OpenLLM-France/wikimedia huggingface dataset:
# The Girl That Disappears/Chapter 7

VII
NOW MAN'S BUSINESS, NOT WOMAN'S
THIS brings us to a vital, shameful fact, too little known to the general public, but a fact policemen have impressed on them more and more every day; prostitution as it exists as an international traffic and as a part of the life of every one of our big American cities, is no longer a WOMAN'S trade; it is a MAN'S trade. There are women procurers, women importers, and women proprietors, it is true, but taken in the main the business is carried on by men, stimulated far beyond its natural proportions by men, and much of the profits are collected by men.
The girl who disappears lives on somewhere in the under-world for the money profit of men. These men who profit di​rectly from the shame of women fall into two classes—procurers and protectors. The classes overlap one another, and the men are often engaged in both ends of the business. The procurer, or the "cadet" as he is usually known, keeps up the supply of women, which, except for his industrious labors, would fall far below its present volume. For while it is undoubtedly true that women do adopt voluntarily a life of immorality, it is easy to prove that a large proportion of them must be forced or enticed into the life. If women in large numbers were willing to become prostitutes it would not be necessary to have such enormous machinery in order to recruit the ranks. The "cadet" himself would be unnecessary. But so unwilling are women to debase themselves that the "cadet," the dance hall, the Raines Law hotel, false marriages, drink, and even physical force are necessary to keep the hideous thing alive.
# Ward v. Village of Monroeville/Dissent White

* Court Documents
* Case Syllabus
* Opinion of the Court
* Dissenting Opinion White
[p62] MR. JUSTICE WHITE, with whom MR. JUSTICE REHNQUIST joins, dissenting.
The Ohio mayor who judged this case had no direct financial stake in its outcome. Tumey v. Ohio, 273 U.S. 510 (1927), is therefore not controlling, and I would not extend it.
To justify striking down the Ohio system on its face, the Court must assume either that every mayor-judge in every case will disregard his oath and administer justice contrary to constitutional commands or that this will happen often through to warrant the prophylactic, per se rule urged by petitioner. I can make neither assumption with respect to Ohio mayors nor with respect to similar officials in 16 other States. Hence, I would leave the due process matter to be decided on a case-by-case basis, a question which, as I understand the posture of this case, is not now before us. I would affirm the judgment.
# Seven Keys to Baldpate

* information about this edition
* related portals: Adventure, Mystery, Thriller
A popular novel in 1913, and George M. Cohan quickly adapted the novel as a hit Broadway stage play of the same name. Cohan starred in the 1917 film version, one of seven film versions of the play, and a 1935 revival. The novel was also adapted into two films with different titles, House of the Long Shadows and Haunted Honeymoon, but they had essentially equivalent plots. Warning: template has been deprecated.
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SEVEN KEYS TO BALDPATE
A Paramount Picture. Seven Keys to Baldpate.
WILLIAM HALOWELL MAGEE (DOUGLAS MacLEAN) ARRIVES AT MYSTERIOUS BALDPATE.
SEVEN KEYS TO BALDPATE
BY EARL DERR BIGGERS
AUTHOR OF
LOVE INSURANCE, Etc.
ILLUSTRATED WITH SCENES
FROM THE PHOTOPLAY
A PARAMOUNT PICTURE
STARRING DOUGLAS MacLEAN
GROSSET & DUNLAP
PUBLISHERS NEW YORK
Made in the United States of America
Copyright 1913 The Bobbs-Merrill Company
CONTENTS
CHAPTER PAGE
SEVEN KEYS TO BALDPATE
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 1933, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 90 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
# Poems: New and Old (Newbolt)/Hic Jacet

Hic Jacet
QUI IN HOC SAECULO FIDELITER MILITAVIT
# Poems: New and Old (Newbolt)/Sacramentum Supremum

Sacramentum Supremum
# Poems: New and Old (Newbolt)/Clifton Chapel

Clifton Chapel
# The Kobzar of the Ukraine

A.J. Hunter
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THE KOBZAR OF THE UKRAINE
The Kobzar of the Ukraine
Being Select Poems of Taras Shevchenko
Done into English Verse with Biographical Fragments by
ALEXANDER JARDINE HUNTER
Printed in Winnipeg.
Published by Dr. A. J. Hunter, Teulon, Man.
Copyright, Canada, 1922 by Dr. A. J. Hunter, Teulon, Man.
Illustrations
The decorations and illustrations in this book are meant to show something of Ukrainian art.
The artistic instincts of the peasant women find satisfaction largely in the working of embroidery, each district having its own characteristic types of design.
One of Shevchenko's favorite fancies was to compare his versification to the work of the girls and women embroidering their designs on their garments. He frequently speaks of himself as "embroidering verses."
It is a favorite device of Ukrainian book-makers to decorate their pages with miniature landscapes and little figures.
The frontispiece of the present work is a picture of Shevchenko in youth from an original painted by himself. On page 129 we see him as he looked after his return from exile.
LIFE
Born 1814, February 25.
24 years a serf, 9 years a freeman, 10 years a prisoner in Siberia, 3 1-2 years under police supervision.
Died 1861, February 26.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Anthology of Modern Slavonic Literature in Prose and Verse/Drowsy the waves

UKRAINIAN:
TARAS SHEVTCHENKO.
1. DROWSY THE WAVES.
Drowsy the waves and dim the sky, Across the shore and far away, Like drunken things the rushes sway Without a wind. O God on high, Is it decreed that longer yet Within this lockless prison set, Beside this sea that profits naught, I am to languish? Answering not, Like to a living thing, the grain Sways mute and yellowing on the plain; No tidings will it let me hear, And none besides to give me ear. (1848.)
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Anthology of Modern Slavonic Literature in Prose and Verse/See fires ablaze

* related portals: Ukrainian literature, Modern texts
* sister projects: Wikidata item
2. SEE FIRES ABLAZE.
See fires ablaze, hear music sound,— The music weeps and nestles round. E'en as a diamond, precious, fair, The eyes of youth are bright, how bright!
Gladness and hope have set their light In joyous eyes. They know not care, Those youthful eyes,—no sin is there. And all are filled with mirth and glee, And all are dancing. I alone Gaze, as there were a curse on me. I weep, I weep to all unknown. Why doI weep? Perchance to mourn, How without hap, as tempest-borne, The days of all my youth have flown. (1850.)
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Poems (Chilton, 1885)/The Mother's First Grief

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THE MOTHER'S FIRST GRIEF.
# Poems (Chilton, 1885)/The Exile's Return

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THE EXILE'S RETURN.
[READ AT THE RE-INTERNMET OF THE REMAINS OF JOHN HOWARD PAYNE, AUTHOR OF "HOME, SWEET HOME," AT WASHINGTON, D. C., JUNE 9th, 1882.]
# Poems (Chilton, 1885)/Epitaph on the Tomb of Payne

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EPITAPH ON THE TOMB OF JOHN HOWARD PAYNE AT TUNIS.
# Poems (Chilton, 1885)/Dirge for an Infant

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DIRGE FOR AN INFANT.
# Poems (Chilton, 1885)/Poems

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POEMS.
* The Mother's First Grief
* The Exile's Return
* Epitaph on the Tomb of Payne
* Dirge for an Infant
* Little Fanny
* Heart's-Ease
* To James Russell Lowell
* Shipwreck
* Grant
* Powers' Greek Slave
* The Little Peasant
* To Kossuth
* Garfield
* Mrs. Garfield
* To a Picture by Elliott
* Alms-Giving
* Winter
* Lend a Hand
* Heart-Summer
* Thomas Hood
* Rab
* Pleasure and Duty
* Poems (Chilton, 1885)/Herndon/Herndon
* To———("Softly Fades the Golden Sunlight")
* Stanzas Suggested by the Death of Miss Canda
* In Memoriam, (M. C. F.)
* Katy
* Sub Rosa
* Valentine for Sympathetic Ink
* To a Cold Beauty
* To a Sister's Memory
* To a Violet, (addressed to V. B.)
* To V. B. on her Eighteenth Birthday
* A May Morning
* Ante Bellum
* The Crisis
* "I Look at the Sky Above Me"
* To M. V. C., (May 13, 1872)
* C. L. E.
* "White and Silent Shines the Moonlight"
* A Memory
* Amor Patriræ
* Stone for Bread
* Old Trinity Church
* Epicedium
# Poems (Chilton, 1885)/Table of Contents

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Preface.
SONNETS.
# Many Many Moons/The Winds of Fifty Winters

PART III
CHIPPEWA MONOLOGUES
A Group or Indian Council Talks
# Many Many Moons/The loon

PART II
LONE FIRES
# Many Many Moons/Chippewa Flute Song

To be chanted softly and monotonously in a high pitch, with a downward inflection at the end of every sentence and at other places where the voice naturally falls.
# Many Many Moons/The Blue Duck

PART I
FLYING MOCCASINS
# Many Many Moons/Introduction

INTRODUCTION
Books say Yes to life. Or they say No. "Many Many Moons" says Yes.
Picking classics in contemporary books is like picking winners in baseball or durable forms of government among nations. One man's guess is as good as another's.
We might say, "Herewith is entered Lew Sarett and 'Many Many Moons' as a runner for a place among the classics." And it would be only a guess.
However, there is nothing in the stipulations of the Espionage Act nor in the Code of Chesterfield nor in the Marquis of Queensbury rules, that stops us from asking:
"Why not have the loam and the lingo, the sand and the syllables of North America in the books of North America?"
And so Sarett . . . with tall timber, freshwaters, blue ducks, and a loon in him. The loon, a poet's bird for sure, is here. Unless there is a loon cry in a book the poetry is gone out of it. We have too many orderly, respectable, synthesized poets in the United States and in England. In their orientation with the library canary fed from delicatessen tins, they are strangers to the loon that calls off its long night cry in tall timber up among the beginnings of the Mississippi.
​Sarett has equipment. Years a forest ranger and a woodsman, other years a wilderness guide, companion of red and white men as an outrider of civilization, university instructor, headline performer at western Chautauquas, magazine writer, he brings wisdom of things silent and things garrulous to his book. Old men with strong heads and shrewd slow tongues, young men with tough feet, the wishing song of mate for mate—they are here. The loam and the lingo, the sand and the syllables of North America are here. "Many Many Moons" says Yes.
Carl Sandburg
# Many Many Moons

MANY MANY MOONS••• LEW SARETT
MANY MANY MOONS
MANY MANY MOONS
A BOOK OF WILDERNESS POEMS
BY
LEW SARETT
with an introduction by
CARL SANDBURG
NEW YORK
HENRY HOLT AND COMPANY
1920
Copyright, 1920
by
HENRY HOLT AND COMPANY
The Quinn & Boden Company
BOOK MANUFACTURERS
NEW JERSEY RAHWAY
TO
MY WIFE
MARGARET
THIS BOOK IS DEDICATED
NOTE OF ACKNOWLEDGMENT
Of the poems in Part I and Part III of this book, many were first published in Poetry: A Magazine of Verse. The author is indebted to the editors for permission to include them in this volume. For the privilege of reprinting other copyrighted poems in this book he wishes to thank the editors of the following: Reedy's Mirror; The Outing Magazine; The Stratford Journal; The Argosy Magazine; Others; Outdoor Life; Birds and Nature Magazine; the Nature-Study Review; American Forestry; Outer's Book and Recreation; The Farm Journal; The Pagan; The Boston Transcript.
L. S.
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 1954, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 69 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
# Poems (Chilton, 1885)/Grant

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GRANT.
# Poems (Chilton, 1885)/Shipwreck

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SHIPWRECK.
# Poems (Chilton, 1885)/Sonnets

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SONNETS.
* Sunset
* To a Picture
* Father Boyle
* To an Unfinished Portrait by Page
* A Mother's Invocation to the Blessed Virgin
* On the Death of a Friend
* Genius
* On the Death of Col. Brent
* On the Invasion of Rome by the French, (1849)
* "Must I not Love Thee? Lady, say not so."
* "Still to be Near Thee and to Hear Thee Speak."
* "If with too Rude a Hand I Plucked the Rose."
* "If Words Could Say How Much I Love Thee, Dear,"
* "A Rose-bud, and from Thee! Ah! how my heart."
* On a Miniature
* Queen Emma
# The Poetical Works of Robert Burns/Yon wild mossy Mountains

YON WILD MOSSY MOUNTAINS.
# The Book of Scottish Song/The Deil cam' Fiddlin'

The Deil cam' Fiddlin'.
[The old name of the tune now called "The Deil's awa' with the Exciseman," was "The Hemp-dresser," and it can be traced as far back as the middle of the 17th century. The verses of Burns are generally said to have been an extempore effusion, at a meeting of his brother excisemen in Dumfries. It is a curious fact that the original in the poet's hand is written on a piece of excise paper, ruled on the back with red lines. Lockhart's account of the composition of the song differs from others. According to him, it was composed on the shores of the Solway, while the poet and a party of his brother excisemen were engaged in watching the motions of a suspicious-looking brig, which had put in there, and which, it was supposed, was engaged in smuggling. The day following that on which she was first seen, the vessel got into shallow water, and it was then discovered that the crew were numerous, and not likely to yield without a struggle. Lewars accordingly was despatched to Dumfries for a party of dragoons, and another officer proceeded on a similar errand to Ecclefechan, leaving Burns with some men under his orders, to watch the brig and prevent landing or escape. "Burns," says Lockhart, "manifested considerable impatience while thus occupied, being left for many hours in a wet salt-marsh with a force which he knew to be inadequate for the purpose it was meant to fulfil. One of his comrades hearing him abuse his friend Lewars in particular, for being slow about his journey, the man answered that he also wished the devil had him for his pains, and that Burns in the meantime would do well to indite a song upon the sluggard; Burns said nothing; but after taking a few strides by himself among the reeds and shingle, rejoined his party, and chanted to them this well-known ditty."]
The deil cam' fiddlin' through the toun, And danced awa' wi' the exciseman; And ilka auld wife cried, Auld Mahoun, I wish you luck o' the prize, man. The deil's awa', the deil's awa', The deil's awa' wi' the exciseman; He's danced awa', he's danced awa', He's danced awa' wi' the exciseman!
We'll mak' our maut, we'll brew our drink, We'll laugh, sing, and rejoice, man; And mony braw thanks to the meikle black deil, That danced awa' wi' the exciseman. There's threesome reels, there's foursome reels, There's hornpipes and strathspeys, man; But the ae best dance e'er cam' to the land, Was, The deil's awa' wi' the exciseman.
# The Poetical Works of Robert Burns/The De'il's awa wi' the Exciseman

THE DE'IL'S AWA WI' THE EXCISEMAN.
# The Deil's awa wi' the Exciseman

Scottish poem and song, composed and sung by Robert Burns at a festive meeting of the excisemen of the Dumfries district, first published in The Scots Musical Museum in 1792. The poem was set to the tune of "The Hemp-Dresser," which was included in the book of fiddle-tunes The Caledonian Pocket Companion (c. 1760) by James Oswald.
* "The Deil's awa wi' th' Exciſeman" from The Scots Musical Museum, Volume IV (1792), published by James Johnson.
* "The Deil Cam Fiddling" in Bruce's Address (n. d.), a chapbook printed in Glasgow
* "De'il's awa' wi' the Exciseman" in The Irish maniac (n. d.), a chapbook printed in Falkirk
* "The Deil cam' Fiddlin'" from The Book of Scottish Song (1843), edited by Alexander Whitelaw.
* "The De'il's awa wi' the Exciseman", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
# Poems (Chilton, 1885)/Little Fanny

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LITTLE FANNY.
# Poems (Chilton, 1885)/To James Russell Lowell

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TO JAMES RUSSELL LOWELL.
[WRITTEN ON A FLY-LEAF OF HIS POEMS, 1848.]
# The Poetical Works of Robert Burns/Where are the joys

WHERE ARE THE JOYS.
TUNE—'SAW YE MY FATHER?'
# The Poetical Works of Robert Burns/Banks of Devon

BANKS OF DEVON.
# The Banks of Devon

* "The Banks of the Devon", in The Book of Scottish Song (1843), edited by Alexander Whitelaw
* "Banks of Devon", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
# The Book of Scottish Song/The Banks of the Devon

The Banks of the Devon.
["These verses," says Burns, "were composed on a charming girl, a Miss Charlotte Hamilton, who is now married to James M'Kitrick Adair, Esq., physician. She is sister to my worthy friend Gavin Hamilton, of Mauchline; and was born on the banks of Ayr, but was, at the time I wrote lines, (August, 1787,) residing at Herveyston, in Clackmannanshire, on the romantic banks of the little river Devon.—I first heard the air from a lady in Inverness and got the notes taken down for this work."—The name of the Gaelic air is "Banarach Bonnach Ruidh," or "The Brown Dairy-maid."]
How pleasant the banks of the clear-winding Devon, With green-spreading bushes, and flowers blooming fair! But the bonniest flower on the banks of the Devon Was once a sweet bud on the braes of the Ayr. Mild be the sun on this sweet blushing flower, In the gay rosy morn, as it bathes in the dew; And gentle the fall of the soft vernal shower, That steals on the evening each leaf to renew!
O spare the dear blossom, ye orient breezes, With chill hoary wing as ye usher the dawn! And far be thou distant, thou reptile, that seizes The verdure and pride of the garden and lawn! Let Bourbon exult in her gay gilded lilies, And England triumphant display her proud rose; A fairer than either adorns the green valleys, Where Devon, sweet Devon, meandering flows.
# A Documentary History of Het (the) Nederdeutsche Gemeente/Frederick Cashow

Frederick Cashow in the A Documentary History of Het (the) Nederdeutsche Gemeente.
Frederick Cashow, son of Johannes Cashow and Marÿtje Symonsen, married Maragriete Hardenberg, daughter of Jannetje and Henderickus Dorlant.
       Issue:
Henderickus, baptized October 3, 1750.
Frederick, baptized October 5, 1763.
Rem, married Hendericke Hegeman, married Maratÿe Bennet. Johannes.
# The Poetical Works of Robert Burns/The bonie Blink o' Mary's ee

THE BONIE BLINK O' MARY'S EE.
# The Poetical Works of Robert Burns/The bonie Lad that's far away

THE BONIE LAD THAT'S FAR AWAY.
TUNE—'OWRE THE HILLS AND FAR AWAY.'
# Poems (Chilton, 1885)/Amor Patriræ

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AMOR PATRIÆ
[WRITTEN DURING THE PRESIDENTIAL CANVASS OF 1876.]
# The Blue Window

The Blue Window
Temple Bailey
By the same author
The Holly Hedge
Peacock Feathers
The Dim Lantern
The Gay Cockade
The Trumpeter Swan
The Tin Soldier
Mistress Anne
Contrary Mary
Glory of Youth
Judy
The Blue Window
by Temple Bailey
The Penn Publishing Company · Philadelphia 1926
Copyright 1926 by the Penn Publishing Company
The Blue Window
Manufactured in the United States of America by the Plimpton Press, Norwood, Mass., U.S.A.
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 1953, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 70 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 Bonie Lad That's Far Away

* "The lad that's far awa'", in The Book of Scottish Song (1843), edited by Alexander Whitelaw
* "The bonie Lad that's far away", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
# The Blue Window/Temple Bailey: an Autobiography

Temple Bailey An Autobiography
ALTHOUGH my ancestry is all of New England, I was born in the old town of Petersburg, Virginia. I went later to Richmond, and finally at the age of five to Washington, D. C., returning to Richmond for a few years in a girls' school, which was picturesquely quartered in General Lee's mansion, now the home of the Virginia Historical Association.
I think it was, perhaps, because of my life in cities that I learned in early years to appreciate the romance of them, the picturesqueness, the charm. It was, indeed, one reason for my adoration of Dickens, that he made London a place of dear delights, finding in crowded squares and quiet streets the human stories.
I was not a strong child, and my school-life was somewhat intermittent, but my father in my out-of-school days supervised my English as carefully as my mother supervised my manners. I had to write themes which my father blue-penciled, and so I came to girlhood and finally to womanhood with a rather easy gift of writing. But I really did not want to write. I was not in the least ambitious for a career. I was tremendously interested in people. I have, in fact, been always an intensely social person, liking my kind, and clinging somewhat stubbornly to old ideals of democracy and the doctrine that "a man's a man for a' that."
​There came, however, a season of stress and sorrow which drove me to self-expression. I scribbled a story or two, and found, eventually, that editors liked them. A prize came to me from a love-story contest in the Ladies' Home Journal, and I was much encouraged. After that, I wrote children's stories, a child's book, love stories; appearing at last in the pages of Harper's, Scribner's, the Saturday Evening Post, the Outlook, Collier's, and most of the women's magazines.
A series of novels followed. The first was "Glory of Youth," then "Contrary Mary," "Mistress Anne," "The Tin Soldier," "The Trumpeter Swan," "The Gay Cockade," "The Dim Lantern," and "Peacock Feathers."
Many of my books have Washington as a background, because I know it best, but whether I range from Boston and Nantucket to Maryland and the Chesapeake, or on to the Rockies and the Pacific Coast, I find that while people are modified by environment, they are fundamentally alike, and that the drama of life is as ancient as Genesis, and as modern as an airship.