OpenLLM-France/wikimedia huggingface dataset:
# The Federal and State Constitutions/Act for admission of California—1850

ACT FOR ADMISSION OF CALIFORNIA—1850
[Thirty-first Congress, First Session]
An Act for the admission of the State of California into the Union.
Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled, That the State of California shall be one, and is hereby declared to be one, of the United States of America, and admitted into the Union on an equal footing with the original States in all respects whatever.
Sec. 2. And be it further enacted, That, until the Representatives in Congress shall be apportioned according to an actual enumeration of the inhabitants of the United States, the State of California shall be entitled to two Representatives in Congress.
Sec. 3. And be it further enacted, That the said State of California is admitted into the Union upon the express condition that the people of said State, through their legislature or otherwise, shall never interfere with the primary disposal of the public lands within its limits, and shall pass no law and do no act whereby the title of the United States, to, and right to dispose of, the same shall be impaired or questioned; and that they shall never lay any tax or assessment of any description whatsoever upon the public domain of the United States, and in no case shall non-resident proprietors, who are citizens of the United States, be taxed higher than residents; and that all the navigable waters within the said State shall be common highways, and forever free, as well to the inhabitants of said State as to the citizens of the United States, without any tax, impost, or duty therefor: Provided, That nothing herein contained shall be construed as recognizing or rejecting the propositions tendered by the people of California as articles of compact in the ordinance adopted by the convention which formed the constitution of that State.
Approved, September 9, 1850.
# The Merry Dwarfs

Walt Disney presents a Silly Symphony Trade markRegistered
Copyright MCMXXIX Walt Disney Productions
The Merry Dwarfs
DSC
Shoemaker
Blacksmith
The End
A Walt Disney Production
This work is in the public domain in the United States because it was published before January 1, 1930.
Copyright law abroad tends to consider the following people authors of a film:
* The principal director
* The screenwriter, and/or other writers of dialogue
* The composer/lyricist (if the film is accompanied by sound)
* The cinematographer
* By extension, the authors of any works that may serve as the basis for a film's plot
The longest-living of these authors died in 1988, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 36 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
# One Hundred English Folksongs/One man shall mow my meadow

100 One man shall mow my meadow
Collected and arranged by Cecil J. Sharp
*) This measure must be played twice in the 2nd verse, three times in the 3rd verse, and so on.
# High Germany

one or more pieces are available in a format using the Score extension.
# The Mower

one or more pieces are available in a format using the Score extension.
# The Lark in the Morning

one or more pieces are available in a format using the Score extension.
# One Hundred English Folksongs/The Lark in the Morn

62 The Lark in the Morn
Collected and arranged by Cecil J. Sharp
# The Trees They Grow So High

one or more pieces are available in a format using the Score extension.
# One Hundred English Folksongs

* related portals: Roud Folk Song Index
* sister projects: Wikidata item
Oliver Ditson Company edition, Boston
One Hundred English Folksongs
Edited by Cecil J. Sharp
For Medium Voice
Boston: Oliver Ditson Company New York: Chas. H. Ditson & Co., Chicago: Lyon & Healy
[Price: Paper, $1.50; Cloth, $2.50]
Copyright, 1916, by Oliver Ditson Company International Copyright Secured
D. S. Updike, The Merrymount Press, Boston
To Mrs. James Jackson Storrow
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
# Presidents Council District 25 v. Community School Board No. 25
## Dissenting Opinion

    Douglas
Supreme Court of the United States
409 U.S. 998
Presidents Council, District 25, et al. v. Community School Board No. 25 et al.
On Petition for Writ of Certiorari from the United States Court of Appeals for the Second Circuit
No. 72-109. Argued: N/A --- Decided: November 6, 1972
Motion of Authors League of America, Inc., for leave to file a brief as amicus curiae granted.
Certiorari denied.
MR. JUSTICE STEWART would grant the petition for certiorari and set case for oral argument.
Reported below: 457 F.2d 289.
MR. JUSTICE DOUGLAS, dissenting.
# Brooklyn Eagle/1940/Webb - Cornelia

Nellie Cornelia Patterson (1833-1909) funeral notice in the Brooklyn Eagle on September 12, 1940.
Webb — Cornelia, on September 10, in her 78th year; beloved mother of Mrs. Louise Stark, John G. and Mrs. Lillian Meyer. Services Friday, 9 p.m., at New York and Brooklyn Funeral Chapel, 187 S. Oxford Street. Funeral Saturday, 10 a.m. Direction Benjamin Grindrod.
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.
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
# Elegy Written in a Country Churchyard (Verona, 1776)

For a detailed, annotated version of this poem, visit The Thomas Gray Archive
ELEGIA DI TOMMASO GRAY POETA INGLESE PER ESSO SCRITTA IN UN CIMITERO CAMPESTRE TRADOTTA IN VERSI ITALIANI.
Ex Gem. ant. Thes. Med.
Ant. Barat. Scul.
IN VERONA. MDCCLXXVI.
Ut quimus, aiunt; quando, ut volumus, non licet.
                            Ter. Andr.
ELEGY
WRITTEN
IN A
COUNTRY CHURCH - YARD.
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 Collected Works of Henrik Ibsen/Volume 13

Layout 2
New York: Charles Scribner's Sons, pages Title–iv
HENRIK IBSEN
BY
EDMUND GOSSE
ILLUSTRATED
NEW YORK
CHARLES SCRIBNER’S SONS
1908
Copyright 1907 by
CHARLES SCRIBNER’S SONS
Photoby. Nyblom KristianiaAlexander P. Holb
CONTENTS
| | Page |
| Preface | ix |
| CHAPTER I | |
| Childhood and Youth | 1 |
| CHAPTER II | |
| Early Influences | 25 |
| CHAPTER III | |
| Life in Bergen (1852-57) | 51 |
| CHAPTER IV | |
| The Satires (1857-67) | 78 |
| CHAPTER V | |
| 1868-75 | 110 |
| CHAPTER VI | |
| 1875-82 | 134 ​ |
| CHAPTER VII | |
| 1883-91 | 156 |
| CHAPTER VIII | |
| Last Years | 179 |
| CHAPTER IX | |
| Personal Characteristics | 211 |
| CHAPTER X | |
| Intellectual Characteristics | 233 |
LIST OF ILLUSTRATIONS
| Henrik Ibsen | Frontispiece |
| | FACING PAGE |
| Ibsen in 1868 | 32 |
| Ibsen in Dresden, Octorber 1873 | 64 |
| From a drawing by Gustav Laerum | 88 |
| Facsimile of Ibsen’s Handwriting | 116 |
| Ibsen. From the painting by Eilif Petersen | 190 |
| Bust of Ibsen, about 1865 | 214 |
# A Doll's House

* information about this edition
* sister projects: Wikipedia article, Wikidata item
A Doll House (literally translated A Doll's home from the original Norwegian title Et dukkehjem) is an 1879 play by Norwegian playwright Henrik Ibsen.
A Doll House, written two years after The Pillars of Society, was the first of Ibsen's plays to create a sensation and is now perhaps his most famous play, and required reading in many secondary schools and universities. The play was highly controversial when first published, as it is sharply critical of 19th Century marriage norms. It follows the formula of well-made play up until the final act, when it breaks convention by ending with a discussion, not an unraveling. It is often called the first true feminist play, although Ibsen denied this. Warning: template has been deprecated.
Edited by E. Haldeman-Julius
Ten Cent Pocket Series No. 353 Haldeman-Julius Company Girard, Kansas
1923

## Dramatis Personae

* Torvald Helmer
* Nora, his wife
* Doctor Rank
* Mrs Linde
* Nils Krogstad
* Helmer's three young children
* Anne, their nurse
* A Housemaid
* A Porter
The action takes place in Helmer's house.
* Act I
* Act II
* Act III
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# An Enemy of the People (Ibsen)

An Enemy of the People addresses the irrational tendencies of the masses, and the hypocritical and corrupt nature of the political system that they support. It is the story of one man's brave struggle to do the right thing and speak the truth in the face of extreme social intolerance. The play's protagonist, Dr Stockmann, represents the playwright's own voice. Upon completion of the play, Ibsen wrote to his publisher in Copenhagen : "I am still uncertain as to whether I should call it a comedy or a straight drama. It may have many traits of comedy, but it also is based on a serious idea." Translated 1911.
    — Excerpted from An Enemy of the People on Wikipedia, the free online encyclopedia.
one or more acts are available in a spoken word format.
A play in five acts
    DRAMATIS PERSONAE
* Dr. Thomas Stockmann, Medical Officer of the Municipal Baths.
* Mrs. Stockmann, his wife.
* Petra (their daughter) a teacher.
* Ejlif & Morten (their sons, aged 13 and 10 respectively).
* Peter Stockmann (the Doctor's elder brother), Mayor of the Town and Chief Constable, Chairman of the Baths' Committee, etc.
* Morten Kiil, a tanner (Mrs. Stockmann's adoptive father).
* Hovstad, editor of the "People's Messenger."
* Billing, sub-editor.
* Captain Horster.
* Aslaksen, a printer.
* Men of various conditions and occupations, a few women, and a troop of schoolboys--the audience at a public meeting.
The action takes place in a coastal town in southern Norway.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The Rime of the Ancient Mariner

Originally The Rime of the Ancyent Marinere: "the longest major poem by the English poet Samuel Taylor Coleridge, written in 1797–98 and published in 1798 in the first edition of Lyrical Ballads."
* "The Rime of the Ancyent Marinere" in Lyrical Ballads (first edition, 1798)
* "The Ancient Mariner", in Lyrical Ballads (second edition, 1800)
* "The Rime of the Ancient Mariner", in Sibylline Leaves (1817)
* "The Rime of the Ancient Mariner", from 1927 edition of Coleridge's work
# Monthly Weather Review

Monthly Weather Review was created and published solely by the USWB/NWS until the end of 1973. Starting in 1976, the journal was published, under copyright, by the American Meteorological Society. Between 1974–1975, the journal was published, without a copyright notice, and is still in the public domain under {{PD-US-no-notice}}. Therefore, all editions of Monthly Weather Review from January 1873 to December 1975 are in the public domain and free to use.
Volume 1
* Issue 1 (January 1873) – Validated
* Issue 2 (February 1873) – Proofread
* Issue 3 (March 1873) – Incomplete
* Issue 4 (April 1873) – Proofread
* Issue 5 (May 1873) – Incomplete
* Issue 6 (June 1873) – Incomplete
* Issue 7 (July 1873) – Incomplete
* Issue 8 (August 1873) – Incomplete
* Issue 9 (September 1873) – Incomplete
* Issue 10 (October 1873) – Incomplete
* Issue 11 (November 1873) – Incomplete
* Issue 12 (December 1873) – Incomplete
This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Vivian Grey/Volume 5

VIVIAN GREY.
VOL. V.
ERRATUM.
Vol. III. p 28, line 17, for kine read kind.
LONDON:
PRINTED BV S. AND R. BENTLEY, DORSET STREET.
VIVIAN GREY.
VOL. V.
LONDON:
HENRY COLBURN, NEW BURLINGTON STREET.
1827.
VIVIAN GREY.
BOOK THE EIGHTH.
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
# Jim Crow/Haud awa frae me Donald

HAUD AWA FRAE ME, DONALD.
Haud awa, bide awa, Haud awa frae me, Donald; What care I for a’ your wealth, And a’ that' ye can gie Donald? I wadna lea my lowland lad, For a’ your goud an’ gear, Donald, Sae tak your plaid, and o’er the hill, And stay nae langer here, Donald. Haud awa, bide awa, &c.
My Jamie is a gallant youth— I loe but him alane, Donald; And in bonny Scotland’s isle, Like him there is nane, Donald. ​Haud awa, bide awa, Haud awa frae me, Donald; What care I for a’ your wealth, An a’ that ye can gi’e, Donald?
He wears nae plaid, nor tartan hose, Nor garters at his knee, Donald; But O he wears a faithfu’ heart, And love blinks in his e’e, Donald. Sae haud awa, bide awa, Come nae mair at e’en, Donald; I wadna break my Jamie’s heart, To be a Highland Queen, Donald.
# Haud awa frae me, Donald

* "Haud awa' Frae me, Donald", in New minstrel (n.d.), a chapbook printed in Glasgow
* "Haud awa frae me Donald", in Jim Crow (n.d.), a chapbook printed in Glasgow
* "Haud awa' Fra me, Donald", in The Singers' Companion (n.d.), a chapbook printed in Glasgow
* "I Wadna Lea My Lowland Lad", in Five popular songs (n.d.), a chapbook printed in Edinburgh
# New minstrel/Haud awa' Frae me, Donald

HAUD AWA' FRAE ME, DONALD.
Haud awa, bide awa, Haus awa frae me, Donald; What care I for a' your wealth, An' a that ye can gi'e, Donald? ​I wadna lea my lowland lad For a' your goud an' gear, Donald; Sae tak' your plaid, and o'er the hill, An' stay nae langer here, Donald. Hand awa, hide awa, &c.
My Jamie is a gallant youth, I lo'e but him alane, Donald; And in bonnie Scotland's isle, Like him there is nane, Donald. Hand awa, hide awa, Haud awa frae me, Donald; What care I for a your wealth, An' a' that ye can gi'e Donald?
He wears nae plaid, nor tartan hose, Nor garters at his knee, Donald; But oh! he wears a faithfu' heart, And love blinks in his e'e, Donald. Sae haud awa, bide awa, Come nae mair at e'en, Donald; I wadna break my Jamie's heart, To be a Highland queen, Donald.
# The Singers' Companion/Haud awa' Fra me, Donald

HAUD AWA’ FRAE ME, DONALD,
Haud awa, bide awa, Haud awa frae me, Donald; What care I for a’ your wealth, An’ a that ye can gi’e, Donald? ​I wadna lea' my lowland lad For a’ your goud an’ gear, Donald; Sae tak' your plaid, and o’er the hill, An’ stay nae langer here, Donald. Hand awa, bide awa, &c.
My Jamie is a gallant youth, I lo’e hut him alane, Donald; And in honnie Scotland’s isle, Like him there is nane, Donald. Haud awa, hide awa, Hand awa frae me, Donald; What care I for a your wealth, An’ a’ that ye can gi’e Donald ?
He wears nae plaid, nor tartan hose, Nor garters at his knee, Donald; But oh ! he wears a faithfu’ heart, And love hlinks in his e’e, Donald. Sae haud awa, hide awa, Come nae nair at e’en, Donald; I wadna break my Jamie’s heart, To he a Highland queen, Donald.
# Five popular songs (1)/I Wadna Lea My Lowland Lad

I WADNA LEA MY LOWLAND LAD.
Haud awa', bide awa' Hand awa' frae me, Donald; What care I for a' your wrealth, An' a' that ye can gi'e, Donald? I wadna lea' my Lowland lad For a' your goud and gear, Donald; Sae tak' your plaid, and o'er the hill, An' stay nae langer here, Donald Haud awa', bide awa', &c.
​My Jamie is a gallant youth— I lo'e but him alane, Donald; And in bonnie Scotland's Isle, Like him there is nane, Donald. Haud awa', bide awa', Haud awa' frae me, Donald; What care I for a' your wealth, And a' that ye can gi'e, Donald?
He wears nae plaid nor tartan hose, Nor garters at his knee, Donald; But, oh! he wears a faithfu' heart, And love blinks in his e'e, Donald. Sae baud awa', bide awa', Come nae mair at e'en, Donald; I wadna break my Jamie's heart, To be a Highland queen, Donald.
FINIS.
# Five popular songs (1)/Kilkenny

KILKENNY.
Oh! the boys of Kilkenny are brave roaring blades, And if ever they meet with the nice little maids, They’ll kiss them, and coax them, and spend their money free, And of all towns in Ireland Kilkenny for me, And of all towns, &c.
In the town of Kilkenny there runs a clear stream, In the town of Kilkenny there lives a fair dame, Hercheeks are like roses, her lips much the same, Like a dish of fresh strawberries smother’d in cream. Fal de ral, de ral, de ral, lal, ra, la, la, la
​Her eyes are as black as Kilkenny’s large coal, Which through my poor bosom have burnt a big hole; Her mind, like its rivers, is mild, clear and pure, But her hear is more hard than its marble, I’m sure. Fal de ral, &c.
Kilkenny’s is pretty town, and shines where it stands, And the more I think on it the more my heart warms; For if was in Kilkenny I’d think myself at home, For its there I’d get sweathearts, but here I get none. Fal de ral, &c.
# Five popular songs (1)/Fain Would I Be Young Johnnie's Bride

FAIN WOULD I BE YOUNG JOHNNIE’S BRIDE.
I like to gang by Candran side; For Johnie meets me there. Fain would I be young Johnie's bride; This wish is a' my care; But that I darena tell the lad— He would think me owre fain; For mither frets and daddie threats, If I but name't to them.
When e'er I cross the door at e'en, There's fifty things to do; The ewes to bught, the pails to clean, The ale to warm or brew. A' wark is mine since Johnie came; And sneer'd at ilka turn; Sare sare I mane, yet a' in vain, They're happiest when I mourn.
​Yestreen he pass'd at trystin' time; Then out to him I flew; He tauld me that his heart was mine; And I'm sure 'tis true. Sae I'll be true to ilka vow, Let mither flyte or fliug: In Johnie's ha' ere Beltan blaw, I'll wear the bridal ring.
# Five popular songs (1)/Why Weep Ye By The Tide, Lady?

WHY WEEP YE BY THE TIDE, LADY?
"Why weep ye by the tide, lady? Why weep ye by the tide? I’ll wed ye to my youngest son, And ye shall be his bride. And ye shall be his bride, lady. Sae comely to be seen— But aye she loot the tears down fa’ For Jock o’ Hazeldean.
"Now let this wilful grief be done, And dry that cheek so pale ; Young Frank is chief of Errington, And Lord of Langley-dale. His step is first in peaceful ha', His sword in battle keen;"— But aye she loot the tears down fa' For Jock o' Hazeldeen.
"A chain of gold ye sall not lack, For braid to bind your hair, Nor mettl’d hound, nor manag’d hawk, Nor palfrey fresh and fair. And you, the foremost o' them a', Shall ride our foremost queen;"— But aye she loot the tears down fa' For Jock o’ Hazeldean.
​The kirk was deck'd at morning tide— The tapers glimmer'd fair— The priest and bridegroom wait the bride, And dame and knight are there. They sought her both by bower and ha', The lady was not seen; She's owre the border and awa' Wi' Jock o' Hazeldeen.
# Five popular songs (1)/The Laird's Courtship

THE LAIRD’S COURTSHIP.
The Laird o‘ Cockpen he‘s proud an‘ he‘s great; His mind is ta‘en up wi‘ matters o‘ state. He wanted a wife his braw house to keep; But favour wi‘ wooin‘ was fashious to seek.
Doun by the dyke-side a lady did dwell, At his table-head he thought she‘d look well: M‘Clish‘s ae dochter o‘ Claversha‘ Lee, A penny less lass, wi‘ a lang pedigree.
His wig was well-pouther‘d, as guid as when new, His waiscoat was white, his coat it was blue, He put on a ring a sword and cock‘d hat; And wha could refuse the Laird wi‘ a‘ that!
​He took the grey mare and rade cannily; An' rapp'd at the yett o' Ciaversha' Lee; "Gae, tell mistress Jean to come speedily ben, She's wanted to speak wi' the Laird o'Cockpen.
Mistress Jean was makin' the elder-flower wine— An' what brings the Laird at sic a like time,' She pat aff her apron, an' on her siik gown, Her mutch wi' red ribbons, an' gaed awa' down.
An' when he came ben she boned fu' low; An' what was his errand he soon let her know; Amaz'd was the Laird, when the Lady said "—Na!" An' wi' a laigh court'sy she turned awa'.
Dumfunder‘d he was—but nae sigh did he gi‘e He mounted his mare, and rade cannily;
An' aften he thocht, as he gaed through the glen, She's daft to refuse the Laird o' Cockpen.
Near to the house amang the lang trees, There he did meet sweet Jeanie Greenlees; She sits at his table like a white tappet hen— Thus ended the courtships o' th' Laird o'
# Five popular songs (1)

FIVE
POPULAR
SONGS.
Edinburgh—Printed for the Booksellers.
* The Laird's Courtship
* Why Weep Ye By The Tide, Lady?
* Fain Would I Be Young Johnnie's Bride
* Kilkenny
* I Wadna Lea My Lowland Lad
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 Singers' Companion/He's owre the Hills that I lo'e weel

HE’S OWER THE HILLS THAT I LO’E WEEL.
chorus
He’s ower that I lo'e weel, He’s ower the hills we darena name, He’s ower the hills ayont Dumblane, Wha soon will get his welcome hame.
​My father’s gone to fight for him, My brithers winna bide at hame, My mither greets and prays for them And ’deed she thinks they’re no to blame. He’s ower the hills, &c
The whigs may scoff, and the whigs may jeer; But, ah ! that love maun he sincere Which still keeps true whate’er betide, An’ for his sake leaves a’ beside. He’s ower the hills, &c.
His right these hills, his right these plains; O’er Highland hearts secure he reigns. What lad’s e’er did, our laddies will do; Were I a laddie, I’d follow him too. He’s ower the hills, &c.
Sae noble a look, sae princely an air, Sae gallant and bold, sae young and sae fair; Oh ! did ye hut see him, ye’d do as we’ve done; Hear him but ance, to his standard yon’d run. He’s ower the hills, &c.
# He's owre the Hills that I lo'e weel

* "He's owre the Hills that I lo'e weel", in New minstrel (n.d.), a chapbook printed in Glasgow
* "He's owre the Hills that I lo'e weel", in The Singers' Companion (n.d.), a chapbook printed in Glasgow
# New minstrel/He's owre the Hills that I lo'e weel

HE'S OWER THE HILLS THAT I LO'E WEEL.
CHORUS.
He's ower the hills that I lo'e weel, He's ower the hills we darena name, He's ower the hills ayont Dumblane, Wha soon will get his welcome hame.
​My father's gone to fight for him, My brithers winna bide at hame, My mither greets and prays for them And 'deed she thinks they're no to blame. He's ower the hills, &c
The whigs may scoff, and the whigs may jeer But, ah! that love maun he sincere Which still keeps true whate'er betide, An' for his sake leaves a' beside. He's ower the hills, &c.
His right these hills, his right these plains; O'er Highland hearts secure he reigns. What lad's e'er did, our laddies will do; Were I a laddie, I'd follow him too. He's ower the hills, &c.
Sae noble a look, sae princely an air, Sae gallant and bold, sae young and sae fair; Oh! did ye but see him, ye'd do as we've done; Hear him but ance, to his standard you'd run. He's ower the hills, &c.