OpenLLM-France/wikimedia huggingface dataset:
# Jim Crow/Auld langsyne

AULD LANGSYNE.
Should auld acquaintance be forgot, And never brought to min’? Should auld acquaintance be forgot, And days o’ langsyne? For auld langsyne, my dear, For auld langsyne, We’ll take a cup of kindness yet, For auld langsyne.
We twa hae run about the braes, And pu’d the gowans fine; But we’ve wander’d mony a weary foot, Since auld langsyne. For auld langsyne, &c.
We twa ha’e paidel’t in the burn, Frae morning sun till dine; But seas between us braid hae roared Sin’ auld langsyne. For auld langsyne, &c.
Now there’s a hand my trusty frien’, And gie’s a hand o’ thine, And we’ll take a right gude wallie-waucht, For auld langsyne. For auld langsyne, &c.
And surely ye’ll be your pint-stoup, As sure as I’ll be mine, And we’ll take a cup o’ kindness yet, For auld langsyne. For auld langsyne, &c.
# Burns' Popular Songs/Auld Lang Syne

Auld Lang Syne.
# The Musical Charmer/Auld Langsyne

AULD LANGSYNE.
# The Lover's Songster

THE
LOVER'S
SONGSTER;
A NEW
SONG BOOK,
Being a Choice Collection of
CELEBRATED LOVE SONGS:
NAMELY,
Printed by J. Marshall,
In the Old Flesh-Market, Newcastle;
Where may also be had, a large and interesting Collection of Songs, Balads, Tales, Histories, &c.
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
# Lilies of the Valley (1825, Stirling)/Up in the Morning

UP IN THE MORNING.
# The Bonny Bridge of Findhorn/Up in the Morning

UP IN THE MORNING.
FINIS.
# Heaving of the Lead (1825)/Cauld blaws the wind

UP IN THE MORNING EARLY.
Cauld blaws the win' frae north to south And drift is driving sairly; The sheep are couring i' the height, O sirs! it’s winter fairly. Now up in the morning’s no for me, Up in the morning early; ​I'd rather gang supperless to my bed Than rise in the morning early.
Rude rairs the blast amang the woods, The branches tirlin barely; Amang the chimney-taps it thuds, And frost is nippin sairly. Now up in the morning's no for me, Up in the morning early; To sit a' night I'd rather agree, Than rise in the morning early.
The sun peeps o'er yon southland hill, Like ony timorous carlie; Just blinks a wee, then sinks again, And that we find severely. Now up in morning's no for me, Up in the morning early; When snaw blaws into the chimley cheek, Wha'd rise in the morning early.
Nae linties lilt on hedge or bush, Poor things, they suffer sairly; In cauldrife quarters a' the night, A' day they feed but sparely. ​Now up in the morning's no for me, Up in the morning early; No fate can be waur, in wintertime, Than rise in the morning early.
A cosey house, and cantie wife. Keeps ay a body cheerly; And pantry stow'd wi' meal and maul, It answers unco rarely. But up in the morning, na, na, na, Up in the morning early; The gowans maun glent on bank and brae, When I rise in the morning early.
# Burns' Popular Songs/Up in the Morning early

Up in the Morning early.
# Lilies of the Valley (1825, Stirling)/Flora's Lament for Charly

FLORA'S LAMENT FOR CHARLY.
# Flora's Lament for Charlie ('Why, my Charly, thus to leave me')

"Why, my Charly, thus to leave me"
* "Flora's Lament for Charlie", in The new way of The Soldier's Return (1822), a chapbook printed in Edinburgh
* "Flora's Lament for Charly", in Lilies of the Valley (1825), a chapbook printed in Stirling
# The Clydesdale wedding/Flora's lament for Charly

FLORA'S LAMENT FOR CHARLY.
Sweet is the rose that's budding on yon thorn, Down in yon valley so cheery; But sweeter is the flower does my bosom adorn, That springs from the breast of my dearie. ​The lav'rock may whistle and sing o'er the lea, Wi' a' its strains sae rarely; But when will it bring such music to me, As the voice o' my ain handsome Charlie.
The tears steal gently down frae my een, Nae dangers on earth then could fear me: My heart throbbing beat and I heav'd up a sigh, When the lad that I lov'd was near me. Fu' trig wi’ his bonny bonnet sae blue, And his tartan dress sae rarely; A heart that was leal and to me ever true, Was aye in the breast of my Charlie.
His lang quartered shoon, and his buckles sae clear, On his shoulder was knotted the plaidie; Naething on earth was to me half sae dear, As a sight of my ain Highland laddie. Red was his cheeks and flaxen his hair, Hanging down on his shoulders sae rarely; A blink o' his ee wi' a smile banish'd care, Sae handsome then was my Charlie.
My laddie, ohon was the flower o' them a', For the loss of my mate I am eerie; For when that the pibroch began for to blaw, 'Twas then that I lost my dearie. But waes me alas, wi' their slaughter and war, 'Twas then that he gaed awa fairly; And broad is the sea now that parts me afar, Frae the love o' my ain handsome Charlie.
Ance my hours wi' pleasure was blest, But now they are dull and eerie; ​And when on slumber's soft billows I rest, I behold the sweet shade of my dearie. But as long as I live. and as long as I breath, I will sing to his memory rarely, Till love is united by the arrows of death, O Flora shall mourn for her Charlie.
# Flora's Lament for Charlie ('Sweet is the rose that's budding on yon thorn')

"Sweet is the rose that's budding on yon thorn"
* "Flora's lament for Charly", in The Clydesdale wedding (1822), a chapbook printed in Edinburgh
* "Flora's Lament for Charlie", in The Bonny Lassie's Plaidy Awa (n.d.), a chapbook printed in Stirling
# The Bonny Lassie's Plaidy Awa/Flora's Lament for Charlie

FLORA'S LAMENT FOR CHARLIE.
# The Clydesdale wedding

The Clydesdale wedding
TO WHICH ARE ADDED,
Flora's lament for Charly.
The banks of the Dee.
Go plaintive sounds.
EDINBURGH:
Printed for the Booksellers in Town and
Country.
1822.
* The Clydesdale wedding
* Flora's lament for Charly
* The banks of the Dee
* Go plaintive sounds
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
# Flora's Lament for Charlie

* Search for titles containing or beginning with: "Flora's Lament for Charlie."
* 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.
* "Flora's Lament for Charlie", a song by an unknown author (Sweet is the rose that's budding on yon thorn)
* "Flora's Lament for Charlie", a song by an unknown author (Why, my Charly, thus to leave me)
# Poems: New and Old (Newbolt)/A Chanty of the Emden

A Chanty of the Emden
# Poems: New and Old (Newbolt)/The Service

The Service
# Villanelle

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.
* "Villanelle", a poem by Olive Custance (If Summer has her blossom land)
* "Villanelle" in Littell's Living Age, 135 (1747), a poem by Emily Jane Pfeiffer (O Summer-time, so passing sweet)
* "Villanelle", a poem by May Probyn (In every sound, I think I hear her feet)
* "Villanelle", a poem by May Probyn (I looked across the garden wall)
* "Villanelle", a poem by May Probyn (Where larks were singing high in air)

### Encyclopaedia articles

* "Villanelle," in Encyclopædia Britannica (11th ed., 1911)
# Opals (Custance)/Villanelle

Villanelle
# Littell's Living Age/Volume 135/Issue 1747/Villanelle

* VILLANELLE.
* O Summer-time, so passing sweet,
* But heavy with the breath of flowers,
* But languid with the fervent heat,
* They chide amiss who call thee fleet, —
* Thee, with thy weight of daylight hours,
* O Summer-time, so passing sweet!
* Young Summer, thou art too replete,
* Too rich in choice of joys and powers,
* But languid with the fervent heat.
* Adieu! my face is set to meet
* Bleak Winter, with his pallid showers, —
* O Summer-time so passing sweet!
* Old Winter steps with swifter feet,
* He lingers not in wayside bowers,
* He is not languid with the heat;
* His rounded day, a pearl complete,
* Gleams on the unknown night that lowers;
* O Summer-time, so passing sweet,
* But languid with the fervent heat!
* Spectator.EMILY PFEIFFER.
# 1911 Encyclopædia Britannica/Villanelle

See also Villanelle on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VILLANELLE, a form of verse, originally loose in construction, but since the 16th century bound in exact limits of an arbitrary kind. The word is ultimately derived from the Latin villa, a country house or farm, through the Italian villano, a peasant or farm hand, and a villanelle was primarily a round song taken up by men on a farm. The Spaniards called such a song a villancejo or villancete or a villancico, and a man who improvised villanelles was a villanciquero. The villanelle was a pastoral poem made to accompany a rustic dance, and from the first it was necessary that it should contain a regular system of repeated lines. The old French villanelles, however, were irregular in form. One of the most celebrated, the “Rosette, pour un peu d'absence” of Philippe Desportes (1545–1606), is a sort of ballade, and those contained in the Astrée of d’Urfé, 1610, are scarcely less unlike the villanelles of modern times. It appears, indeed, to have been by an accident that the special and rigorously defined form of the villanelle was invented. In the posthumous poems of Jean Passerat (1534–1602), which were printed in 1606, several villanelles were discovered, in different forms. One of these became, and has remained, so deservedly popular, that it has given its exact character to the subsequent history of the villanelle. This famous poem runs as follows:—
This exquisite lyric has continued to be the type of its class, and the villanelle, therefore, for the last three hundred years has been a poem, written in tercets, on two rhymes, the first and the third line being repeated alternatively in each tercet It is usual to confine the villanelle to five tercets, but that is not essential; it must, however, close with a quatrain, the last two lines of which are the first and third line of the original tercet. The villanelle was extremely admired by the French poets of the Parnasse, and one of them, Théodore de Banville, compared it to a ribband of silver and gold traversed by a thread of rose-colour. Boulmier, who was the first to point out that Passerat was the inventor of the definite villanelle, published collections of these poems in 1878 and 1879, and was preparing another when he died in 1881. When, in 1877, so many of the early French forms of verse were introduced, or reintroduced, into English literature, the villanelle attracted a great deal of attention; it was simultaneously cultivated by W. E. Henley, Austin Dobson, Lang and Gosse. Henley wrote a large number, and he described the form itself in a specimen beginning:—
| “ | A dainty thing's the Villanelle, |
| | Sly, musical, a jewel in rhyme, |
| | It serves its purpose passing well.” |
It has since then been very frequently used by English and American poets. There are several excellent examples in English of humorous villanelles, especially those by Austin Dobson and by Henley.
See Joseph Boulmier, Les Villanelles (Paris, 1878; 2nd enlarged edition, 1879).
    (E. G.)
# A Rondeau (Dobson)

Published originally in Notes and Queries on 23 December 1882, and reprinted in Notes by the Way
In 'N. & Q.' we meet to weigh  The Hannibals of yesterday;
 We trace, thro' all its moss o'ergrown,  The script upon Time's oldest stone,
 Nor scorn his latest waif and stray.  Letters and Folk-lore, Art, the Play;
 Whate'er, in short, men think or say,  We make our theme,—we make our own,—
Stranger, whoe'er you be, who may
 From China to Peru survey,
 Aghast, the waste of things unknown,
 Take heart of grace, you 're not alone;
 And all (who will) may find their way
In 'N. & Q.' AUSTIN DOBSON.
    December, 1882.
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 1929, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 94 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
# Dreams & Dust/The Rondeau

Published in the collection Dreams and Dust (1915).
YOUR rondeau's tale must still be light-- No bugle-call to life's stern fight! Rather a smiling interlude Memorial to some transient mood Of idle love and gala-night.
Its manner is the merest sleight O' hand; yet therein dwells its might, For if the heavier touch intrude Your rondeau's stale.
Fragrant and fragile, fleet and bright, And wing'd with whim, it gleams in flight Like April blossoms wind-pursued Down aisles of tangled underwood;-- Nor be too serious when you write Your rondeau's tail!
# 1911 Encyclopædia Britannica/Rondeau

See also Rondeau (forme fixe) on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​RONDEAU (Ital. Rondo), a structural form in poetry and (in the form of “ rondo ”) in music. In poetry the rondeau is a short metrical structure which in its perfect form consists of thirteen eight- or ten-syllables verses divided into three strophes of unequal length, and knit together by two rhymes and a refrain. In Clement Marot's time the laws of the rondeau were laid down, and, according to Voiture, in the 17th century, the following was the type of the approved form of the rondeau:—  "Ma foy, c'est fait de moy, car Isabeau  M'a conjuré de luy faire un Rondeau:  Cela me met en une peine extrême.  Quoy treize vers, huit en eau, cinq en ème.  Je luy ferois aussi-tot un bateau
En voilà cinq pourtant en un monceau:  Faisons en huict, en invoquant Bordeaux,  En puis mettons, par quelque stratagème,  Ma foy, c'est fait !
Si je pouvois encore de mon cerveau  Tirer cinq vers, l'ouvrage seroit beau;  Mais dependant, je suis dedans l'onzième,  Et si je croy que je fais le douzième  En voila treize ajustez au niveau.  Ma foy, c'est fait !”
All forms of the rondeau, however, are alike in this, that the distinguishing metrical emphasis is achieved by a peculiar use of the refrain. Though we have a set of rondeaux in the Rolliad (written by Dr. Lawrence the friend of Burke, according to Edmund Gosse, who has given us an admirable essay upon exotic forms of verse), it was not till recent years that the form had any real vogue in England. Considerable attention, however, has lately been given in England to the form. Some English rondeaux are as bright and graceful as Voiture's own. Swinburne, who in his Century of Roundels was perhaps the first to make the refrain rhyme with the second verse of the first strophe, has brought the form into high poetry. In German, rondeaux have been composed with perfect correctness by Weckherlin, and with certain divergences from the French type by Götz and Fischart; the German name for the form is rundum or ringel-gedicht.
Although the origin of the retrain in all poetry was no doubt the improvisatory's need of a rest, a time in which to focus his forces and recover breath for future flights, the refrain has a distinct metrical value of its own; it knits the structure together, and so intensifies the emotional energy, as we see in the Border ballads, in the Oriana of Lord Tennyson, and in the Sister Helen of Rossetti. The suggestion of extreme artificiality—of “ difficulty overcome ”—which is one great fault of the rondeau as a vehicle for deep emotion, does not therefore spring from the use of the refrain, but from the too frequent recurrence of the rhymes in the strophes—for which there is no metrical necessity as in the case of the Petrarchan sonnet. The rondeau is, however, an inimitable instrument of gaiety and grace in the hands of a skilful poet.
# A Dictionary of Music and Musicians/Rondeau

From volume 3 of the work.
[ G. ]
# Rondeau

* Search for titles containing or beginning with: "Rondeau."
* sister projects: Wikipedia article, Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* "Rondeau", a poem attr. to Luís de Camões and translated by Percy Smythe
* "A Rondeau", a poem by Henry Austin Dobson
* "Rondeau", a poem by James Henry Leigh Hunt
* "Rondeau" in Littell's Living Age, 144 (1855), a poem attributed to "C. M."
* "The Rondeau", a poem by Don Marquis
* "Rondeau", a poem by May Probyn
* "Rondeau", a poem by Nathanael West

### Encyclopaedia articles

* "Rondeau," in Encyclopædia Britannica (11th ed., 1911)
* "Rondeau," in A Dictionary of Music and Musicians, (ed.) by George Grove, London: MacMillan & Co., Ltd. (1900)
* “Rondeau”, in The Encyclopedia Americana, New York, 1920
# The Encyclopedia Americana (1920)/Rondeau

Edition of 1920. See also Rondo on Wikipedia, and the disclaimer.
RONDEAU, rŏn'dō, or RONDO, originally a short lyric of 13 lines divided into three unequal strophes; the two or three first words form the burden, and are repeated after the 8th and 13th line. The term is now chiefly applied to a musical composition, vocal or instrumental, generally consisting of three strains, the first of which closes in the original key, while each of the others is so constructed in point of modulation as to reconduct the ear in an easy and natural manner to the first strain. The rondeau takes its name from the circumstance of the melody going round after both the second and third strain to the first strain, with which it is finally closed. While it frequently forms the last movement of a sonata or a symphony, it is quite as common as a separate composition.
# The Poetical Works of Leigh Hunt/Rondeau

RONDEAU.
# Bells

* Search for titles containing or beginning with: "Bells."
* sister projects: Wikipedia article, Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* Bells, a poem by Letitia Elizabeth Landon
* Bells, a poem by Howard Phillips Lovecraft
* Bells, a poem by May Probyn
* Bells, a poem by Sara Teasdale

## See also

* The Bells
# Woman

* Search for titles containing or beginning with: "Woman."
* sister projects: Wikipedia article, Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* Woman, an unpublished manuscript by Kate Austin
* "Woman", a poem by Elizabeth Margaret Chandler
* "Woman", alternative title to Letitia Elizabeth Landon's poem Humanity Angelic
* "Woman", a poem by Elizabeth Markham
* "Woman", an essay by Sophia Willard Dana Ripley
* "Woman", a poem by Ella Wheeler Wilcox
* "Woman", a poem by Fu Xuan

## See also

* Man
* Girl
* The One Woman
# Rain

* Search for titles containing or beginning with: "Rain."
* sister projects: Wikipedia article, Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* "Rain", a poem by Elizabeth Jane Coatsworth ("The rain is lisping at our blue umbrella")
* "Rain", a poem by Sophia May Eckley
* "Rain", a poem by Nora May French
* "Rain", a poem by Ethel B. Grossman
* "Rain" by William Ernest Henley in Littell's Living Age, 127 (1644), a poem
* "Rain", a poem by Roderick Watson Kerr
* "The Rain", translation of a Czech national song by Flora Pauline Wilson Kopta
* "Rain", a poem by Alfred Francis Kreymborg
* "Rain", an essay by Alice Meynell
* "Rain", a short story by Clemence Randolph
* "Rain", a fragment of a poem by Percy Bysshe Shelley
* "Rain", a poem by Charles Hamilton Sorley
* "Rain", a poem by Robert Louis Stevenson
* "Rain", a poem by Edward Thomas
# Lyrics of Sunshine and Shadow/The Veteran

Layout 2
THE VETERAN
# Lyrics of Sunshine and Shadow/Yesterday and To-Morrow

Layout 2
YESTERDAY AND TO-MORROW
# Lyrics of Sunshine and Shadow/The Change

Layout 2
THE CHANGE
# Lyrics of Lowly Life/Why fades a Dream?

Layout 2
WHY FADES A DREAM?
# Poems (Bell)

Copyright Applied For.
PAGE 20.
PREFACE.
To My Friends:
I venture to give forth these poems in all their crudeness and I ask you to overlook the defects that exist in rhythm and metre: and, if you find anything readable, to remember the thought that prompted the utterings. I have never, in a single instance, attempted to make a correction or add a word, but have written the thoughts down just as they came into my mind; therefore, I ask your forbearance. and, should you find anything commendable herein, I shall be glad and feel that my work has not been an entire failure.
CLARA L. BELL.
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
# Poems (Bell)/Pictures from the Blue Hills

* ↑ Fact
* ↑ Milton High (old)
* ↑ Hyde Park Chimes.
# The Rose (Young)

* related portals: Poetry.
* sister projects: Wikidata item.
Appeared in Marzillian and Other Poems (1938) (original has "white" for "sweet")
The rose that blooms in Paradise Burns with an ecstasy too sweet For mortal eyes
But sometimes down the jasper walls A petal falls Toward Earth and night
To lose it is to lose delight Beyond compare To have it is to have Despair
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 published in 1938 could have had their copyright renewed in 1965 or 1966, i.e. 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, 1967.
The longest-living author of this work died in 1956, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 67 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.
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.
Public domainPublic domainfalsefalse
# To Baby

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.
* "To Baby", a poem by Clara L. Bell
* "To baby", a poem by Eleanora Littledale Fergusson