OpenLLM-France/wikimedia huggingface dataset:
# The Rogue's March (Hornung)

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THE ROGUE'S MARCH
A ROMANCE
BY
E. W. HORNUNG
AUTHOR OF "IRRALIE'S BUSHRANGER," "A BRIDE FROM THE BUSH," ETC.
"As for the chain-gangs, you oft-times hear them jingling half-a-mile away, and 'tis nigh all the music we get, a kind of Rogue's March, to remind as where we are, and why we came."
Extract from Convict's Letter.
NEW YORK
CHARLES SCRIBNER'S SONS
1896
COPYRIGHT, 1896, BY
CHARLES SCRIBNER'S SONS
Norwood Press
J. S. Cushing & Co.—Berwick & Smith
Norwood Mass. U.S.A.
To RICHARD DOWLING
PREFACE
A few friends, who were kind enough to follow “The Rogue’s March” from week to week in its serial course, would have me add foot-notes on the ground that this story, though by no means founded upon facts, is nevertheless largely built up of them. I have, however, my own prejudice against foot-notes to fiction—and I understand that Notes at the end are never read. I may therefore state at the outset that the Newgate scenes are as near the truth as I have been able to make them, with the aid of sundry Parliamentary papers, supplemented by the very kindly assistance of (I believe) the first living authority on the subject. And a certain “broadsheet” is still in existence as described and quoted, with its vile verses, and its illiterate but circumstantial account of the execution of a man who was not executed.
As to the Transportation details, they have been gleaned partly from the Blue-book published in 1837, partly from the New South Wales Calendar ​and the Sydney newspapers of those days, and partly from an admirable work by Mr. Charles White, of Bathurst, N.S.W. To this gentleman’s “Convict Life” (which should be published in the old country too) I owe the experiences of the First Fleeter, with other items which I think must bear the stamp of flagrant fact.
E. W. H.
    August, 1896.
* PART I.—THE OLD COUNTRY
* page
* CHAPTER I
* "Sudden Death"1
* CHAPTER II
* The Other Lives9
* CHAPTER III
* The New Lover18
* CHAPTER IV
* The Old Love24
* CHAPTER V
* A Bloodless Victory34
* CHAPTER VI
* A Kind World42
* CHAPTER VII
* A Guilty Innocent50
* CHAPTER VIII
* Hue And Cry56
* CHAPTER IX
* A Good Samaritan63
* CHAPTER X
* At Avenue Lodge73
* CHAPTER XI
* Coals of Fire82
* CHAPTER XII
* Wheel within Wheel90
* CHAPTER XIII
* A Forlorn Hope97
* CHAPTER XIV
* Old Newgate104
* CHAPTER XV
* Interim117
* CHAPTER XVI
* The Trial Opens131
* CHAPTER XXXIII
* The Ship Comes In336
* CHAPTER XXXIV
* The Bride-Elect342
* CHAPTER XXXV
* A Meddler348
* CHAPTER XXXVI
* Side-Lights354
* CHAPTER XXXVII
* Farm Cove361
* CHAPTER XXXVIII
* Two Farewells366
* CHAPTER XXXIX
* The Man in the Mask373
* CHAPTER XL
* Madness and Crime385
* CHAPTER XLI
* "For London Direct"396
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 Rogue's March

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.
* "The Rogue's March" (1600s), a derisive piece of music, formerly used in the British, American and Canadian military for making an example of delinquent soldiers, typically when drumming them out of the regiment
* The Rogue's March (1896), a novel by E. W. Hornung
# Witching Hill

* information about this edition
* sister projects: Wikipedia article, Commons category
A collection of short stories, first serialized in Scribner's Magazine from February to September 1912. The stories revolve around the apparently supernatural happenings that occur on the housing estate of Witching Hill, and the combined efforts of the estate's clerk, Gillon, and a resident, Delavoye, to manage them. [Wikipedia]
WITCHING HILL
BOOKS BY E. W. HORNUNG
Published by Charles Scribner's Sons
The Raffles Series
* The Amateur Cracksman. 12mo, net, $1.35
* Raffles. Illustrated. 12mo, 1.50
* A Thief in the Night. Illustrated. 12mo, 1.50
* Mr. Justice Raffles. 12mo, 1.50
* Witching Hill. Illustrated, 12mo, net, 1.25
* (postage extra)
* Fathers of Men. 12mo, net, 1.30
* The Camera Fiend. Illustrated, 12mo, net, 1.25
* Stingaree. Illustrated, 12mo, 1.50
* No Hero. 12mo net, 1.35
* At Large. 12mo. 1.50
* Some Persons Unknown. 12mo, net, 1.25
* Young Blood. 12mo, net, 1.25
* My Lord Duke. 12mo net, 1.25
* A Bride from the Bush. 16mo .75
* The Rogue's March. A Romance, 12mo, 1.50
I drove Delavoye before me through the window he had just opened
WITCHING HILL
BY
E. W. HORNUNG
ILLUSTRATED BY
F. C. YOHN
CHARLES SCRIBNER'S SONS NEW YORK :::::::::::::::: 1913
Copyright, 1913, by CHARLES SCRIBNER'S SONS
Published February, 1913

### CONTENTS

* PAGE
* Unhallowed Ground 3
* The House with Red Blinds 39
* A Vicious Circle 78
* The Local Colour 109
* The Angel of Life 144
* Under Arms 174
* The Locked Room 207
* The Temple of Bacchus 245
* The Novels of E. W. Hornung

### ILLUSTRATIONS

* I drove Delavoye before me through the window he had just opened Frontispiece
* Facing Page
* He was less excited than I expected on hearing my experience 18
* It was the madness of utter ecstasy 34
* "In that case you won't start a scandal" 48
* "The man you want has been here all the time" 68
* "Good Lord!" cried Delavoye. "That's the very ring we saw last night!" 94
* "It's all I'm fit for, death!" groaned Guy Berridge, trying to tug the fierce moustache out of his mild face 98
* With one hand he caught the offending urchin, and in the other I was horrified to see his stick, a heavy blackthorn, held in murderous poise 106
* I even saw him with his thin arms locked round the neck of the young nurse 166
* "I've saved your boy for you. Do you mind letting me go?" 172
* Even as it was I went down on all-fours 196
* That same second my arms were round him 204
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
# Executive Order 14234

more info.
Donald Trump's eighty-eighth executive order of his second presidency, originally published on March 7, 2025 by the White House. Published as Executive Order 14234 on March 12, 2025 in the Federal Register. Scan: Index:Executive Order 14234.pdf
Signed by President Donald Trump Friday, March 7, 2025
Federal Register page & date: 90 FR 11883, Wednesday, March 12, 2025
​Page:Executive Order 14234.pdf/1 ​Page:Executive Order 14234.pdf/2
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
# Is Sex Necessary

Is Sex Necessary?
or
Why Do You Feel the Way You do
By
James Thurber and E. B. White
Blue Ribbon Books
Garden City, New York
1944 Blue Ribbon Books
Copyright, 1929, by Harper & Brothers
Printed in the United States of America
CONTENTS
| | Foreword | xi |
| | Preface | xvii |
| I | The Nature of the American Male: A Study of Pedestalism | 1 |
| II | How to Tell Love from Passion | 34 |
| III | A Discussion of Feminine Types | 55 |
| IV | The Sexual Revolution: Being a Rather Complete Survey of the Entire Sexual Scene | 73 |
| V | The Lilies-and-Bluebird Delusion | 92 |
| VI | What Should Children Tell Parents? | 112 |
| VII | Claustrophobia, or What Every Young Wife Should Know | 133 |
| VIII | Frigidity in Men | 160 |
| | Answers to Hard Questions | 180 |
| | Glossary | 189 |
"Things look pretty bad right now" —Maj. Gen. Briggs, at Shiloh
Any reader who has already begun to be confused by the drawings in this book should turn to Page 195, where they are explained.
‍ (not listed in original)
    A Note on the Drawings in this Book 195
This work is in the public domain in the United States because it was published in 1929, before the cutoff of January 1, 1930.
This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# Is Sex Necessary/Note

A Note on the Drawings in this Book
The inclusion, in this volume, of some fifty-two drawings by James Thurber, was on the whole intentional. Because, however, of the strong feeling of suspicion which they will arouse in certain quarters, it may not be amiss to offer some explanation. For this task I feel peculiarly fitted, for it was I who, during those trying months when the book was in the making, picked up the drawings night after night from the floor under Thurber's desk, picked them up when I was so tired in body and soul that I could scarcely stoop; it was I who, by gaining the confidence of the charwomen, nightly redeemed countless other thousands of unfinished sketches from the huge waste baskets; and finally, it was my incredible willingness to go through with the business of "inking-in" the drawings (necessitated by the fact that they were done in such faint strokes of a broken pencil as to be almost invisible to the naked eye) that at last brought them to the point where they could be engraved and reproduced.
To understand, even vaguely, Thurber's art, it is necessary to grasp the two major themes which un​derlie all his drawings. The first theme is what I call the “melancholy of sex”; the other is what I can best describe as the “implausibility of animals.” These two basic ideas motivate, subconsciously, his entire creative life. Just how some of the animals shown in these pages “come in” is not clear even to me—except in so far as any animal must be regarded as sexually relevant because of our human tendency to overestimate what can be learned from watching it.
When one studies the drawings, it soon becomes apparent that a strong undercurrent of grief runs through them. In almost every instance the man in the picture is badly frightened, or even hurt. These “Thurber men” have come to be recognized as a distinct type in the world of art; they are frustrated, fugitive beings; at times they seem vaguely striving to get out of something without being seen (a room, a situation, a state of mind), at other times they are merely perplexed and too humble, or weak, to move. The women, you will notice, are quite different: temperamentally they are much better adjusted to their surroundings than are the men, and mentally they are much less capable of making themselves uncomfortable.
It would be foolish to attempt here a comprehensive appreciation of the fierce sweep, the economy, and the magnificent obscurity of Thurber's work, ​nor can I adequately indicate the stark qualities in the drawings that have earned for him the title of “the Ugly Artist.” All I, all anybody, can do is to hint at the uncanny faithfulness with which he has caught—caught and thrown to the floor—the daily, indeed the almost momently, severity of life's mystery, as well as the charming doubtfulness of its purpose.
E. B. W.
# Omnibus Consolidated Appropriations Act, 1997

Note: This is the original legislation as it was initially enacted. Any subsequent amendments hosted on Wikisource may be listed using What Links Here.
An Act Making Omnibus Consolidated Appropriations For Fiscal Year 1997, and for other purposes.
    Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled,

### DIVISION E—CALIFORNIA BAY-DELTA ENVIRONMENTAL ENHANCEMENT AND WATER SECURITY ACT

    This Act may be cited as the ``Omnibus Consolidated Appropriations Act, 1997´´.
Approved September 30, 1996.

## Legislative History

* H.R. 3610, (S. 1894):
   * HOUSE REPORTS:
   ** No. 104-617 (Comm. on Appropriations)
   ** No. 104-863 (Comm. on Conference)
   * SENATE REPORTS:
   ** No. 104-286 accompanying S. 1894 (Comm. on Appropriations).
   * CONGRESSIONAL RECORD, Vol. 142 (1996):
   ** June 13, considered and passed House.
   ** July 11, 17, 18, considered and passed Senate, amended, in lieu of S. 1894.
   ** Sept. 28, House agreed to conference report.
   ** Sept. 30, Senate agreed to conference report.
   * WEEKLY COMPILATION OF PRESIDENTIAL DOCUMENTS, Vol. 32 (1996):
   ** Sept. 30, Presidential statement.
This work is in the public domain in the U.S. because it is an edict of a government, local or foreign. See § 313.6(C)(2) of the Compendium II: Copyright Office Practices. Such documents include "legislative enactments, judicial decisions, administrative rulings, public ordinances, or similar types of official legal materials" as well as "any translation prepared by a government employee acting within the course of his or her official duties."
These do not include works of the Organization of American States, United Nations, or any of the UN specialized agencies. See Compendium III § 313.6(C)(2) and 17 U.S.C. 104(b)(5).
Public domainPublic domainfalsefalse
# United States Code/Title 18/Part I/Chapter 44

From from the U.S. House of Representatives. See Cornell's LII for additional info.
Title 18—Crimes and Criminal Procedure
Part I—Crimes
Chapter 37—Firearms
# Amazing Stories/Volume 01/Doctor Hackensaw's Secrets

Series started in 1921 in Science and Invention
This work is in the public domain in the United States because it was published in 1926, before the cutoff of January 1, 1930.
This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# Doctor Hackensaw's Secrets

series of short stories spanning several journals between the years 1921 and 1926
This work is in the public domain in the United States because it was published in 1926, before the cutoff of January 1, 1930.
This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# The Bobbsey Twins on a Houseboat

Book 6 in the Bobbsey Twins series.
The Bobbsey Twins
On a Houseboat
BY
LAURA LEE HOPE
AUTHOR OF "THE BOBBSEY TWINS," "THE BOBBSEY TWINS AT SNOW LODGE," "THE OUTDOOR GIRLS OF DEEPDALE," "THE OUTDOOR GIRLS IN FLORIDA," "THE MOVING PICTURE GIRLS," "THE MOVING PICTURE GIRLS AT ROCKY RANCH," ETC.
ILLUSTRATED
NEW YORK
GROSSET & DUNLAP
PUBLISHERS
Made in the United States of America
"THE BLUEBIRD" WAS INDEED A FINE, LARGE HOUSEBOAT
BOOKS BY LAURA LEE HOPE
THE BOBBSEY TWINS BOOKS
For Little Men and Women
* THE BOBBSEY TWINS
* THE BOBBSEY TWINS IN THE COUNTRY
* THE BOBBSEY TWINS AT THE SEA-SHORE
* THE BOBBSEY TWINS AT SCHOOL
* THE BOBBSEY TWINS AT SNOW LODGE
* THE BOBBSEY TWINS ON A HOUSEBOAT
* THE BOBBSEY TWINS AT MEADOW BROOK
THE MOVING PICTURE GIRLS SERIES
* THE MOVING PICTURE GIRLS
* THE MOVING PICTURE GIRLS AT OAK FARM
* THE MOVING PICTURE GIRLS SNOWBOUND
* THE MOVING PICTURE GIRLS UNDER THE PALMS
* THE MOVING PICTURE GIRLS AT ROCKY RANCH
* THE MOVING PICTURE GIRLS AT SEA
THE OUTDOOR GIRLS SERIES
* THE OUTDOOR GIRLS OF DEEPDALE
* THE OUTDOOR GIRLS AT RAINBOW LAKE
* THE OUTDOOR GIRLS IN A MOTOR CAR
* THE OUTDOOR GIRLS IN A WINTER CAMP
* THE OUTDOOR GIRLS IN FLORIDA
* THE OUTDOOR GIRLS AT OCEAN VIEW
Grosset & Dunlap, Publishers, New York
Copyright, 1915, by
Grosset & Dunlap
The Bobbsey Twins on a Houseboat
CONTENTS
| CHAPTER | CHAPTER | PAGE |
| I. | Good News | 1 |
| II. | Snap Saves Freddie | 12 |
| III. | Dinah's Upset | 27 |
| IV. | At the Houseboat | 37 |
| V. | The Strange Boy | 47 |
| VI. | Freddie's Fire Engine | 58 |
| VII. | The Two Cousins | 69 |
| VIII. | Off in the "Bluebird" | 81 |
| IX. | Snoop and Snap | 92 |
| X. | Down the Creek | 102 |
| XI. | The Mean Man | 115 |
| XII. | The Wire Fence | 127 |
| XIII. | The Runaway Boy | 138 |
| XIV. | Off Again | 146 |
| XV. | Overboard | 162 |
| XVI. | The Missing Sandwiches | 172 |
| XVII. | In the Storm | 183 |
| XVIII. | Strange Noises | 196 |
| XIX. | Snap's Queer Actions | 203 |
| XX. | At the Waterfall | 215 |
| XXI. | What Bert Saw | 223 |
| XXII. | The Stowaway | 233 |
This work is in the public domain in the United States because it was published before January 1, 1930.
This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# Tarzan, Lord of the Jungle

This novel was first published in 1928; this is a post-1956 reprint, as determined by the renewal notice.
Layout 2
TARZAN
Lord of the Jungle
Tarzan
LORD OF THE JUNGLE
By EDGAR RICE BURROUGHS
GROSSET & DUNLAP, Publishers, NEW YORK
Copyright 1928 by Edgar Rice Burroughs, Inc.
Copyright renewed 1956 by John Coleman Burroughs All Rights Reserved
Printed in the United States of America
Contents
This work is in the public domain in the United States because it was published before January 1, 1930.
The longest-living author of this work died in 1993, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 31 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
# Legenden von Rübezahl: Dritte Legende

Third of Musäus' "Legenden von Rübezahl", from Volksmährchen der Deutschen volume 2 (1783).
English-language translations of Legenden von Rübezahl: Dritte Legende include:
* "Legends Concerning Number-Nip: Legend III", translated by Thomas Beddoes in Popular Tales of the Germans (1791) (transcription project)
* "The Interesting Pranks of Number Nip", translated anonymously in The Story of the Doctor of Smiedberg (1804) (external scan)
* "Rubezahl", translated by S. in Ladies Companion and Literary Expositor (1837) (external scan)
* "Honest Guy", translated anonymously in The Annualette (1841) (external scan)
* "Rubezahl and the Peasant", translated anonymously in Popular Tales and Legends (c. 1843) (external scan)
* "A Legend of Ruebezahl, the Spirit of the Silesian Mountains", translated by Caroline Mehitable Sawyer in Universalist Union (1845) (external scan)
* "Legends of Rübezahl: III. The Countryman and his Family", translated by Adolf Zytogorski in Select Popular Tales from the German of Musaeus (1845)
* "Legends of Rubezahl: Legend the Third", translated by William Hazlitt in Legends of Rubezahl, and Other Tales (1845)
* "The Turnip-Counter: Third Legend", translated by P. F. Johnson in Hutchings’ California Magazine (1860) (external scans (multiple parts): 1, 2)
* "The Gnome and his Debtor", translated by Thomas Beddoes and Mark Lemon in Legends of Number Nip (1863) (external scan)
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 Fair Penitent/Dramatis Personae

Dramatis Personæ.
| | MEN. | |
| Sciolto, a Nobleman of Genoa, Father to Calista. | $\scriptstyle {\left.{\begin{matrix}\ \\\ \end{matrix}}\right\}\,$ | Mr. Bowman. |
| Altamont, a young Lord, in Love with Calista, and design'd her Husband by Sciolto. | $\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$ | Mr. Verbruggen. |
| Horatio, his Friend. | | Mr. Betterton. |
| Lothario, a young Lord, Enemy to Altamont. | $\scriptstyle {\left.{\begin{matrix}\ \\\ \end{matrix}}\right\}\,$ | Mr. Powell. |
| Rossano, his Friend. | | Mr. Baily. |
| | WOMEN. | |
| Calista, Daughter to Sciolto. | | Mrs. Barry. |
| Lavinia, Sister to Altamont, and Wife to Horatio. | $\scriptstyle {\left.{\begin{matrix}\ \\\ \end{matrix}}\right\}\,$ | Mrs. Bracegirdle. |
| Lucilla, Confident to Calista. | | Mrs. Prince. |
| Servants to Sciolto. | | |
SCENE, Sciolto's Palace and Garden, with some part of the Street near it, in GENOA.
# The Arts/Volume 1/Issue 2/An Early Japanese Illustrated Book

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AN EARLY JAPANESE ILLUSTRATED BOOK
THE earliest of Japanese book illustrations are Chinese in inspiration. Such are the wood cuts of the Butsu-y-wokio (the Ten Kings of Hell) published in 1582, the earliest known Japanese book with illustrations. The first illustrated book which pictured Japanese life is probably the Ise Monogatori published in 1598 (Von Seidlitz gives its date as 1608) with a reprint in 1610. The illustrations have been attributed to Koyetsu and to Sanroku. They are not strikingly individual in feeling but reflect the spirit of the age so that it is of but little moment who actually made the designs.
The edition of 1598 is one of the most beautiful of all illustrated books. The paper is a rough hand-made paper of many colors very close to the colors of the paper upon which Meryon printed the earliest prints of his etchings. There are pages almost white, others gray, others pink, but the most beautiful is perhaps the pale green which is almost the precise shade which Meryon used. The blocks and the printing, as the illustration shows, are the rough handicraft of men who despised neatness of execution. At that time artists were satisfied if they expressed an idea clearly, if they gave it life, force, character. A mind which delighted in delicacy of execution, in craft for its own sake, would have been most antipathetic to them.
We are beginning to appreciate that there is more art in the force of the primitives than in the polished inanities of a generation which has nothing to say. Some of us appreciate how killing to all art sense is the desire for technical perfection. The average picture-buyer still prefers the machine-made frame with tight corners to the more lovely hand-carved frame in which the corners are less mechanically perfect. Such picture-buyers will not find the illustrations of Ise Monogatori interesting. They will be annoyed at the technical defects. That is because they still enjoy art through the intellect not through intuition. They have not yet learned that art should appeal to a man's heart.
[The illustrations for this series of articles on Japanese prints are taken from examples in the Field-Laurent collection. In each case, unless otherwise stated, they are from the earliest known printing.—Editor.]
FROM THE ISE MONOGATORI (1598)
# The Arts/Volume 1/Issue 2/The Art of Nicolas Roerich

Layout 2
THE SACRED LAKE
THE ART OF NICOLAS ROERICH
Alexandre BenoisRabindranath Tagore
THE CALL
SAINT NICOLAS
THE CALL OF THE BELLS
THE WHITE MONASTERY
Here is a letter to Roerich from Tagore which we are permitted to publish:
"Your pictures which I saw in your room and some reproductions of your pictures which appeared in some art journal profoundly moved me. They made me realize one thing which is obvious and yet which one needs to discover for oneself, over and over again; it is that truth is infinite. When I tried to find words to describe to myself what were the ideas which your pictures suggested, I failed. It was because the language of words can only express a particular aspect of truth, and the language of pictures finds its domain in truth where words have no access. Each art achieves its perfection where it opens for our mind the special gate whose key is in its exclusive possession. When a picture is great we should not be able to say what it is, and yet we should see it and know. It is the same with music. When one art can fully be expressed by another, then it is a failure. Your pictures are distinct and yet are not definable by words,—your art is jealous of its independence because it is great."
THE CALL OF THE SUN