OpenLLM-France/wikimedia huggingface dataset:
# Alice in Wonderland (Berlin)

[1st verse (boy part):] Come little girlie, let's fly away Into the land of dreams Far from the whirly gay cabaret Up with the bright sunbeams
Just let's suppose we are children again Just to the past let us gaze Come take a trip on a nursery train Back to our childhood days
[Refrain:] Let's wonder hand in hand To dreamy Wonderland Up on a cloud we'll glide Side by side we'll stand
We'll float right through the air And when we're landed there I'll build a Fairy Palace for you My Alice in Wonderland.
[2nd verse (girl part):] Most every Christmas I used to spend Hours in Wonderland Happy was this Miss just to pretend She was a princess grand
There with my playthings I dreamed of a boy Hoping my dreams would come true I used to say things I thought he'd enjoy That boy resembled you
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1989, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 34 years or less. 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
# Little Comrade (Munsey's Magazine)

Extracted from Munsey's Magazine, Jan 1915, pp. 831–906.
The book ... [title] has been changed to The Girl from Alsace, as the publishers considered that name as better descriptive of the character of the story. The dramatic elements of the story led to its being put in play form, and it became the theatrical success entitled Arms and the Girl.... It has also been produced as a photo play by the World Film Company under the title On Dangerous Ground ... and is being widely shown throughout the country. —From the Publisher's Note in The Girl from Alsace
A Story of the War of 1914. by Burton E. Stevenson
Author of “The Destroyer” “The Marathon Mystery,” etc.}
* chap. page
* I. The Thirty-First of July 831
* II. The First Rumblings 835
* III. The Landlady of the Kölner Hof 840
* IV. The Mystery of the Satin Slippers 842
* V. One Way to Acquire a Wife 844
* VI. The Snare 848
* VII. In the Trap 855
* VIII. Presto, Change 860
* IX. The Frontier 866
* X. Fortune Frowns 871
* XI. The Night Attack 876
* XII. An Army in Action 881
* XIII. The Passage of the Meuse 886
* XIV. The Last Dash 889
* XV. Disaster 894
* XVI. Stewart Fulfils His Trust 898
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1962, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 61 years or less. 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
# Florida by the Sea
## Sheet music

* "Florida by the Sea" (1929), published by Irving Berlin, Inc. (external scan)

## Film renditions

* "Florida by the Sea" (1929), as performed in The Cocoanuts
# Weird Tales/Volume 14/Issue 3/Lilith in the Red Land

Lilith in the Red Land
By Harvey W. Flink
Great Ashatar is silent as the stars: The dragon and the cormorant possess The streets that end in desert emptiness; And all its men have perished in glad wars.
In silver clouds vast herds of unicorns Descend upon the city in the night; They battle with the savage bulls, and fight Until the blood drips from their pointed horns.
A serpent, writhing in the sickly light, Uncoils its length above the scarlet flood; And staring at the wounded bulls in flight It laps with avid lips their ravished blood; A mottled serpent with a woman’s face, The first and last of all its loathly race.
This work is in the public domain in the United States because it was legally published within the United States (or the United Nations Headquarters in New York subject to Section 7 of the United States Headquarters Agreement) before 1964, and copyright was not renewed.
* For Class A renewal records (books only) published between 1923 and 1963, check the Stanford University Copyright Renewal Database.
* For other renewal records of publications between 1922–1950, see the University of Pennsylvania copyright records.
* For all records since 1978, search the U.S. Copyright Office records.
Works could have had their copyright renewed between January 1st of the 27th year after publication or registration and December 31st of the 28th year. As this work's copyright was not renewed, it entered the public domain on January 1st of the 29th year.
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It is imperative that contributors ascertain that there is no evidence of a copyright renewal before using this license. Failure to do so will result in the deletion of the work as a copyright violation.
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# The poetical works of Matthew Arnold/Philomela

PHILOMELA.
Hark! ah, the nightingale— The tawny-throated! ​Hark! from that moonlit cedar what a burst! What triumph! hark! what pain!
O wanderer from a Grecian shore, Still, after many years, in distant lands, Still nourishing in thy bewildered brain That wild, unquenched, deep-sunken, old-world pain. Say, will it never heal? And can this fragrant lawn With its cool trees, and night, And the sweet, tranquil Thames, And moonshine, and the dew, To thy racked heart and brain Afford no balm?
Dost thou to-night behold, Here, through the moonlight on this English grass, The unfriendly palace in the Thracian wild? Dost thou again peruse With hot cheeks and seared eyes The too clear web, and thy dumb sister's shame? Dost thou once more assay Thy flight, and feel come over thee, Poor fugitive, the feathery change Once more, and once more seem to make resound With love and hate, triumph and agony, Lone Daulis, and the high Cephissian vale? Listen, Eugenia,— How thick the bursts come crowding through the leaves! Again—thou hearest? Eternal passion! Eternal pain!
# Philomela

* "Philomela" in The Poetical Works of Matthew Arnold (1897)
* "Philomela" in the Oxford Book of English Verse 1250-1900 (1931), edited by Arthur Quiller-Couch
* "Philomela" in the Oxford Book of English Verse 1250-1918 (1940), edited by Arthur Quiller-Couch
# The poetical works of Matthew Arnold/Note

NOTE.
The present edition of the poetical works of Matthew Arnold is enriched by the addition of all of his earlier and later poems, hitherto uncollected. This includes a reprint of his two prize poems, "Alaric at Rome" and "Cromwell"; the first having been recently discovered in almost unique copies, has attracted much attention and interest not only as the earliest known work of their talented author, but also for its inherent beauty and power.
This edition is therefore most complete in every respect. The brief Biography depends chiefly for its accuracy on the interesting series of letters edited by Mr. George W. C. Russell, and on the friendly criticism of Prof. Charles Eliot Norton, who was one of Mr. Matthew Arnold's most intimate friends.
# Loves Garland

Layout 2
Privately Printed Oposcula
Issued to the Members of the Sette of Odd Volumes.
No. IV.
Loves Garland:
OR,
Posies for Rings, Hand-kerchers, & Gloves: And such pretty Tokens that Lovers send their Loves;
AND
Ye Garland of ye Sette of Odd Volumes.
Privately Printed Opuscula
Issued to the Members of the Sette of Odd Volumes.
I. B. Q.
A Biographical and Bibliographical Fragment.
Written and Present in 1880, by Bro. Charles Wyman.
II. John Trotter Brockett.
A Glossary and Biography.
Presented in 1882, by Bro. Bernard Quaritch.
III. Ye Boke of ye Odd Volumes.
From 1878 to 1883.
Compiled by Bro. William Mort Thompson.
Presented by Bro. Bernard Quaritch.
IV. Loves Garland.
Or Posies for Rings, Hand-kerchers, & Gloves: And such pretty tokens that Lovers send their Loves. London, 1674. Reprinted and Presented in 1883, by Bro. James Roberts Brown.
YE ALCHYMIST.
(after John Cawse.)
It was too late, the desired opportunity I had so long desired had come, I had failed to seize it, and my dream of being the discoverer of the Philosophers’ Stone had melted away into thin air.—See page 23.
Loves Garland: OR,
Posies for Rings, Hand-kerchers, & Gloves: And such pretty Tokens that Lovers send their Loves.
A REPRINT.
WHEREUNTO IS ADDED A COLLECTION OF POSIE MOTTOES, GATHERED FROM DIVERS SOURCES, AND ENTITLED,
Ye Garland of Ye Sette of Odd Volumes.
TO WHICH IS PREFIXED AN INTRODUCTION, IN WHICH SOME TRITE THINGS ARE SAID CONCERNING THE EFFORTS OF THE EARLY ALCHEMISTS TO TRANSMUTE THE BASER METALS INTO GOLD, SHOWING A WAY THROUGH THE LABYRINTHS OF
“Ye Mystic Art” TO THE ABODE OF CUPID.
CONCLUDING BY A FEW WORDS TO THE UNSENTIMENTAL SCEPTIC,
AND AN AUTHENTIC DEFINITION OF THE PHILOSOPHER’S STONE.
By JAMES ROBERTS BROWN, Alchymist, &c. &c. F.R.G.S., F.A.S.L., F.R.S.N.A. Copenhagen.
Imprynted by Bro$^r$ C. W. H. Wyman
Typographer to y$^e$ Sette, at hys Printing-hovſe in Great Qveene Street, over againſt Lincoln’s Inne Fields, within y$^e$ Pariſh of Saynt Giles in y$^e$ Fields London, m.d.ccc.lxxxiij
Dedicated and Presented
TO
Ye Sette of Odd Volumes
BY
Bro. James Roberts Brown, Alchymist.
London, September, 1883.
DULCE EST DESIPERE IN LOCO.—Horace.
DULCE—Delightful, says the poet, EST—is it, and right well we know it, DESIPERE—to play the fool IN LOCO—when we’re out of school. W. M. T.
CONTENTS.
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
# Creative Unity

CREATIVE UNITY
MACMILLAN AND CO., Limited
London • Bombay • Calcutta • Madras Melbourne
THE MACMILLAN COMPANY
New York • Boston • Chicago Dallas • San Francisco
THE MACMILLAN CO. OF CANADA, Ltd.
Toronto
CREATIVE UNITY
BY
RABINDRANATH TAGORE
MACMILLAN AND CO., LIMITED ST. MARTIN'S STREET, LONDON
1922
COPYRIGHT
PRINTED IN GREAT BRITAIN
TO
Dr. EDWIN H. LEWIS
CONTENTS
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1941, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 82 years or less. 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
# Love, that doth reign and live within my thought

This work was published before January 1, 1930, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
* information about this edition
* sister projects: Wikidata item
There is a slightly different translation attributed to Howard here: https://archive.org/details/selectedsonnetso0000petr/page/64/mode/2up
Love, that doth reign and live within my thought, And built his seat within my captive breast, Clad in the arms wherein with me he fought, Oft in my face he doth his banner rest. But she that taught me love and suffer pain, My doubtful hope and eke my hot desire With shamefast look to shadow and refrain, Her smiling grace converteth straight to ire. And coward Love then to the heart apace Taketh his flight, where he doth lurk and plain, His purpose lost, and dare not show his face. For my lord's guilt thus faultless bide I pain, Yet from my lord shall not my foot remove: Sweet is the death that taketh end by love.
# Fairy Tales, Now First Collected/Song 6

SONG VI.
THE FAIRYS FAREWELL.
Farewell rewards and fairies!  Good housewives now may say; For now foul sluts in dairies,  Do fare as well as they. And though they sweep their hearths no less  Than maids were wont to do, Yet who of late for cleanliness  Finds six-pence in her shoe?
Lament, lament old abbies,  The fairies lost command; They did but change priests babies,  But some have changed your land: And all your children stol'n from thence  Are now grown puritanes, Who live as changelings ever since,  For love of your demaines.
At morning and at evening both  You merry were and glad, So little care of sleep and sloth,  These pretty ladies had. When Tom came home from labour,  Or Ciss to milking rose, Then merrily went their tabour,  And nimbly went their toes.
Witness those rings and roundelays  Of theirs, which yet remain; Were footed in queen Marys days  On many a grassy plain. But since of late Elizabeth,  And later James came in, They never danced on any heath,  As when the time hath bin.
By which we note the fairies  Were of the old profession; Their songs were Ave Maries,  Their dances were procession. But now, alas! they all are dead,  Or gone beyond the seas, Or farther for religion fled,  Or else to take their ease.
A tell-tale in their company,  They never could endure; And whoso kept not secretly  Their mirth was punish'd sure: It was a just and christian deed  To pinch such black and blue: O how the commonwealth doth need  Such justices as you!
Now they have left our quarters;  A register they have, Who can preserve their charters;  A man both wise and grave. An hundred of their merry pranks  By one that I could name Are kept in store; con twenty thanks  To William for the same.
To William Churne of Staffordshire  Give laud and praises due, Who every meal can mend your chear  With tales both old and true: To William all give audience,  And pray ye for his noddle: ​For all the fairies evidence  Were lost if it were addle.
# Monkey-Doodle-Doo
## Sheet music

* "The Monkey-Doodle-Doo" (1913), published by Waterson, Berlin & Snyder Co. (external scan)

## Film renditions

* "Monkey-Doodle-Doo" (1929), as performed in The Cocoanuts
# Leviathan

* information about this edition
* sister projects: Wikipedia article, Commons category, Wikidata item

## Table of Contents

* Dedication
* Introduction
* The first Part, Of Man
* The second Part, Of Common-wealth
* The third Part, Of A Christian Common-wealth
* The fourth Part, Of the Kingdome Of Darknesse
This work was published before January 1, 1930, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# When My Dreams Come True (1929, sheet music)

When My Dreams Come True
Tune Ukulele or Banjulele Banjo G C E A
By Irving Berlin
Ukulele Arr. by May Singhi Breen
Copyright 1929 by Irving Berlin, Inc., 1607 Broadway, N.Y. International Copyright Secured Made in U.S.A. All Rights Reserved
This work is in the public domain in the United States because it was published before January 1, 1930.
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.
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# Memoirs of Anne C. L. Botta/Springtime

Over the valleys and over the mountains,  Borne on the wings of the south wind I come;  Breaking the ice-chains, unloosing the fountains,  Waking all Nature to beauty and bloom.
 Flowers from the green turf in myriads are springing;  Zephyrs are faint with the perfume they bear;  While the voices of Earth, Air, and Ocean are singing,  Hail to the springtime! the youth of the year!
 Oh, gather my rosebuds and sport in my bowers,  Children of Earth, while my footsteps I stay.  Wreathe with your garlands my vanishing hours,  Which like life's sunny springtime are passing away.
# Poems (Kennedy)/Springtime

THE willows glow gold in the sunlight,  The robins, a-wing, Spill out on the crystalline ether  The lyric of spring. There's a dream in the wind as it passes,  A spell in the haze,
For the year has come back to the season  Of do-nothing days. The grass is shot white with sweet clover  Like foam of green seas, Where glean the freebooters of pillage—  The vagabond bees.
There's a beckon for me in the shadows  That ripple the plain, A lure in the hide-and-seek sunshine,  A call in the rain. And in fancy I'm out on the hilltops,  All care left behind,
Answering the dare that is wafted  From gypsying wind; Or, prone on my back in the clover  Of meadow-sweet ways I lie—just a loafer and dreamer  These do-nothing days.
# Ancient India as described by Megasthenês and Arrian/Frag. X.

Fragm. X
Pliny, Hist. Nat. VI. 22. 6.
Of the Setting of the Bear.
Next [to the Prasii] in the interior are the Monedes and the Suari, to whom belongs Mount Maleus, on which shadows fall towards the north in winter, and in summer to the south, for six months alternately. The Bears, Baeton ​says, in that part of the country are only once visible in the course of the year, and not for more than fifteen days. Megasthenes says that this takes place in many parts of India.
Conf. Solin, 52. 13:—
Beyond Palibothra is Mount Maleus, on which shadows fall in winter towards the north, and in summer towards the south, for six months alternately. The North Pole is visible in that part of the country once in the course of the year, and not for longer than fifteen days, as Baeton informs us, who allows that this occurs in many parts of India.
# Cambridge Natural History Mammalia

* information about this edition
* related portals: Natural history
* sister projects: Wikidata item
CONTENTS
| | Page |
| Scheme of the Classification adopted in this Book | ix |
| CHAPTER I ||
| Introductory | 1 |
| CHAPTER II ||
| Structure and Present Distribution of the Mammalia | 5 |
| CHAPTER III ||
| The Possible Forerunners of the Mammalia | 90 |
| CHAPTER IV ||
| The Dawn of Mammalian Life | 96 |
| CHAPTER V ||
| The Existing Orders of Mammals: Prototheria-Monotremata | 105 |
| CHAPTER VI ||
| Introduction to the Sub-Class Eutheria | 116 |
| CHAPTER VII ||
| Eutheria—Marsupialia | 122 |
| CHAPTER VIII ||
| Edentata—Ganodonta | 161 |
| CHAPTER IX ||
| Ungulata—Condylarthra—Amblypoda—Ancylopoda—Typotheria— Toxodontia—Proboscidea—Hyracoidea | 195 |
| CHAPTER X ||
| Ungulata (continued)—Perissodactyla (Odd-toed Ungulates)—Litopterna | 235 |
| CHAPTER XI ||
| Ungulata (continued)—Artiodactyla (Even-toed Ungulates)—Sirenia | 269 |
| CHAPTER XII ||
| Cetacea—Whales and Dolphins | 339 |
| CHAPTER XIII ||
| Carnivora—Fissipedia | 386 |
| CHAPTER XIV ||
| Carnivora (continued)—Pinnipedia (Seals and Walruses)—Creodonta | 446 |
| CHAPTER XV ||
| Rodentia—Tillodontia | 458 |
| CHAPTER XVI ||
| Insectivora—Chiroptera | 508 |
| CHAPTER XVII ||
| Primates | 533 |
This work is in the public domain in the United States because it was published before January 1, 1930.
The longest-living author of this work died in 1925, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 99 years or less. 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
# The Coral Insect

* information about this edition
* sister projects: Wikidata item
Printed in Bryant, William Cullen, ed. The family library of poetry and song: being choice selections from the best poets, English, Scottish, and American; Including translations from the German, Spanish, French, Portuguese, Persian, Latin, &c. New York: Fords, Howard and Hulbert, 1880. Pages 623-24.
TOIL on! toil on! ye ephemeral train,
Who build in the tossing and treacherous main
Toil on! for the wisdom of man ye mock,
With your sand-based structures and domes of rock,
Your columns the fathomless fountains' lave,
And your arches spring up to the crested wave;
Ye're a puny race thus to boldly rear
A fabric so vast in a realm so drear.
Ye bind the deep with your secret zone,— The ocean is sealed, and the surge a stone;
Fresh wreaths from the coral pavement spring,
Like the terraced pride of Assyria's king;
The turf looks green where the breakers rolled;
O'er the whirlpool ripens the rind of gold;
The sea-snatched isle is the home of men,
And mountains exult where the wave hath been.
But why do ye plant,'neath the billows dark,
The Wrecking reef for the gallant bark?
There are snares enough on the tented field,
Mid the blossomed sweets that the valleys yield;
There are serpents to coil ere the flowers are up,
There's a poison drop in man's purest cup,
There are foes that watch for his cradle breath,
And why need ye sow the floods with death?
With mouldering bones the deeps are white,
From the ice-clad pole to the tropics bright;
The mermaid hath twisted her fingers cold
With the mesh of the sea-boy's curls of gold,
And the gods of the ocean have frowned to see
The mariner's bed in their halls of glee;
Hath earth no graves, that ye thus must spread
The boundless sea for the thronging dead?
Ye build—ye build—but ye enter not in,
Like the tribes whom the desert devoured in their sin;
From the land of promise ye fade and die
Ere its verdure gleams forth on your weary eye:
As the kings of the cloud-crowned pyramid,
Their noiseless bones in oblivion hid,
Ye slumber unmarked mid the desolate main,
While the wonder and pride of your works remain.
This work was published before January 1, 1930, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# The Ruler's Faith

* information about this edition
* sister projects: Wikidata item
Holland, J. G. [Josiah Gilbert]. Christ and the Twelve: or, Scenes and Events in the Life of our Saviour and His Apostles, As Painted by the Poets. Springfield, Illinois: Gurdon Bill & Company; Chicago: Charles Bill; Cincinnati: H. C. Johnson, 1867. Pages 330-332.
DEATH cometh to the chamber of the sick:
The ruler's daughter, like the peasant's child,
Turns pale as marble. Hark! that hollow moan,
Which none may soothe, and then the last faint breath
Subsiding with a shudder.
 Deep the wail
That speaks an idol fallen from the shrine
Of a fond parent's heart. A withered flower
Is there, oh mother, where thy proudest hope
Solaced itself with garlands, and beheld
New buddings every morn.
 Father, 'tis o'er!
That voice is silent which had been thy harp,
Quickening thy footsteps nightly toward thy home,
Mingling, perchance, an echo all too deep
Even with thy temple worship,
Should deal with God alone.  What stranger-step
Breaketh the trance of grief! Whose radiant brow
In meekness and in majesty doth bend
Beside the bed of death?
 "She doth but sleep;
The damsel is not dead." A smothered hiss,
Contemptuous, rises from that wondering band,
Who beat the breast, and raise the license wail
Of Judah's mourning.
 Look upon the dead!
Heaves not the winding-sheet? Those trembling lids,
What peers beneath their fringes, like the tint
Of dewy violet? The blanched lips dispart,
And what a quivering long-drawn sigh restores
Their rose-leaf beauty. Lo! that clay-cold hand
Doth clasp the Master's, and, with sudden spring,
That shrouded sleeper, like a timid fawn,
Hides in her mother's bosom. Faith's strong root
Was in the parent's spirit, and its fruit
How beautiful!
 Oh, mother! who doth gaze
Upon thy daughter, in that deeper sleep,
Which threats the soul's salvation, breathe her name
To thy Redeemer's ear, both when she smiles
In all her glowing beauty on the morn,
Or when at night her clustering tresses sweep
Her downy pillow, in the trance of dreams,
Or when at pleasure's beckoning she goes forth,
Or to the meshes of an early love
Yields her young heart, be eloquent for her,
Take no denial, till the gracious hand,
Which raised the ruler's dead, give life to her,
That better life, whose power surmounts the tomb.
This work was published before January 1, 1930, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse