OpenLLM-France/wikimedia huggingface dataset:
# The Arethusa/The Arethusa

THE ARETHUSA.
Come, all ye jolly sailors bold, Whose hearts are cast in honour’s mould, While English glory I unfold, Huzza to the Arethusa! She is a frigate tight and brave, As ever stemm’d the dashing wave: Her men are staunch To their favourite launch, And when the foe shall meet our fire, Sooner than strike, we’ll all expire, On board of the Arethusa.
’Twas with the spring-fleet she went out, The English Channel to cruize about When four French sail, in show so stout, Bore down on the Arethusa. The fam’d Belle Poole straight a-head did lie. The Arethusa seem’d to fly, Not a sheet, or a tack, Or a brace did she slack; Tho’ the Frenchmen laugh’d, & thought it ⟨stuff⟩ But they know not the handful of men, how tough. On board of the Arethusa.
On deck five hundred men did dance. The stoutest they could find in France; ​We with two hundred did advance, On board of the Arethusa. Our captain hail’d the Frenchman, ho! The Frenchmen they cried out, hallo! Bear down, d’ye see, To our Admiral’s lee; No, no, says the Frenchman, that can’t be, Then I must lug you along with me, Says the saucy Arethusa.
The fight was off the Frenchmen’s land, We forc’d them back upon their strand, For we fought till not a stick would stand Of the gallant Arethusa. And now we’ve driven the foe ashore, Never to fight with Britons more, Let each fill a glass To his fav’rite lass; A health to our captain and officers true, And all that belong to the jovial crew. On board of the Arethusa.
HER MOUTH, WHICH A SMILE,
Her mouth, which a smile, Devoid of all guile, Half open to view. Is the bud of the rose. In the morning that blows, Impearl’d with the dew.
# How to Read

Layout 2
HOW TO READ
HOW TO READ
by j. b. kerfoot
"Reading is a form of living"
BOSTON AND NEW YORK HOUGHTON MIFFLIN COMPANY
The Riverside Press Cambridge
COPYRIGHT, 1916, BY JOHN B. KERFOOT ALL RIGHTS RESERVED Published October 1916
The Riverside Press CAMBRIDGE · MASSACHUSETTS PRINTED IN THE U.S.A.
To Alfred Stieglitz
CONTENTS
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 Arethusa/Her Mouth, Which a Smile

HER MOUTH, WHICH A SMILE.
# Her Mouth, Which a Smile

* "Her Mouth, Which a Smile", in By the gaily circling glass (n.d.), a chapbook printed in Stirling
* "Her Mouth, Which a Smile", in The Arethusa (n.d.), a chapbook printed in Stirling
# By the gaily circling glass/Her Mouth, Which a Smile

HER MOUTH, WHICH A SMILE.
Her mouth, which a smile, Devoid of all guile, Half open to view, Is the bud of the rose. In the morning that blows, Impearl’d with the dew.
More fragrant her breath, Than the flower-scented heath, At the dawing of day; The hawthorn in bloom, The lily’s perfume, Or the blossoms of May.
# The Arethusa/How Stands the Glass Around

HOW STANDS THE GLASS AROUND
# The Arethusa

There are differences between the titles given on the front page and those at the head of each song; where this is the case, the latter have been used.
THE ARETHUSA,
Her Mouth, which a Smile,
How stands the Glass around,
Why dost thou shiver, &c.
Ere around the Huge Oak,
BY THE GAILY CIRCLING GLASS,
AND
LULLABY.
SOLD WHOLESALE BY J. FRASER & CO.
PRINTERS, STIRLING.
* The Arethusa
* Her Mouth, Which a Smile
* How Stands the Glass Around
* Gaffer Gray
* Ere Around the Huge Oak
* By the Gaily Circling Glass
* Lullaby
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 Power of Solitude/Ode, written for the Boston female asylum

FINIS.
# The Power of Solitude/Monody, to the memory of Edward Edes, Esq.

TO THE MEMORY OF EDWARD EDES, ESQ. Who died Sept. 8, 1803.
# The Power of Solitude/Monody

FUGITIVE POEMS.
FUGITIVE POEMS.
# The Power of Solitude/Part Second

THE
POWER
OF
SOLITUDE.
PART SECOND
ON THE MIND.
ANALYSIS OF THE SECOND PART.
THE poem opens with an invocation to the spirits of the lighter Gothic mythology—The grandeur of Greece and Rome resulted from the incessant study and philosophic lives of their heroes and sages—Hence also the perfection of the arts and sciences—The bold developement of the mind in Seclusion contrasted with its languor in society—Hence the necessity of retirement to the artist, the poet, and the philosopher—The influence of Seclusion in strengthening the mind in adversity, in awakening independence of character, and fostering the love of freedom—The influence of local scenery, in exciting corresponding sentiments and belief, leads next to the mention of superstition; the doctrine of its origin illustrated in the sublime imagery of the Highlands, and the beautiful fablings of the Lowlands, of Scotland—Hence also the fondness of devotees to retirement—Digression on the evils of monastic life, and religions frenzy—The influence of local scenery in awakening the poetic powers; and the Celtic bards celebrated—Some reflections on the comparative pleasures of a splendid and rural life, with a description of the native of the Alps—The dangers of Solitude to persons of hypochondriac constitutions and of predisposition to religious melancholy—The folly of useless repinings against our fate—A tale introduced, illustrative of the influence of Solitude in sorrow and madness—The choice of the Author follows, and the poem concludes with an address to Poetry.
THE
POWER OF SOLITUDE.
END OF THE SECOND PART.
# The Power of Solitude/Part First

THE
POWER
OF
SOLITUDE.
PART FIRST
ON THE HEART.
ANALYSIS OF THE FIRST PART.
THE poem opens with a description of the pleasures of Solitude, and the final cause of them is resolved into the laws of association and sympathy. Hence is derived the love of classic ruins, and of the retreats of departed,genius; hence also the love of sublime, picturesque, and beautiful, scenery; and these associated influences are exemplified in various historic allusions and descriptive pictures—The inefficacy of social scenes to afford consolation to the heart in the unfortunate incidents of life, in disease, despair, disappointment, and sorrow; and the corresponding benign influence of Solitude in awakening kind and benevolent emotions, and alleviating the miseries of life. The influence of Solitude on the various passions is next introduced; and hope, despair, and love, are represented, as deriving peculiar consolation and delight in retired life. The vanity of grandeur is next descanted on, and illustrated by historic details-The influence of Solitude in age, sorrow, and death, is attempted to be shewn in the tale of ST. AUBIN—Some reflections follow on the pleasures derived from the recollection of youthful scenes, particularly in the tranquillity of retired life—The cultivation of the more refined powers of the soul, tho often attended with pain, enlarges the circle of happiness, and elevates the character and sentiments to their highest perfection and dignity The argument thence derived of the immortality of the soul—The poem then concludes with an address to friendship.
THE
POWER OF SOLITUDE.
END OF THE FIRST PART.
# The Black-bird/How stands the Glass around

How stands the Glass around.
# Bide ye yet (1825)/How stands the glass around

how stands the glass around.
How stands the glass around? For shame, ye take no care my boys. Let mirth and wine abound. The trumpets sound, The colours they are flying, boys. To fight, kill, or wound. May we still be found, Content with our hard fate my boys, On the cold ground.
Why, soldiers, why, Shou'd we be melancholy, boys? Why, soldiers, why? Whose business ‘tis to die? ​What, sighing? fie! Don’t fear, drink on, be jolly boys, ‘Tis he, you, or I, Cold, hot, wet, or dry, We’re always bound to follow, boys, And scorn to fly.
‘Tis but in vain,— I mean not to upbraid you boys,— ‘Tis but in vain For soldiers to complain, Should next campaign Send us to him who made us, boys, We're free from pain, But, if we remain, A bottle, ann kind landlady Cure all again.
# Bide ye yet (1825)

Dated from internal and external evidence.
BIDE YE YET.
In winter when the rain rain’d cauld
Variety is charming.
How Stands the Glass around.
O Jeanie there’s naething to fear ye.
Glasgow Printed for the Booksellers.
* Bide ye yet
* In winter when the rain rain'd cauld
* Variety is charming
* How stands the glass around
* O Jeanie there's naething to fear ye
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
# Bide ye yet (1825)/Bide ye yet

bide ye yet.
Gin I had a wee house, and a canty wee fire, A bonny wee wifie to praise and admire, A bonny wee yardie, a-side a wee burn, Fareweel to the bodies that yammer & mourn
Sae bide ye yet, and bide ye yet, Ye little ken what may betide you yet; Some bonny wee body may yet be my lot, And I’ll ay be canty wi’ thinking o’t.
When I gang afield, and come hame at e’en, I’ll get my wee wifie fu’ neat and fu’ clean, And a bonny wee bairnie upon her knee, That will cry Papa or Dady to me. And bide ye yet, &c.
And if there should happen ever to be A diffrence a’tween-my wi’ wifie and me, In hearty good humour, altho’ she be teas’d, I'll kiss her, and clap her, until she be pleas’d And bide ye yet, &c.
# Bide ye yet (1825)/In winter when the rain rain'd cauld

in winter when the rain rain'd cauld.
In winter when the rain rain’d cauld.
And frost and snaw on ilka hill, And Boreas wi’ his blasts sae bauld, Was threat’ning a’ our kye to kill, Then Bell my wife, wha loes nae strife, She said to me right hastily, Get up Gudeman, save Crnmmy’s life, And tak your auld cloak about ye.
My Crummie is a useful cow, And she is come of a good kyne; Aft has she wet the bairns’ mou’, And I am laith that she should tyne; Get up, gudeman, it is fu’ time, The sun shines in the lift sae hie Sloth never made a gracious end, Go tak’ your auld cloak about ye.
My cloak was anes a gude grey cloak, When it was fitting for my wear; But now its scantly worth a groat, For I have worn't this thretty year; Let’s spend the gear that we have won, We little ken the day we’ll die; Then I’ll be proud, since I hae sworn To hae a new cloak about me.
​ In days when our King Robert rang, His trews they cost but half-a-crown, He said they were a groat o’er, dear, And ca’d the taylor thief and lown. He was the king that wore a crown, And thou the man of low degree, 'Tis pride puts a’ the country down, Sae tak thy auld cloak about ye.
Every land has it’s ain laugh, Ilk kind of corn it has it’s ain hool, I think the warld is a’ run wrang, When ilka wife her man wad ruie; Do ye not see Rob, Jock, and Hab, As they are girded gallantly; While I sit harklin’ in the ase, I’ll Lae’ a new cloak about me.
Gademan, I wat ‘tis thirty vears Since we did ane amther ken ; And we have had between us twa Of lads end bonny lasses ten; Now they are women grown and men, I wish and pray well may they be; And if you prove a good husband, E’en tak’ your auld cloak about ye.
Bell my wife, she lo'es hae strife; But she wad guide me, if she can, And to maintain an easy life, I aft maun yield, tho’ I’m gudeman; ​Nought’s to be had at woman’s hand,
Unless ye gie her a‘ the plea:
Then I'll leave aff whare I begun, And tak my auld cloak about me.
# Bide ye yet (1825)/Variety is charming

variety is charming.
I’m in love with twenty.
I’m in love with twenty, And could adore As many more, There s nothing like a plenty.
Variety is charming, Variety is charming, A constancy Is not for me, So ladies take your warning.
For a man in one love, For a man in one love, He looks as poor As any boor, For a man in one love. Variety, &e.
Girls grown old and ugly, Girls grown old and ugly, ​They can’t inspire
The same desire, As when their young and smugly. Variety, &c.
‘Tis not the grand regalia, ‘Tis not the grand regalia, Of eastern kings, That poets sings, But O the sweet seraglio. Variety, &c.
# Bide ye yet (1825)/O Jeanie there's naething to fear ye

o jeanie, there's naething to fear ye.
O! My lassie, cur joy to complete again, Meet me again in the gloamin, my dearie: Low down i’ the dell let us meet again, O! Jeanie there’s naething to fear ye: Come when the wee bat flits silent an’ eerie: Come.when the pale face o’ nature looks weary Love be thy sure defence, Beauty and innocence— O, Jeanie. there’s naething to fear
​Sweetly blaws the haw an’the rowan-tree. Wild roses speck our thicket so breerie; Still will our bed in the greenwood bo— O, Jennie there’s naething to fear ye, Note when the blackbird o’-singing is weary, List when the beetle bee’s bugle comes near ye, Then come with fairy haste, Light foot and beating breast— O, Jeanie there’s naething to fear ye.
Far, far, will the bogle and brownie be; Beauty an: truth, they darena come near Kind love is the tie of our unity, A’ maun love it, an’ a’ maun revere it Love maks the sang o’ the woodland so cheerie Love gars a’ nature look bonnie that's near ye, Love maks the rose sae sweet, Cowslip an’ violet— O, Jeanie, there’s naething to fear ye.
FINIS.
# Far, Far at Sea (Stirling)/How Stands the Glass

HOW STANDS THE GLASS AROUND.
# By the gaily circling glass/By the Gaily Circling Glass

BY THE GAILY CIRCLING ⟨GLASS⟩
By the gaily circling glass, We can see how minutes pass, By the hollow flask we’re told, How the waning night grows old. Soon, too soon, the busy day Drives us from our sport away; What have we with day to do? Sons of care, ’twas made for you.
By the silence of the owl, By the chirping of the thorn, By the butts that empty roll, We foretell th’approach of morn. Fill, then fill the vacant glass, Let no precious moment slip; Flout the moralizing ass; Joys find entrance at the lip.
# By the gaily circling glass/The Bed of Roses

THE BED OF ROSES.
My father’s flocks adorn’d the plain, Retirement’s joys possessing; He flourish’d in the sun’s mild reign, His home and children blessing. When round us rag’d destructive war, And fire and slaughter spread afar, ​Defeated, sham'd, Our sire exclaim’d, ‘My sons, high heaven disposes;— On thorns we tread, Yet those we dread, Ne’er sleep on a Bed of Roses.’
We wander’d long on mountains wild, As hardy hunters living; In humble hut, at grandeur smil’d, Our father’s hopes reviving. When battle once more rag’d below, He fought, till captur’d by the foe; Chain’d by harsh law, On bed of straw, ‘Still, heaven’ he cried, ‘disposes! My sons, behold, In honour bold, I die on a Bed of Roses.’
# By the gaily circling glass/The Last Shilling

THE LAST SHILLING.
As pensive one night in my garret I sat, My last shilling produc’d on the table, That advent’rer, cried I, might a hist’ry relate, If to think and to speak it were able; Whether fancy or magic ’twas play’d me the freak, The face seem’d with life to be filling, And cried, instantly speaking, or seeming to speak, Pay ’ttention to me, thy last shilling.
​‘I was once the last coin of the law, a sad limb Who in cheating was ne’er known to faulter; Till at length brought to justice, the law cheated him, And he paid me to buy him a halter: A Jack tar, all his rhino but me at an end, ⟨With⟩ a pleasure so hearty and willing, Tho’ hungry himself, to a poor distress’d friend, Wish’d it hundreds, and gave his fast shilling.
’Twas the wife of his messmate, whose glistening eye With pleasure ran o’er, as she view’d me; She ’chang’d me for bread, as her child she heard cry. And, at parting, with tears she bedew’d me: But I’ve other scenes known, riot leading the way Pale want their poor families chilling; Where rakes in their revels, the piper to pay, Have spurn’d me, their best friend and last shilling.
’Thou thyself hast been thoughtless for profligates bail, But to-morrow all care shalt thou bury; When my little history thou offerest for sale: In the interim, spend me and be merry.’ ‘Never, never,’ cried I; thou’rt my mentor, my muse And grateful, thy dictates fulfilling, I’ll hoard thee in my heart.’ Thus men counsel refuse, ill the lecture comes from the last shilling.
# By the gaily circling glass/The Echo Duet

THE ECHO DUET.
New hope and fear my bosom rending, Alternate bid each other cease, Soon shall death, thy terrors ending, Calm each transient thought to peace, Hark! a murmuring sound repeating, Every stifled sigh I hear! What can set this bosom beating, Alas! ’tis mingled hope and fear! Now they cease, this way retiring, And all is awful silence round, Ah, sure those notes, dear maid, were thine, Th’ echoing sounds alone were mine.
'Tis her voice that meets my ear, Say where art thou, whose voice I hear, Oh, quickly speak, no longer roam, To give thee liberty I come. Soft, love, ’tis I; relief is near, Where art thou now? I’m here. This way advance, and you are free, This way to light and liberty.
# By the gaily circling glass/Sailor Boy

SAILOR BOY.
In slumber of midnight the sailor boy lay, His hammock swung loose at the sport of the wind, ​But watch-worn and weary his cares flew away, And visions of happiness danc'd o’er his mind; He dreamt of his home, of his dear native bow’rs, And pleasure that waited on life’s merry morn; Whilst mem’ry stood sideways, haif-cover’d with tears, And restor’d every rose, but secreted a thorn.
The jessamine clambers in flow’rs o’er the thatch, And the swallow sings sweet from her nest in the wall, All trembling with transport, he raises the latch: And the voice of belov’d ones reply to the call, A father bends o’er him with looks of delight, His cheek is impearl’d with a mother’s warm tear, And the lips of the boy in a love-kiss unite, With lips of the maid whom his bosom holds dear.
Oh! sailor boy, sailor boy, never again, Shall peace, love, or kindred, thy wishes repay, Unblest, and unhonour’d, down deep in the main, Full many score fathom thy form shall decay: Days, months, years, and ages shall circle away, And still the vast waters above thee shall roll, Earth loosens thy body, for ever and aye, Oh! sailor boy, sailor boy, peace to thy soul.
# By the gaily circling glass

By the Gaily Circling Glass,
MY FATHER’S FLOCKS, &c.
As pensive one Night,
⟨HOPE⟩ AND FEAR MY BOSOM REND,
SAILOR BOY,
HER MOUTH, WHICH A SMILE,
and
YOUNG LOVE.
sold wholesale by j. fraser & co.
printers, stirling.
* By the Gaily Circling Glass
* The Bed of Roses
* The Last Shilling
* The Echo Duet
* Sailor Boy
* Her Mouth, Which a Smile
* Love Among the Roses
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
# Six most excellent songs/The trumpet sounds

THE TRUMPET SOUNDS.
How stands the glass around, For shame you take no care, my boys, How stands the glass around, Let mirth and wine abound. The trumpets sound,
The colours they are flying, boys, To fight, kill, or wound, May we still be found, Content with our hard fate, my boys, On the cold ground,
Why, soldiers, why. Whose business tis to die! What sighing, fie, Damn fear, drink on, be jolly, boys, ’Tis he, you, or I,
Cold, hot, wet, or dry, Are always bound to follow, boys, And scorn to fly. ’Tis but in vain,
I mean not to upbraid ye, boys, ’Tis but in vain, Were soldiers to complain Should next campaign
Send us to him who made us boys Were free from pain; But if we remain A bottle and kind landlady Cure all again.
# The Arethusa/Gaffer Gray

GAFFER GRAY.
# How Stands the Glass Around

* "How stands the Glass around", in The Black-bird (1818), a chapbook printed in Falkirk
* "How stands the glass around", in Bide ye yet (n.d.), a chapbook printed in Glasgow
* "How Stands the Glass Around", in The Arethusa (n.d.), a chapbook printed in Stirling
* "How Stands the Glass", in Far, Far at Sea (n.d.), a chapbook printed in Stirling
* "The trumpet sounds", in Six most excellent songs (n.d.), a chapbook printed in Glasgow
# Gaffer Gray

* "Gaffer Gray", in The Arethusa (n.d.), a chapbook printed in Stirling
* "Poor Gaffer Gray", in The Recruiting Officer, or, Over the Hills & Far Away (1802), a chapbook printed in Glasgow
# The Recruiting Officer, or, Over the Hills & Far Away/Poor Gaffer Gray

POOR GAFFER GRAY.
HO! Why doſt thou driver and ſhake, Gaffer Gray? And why does thy noſe look ſo blue? “'Tis the weather that's cold, “'Tis I'm grown very old, “And my doublet is not very new, “Well-a-day! “And my doublet is not very new.”
Then line thy worn doublet with ale, Gaffer Gray, And warm thy old heart with a glaſs: “Hay, but credit I've none, “And my money's all gone, “Then ſay how may this come to paſs, “Well-a-day!" etc
Hie away to the houſe on the brow, Gaffer Gray, And knock at the jolly prieſt's door; “The prieſt preaches, “Againſt worldly riches, “But ne'er gives a mite to the poor, “Well-a-day! etc
​The Lawyer lives under the hill, Gaffer Gray, Warmly fenc'd both in back and in front, “He'll faſten the locks, “And will threaten the ſtocks, “Should be ever more find me in want, “Well-a-day!” etc.
The 'Squire has good beef and brown ale, Gaffer Gray, And the ſeaſon will welcome you there; “The fat beef and his beer, “And his merry New Year, “Are all for the fluſh and the fair, “Well-a-day!” etc
My keg is but low, I confeſs, Gaffer Gray, What then, while it laſts man, we'll live; “The poor man alone, “When he hears the poor moan, “Of his morſel a morſel will give, “Well-a-day!” etc.