleycorn

JOHN BARLEYCORN.
A BALLAD.
# John Barleycorn

* Search for titles containing or beginning with: "John Barleycorn"
* 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.
* "John Barleycorn", a song by Robert Burns
* John Barleycorn, a novel by Jack London
# One Hundred English Folksongs/The Two Magicians

20 The Two Magicians
Collected and arranged by Cecil J. Sharp
# John Barleycorn (Burns)

British folksong (Roud 164). Countless versions of this song exist; Burns' version was published in 1782 and became the model for many subsequent versions.
* "John Barleycorn", in Robin Adair (n.d.), a chapbook printed in Glasgow
* "John Barleycorn", in The Beauties of Burn's Poems (1819), a chapbook printed in Falkirk
* "John Barleycorn" in School Songs (1853), edited by Henry Formby
* "John Barleycorn", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
* "John Barleycorn" in Poems That Every Child Should Know (1904).
# The Poetical Works of Robert Burns/Why, why tell thy Lover

WHY, WHY TELL THY LOVER.
TUNE—'CALEDONIAN HUNT'S DELIGHT.'
# The Poetical Works of Robert Burns/O Philly

O PHILLY.
TUNE—'THE SOW'S TAIL.'
# The Poetical Works of Robert Burns/Farewell to Eliza

FAREWELL TO ELIZA.
TUNE—'GILDEROY.'
# From thee, Eliza, I must go

* "From thee, Eliza, I must go", in Tak your auld cloak about ye (n.d.), a chapbook printed in Glasgow
* "Eliza", in Burns's Songs (n.d.), a chapbook printed in Ayr
* "From thee, Eliza, I must go", in Young Donald o' Dundee (n.d.), a chapbook printed in Glasgow
* "From thee, Eliza, I must go", in The Beauties of Burn's Poems (1819), a chapbook printed in Falkirk
* "Eliza", in The Book of Scottish Song (1843), edited by Alexander Whitelaw
* "Farewell to Eliza", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
* "Eliza", in Five Excellent New Songs (n.d.), a chapbook printed in Stirling
# The Poetical Works of Robert Burns/Let not Woman e'er complain

LET NOT WOMAN E'ER COMPLAIN.
TUNE—'DUNCAN GRAY.'
# The Poetical Works of Robert Burns/The Rigs o' Barley

THE RIGS O' BARLEY.
TUNE—'CORN RIGS ARE BONIE.'
# It was upon a Lammas night

To the tune of "Corn Rigs". It was composed by Burns from a traditional ballad. The "Annie" is Annie Rankin, youngest daughter of John Rankine of Adamhill. Rankine married John Merry, inn-keeper at New Cumnock, the year this was written, and it is unlikely she and Burns had a relationship together.
* "It Was Upon a Lammas Night" in My bonnie Mary (n.d.), a chapbook printed in Edinburgh
* "The Rigs o' Barley", in The Beauties of Burn's Poems (1819), a chapbook printed in Falkirk
* "The rigs o' barley" in Rigs o' barley (1820), a chapbook printed in Stirling
* "The rigs o' barley" in Now westlin winds (1820), a chapbook printed in Edinburgh
* "Rigs o' barley" in Rigs o' barley (1821), a chapbook printed in Glasgow
* "It Was Upon a Lammas Light" in John Anderson my Jo (1828), a chapbook printed in Glasgow
* "The Rigs o' Barley", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
# The Poetical Works of Robert Burns/My Nanie, O

MY NANIE, O.
# My Nannie O/My Nannie O

MY NANNIE, O,
# A'body's like to be married but me/My nannie, O

MY NANNIE, O,
Behind yon hills where Lugar flows, 'Mang moors and mosses many, O, the wintry sun the day has clos'd, And I'll awa to Nannie, O. The westlin wind blaws loud and shrill; The night's baith mirk and rainy, O; But I'll get my plaid, and out I'll steal, And o'er the hill to Nannie, O.
My Nannie's charming, sweet, and young Nae artfu' wiles to win May ill befa' the flattering tongue The wad beguile my Nannie, O. Her face is fair, her hear is true, As spotless as she's bonnie, O;
The opening gowan, wat wi' dew, Nae purer is than Nannie, O.
A country lad is my degree, And few there be that ken me, O; But what care I how few there be? I'm welcome aye to Nannie, O. My riches a's my penny fee, And I maun guide it cannie; O; But warl's gear ne'er troubles me, My thoughts are a' my Nannie, O.
Our auld gudeman delights to view, His sheep and kye thrive bonnie, O; But I'm as blythe that hauds his pleugh, And has nae care but Nannie, O. Come weel, come wae, I carena by, I'll tak what Heaven will send me, O; Nae ither care in life hae I, But live and love my Nannie, O.
# The Poetical Works of Robert Burns/Now westlin Winds

NOW WESTLIN WINDS.
TUNE—'I HAD A HORSE, I HAD NAE MAIR.'
# The Poetical Works of Robert Burns/When Guilford good our Pilot stood

WHEN GUILFORD GOOD OUR PILOT STOOD.
A FRAGMENT.
TUNE—'GILLICRANKIE.'
# The Poetical Works of Robert Burns/Caledonia

CALEDONIA.
TUNE—'CALEDONIAN HUNT'S DELIGHT.'