OpenLLM-France/wikimedia huggingface dataset:
# YouTube War/Other Videos, Other Image - Difference Choices

​ Other Videos, Other Images—Different Choices.
It should be emphasized that the near taboo regarding the showing of dead bodies is a near taboo, not an absolute one. Obviously there have been quite dramatic images regularly transmitted from the war in Iraq that involve the human body in extremis, in particular many images of large numbers of dead Iraqis. But the graphic nature of these photographs comes from the shock of the number of bodies, not from the state the bodies are in. Most of these images involve victims of militias or death squads, and while the victims have been shot at close range, their hands bound behind them, the images are not particularly ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/77 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/78 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/79 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/80 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/81 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/82 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/83 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/84 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/85 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/86 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/87 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/88 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/89 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/90 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/91 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/92 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/93 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/94 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/95 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/96 ​Page:Cori Elizabeth Dauber - YouTube War (2009).pdf/97 ​which point they would grab the signs reading MORT A CARTER, so that the same camera crew could get sufficient footage for their French-speaking audience as well.
ENDNOTES
# The Poetical Works of Robert Burns/The Highland Laddie

THE HIGHLAND LADDIE.
TUNE—'IF THOU'LT PLAY ME FAIR PLAY.'
# The Poetical Works of Robert Burns/Cock up your Beaver

COCK UP YOUR BEAVER.
TUNE—'COCK UP YOUR BEAVER.'
# The Poetical Works of Robert Burns/The Carles of Dysart

THE CARLES OF DYSART.
TUNE—'HEY, CA' THRO'.'
# The Poetical Works of Robert Burns/My Hoggie

MY HOGGIE.
TUNE—'WHAT WILL I DO GIN MY HOGGIE DIE.'
# The Poetical Works of Robert Burns/Epistle to John Lapraik, an old Scottish Bard

EPISTLE TO JOHN LAPRAIK, AN OLD SCOTTISH BARD.
April 1st, 1785.
# Cock up your Beaver

* "Cock up your beaver", in The Book of Scottish Song (1843), edited by Alexander Whitelaw
* "Cock up your Beaver", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
# The Book of Scottish Song/Cock up your beaver

Cock up your beaver.
[The tune called "Cock up your beaver" is old: it can be traced at least as far back as Playford's "Dancing-Master" published in 1657. Of the original words, the first stanza here given is all that remains: the second stanza was added by Burns for Johnson's Museum. Hogg gives some additional verses in his Jacobite Relics.]
When first my brave Johnnie lad Came to this town, He had a blue bonnet That wanted the crown; But now he has gotten A hat and a feather,— Hey, brave Johnnie lad, Cock up your beaver!
Cock up your beaver, And cock it fu' sprush, We'll over the border And gi'e them a brush; There's somebody there We'll teach better behaviour— Hey, brave Johnnie lad, Cock up your beaver!
# Lyrics of Sunshine and Shadow/Wadin' in de Crick

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Wadin' in de Crick
# Lyrics of Sunshine and Shadow/A Lost Dream

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A LOST DREAM
# Lyrics of Sunshine and Shadow/Rain-Songs

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RAIN-SONGS
# Brooklyn Eagle/1919/George W. Kinner

George Washington Kinner (1833-1919) in Brooklyn Eagle on April 18, 1919.
George W. Kinner, prominent citizen of Port Jefferson, Long Island, died at his home Wednesday morning. Mr. Kinner had been sick for about three months, ever since the death of his wife. The death of Mr. Kinner takes another veteran from the fast depleting ranks of the Lewis O. Conklin Post No. 627, G.A.R., of this place. There are now only eight members of the post living. Mr. Kinner Was 86 years of age and was a native of Middle Island, the son of Caleb Kinner. He saw active service in the battle of Petersburg, Virginia, where he was wounded and later had to have his foot and part of the right leg amputated. He entered the war in August, 1862, and was wounded July 11, 1864. After the war he returned to Port Jefferson and was married to Miss Julia A. Davis of Middle Island. Mr. Kinner was appointed postmaster at the Port Jefferson office and for 21 years he was one of the most efficient and obliging postmasters the office ever had. Main Funeral Saturday services will be held at his home on Main street Saturday afternoon at 2 o'clock, conducted by the Revs. A. M. Elliot and A. P. Corliss of the Presbyterian and Methodist churches respectively. The Lewis O. Conklin Post, G.A.R., will also take part in the funeral arrangements. Interment will be in Cedar Hill Cemetery.
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
# Lyrics of Sunshine and Shadow/A Corn Song

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A CORN SONG
# The Story of Egil Skallagrimsson/Chapter 64

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Chapter LXIV.
Egil's life is given him.
King Eric sate upright while Egil recited the poem, and looked keenly at him. And when the song of praise was ended, then spake the king: 'Right well was the poem recited; and now, Arinbjorn, I have resolved ​ about the cause between me and Egil, how it shall go. Thou hast pleaded Egil's cause with great eagerness, since thou offerest to risk a conflict with me. Now shall I for thy sake do what thou hast asked, letting Egil go from my land safe and unhurt. But thou, Egil, so order thy goings that, after leaving my presence and this hall, thou never come before my eyes, nor my sons' eyes, nor be ever in the way of myself or my people. But I give thee now thy head this time for this reason, that thou camest freely into my power. I will do no dastardly deed on thee; yet know thou this for sure, that this is no reconciliation with me or my sons or any of our kin who wish to wreak their vengeance.
Then sang Egil:
'Loth am I in nowise, Though in features loathly, Helm-capt head in pardon From high king to take. Who can boast that ever Better gift he won him, From a lordly sovereign's Noble-minded son?'
Arinbjorn thanked the king with many fair words for the honour and friendship that he had shown him. Then they two, Arinbjorn and Egil, went back to Arinbjorn's house. After that Arinbjorn bade horses be made ready for his people. He rode away with Egil, and a hundred fully armed men with him. Arinbjorn rode with that force till they came to king Athelstan, where they were well received. The king asked Egil to remain with him, and inquired how it had gone between him and king Eric. Whereupon Egil sang:
'Egil his eyes black-browed From Eric, raven's friend, Welcomed. Wise help herein Wife's loyal kin lent. My head, throne of helmet, An heritage noble, As erst, from rough rainstorm
To rescue I knew.'
But at the parting of Arinbjorn and Egil, Egil gave Arinbjorn those two gold rings that king Athelstan had given him, whereof each weighed a mark. And Arinbjorn ​gave Egil the sword called Dragvandill. This had been given to Arinbjorn by Thorolf Skallagrimsson; but before that Skallagrim had received it from Thorolf his brother; but to Thorolf the sword was given by Grim Shaggy-skin, son of Kettle Hæing. Kettle Hæing had owned the sword and used it in his single combats, and no sword was there more biting. Egil and Arinbjorn parted with much affection. Arinbjorn went home to king Eric at York; but Egil's comrades and shipmates had good peace there, and disposed of their cargo under Arinbjorn's protection. But as winter wore on they moved south to England and joined Egil.
# The Story of Egil Skallagrimsson/Chapter 65

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CHAPTER LXV.
Egil goes to Norway.
THERE was a baron in Norway named Eric Allwise. He married Thora, daughter of lord Thorir, sister of Arinbjorn. He owned property eastwards in Vik. He was a very wealthy man, much honoured, of prophetic foresight. Son of Eric and Thora was Thorstein; he was brought up with Arinbjorn, and was now fully grown, though quite young. He had gone westwards to England with Arinbjorn.
But in that same autumn when Egil had come to England these tidings were heard from Norway, that Eric Allwise was dead, but the king's stewards had taken his inheritance, and claimed it for the king. These tidings when Arinbjorn and Thorstein heard, they resolved that Thorstein should go east and see after the inheritance.
So when spring came on and men made ready their ships who meant to travel from land to land, then Thorstein went south to London, and there found king Athelstan. He produced tokens and a message from Arinbjorn to the king and also to Egil, that he might be his advocate with the king, so that king Athelstan might send a message from himself to king Hacon, his foster-son, advising that Thorstein should get his inheritance and possessions in Norway. King Athelstan was easily persuaded to this, because Arinbjorn was known to him for good.
​ Then came Egil also to speak with king Athelstan, and told him his intention.
'I wish this summer,' said he, 'to go eastwards to Norway and see after that property of which king Eric and Bergonund robbed me. Atli the Short, Bergonund's brother, is now in possession. I know that, if a message of yours be added, I shall get law in this matter.'
The king said that Egil should rule his own goings, 'But best, methinks, were it,' he said, 'for thee to be with me and be made defender of my land and command my army. I will promote thee to great honour.'
Egil answered: 'This offer I deem most desirable to take. I will say yea to it and not nay. Yet have I first to go to Iceland, and see after my wife and the property that I have there.'
King Athelstan gave then to Egil a good merchant-ship and a cargo therewith; there was aboard for lading wheat and honey, and much money's worth in other wares. And when Egil made ready his ship for sea, then Thorstein Eric's son settled to go with him, he of whom mention was made before, who was afterwards called Thora's son. And when they were ready they sailed, king Athelstan and Egil parting with much friendship.
Egil and his company had a prosperous voyage; they came to Norway eastwards in Vik, and sailed their ship right into Osloar-firth. Up on land there Thorstein had estates, and also inwards as far as Raumarik. And when Thorstein landed there, he then preferred his claim to his father's property before the stewards who were settled on his farm. Many lent help to Thorstein in this matter: a meeting was held about it: Thorstein had there many kinsmen of renown. The end was that it was referred to the king's decision, Thorstein meanwhile taking to him the safe-keeping of his father's possessions.
# Lyrics of Sunshine and Shadow/The Plantation Child's Lullaby

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THE PLANTATION CHILD'S LULLABY
# Lyrics of Sunshine and Shadow/Twilight

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TWILIGHT
# Amyntas

English-language translations of Aminta include:
* Torquato Tasso's Aminta Englisht: to this is added Ariadne's complaint, in imitation of Anguillara (1628), translated by Henry Reynolds
* Aminta: the famous pastoral, written in Italian by Signor' Torquato Tasso (1660), translated by John Dancer
* Amintas: a pastoral, made English out of Italian, from the Aminta of Tasso (1698), translated by John Oldmixon
* Amintas a dramatick pastoral written originally in Italian by Torquato Tasso translated into English verse (1737), translated by William Ayre
* The Amyntas of Tasso (1770), translated by Percival Stockdale
* Amyntas, A Tale of the Woods (1820), translated by James Henry Leigh Hunt
# Lyrics of Sunshine and Shadow/Curiosity

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CURIOSITY
# Lyrics of Sunshine and Shadow

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​Lyrics of Sunshine and Shadow
Lyrics of Sunshine and Shadow
By Paul Laurence Dunbar
New York Dodd, Mead & Company 1905
COPYRIGHT, 1901, 1902, 1903, 1904, 1905, By The Century Co.
COPYRIGHT, 1901, 1902, 1903, 1904, 1905, By The Curtis Publishing Company
COPYRIGHT, 1903, By W. H. Gannett
COPYRIGHT, 1905, By Dodd, Mead, and Company
TO MRS. FRANK CONOVER WITH THANKS FOR HER LONG BELIEF
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
# Lyrics of Sunshine and Shadow/Table of Contents

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# The Poetical Works of Leigh Hunt/Plato's Archetypal Man

PLATO'S ARCHETYPAL MAN.
ACCORDING TO THE IDEA OF IT ENTERTAINED BY ARISTOTLE.
FROM THE LATIN OF MILTON.
* ↑ Tiresias, who was blind.
* ↑ Sanchoniathon.
* ↑ Whom Plate banished from his imaginary republic.
# The Poetical Works of Leigh Hunt/Tasso's Ode to the Golden Age

ODE TO THE GOLDEN AGE.
SUNG BY A CHORUS OF SHEPHERDS IN TASSO'S AMYNTAS.
It is to be borne in mind, that the opinions expressed in this famous ode of Tasso's, are only so expressed on the supposition of their compatibility with a state of innocence.
# The Poetical Works of Leigh Hunt/Petrarch's Contemplations of Death in the Bower of Laura

PETRARCH'S CONTEMPLATIONS OF DEATH
IN THE BOWER OF LAURA.
# The Poetical Works of Leigh Hunt/A Deprecation of the Name of John

A DEPRECATION OF THE NAME OF JOHN.
FROM THE ITALIAN OF CASA.
# The Tale of Balen

First published in 1896, this transcription is of the first and only edition of the work.
THE TALE OF BALEN
PRINTED BY SPOTTISWOODE AND CO., NEW-STREET SQUARE LONDON
THE TALE OF BALEN
BY
ALGERNON CHARLES SWINBURNE
LONDON CHATTO & WINDUS, PICCADILLY 1896
Copyright in the United States, 1896, by Charles Scribner's Sons.
* Dedication
* Canto I
* Canto II
* Canto III
* Canto IV
* Canto V
* Canto VI
* Canto VII
* Mr. Swinburne's Works
* List of Books Published by Chatto & Windus
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
# Arabian Nights Entertainments (1706)/Volume 3

Arabian Nights
Vol. III.
    The Story of Sindbad the Sailor
       His First Voyage
       The ſecond Voyage of Sindbad the Sailor
       The third Voyage of Sindbad the Sailor
       The fourth Voyage of Sindbad the Sailor
       The Fifth Voyage of Sindbad the Sailor
       The Sixth Voyage of Sindbaad the Sailor
       The Seventh and laſt Voyage of Sindbad the Sailor
    The Three Apples
       The Story of the Lady that was Murder’d, and of the Young Man her Husband
       The Story of Noureddin Ali, and Bedreddin Haſſan
# Morrissey v. Brewer/Concurrence Brennan

* Court Documents
* Case Syllabus
* Opinion of the Court
* Concurring Opinion Brennan
* Dissenting Opinion Douglas
[p490] MR. JUSTICE BRENNAN, with whom MR. JUSTICE MARSHALL joins, concurring in the result.
I agree that a parole may not be revoked, consistently with the Due Process Clause, unless the parolee is afforded, first, a preliminary hearing at the time of arrest to determine whether there is probable cause to believe [p491] that he has violated his parole conditions and, second, a final hearing within a reasonable time to determine whether he has, in fact, violated those conditions and whether his parole should be revoked. For each hearing the parolee is entitled to notice of the violations alleged and the evidence against him, opportunity to be heard in person and to present witnesses and documentary evidence, and the right to confront and cross-examine adverse witnesses, unless it is specifically found that a witness would thereby be exposed to a significant risk of harm. Moreover, in each case the decisionmaker must be impartial, there must be some record of the proceedings, and the decisionmaker's conclusions must be set forth in written form indicating both the evidence and the reasons relied upon. Because the Due Process Clause requires these procedures, I agree that the case must be remanded as the Court orders.
The Court, however, states that it does not now decide whether the parolee is also entitled at each haring to the assistance of retained counsel or of appointed counsel if he is indigent. Goldberg v. Kelly, 397 U.S. 254 (1970), nonetheless plainly dictates that he at least "must be allowed to retain an attorney if he so desires." Id., at 270. As the Court said there, "Counsel can help delineate the issues, present the factual contentions in an orderly manner, conduct cross-examinations, and generally safeguard the interests of" his client. Id., at 270-271. The only question open under our precedents is whether counsel must be furnished the parolee if he is indigent.
# A Voice from the Nile, and Other Poems

A VOICE FROM THE NILE
AND OTHER POEMS.
Ballantyne Press BALLANTYNE, HANSON AND CO. EDINBURGH AND LONDON
James Thomson.
A. Evershed. 1883
A
VOICE FROM THE NILE
AND OTHER POEMS.
BY THE LATE
JAMES THOMSON (" B. V.")
AUTHOR OF "THE CITY OF DREADFUL NIGHT," "VANE'S STORY," AND
"ESSAYS AND PHANTASIES."
WITH A MEMOIR OF THE AUTHOR
BY
BERTRAM DOBELL.
LONDON:
REEVES AND TURNER, 196 STRAND.
1884.
CONTENTS.
━━━0━━━
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 Dancing Master (1686)/Love lies a bleeding

Honour to the Presence, next to your women. Lead up all forward and back, that again.
The first man and wo. cast off into the 2. Cu. place and meet, and go round each other back to back, and then cast off into your own places, and do the same over again, to the first Strain of the Tune. Then the two men clap hands with each other, and the two we. with each other, and then with your wo. next, the first Cu. cast off into the 2. Cu. places, and clap hands as they did before, and turn your own wo. once round; and do so to the end.
# The Dancing Master (1686)/Broom: The bonny bonny Broom

Lead up all a D. forward and back, the first four cast off and come to your places, the last four do the like · Lead down and as much : First and 3. Cu. meet and go back, hands and go round ∴ The other four as much : :
Sides all, set and turn S. · That again : The two first men hands and change places, the last two men change, we. doing the same, set and turn S. · All that again ∴
Arms all, set and turn S. · That again : The 2. and 3. on each side lead to each wall, while the first Cu. lead up, and the last lead down: Change hands and meet; hand all and half round ∴ All that again · ·
# The Dancing Master (1686)/Green Sleeves and Pudding-Pies

First Cu. change places and sides with the second Cu. and turn each other, then the second Cu. side, and turn again into their places; next, each Cu. cross over and change places, and go the Figure of 8. then the first man fall back and turn his own; the rest do the same. This to the first Strain of the Tune.
First man set to the second wo. and go back to back, and the second man set to the first wo. and go back to back, then all four take hands and go half round, and fall back, cross over with your own, while the second Cu. slip up, and take hands and turn down betwixt the second Cu. and so lead down betwixt the third Cu. and cast up, and turn your own, the other Couples do the same. This to the second Strain of the Tune.
# The Dancing Master (1686)/Joan Sanderson

Joan Sanderson, or The Cushion Dance, a Round Dance.
This Dance is began by a single Person, (either man or woman) who taking a Cushion in his hand dances about the room, and at the end of the Tune he stops, and sings, This Dance it will no farther go. The Musician answers, I pray you, good sir, why say you so? Man. Because Joan Sanderson will not come to. Music. She must come to, and she shall come to, and she must come whether she will or no. Then he lays down the Cushion before a woman, on which she kneels, and he kisses her, singing, Welcom Joan Sanderson, welcom, welcom. Then she rises, takes up the Cushion, and both dance, singing, Prinkum, Prankum, is a fine Dance, and shall we go dance it once again, once again, and once again, and shall we go dance it once again. Then making a stop, the Wo. sings, as before, This Dance, &c. Music. I pray you, Madam, &c. Woman. Because John Sanderson, &c. Music. He must, &c. And so she lays down the Cushion before a man, who kneeling upon it, salutes her, she singing, Welcom John Sanderson, &c. Then he taking up the Cushion, they take hands and dance round, singing as before: And thus they do till the whole Company are taken into the Ring. And then the Cushion is laid before the first man, the wo. singing, This Dance, &c. (as before) only instead of —come to, they sing —go fro; and instead of Welcom John Sanderson, &c. they sing, Farewel John Sanderson, farewel, farewel: And so they go out one by one as they came in. Note, That the woman is kiss’d by all the men in the Ring at her coming in and going out, and the like of the man by the women.
Finis.
# The Dancing Master

* related portals: Dance, Sheet music.
* sister projects: Wikipedia article, Commons category, quotes, Wikidata item.
* The English Dancing Master (1651) (transcription project)
* The Dancing Master (1652) IA
* The Dancing Master (1653) IA
* The Dancing Master (1657)
* The Dancing Master (1665) IA
* The Dancing Master (1670) IA
* The Dancing Master (1675) IA
* The Dancing Master (1679) IA
* A Supplement to The Dancing-Master (1679)
* The Dancing Master (1686) (transcription project)
* The Dancing Master (1690) IA
* The Dancing Master (1695) IA
* The Second Part of the Dancing Master (1696) IA
* The Dancing Master (1698) IA
* The Second Part of the Dancing Master (1698) IA
* A Supplement to The Dancing-Master (c. 1698)
* An Additional Sheet to the Second Part of the Dancing Master (c. 1698)
* The Dancing Master (1701)
* Twenty Four New Country Dances (1702)
* The Dancing Master (1703)
* The Dancing Master (1706)
* The Dancing Master (1709) IA
* The Dancing Master, Volume the Second (c. 1710)
* The Dancing Master (1713)
* The Dancing Master, Volume the Second (c. 1714)
* The Dancing Master (1716)
* The Dancing Master, Volume the Second (1718)
* The Dancing Master (1721)
* The Dancing Master, Volume the Third (c. 1726)
* The Dancing Master (c. 1728)
* The Dancing Master (1728) (start transcription)
# Bony Jean of Aberdeen (1815, Falkirk)/Louis 16th's Lamentation

LOUIS 16th's Lamentation.
FINIS.
Falkirk—T. Johnston, Printer.
# Bony Jean of Aberdeen (1815, Falkirk)/Tom Starboard

TOM STARBOARD.
His ſtrength reſtor'd, Tom hied with ſpeed, tuet nisi. ve as e er was mal ; (illegible text) N ught had be fav'd, n ught did te need, rich he in thoughts of Invely N.! Bicarc five tiles purTi mhad ya n'd, wen te was prefs'le heavd figh! And ſaid, the cruel was his let, er flirch fr n duty he w uld die. In fight Tona Starb ard knew.n fear, nay, when hed i ft an arra, refigrid, Said. L ve Nan, his up y dear, had fav'd his ife, and fate was kind. The war being ended. Tam returu'd; his 1.4 lic b feru'd him i raj ke; For ftill his manly bo turn d with kve, his heart was heart of <ak: Afh re in hafe T. m nimhly ran to cheer liis I ve. hls deftin'd bride, But faller port had brought t. Nin, fix ni nths bef re, that T m had died. With grief fhe daily pir d away, n remedy her life cnd fave, And Tom arriv'd the very day they laid his Nancy in her grave: 1
# Bony Jean of Aberdeen (1815, Falkirk)

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.
Bony Jean
Of Aberdeen,
Bess is but a Gawkie,
Tom Starboard,
King Louis' Lament.
Falkirk, Printed by T. Johnston, 1815.
* Bonny Jean of Aberdeen
* Bess is but a Gawkie
* Tom Starboard
* Louis 16th's Lamentation
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