OpenLLM-France/wikimedia huggingface dataset:
# Six most excellent songs/Sir John the Grame

SIR JOHN THE GRAME.
t was in and about the Martinmas time When the green leaves were a-falling, That Sir John Grame o‘ the west country Fell in love with Barbara Allan He sent his man down through the town, To the place where he was dwelling, O haste and come to my master dear, Gin ye be Barbara Allan.
​O hooly rose she up and came To the place where he was lying, And drew the curtain by, and said Young man, I think you're dying. O its I’m sick, I’m very sick, And ’tis a’ for Barbara Allan, O the better for me ye’s never be, Though your heart’s blood were a-spilling.
O dinna ye mind, young man she said, When the red wine ye were filling, That ye made their healths go round and round, And slighted Barbara Allan? He turn’d his face unto the wall, And death was with him dealing, Adieu, adieu, my dear friends all, And be kind to Barbara Allan.
O slowly, slowly raise she up, And slowly, slowly left him Cnd sighing, said, she could not stay, Since death of life had ’reft him. She had not gane a mile but twa, When she heard the death-bell knelling, And every jow that the dead bell gied It cry‘d, wo to Barbara Allan.
O mother, mother, make my bed, O make rt saft and narrow, Since my love died for me to day, I’ll die for him to-morrow.
# Bonny Barbara Allan (1823)/Bonny Barbara Allan

BONNY BARBARA ALLAN.
It was in and about the Martinmas time, When the green leases were a-falling, That Sir John Graeme in the west countrie, Fell in love with Barbara Allan
He sent his man down thro' the town, To the place where she was dwelling; O haste and come to my master dear, Gin ye be Barbara Allan.
O hooly hooly rose she up, To the place where he was lying. And when she drew the curtain by, Young man I think you're dying.
O it's I'm sick, and very very sick, And 'tis a' for Barbara Allan, O the better for me ye's never be, Though your heart's blood were a' spilling.
O dinna mind, young man, she said, When ye was in the tavern a-drinking, That ye made the healths gae round, And slighted Barbara Allan.
​He turn'd his face unto the wa', For death was wi' him dealing Adieu, adieu, my dear friends a', Oh! be kind to Barbara Allan,
Slowly slowly rose she up, And slowly, slowly left him; She sighing, said, she could not stay, Since death of life had reft him.
She had na gane a mile but twa, When she heard the dead bell ringing, And ever jow the dead-bell gied, It cry’d woe to Barbara Allan!
O mother, mother, mak my bed, O mak it saft and narrow; Since my love died for me to-day, I'll die for him to-morrow.
# Todlen hame/It Was In and About the Martinmas Time

IT WAS IN AND ABOUT THE MARTINMAS TIME.
It was in and about the Martinmas time, When the green leaves were a-falling, That Sir John Graeme in the west countrie, Fell in love with Barbara Allan.
He sent his man down to the town, To the place where she was dwelling, O haste and come to my master dear, Gin ye be Barbara Allan.
O hooly, hooly rose she up, To the place where he was lying, And when she drew the curtain, by, Young man I think you're dying.
​O it's I'm sick, and very very sick. And 'tis a' for Barbara Allan, O the better for me ye's never be, Though your heart's blood were a' spilling.
O dinna ye mind, young man she said, When ye was in the tavern a’ drinking, That ye made the healths go round, And slighted Barbara Allan.
He turn'd his face unto the wa', For death was wi' him dealing, Adieu, adieu, my dear friends a', Be kind to Barbara Allan.
Slowly, slowly rose she up, And slowly, slowly left him, She, sighing said, she could not stay, Since death of life bereft him.
She had nae gane a mile but twa, When she heard the dead bell ringing, And every jowl the dead bell gied, I't cried woe to Barbara Allan.
O mother, mother mak my bed, O mak it saft and narrow, Since my love died for me to day, I'll die for him to-morrow.
# Here Awa', There Awa'

* "Here awa, there awa," in Black-ey'd Susan's garland (1800)
* "Here awa', there awa'," in The Book of Scottish Song (1843)
* "Here awa', there awa'," in Fugitive Poetry. 1600–1878 (1878)
# Bonny Barbara Allan (4)

Bonny Barbara ALLAN,
Macpherson’s Rant,
The Sprig of Shelela.
Falkirk, Printed by T. Johnston. 1815.
* Bonny Barbara Allan
* Macpherson's Rant
* The Sprig of Shelela
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
# Bonny Barbara Allan (4)/Bonny Barbara Allan

BONNY BARBARA ALLAN.
It was in and about the Martinmas time, when the green leaves were a-falling, That Sir John Graeme, in the west countrie fell in love with Barbara Allan.
He sent his man down thro' the town, to the place where she was dwelling; O haste and come to my master dear, Gin ye be Barbara Allan.
O hooly, hooly went she up, to the place where he was lying, And when she drew the curtain by, Young man, I think you're dying.
O ⟨it's⟩ I'm sick, and very sick, and 'tis a' for Barbara Allan. O the better for me ye's never be, tho' your heart's blood were a-spilling.
O dinna ye mind, young man, said she, when ye was in the tavern drinking, Ye made the healths gae round & round, but slsghted Barbara Allan.
​He turn'd his face unto the wa', and death was with him dealing; Adieu, adieu, my dear friends a', and be kind to Barbara Allan.
And slowly, slowly raise she up, nnd slowly, slowly left him; And, sighing, said, she cou'd not stay, since death of life had 'rest him.
She had not gane a mile but twa, when she heard the dead-bell ringing; And ev'ry jow that the dead-bell geid, It cry'd, Woe to Barbara Allan!
O mother, mother, make my bed! O make it saft and narrow! Since my love died for me to-day, I'll die for him to-morrow.
# Bonny Barbara Allan (4)/The Sprig of Shelela

THE SPRIG OF SHELELA.
⟨In Love⟩ is the soul of a dear Irishman, He loves all that is Lovely, He loves what he can, With his Sprig of Shelela, And Shamrock so Green.
His heart is right honest, He is honest and sound, ​No envy of malice is there to be found; He courts, and he marries, He drinks, and he fights, He loves! ah he loves, For in love he delights, Witk his Sprig, &c.
Who's e'er had the luck To see Danebrook fair, And Irishman all in his glory is there, With his Sprig, &c.
His cloaths speck and span me, Without e'er a speck; A nice Barcelona tied round his neat neck, He goes into a tent, And he spends half-a-crown, Comes out, meets his friend, And for love knocks him down! With his Sprig, &c.
At night when returning, As homeward he goes, His heart soft with ⟨whisky⟩ , His head soft with blows Of a Sprig, &c.
​If he meet his Shelela, Who frowning a smile, Cries, Get you gone Pat, Yet consents all the while; To Church they soon go, And nine months after that, And nine months after that, A young baby cries, How do you ⟨do⟩ father Pat, With your Sprig, &c.
Success to the land that gave Patrick his birth, To the land of the oak, And its neighbouring earth, With a Sprig, &c.
May the sons of the Thames, Tweed, and the Shannon, Thresh the foes, that would plant On our confines a ⟨cannon⟩; ⟨United⟩ and happy in Liberty's shrine, May the ⟨Rose⟩ and the Thistle Long ⟨flourish⟩ and twine, While Pat holds his Shelela And Shamrock so Green.
FINIS.
# Bonny Barbara Allan (4)/Macpherson's Rant

MACPHERSON's RANT.
I've spent my time in rioting, debauch'd my health and strength! I've pillag'd, pluuder'd, murdered! but now, alas! at length, ​I'm brought to punishment direct, pale ⟨death⟩ draws ⟨near⟩ to me! This end I never did project, to hang upon a tree!
To hang upon a tree, a tree! that curs'd, unhappy death! Like to a wolf to worried be, and choaked in the breath. My very heart would surely break, when this I think upon, ⟨Did not⟩ my courage singular, bid pensive thoughts begone.
No man ⟨on⟩ earth that draweth breath, more courage had than I; I dar'd my foes unto their face, and would not from them fly: This grandeur stout, I did keep out, like Hector, manfullie: Then wonder one like me, so stout, should hang upon a tree!
Th' Egyptian band I did command, with courage more by far, Than ever did a general his soldiers in the war. ​Being fear’d by all, both great and fr(illegible text) I liv'd most joyfullie: O! curse ⟨upon⟩ this fate of mine, to hang ⟨upon⟩ a tree.
As for my life. I do not care, if ⟨justice⟩ would take place, And bring my ⟨fellow⟩-plunderers unto the same disgrace. ⟨For Peter⟩ Brown, that notour loon, ⟨escap'd⟩, and was made free; O! curse upon ⟨that⟩ fate of mine, to hang ⟨upon⟩ a tree.
⟨Both⟩ law and justice buried are, and fraud and guile succeed, The guilty pass unpunished, if money intercede. The Laird of Grant, that Highland saint his mighty majestie, He ploads the cause of Peter Brown, and lets Macpherson die.
The dest'ny of my life contriv'd, by those whom I oblig'd, Rewarded me much ill for good, and left me no refuge. ​⟨But⟩ Braco Duff; in rage enough, ⟨He⟩ first laid hands on me; ⟨And⟩ if that death would not prevent, ⟨Avenged⟩ wou'd I be.
⟨As⟩ for my life, it is but short when I shall be no more; ⟨To⟩ part with life I am content, as any ⟨heretofore⟩: ⟨Therefore⟩, good people all, take heed, this warning take by me, ⟨According⟩ to the lives you lead, rewarded you will be.
# The Book of Scottish Song/Wandering Willie

Wandering Willie.
[Burns, who was fond of the tune of "Here awa', there awa'," wrote the following fine verses to it, in March, 1793, and sent them to Thomson's collection. Some verbal alterations were made upon them by Thomson and his friend Erskine.]
Here awa', there awa', wandering Willie! He're awa', there awa', haud awa' hame! Come to my bosom, my ain only dearie; Tell me thou bring'st me my Willie again.
Winter winds blew loud and cauld at our parting; Fears for my Willie brought tears in my e'e: Welcome now, summer, and welcome, my Willie; The summer to nature, and Willie to me.
Rest, ye wild storms, in the caves of your slumbers! How your dread howling a lover alarms! Wauken, ye breezes! row gently, ye billows! And waft my dear laddie ance mair to my arms.
But, oh, if he's faithless, and minds na his Nannie, Flow still between us, thou dark heaving main! May I never see it, may I never trow it, But, dying, believe that my Willie's my ain!
# Bonny Barbara Allan (1815-1825)/Here awa, there awa

WANDERING WILLIE.
Here awa, there awa, wandering Willie, Here awa, there awa, hand awa hame; Come to my bosomy, my ain only dearie, Tell me thou bring'st me my Willie the same.
Winter winds blew loud and cauld at our parting,
Fears for my Willie brought tears in my ee; Welcome now simmer, and welcome my Willie, The simmer to nature, my Willie to me.
​Rest, ye wild storms, in the cave of ⟨your⟩ slumbers, How your dread howling lover alarms Wauken ye breezes, ⟨row⟩ gently ye lows, And waft my dear ladie ance mair ⟨in⟩ my arms
But oh, if he's faithless and mind nae Nannie, Flow still between us, thou wide-roa(illegible text) m May I never see it, may I never trow
But, dying, believe that my Willie's ain.
FINIS.
# Willie brew'd a peck o' ma't

Printed and sold by M. Randall, in Stirling.
Willie brew'd a peck o' Ma't.
To which are added,
Farewel to FUNERY.
Kath’rine Ogie.
AND,
THO' WOMEN's MINDS.
STIRLING: Printed and Sold by M. Randall.
Willie brew'd a peck o' Ma't Farewel to Funery Kath'rine Ogie Tho' Women's Minds
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
# Tho' Women's Minds

* "Tho' Women's Minds" in My Bonnie Mary (n.d.), a chapbook printed in Edinburgh
* "Tho' Women's Minds" in Willie brew'd a peck o' ma't (n.d.), a chapbook printed in Stirling
* "For A' That and A' That", in The Lass o' Ballochmyle (1823), a chapbook printed in Glasgow
* "Women's Minds", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
# Willie brew'd a peck o' ma't/Willie brew'd a peck o' Ma't

Willie brew'd a peck o' ma't.
# Willie brew'd a peck o' ma't/Farewel to Funery

FAREWEL TO FUNERY.
# Willie brew'd a peck o' ma't/Kath'rine Ogie

Kath'rine Ogie.
# Willie brew'd a peck o' ma't/Tho' Women's Minds

THO' WOMEN'S MINDS, &c.
FINIS.
# Willie Brew'd A Peck O' Maut

Written in 1789.
* "Willie Brew'd a Peck o' Maut" in A Most Choice Collection of Popular Songs (n.d.), a Scottish chapbook printed in Edinburgh
* "Peck o' maut" in The Peck o' maut (n.d.), a Scottish chapbook printed in Stirling
* "Willie brew'd a peck o' Ma't" in Willie brew'd a peck o' Ma't (n.d.), a Scottish chapbook printed in Stirling
* "The Peck o' Maut" in The Birks of Invermay (1815), a Scottish chapbook printed in Edinburgh
* "Willie brew'd a peck o' maut" in Seven Select Songs (1815), a Scottish chapbook printed in Edinburgh
* "Willie Brew'd a Peck o' Maut" in The Song Book No. 4 (n. d.), a chapbook printed in Glasgow
* "Willie brew'd a peck o' maut" in The Book of Scottish Song (1843), edited by Alexander Whitelaw
* "The Happy Trio" in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
# Out of Their Own Mouths

OUT OF THEIR OWN MOUTHS
A Revelation and an Indictment of Socialism
SAMUEL GOMPERS & WILLIAM ENGLISH WALLING
OUT OF THEIR OWN MOUTHS
page
OUT OF THEIR OWN MOUTHS
A Revelation and an Indictment of Sovietism
BY SAMUEL GOMPERS
President of The American Federation of Labor Author of "Labor and the Common Welfare," "Labor and the Employer," etc.
With the Collaboration of WILLIAM ENGLISH WALLING
Author of "Sovietism: The A B C of Russian Bolshevism—According to the Bolshevists".
New York E. P. DUTTON & COMPANY 681 FIFTH AVENUE
page
Copyright 1921 By E. P. DUTTON & COMPANY
All Rights Reserved
Printed in the United States of America
page
CONTENTS
This work is in the public domain in the United States because it was published in 1921, before the cutoff of January 1, 1929.
The longest-living author of this work died in 1936, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 87 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
# Kojiki (Chamberlain, 1882)/Section 67

[Sect. LXVII.—Emperor Sū-jin (Part V.—Peace Restored and Tribute Levied).]
So His Augustness Oho-biko went away to Koshi in accordance with the previous [Imperial] commands. Then Take-nuna-kaha-wake, who had been sent round by the east, and his father Oho-biko met together in Ahidzu. So the place was called by the name of Ahidzu. Wherefore, each of them, having settled the government of the land to which he had been sent, made his report [to the Heavenly Sovereign]. Then the Empire was at peace and the people prosperous. Thereupon tribute on the arrow-notches of the men and tribute on the finger-tips of the women was first levied. So in praise of this august reign they said: “the Heavenly Sovereign Mima-ki, who ruled the first land.” Again, in this august reign the Pool of Yosami was made; moreover the Pool of Sakawori at Karu was made.
* ↑ A district forming the southern part of the modern province of Ihashiro in north-eastern Japan. The derivation here given, from ahi-dzu, “meeting port,” seems fanciful.
* ↑ I.e., taxes levied on the produce of the chase, by which the men gained their livelihood, and on the domestic handiwork of the women.
* ↑ Motowori has a not particularly satisfactory note, in which he endeavours to explain this obscure phrase. The word “first” should evidently qualify the Verb “ruled,” and not the Substantive “land,” and the applicability of the saying to a sovereign, of whom it is not recorded that he initiated anything save the taxes, is not apparent. The author of the “Chronicles” observes the verisimilitudes better by applying a synonymous designation to the first “Earthly Emperor” Jim-mu.
* ↑ See Sect. LXII, Note 85.
* ↑ Reference to the parallel passage of the “Chronicles” shows that probably a couple of words are here omited from the text, which should read “the Pool of Karu and the Pool of Sakawori” (Karu no ike, Sakawori no ike). Karu is the celebrated ancient capital mentioned in Sect. LVII, Note 1. Sakawori is quite unknown except from this notice of it, and the derivation of the name is uncertain.
# Kojiki (Chamberlain, 1882)/Section 68

[Sect. LXVIII.—Emperor Sū-jin (Part VI.—His Age and Place of Burial).]
The Heavenly Sovereign’s august years were one hundred and sixty-eight. His august mausoleum is on the mound at the corner of the Yamanobe road. ​
# Kojiki (Chamberlain, 1882)/Section 73

[Sect. LXXIII.—Emperor Sui-nin (Part V.—His Later Wives).]
Again, in accordance with the Empress’s words, he summoned Her Augustness Princess Hibasu, next Her Augustness Princess Oto, next Her Augustness Princess Utakori, next Her Augustness Princess Matonu, daughters of Prince Michi-no-ushi,—four Deities in all. Now he ​kept the two Deities Her Augustness Princess Hibasu and Her Augustness Princess Oto; but as for the two Deities the younger queens, he sent them back to their native place on account of their extreme hideousness. Thereupon Princess Matonu said with mortification: “When it is known in the neighbouring villages that, among sisters of the same family, we have been sent back on account of our ugliness, it will be extremely mortifying;” and, on reaching Sagaraka in the Land of Yamashiro, she tried to kill herself by hanging herself from a branch of a tree. So that place was called by the name of Sagariki. It is now called Sagaraka. Again, on reaching Otokuni, she at last killed herself by jumping into a deep pool. So that place was called by the name of Ochikuni. It is now called Otokuni.
* ↑ Hibasu-hime, Oto-hime, Utakori-hime and Matonu-hime. The first two of these names have already appeared above, where the etymology of Hibasu was said to be doubtful, while Oto signifies “younger sister.” Matonu has likewise already appeared, and is of uncertain derivation. Motowori supposes this last name to be in this place but an alias for Utakori, which he explains in the sense of “sad heart,” with reference to the story of this princess as here told. In any case there is confusion in the legend, for in the parallel passage of the “Chronicles” five princesses are mentioned, whereas at the end of Sect. LXXI of these “Records” the Empress is make to speak of only two. The father’s name has been already there explained.
* ↑ The real derivation of this name is obscure. The ancient (perhaps here and elsewhere supposititious ancient) form Sagari-ki signifies “hanging-tree.” Saga-raka is written 相樂, a good example of the free manner in which some Chinese characters were anciently used for phonetic purposes. Sau-raku, Sa-raku or Sa-gara would be the only readings possible in the modern tongue.
* ↑ Literally, “wished to die.” Motowori supposes that her design was frustrated by her attendants.
* ↑ Written with characters signifying “younger country,” but here supposed by the author to be derived from ochi-kuni, “falling country,” in connection with this legend.
* ↑ Lit., “died by falling.”
# Kojiki (Chamberlain, 1882)/Section 75

[Sect. LXXV.—Emperor Sui-nin (Part VII.—His Death and That of the Empress Hibasu.)]
This Heavenly Sovereign’s august years were one hundred and fifty-three. His august mausoleum is in the middle of the moor of Mitachi at Sugahara. Again in the time of the Great Empress Her Augustness Princess Hibasu, the Stone-Coffin-Makers’ were established, and also the Earthenware-Masters’ Clan was established. This Empress was buried in the mausoleum of Terama near Saki. ​
* ↑ Both the locality and the etymology of Mitachi are obscure. Sugahara (“sedge-moor”) is known to be in the province of Yamato.
* ↑ I.e., at the time of the burial of the great Empress, etc.
* ↑ The character 祝 (“to pray”) in the text is indubitably a copyist’s error for “棺, coffin.” These stone coffins are described by Mr. Henry von Siebold in his “Notes on Japanese Archæology” p. 5. It must be understood that, from being the name of an office, Stone-Coffin-Maker (Ishi-ki-tsukuri) became a “gentile name.”
* ↑ Hanishi-be. The meaning of this expression becomes clear by reference to the parallel passage of the “Chronicles,” which it may be worth while to quote at length from Mr. Satow’s translation in pp. 329–330 of Vol. VIII, pt. III, of these Transactions: “In the autumn of the 32nd year, on the tsuchi no to u day of the moon, which rose on the ki no ye inu day, the empress Hi-ba-su hime no Mikoto (in another source called Hi-ba-su ne no Mikoto) died, and they were several days going to bury her. The Mikado commanded all his high officers, saying: ‘We knew before that the practice of following the dead is not good. In the case of the present burying, what shall be done?’ Thereupon Nomi no Sukune advanced and said: ‘It is not good to bury living men standing at the sepulchre of a prince, and this cannot be handed down to posterity. I pray leave now to propose a convenient plan, and to lay this before the sovereign.’ And he sent messengers to summon up a hundred of the clay-workers’ tribe of the country of Idzumo, and ho himself directed the men of the clay-workers’ tribe in taking clay and forming shapes of men, horses and various things, and presented them to the Mikado, saying: ‘From now and henceforward let it be the law for posterity to exchange things of clay for living men, and set them up at sepulchres.’ Thereupon the Mikado rejoiced, and commanded Nomi no Sukune, saying: ‘Thy expedient plan has truly pleased Our heart;’ and the things of clay were for the first time set up at the tomb of Hi-ba-su hime no Mikoto. Wherefore these things were called haniwa (a circle of clay). Then he sent down an order, saying: ‘From now and henceforward, be sure to set up these things of clay at sepulchres, and let not men be slain.’ The Mikado bountifully praised Nomi no Sukune, bestowed on him a kneading-place, and appointed him to the charge of the clay-workers’ tribe.”
* ↑ In the province of Yamato. In the old poetry there are many plays on this
# Kojiki (Chamberlain, 1882)/Section 77

[Sect. LXXVII.—Emperor Kei-kō (Part II.—The Maidens Ye-hime and Oto-hime).]
Hereupon the Heavenly Sovereign, to assure himself of what he had heard of the beauty of the two maidens Ye-hime and Oto-hime, daughters of King Kamu-oho-ne, ancestor of the Rulers of the Land of Minu, sent his august child, His Augustness Oho-usu, to summon them up [to the Capital]. So His Augustness Oho-usu who had been sent, instead of summoning them up, forthwith wedded both the maidens himself, and then sought other women, to whom he falsely gave the maidens’ names, and sent them up [to his father]. Hereupon the Heavenly Sovereign, knowing them to be other women, frequently subjected them to his long glances; but, never wedding them, caused them to sorrow. So the child that His Augustness Oho-usu begot on ​wedding Ye-hime, was King Oshi-kuro-no-ye-hiko (he was the ancestor of the Lords of Unesu in Minu). Again, the child that he begot on wedding Oto-hime, was King Oshi-kuro-no-oto-hiko (he was the ancestor of the Dukes of Mugetsu).
* ↑ I.e., the elder princess and the younger princess.
* ↑ See Sect. LXII, Note 36.
* ↑ Minu no kuni no miyatsuko.
* ↑ I.e., “gazed at them intently.” The Classical word nagamuru, “to gaze,” is properly a compound of naga, “long,” and miru, “to see.”
* ↑ The meaning of the syllables oshi in this name and the companion one (Oshi-kuro no oto-hiko) immediately below is probably “great;” kuro is obscure; ye-hiko signifies “elder prince” and oto-hiko “younger prince.”
* ↑ Minu no Unesu no wake. Of Unesu nothing is known.
* ↑ Mugetsu no kimi. Mugetsu or Muge was in the province of Minu (Mino).