OpenLLM-France/wikimedia huggingface dataset:
# Myths and Legends Beyond Our Borders/Aiguerre's Fire

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AIGUERRE'S FIRE
IN the times when Indians lived in villages built IN on stilts in Lake Maracaibo, thus gaining for their province the name of Venezuela (Little Venice), there was a farol that hung about the southern end of that sheet of water. This "lantern" appeared to shine through a pale mist and often affrighted the people. It has been seen in our own day, and ascribed to malignant spirits. But the water flames are less malignant than the land fire. If any fortune sets you down on the Venezuelan plains, beware the ghost of Aiguerre. Bitterly has he suffered whose purgatory is the pampas, but he tries to make others suffer not less bitterly. Lope de Aiguerre, who discovered the ​upper Amazon, was, like too many of the explorers from his country and of his day, a harsh oppressor, a greedy seeker after others' wealth. On his appointment as governor of this southern country he bent all public interests to his own advantage, tyrannizing over the whites as savagely as over the Indians. He had the hate of nearly all men, and of heaven, too, for after his death in these wilds his soul was compelled to haunt the plains, appearing to the lonely cattlemen as the will-o'-the-wisp, or Aiguerre's fire, and if you draw near you will see, with horror, that in the centre of the flame the entrails of the wretch are burning. No native in his sober senses will go near. He knows the danger. For no sooner is such a follower beyond call and sight of his companions than he falls under the enchantment of the light. He forgets time and space, he is hypnotized, if you prefer, and rides on and on, until presently he finds himself at the brink of a ravine or a morass with the light dancing before his face, red, confusing, mocking. Lucky indeed is it for him if he can pull up his horse or bring himself to a stop. Too commonly he pitches into the abyss, or sinks into the marsh's black embrace, and if his body is ever found it is buried hastily, for the people who do that service are quick to get away from a spot that has been cursed by another of the tragedies of Aiguerre.
# Myths and Legends Beyond Our Borders/The Amazons

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THE AMAZONS
CERTAIN women of the tribes living along the Amazon wear beads of a green stone, possibly jade or jadeite, possibly that more showy if less valuable mineral, Amazon stone, a variety of feldspar. When Cortez landed in Mexico, these stones, which were from hearsay thought to be emeralds, were worn by the Aztecs, who carved them in strange and symbolical forms, such as fish and parrots' heads. These ornaments were held in great esteem by the natives, who valued them more than gold. Their use probably spread from Mexico through Peru and so to the Brazils, for the women who now wear them say that they had them from the first owners by direct inheritance, and that they are amulets which preserve them from many ills. Orellana, who first ascended the Amazon, was also the first to tell of the existence of a tribe of female warriors in the great wilderness along its banks. Certain of the Tupinambas women had sworn an oath of chastity, agreeing among themselves to suffer death if they broke the compact. They disdained the employments of other women, rode horseback astride, after horses had been introduced into their country, and lived by the hunt, like men. They were expert with bow and spear, and they had servants to cook and make clothing for them. So like were they to the women described by Herodotus as living in Scythia and Libya ​that it was natural to call them Amazons: hence the river along which they fished and hunted took that name. There are scholars, it is true, who declare that the name is Amassona, an Indian word meaning boat-destroyer, and applied to the terrible bore, or tide avalanche, that is encountered at full moon on the lower river. The fierce creatures of the Tupinambas shared the toil and peril of war with the men of their tribe, but they also fought by themselves, battling against male soldiers of the enemy with entire fearlessness.
# 'Tis Pity She's a Whore/Sources

SOURCES
No perfectly certain source of this play has been discovered. Events in some respects similar to those of the tragedy are said to have taken place in Normandy in 1603. An account of them is given by the chronicler Pierre Mattieu in his Histoire de France et des Choses Memorables . . . , published in Paris, 1606. The story is retold by François de Rosset in Les Histoires Tragiques de Nostre Temps. It is the fifth tale in the second edition, 1615; the seventh in the edition of 1619. Wolff declares outright that Ford took his plot from this source. (See John Forde ein Nachahmer Shakespeare's, page 8). But Koeppel approves Dyce's observation that "though Ford may probably have read it, there are no particular resemblances between it and the play." (See Koeppel's Quellen-Studien, page 180; also, Gifford-Dyce, Introduction, page xxx.)
A great part of the Shakesperean influence which Wolff attempted to trace in this play is purely imaginary. It is not difficult, however, to see a certain general likeness between Friar Bonaventura and Friar Laurence, and—to a less degree—between other characters of 'Tis Pity and Romeo and Juliet.
As a possible indirect source W. Bang and H. de Vocht suggest the Περί έρωτικων παθημάτων of Parthenios of Nikaia. See Englische Studien, Band 36, pp. 392-93 (1906).
There is a striking parallelism—hitherto, I think, unnotices—between Annabella, Donado, Bergetto, and Poggio: and Isabella, Guardiano, the Ward, and Sordido in Middleton's Women Beware Women. The resemblance is the more worth nothing as the same element of unnatural passion enters into the intrigue of both plays.
In my introduction I have discussed at some length an impressive analogue and possible source of 'Tis Pity in Speroni's Canace è Macareo.
# 'Tis Pity She's a Whore/Dedication

TO THE TRUELY NOBLE,
JOHN
EARLE OF PETERBOROUGH, LORD
MORDANT,
BARON OF TURVEY
My Lord,
Where a truth of meritt hath a generall warrant, there love is but a debt, acknowledgement a justice. Greatnesse cannot often claime virtue by inheritance; yet in this, yours appeares most eminent, for that you are not more rightly heyre to your fortunes, then glory shalbe to your memory. Sweetenesse of disposition ennobles a freedome of birth; in both, your lawfull interest adds honour to your owne name, and mercy to my presumption. Your noble allowance of these first fruits of my leasure in the action, emboldens my confidence of your as noble construction in this presentment: especially since my service must ever owe particular duty to your favours, by a particular ingagement. The gravity of the subject may easily excuse the leightnesse of the title: otherwise, I had beene a severe judge against mine owne guilt. Princes have vouchsaf't grace to trifles, offred from a purity of devotion; your Lordship may likewise please to admit into your good opinion, with these weake endeavours, the constancy of affection from the sincere lover of your deserts in honour.
JOHN FORD.
# 'Tis Pity She's a Whore/Dramatis Personae

The Sceane.
PARMA
THE ACTORS' NAMES.
# 'Tis Pity She's a Whore/Act I Scene I

'Tis Pitty Shee's a Whoore
[ACTUS PRIMUS. SCENA PRIMA.
Friar Bonaventura's cell.]
Enter Fryar and Giovanni.
# 'Tis Pity She's a Whore/Act I Scene II

[SCENA SECUNDA.
The street before Florio's house.]
Enter Grimaldi and Vasques ready to fight.
* ↑ 18-20 Neither . . . blood. Q prints as verse.
* ↑ 25 meaned. G-D, mean.
* ↑ 46 his. Q, this.
* ↑ 48 sudden. Q, sudda ne.
* ↑ 61-3 Q prints as verse.
# 'Tis Pity She's a Whore/Act I Scene III

* ↑ 44 I doe.Q prints with line above.
* ↑ 46 the. Q, they.
* ↑ 49 theirs. G, theirs.D, their.
* ↑ 63 strike.Q, strick.
* ↑ 81 smooth'd-cheeke. Altered by G to smooth-cheek'd.
* ↑ 93 or. G-D, and.
* ↑ 116 I'le swear't, and I. G-D, I'll swear it, I.
# 'Tis Pity She's a Whore/Act I Scene IV

* ↑ 29 How now . . . fast? Q gives this to Poggio.
* ↑ 45 [t] supplied by G-D.
# 'Tis Pity She's a Whore/Act II Scene I

* ↑ 14 y'are. G-D, you're.
* ↑ 22 You must be married, mistres. Q prints on line above.
* ↑ 22-3 Yes . . . have you. Q prints on one line.
* ↑ 23 You must.Gio.Nay, some other. Q prints on one line.
* ↑ 33-4 Will you begon? Gio. I must makes one line of Q; When to returne? Gio. Soone. another; and Looke you doe. Gio. Farewell. a third.
* ↑ 70-1 Sir . . . command. Q prints as one line.
# 'Tis Pity She's a Whore/Act II Scene II

* ↑ 7 the smart. G-D, the[e] smart.
* ↑ 13 Encomium. Q, Euconium.
* ↑ 57 the. G-D, thy.
* ↑ 165-6 for witnesses. So G-D. Q, foe-witnesses.
# Utah and the Mormons/Chapter 13

CHAPTER XIII.
DOCTRINES CONTINUED.
* Doctrinal Sermons.
* The Resurrection Saints to have Farms and become Gods.
* Pre-existence of Spirits.
* Pantheism.
* Propagation of Gods.
* Holy Spirit.
* Angels.
* Materialism.
In the summer of 1852, discourses were delivered by Orson Pratt and Brigham Young, in which some of the eccentric features of the Mormon creed, in reference to the salvation and glory of the Saints, are distinctly set forth.
They believe, it appears, that by the sin of Adam eating the fruit contrary to the divine command, the penalty of the death of the body was brought upon all men; and that, without any future redemption, the soul and the body would eternally lie in the grave. The death of Christ, however, satisfied the original sin, and by it man will have a resurrection from the grave only.
"You will be redeemed from the original sin with no works on your part whatever. Jesus had died to redeem you from it, and you are as sure to be redeemed as you live upon the face of the earth." "If you have murdered all the days of your life, and committed all the sins the devil would prompt you to commit, you will get a resurrection—your spirit will be restored to your body; and if Jesus had not come, all of us would have slumbered in the grave." (Pratt's Sermon, Deseret News, Aug. 21, 1852.)
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# 'Tis Pity She's a Whore/Act II Scene III

[SCENA TERTIA.]
[The street.]
Enter Richardetto and Philotis.
* ↑ 24-5 Shee us'd . . . could wish. Q does not observe verse arrangement.
* ↑ 41 arts. Changed by D in G-D to art.
* ↑ 54 tell. G suggests to.
* ↑ 64 ruin'd. So G-D. Q, min'd.
# 'Tis Pity She's a Whore/Act II Scene IV

[SCENA QUARTA—Another part of the street.]
Enter Donado, Bergetto and Poggio.
# Caroling Dusk/Sterling A. Brown

STERLING A. BROWN
I was born in Washington, D. C., the first of May, 1901. I received primary and secondary education in the Public Schools of that city, and on a farm near Laurel, Md.; entered Williams College in 1918, was elected to Phi Beta Kappa in 1921, graduated in 1922; and received my Master of Arts Degree at Harvard in 1928. Since that ​time I have been seeking a more liberal education teaching school. I have been inflicted on unsuspecting, helpless students; teaching diverse things at Manassas Summer School in Virginia, Rhetoric and Literature at Virginia Seminary and College, Lynchburg, Va., and Literature at Lincoln University, Jefferson City, Mo.
From early years I have lisped in numbers but the numbers seem improper fractions. I have always been interested in people, particularly and generally, and in books. The list runs from Homer to Housman.
Except for an essay on Roland Hayes submitted to an Opportunity contest, and occasional poems and reviews, I have published nothing of the voluminous works cluttering my desk.
# 'Tis Pity She's a Whore/Act II Scene V

[SCENA QUINTA—Friar Bonaventura's cell.]
Enter Fryar and Giovanni.
* ↑ 6 number. G suggests founder.
* ↑ 8 thy. G, my.
* ↑ 15 f[r]ame. Corrected by G.
* ↑ 17 of body. G-D supplies [the] before body.
* ↑ 50 world of variety. G-D, world's variety.
# Caroling Dusk/Day and Night

DAY AND NIGHT
# Caroling Dusk/Japanese Hokku

JAPANESE HOKKU
# Caroling Dusk/Tanka I—VIII

TANKA I—VIII
# Caroling Dusk/The Dark Brother

THE DARK BROTHER
# Caroling Dusk/Transformation

TRANSFORMATION
# Caroling Dusk/Africa

AFRICA
# Caroling Dusk/Negro Woman

NEGRO WOMAN
# Caroling Dusk/Lewis Alexander

LEWIS ALEXANDER
Lewis Alexander was born July 4, 1900, at Washington, D. C. He was educated in the public schools of Washington and at Howard University where he was a member of the Howard Players. He has also studied at the University of Pennsylvania. He was a member of the Ethiopian Art Theatre for the season 1922–1923 playing in Salome and The Comedy of Errors on Broadway. As the result of a recent tour of North and South Carolina he edited in May 1927 the Negro Number of the Carolina Magazine. He has been writing poetry since 1917, specializing in Japanese forms. Two Little Theatre groups in Washington, The Ira Aldridge Players of the Grover Cleveland School and the Randall Community Center Players have been under his direction.
# Caroling Dusk/Nigger

NIGGER
A Chant for Children
# Caroling Dusk/Letters Found Near a Suicide

LETTERS FOUND NEAR A SUICIDE
# Caroling Dusk/To a Persistent Phantom

TO A PERSISTENT PHANTOM
# Caroling Dusk/On Seeing Two Brown Boys in a Catholic Church

ON SEEING TWO BROWN BOYS IN A CATHOLIC CHURCH
# 'Tis Pity She's a Whore/Act II Scene VI

[SCENA SEXTA. A room in Florio's house.]
Enter Florio, Donado, Annabella, Putana.
* ↑ 21 Sha' G-D, 'shall.
* ↑ 31 Keepe it for what? G-D, Keep it! for what?
* ↑ 52 Yes, you have. G-D supplies "it" after "have."
* ↑ 75 you'd. G-D, you'll.
* ↑ 87 see. G-D, saw.
* ↑ 91 his. So G-D. Q, this.
* ↑ 118-9 A very . . . have seene. Q prints on one line.
* ↑ 119-20 Indeed shee is . . . judgement. G-D prints on one line. Q, as here.
* ↑ 128-32 Q prints as prose.
* ↑ 136 still. G-D omits second still.
* ↑ 136-9 Sonne . . . off. Q prints as prose.
* ↑ 145-8 A lusty . . . gave it me. Q prints as one line; to weare . . . marriage, the next; but you . . . againe, the next; What . . . jealous?, the last.
# 'Tis Pity She's a Whore/Act III Scene I

ACTUS TERTIUS.
[SCENA PRIMA. A room in Donado's house.]
Enter Bergetto and Poggio.
# 'Tis Pity She's a Whore/Act III Scene II

[SCENA SECUNDA. A room in Florio's house.]
Enter Florio, Giovanni, Soranzo, Annabella, Putana and Vasques.
* ↑ 10 Agree. G-D inserts a second they after agree.
* ↑ 13-14 Doe . . . tell you? Q prints as one line.
* ↑ 16 'Tis not. G-D, 'Tis no.
* ↑ 29 I know. G-D, omits I.
* ↑ 31 Have. G-D, hath.
* ↑ 46 here. G-D omits here.
* ↑ 36-47 'Tis plaine . . . tell you this. Q prints as prose.
* ↑ 65 Looke . . . Florio. Q gives this to Giovanni.
# The Northern Crisis. Or, Impartial Reflections on the Politics of the Czar/Preface

The
PREFACE
S for Prefaces they're commonly very needless things, yet sometimes, however, they may be useful; but they are always Fashionable. This may be thus far of Use; inasmuch as it is writ to tell those People whom it most concerns, that it is for their Purpose; and that others, who can reap but little Profit by it, may save their Tiwe, keep their Mony in their Pockets, and let it alone. 'Tis not fit for Lawyers Clerks; but its highly convenient to be read by those, who are proper Students in the Laws of Nations: 'Twill be but lost time for any Stock-Jobbing, trifling Dealer in Exchange-Ally to look beyond the Preface on't; but every Merchant in England (more especially those who Trade to the Baltick) will find his Account in it; and his Time perhaps the better spent the oftner he reads it over, and the more he makes himself a Master of the Contents in it. The Dutch (as the Courants and Post-Boys have more than once told us) are about trying to mend their Hands, of they can, in several Articles of Trade with the Czar; and they have been a long time about it to little purpose: Inasmuch as they are such a frugal People, they are good Examples for the Imitation of our Traders: But if we can outdo 'em for once, in the means of Projecting a better and ​more expeditions Footing to go upon for the Emolument of us both, let us, for once, be wise enough to set the Example, and let them, for once, be our Imitators. This little Treatise will shew a pretty plain way how we may do it, as to our Trade in the Baltick, at this Juncture. I desire no little Coffee-house Politician to meddle with it; but to give him even a disrelish for my Company, I must let him know, that he is not fit for mine: Those who are even Proficients in State-Science, will find in it Matters highly fit to employ all ther Powers of Speculation, which they even before past negligently by, and thought (too cursorily) were not worth the Regarding. No outragious Party-man will find it at all for his purpose; but every Honest Whig, and every Honest Tory, may catch of them read it, not only without either of their Disgusts, but with the Satisfaction of them both. It shews a Whig, that railing against the King of Sweden, is not the Token of being a good Whig, but rather of being a rank Presbyterian: It shews a Tory, that he may be for the King of Sweden, inasmuch as he is a Lover of the Protestant Succession, but never as a Jacobite. 'Tis not fit, in fine, for a Mad, Hectoring, Presbyterian Whig; or a Raving, Fretful, Dissatisfy’d, Jacobite Tory. But a Whig that is a True Churchman, and a Hanoverian Tory (that are misled by others) may read it with mutual Instruction and equal Delight. Thus far my Preface is useful; and I shall add nothing that is needless, or for the sake of Ornament. And so desiring you that are my Readers to read it Impartially, I bid you heartily Farewel.
# 'Tis Pity She's a Whore/Act III Scene III

[SCENA TERTIA. A room in Florio's house.]
Enter Giovanni and Putana
* ↑ 12 G-D puts the comma after now. Q, as here.
* ↑ 31-3 Doe not . . . well. Arrangement of G-D. Q makes but two lines, beginning the second with If my father.
# 'Tis Pity She's a Whore/Act III Scene IV

[SCENA QUARTA. A room in Florio's house.]
Enter Florio and Richardetto.
# 'Tis Pity She's a Whore/Act III Scene V

[SCENA QUINTA. A room in Richardetto's house.]
Enter Grimaldi.
* ↑ 8-11 You are . . . married. Q prints as prose.
* ↑ 12 Fryar. Q, Fryars.
* ↑ 38 There's . . . yet. So G-D. Q gives this to Philotis.
# 'Tis Pity She's a Whore/Act III Scene VI

[SCENA SEXTA. Annabella's chamber.]
Enter the fryar sitting in a chayre; Annabella kneeling and whispering to him; a table before them and wax-lights. She weepes and wrings her hands.
* ↑ Enter the fryar. Q adds in his study; this is clearly a mistake and is corrected in G-D.
* ↑ 24 stands. G-D, stand.
* ↑ 45-8 I have . . . call him. Q prints as four lines ending with . . . over-joy'd . . . neere . . . falshood . . . him.
* ↑ 52-3 I doe . . . yours . . . Q prints as one line.
# 'Tis Pity She's a Whore/Act III Scene VII

[SCENA SEPTIMA. The street before the monastery.]
Enter Grimaldi with his rapier drawne and a darke-lanthorne.
# 'Tis Pity She's a Whore/Act III Scene VIII

[SCENA OCTAVA. A room in Hippolita's house.]
Enter Vasques and Hippolita.
# 'Tis Pity She's a Whore/Act III Scene IX

[SCENA NONA. The street before the Cardinal's gates.]
Enter Florio, Donado, Richardetto, Poggio and Officers.
# 'Tis Pity She's a Whore/Act IV Scene I

ACTUS QUARTUS.
[SCENA PRIMA. A room in Florio's house.]
A banquet. Hoboyes.
Enter the Fryar, Giovanni, Annabella, Philotis, Soranzo, Donado, Florio, Richardetto, Putana and Vasques.
* ↑ 29 How . . . this? G-D inserts the stage direction Hautboys before this line.
* ↑ 31 young. Q, youg.
* ↑ 35-6 Wee . . . in. Q prints as prose.
* ↑ this. So G-D; so copy in British Museum and copy in Boston Public Library. Dyce's copy had thy; so copy in library of the University of Illinois.
* ↑ 76 inganna. So G-D. Q, niganna.
* ↑ 82 malice. Changed in G-D to marriage.
# 'Tis Pity She's a Whore/Act IV Scene II

[SCENA SECUNDA. A room in Richardetto's house.]
Enter Richardetto and Philotis.
* ↑ 2 hath. Q in Boston Public Library misprints a second hath following this; the copy at the University of Illinois has only one.
* ↑ 7 now. G-D puts the dash after now. Q prints now . . . to in parentheses.
* ↑ 28 live. G-D, live[s].
# 'Tis Pity She's a Whore/Act IV Scene III

[SCENA TERTIA. A chamber in Soranzo's house.]
Enter Soranzo unbrac't, and Annabella dragg'd in.
* ↑ 28 sir. G-D omits.
* ↑ 30 I'me. G-D, I am.
* ↑ 32 that for glory, sir. G-D accepts the correction of Dodsley, reading [and] therefore glory, sir.
* ↑ 59 [più] Q, pluis.
* ↑ 63 grazia. Q, gratia.
* ↑ 63 [dee] Q, Lei. These corrections of the Italian follow G-D. Weber printed the line thus: Morendo in gratia Dei morire senza dolore.
* ↑ 79 wud. G-D, would.
* ↑ 90 authors. So Q and G. D changes to author.
* ↑ 104 senting out. G-D, scenting-out.
* ↑ 105 [y]our. Q, hour.
* ↑ 121-3 This is . . . purpose. Q prints as verse.
* ↑ 129 Bee thus assur'd, whatsoe're. G-D, Be thou assur'd, whoe'er.
* ↑ 160 you. Q, yoo.
* ↑ 164 secret. G-D accepts Dodsley's emendation, ferret.
* ↑ haunted. G-D, hunted.
* ↑ 186 whom. G-D prints a colon after this.
* ↑ Enter Putana. Q prints after shame for him.
* ↑ 256 Where are you? So Q. G-D puts the interrogation mark after there.
* ↑ 268 [Exeunt Ban.] So G-D. Q has Exit with Putana.
* ↑ [Exeunt]. Q, exit.
# 'Tis Pity She's a Whore/Act V Scene I

ACTUS QUINTUS.
[SCENA PRIMA. The street before Soranzo's house.]
Enter Annabella above.
# 'Tis Pity She's a Whore/Act V Scene II

[SCENA SECUNDA. A room in Soranzo's house.]
Enter Soranzo and Vasques.
# 'Tis Pity She's a Whore/Act V Scene III

[SCENA TERTIA. A room in Florio's house.]
Enter Giovanni.
* ↑ Enter Vasques. Q prints this below the question following.
* ↑ 49 them. G-D, him.
* ↑ 56 Q has a semicolon after come and a comma after sir.
# 'Tis Pity She's a Whore/Act V Scene IV

[SCENA QUARTA. A hall in Soranzo's house.]
Enter Soranzo, Vasques and Bandetti.
* ↑ 22 Exeunt. Q, Exit.
* ↑ [E]nter Giovanni. Q prints in somewhat broken type in the margin at the left.
* ↑ 64 to. G-D omits.
# Thirty Poems/Song—These Prairies Glow with Flowers

Layout 2
SONG.
"These Praires Glow with Flowers."
# 'Tis Pity She's a Whore/Act V Scene V

[SCENA QUINTA. Annabella's chamber.]
Enter Giovanni and Annabella lying on a bed.
* ↑ 17 dyning time. G-D, dining-time, which Dyce says is the reading of his quarto. A copy in the British Museum, according to D, gives dying time. The copies in the Boston Public Library and the library of the University of Illinois have dyning.
* ↑ 38-41 But d'ee thinke . . . doe here? Q breaks this up into six short lines ending with thinke . . . there . . . mee . . . another . . . laugh . . . here.
* ↑ 42 good. G-D, brother, substituted for the sake of the metre.
* ↑ 46 countenance. G-D, conscience, Dodsley's correction.
* ↑ 51 woe. G-D, woo, and so the copy at the University of Illinois.
* ↑ 62 require. G-D, requir'd. Dyce says in a note that the quarto has require; the quarto at the University of Illinois has require'd.
# Thirty Poems/A Sick-Bed

Layout 2
A SICK-BED.
# 'Tis Pity She's a Whore/Act V Scene VI

[SCENA SEXTA. A banqueting room in Soranzo's house.]
A banquet.
Enter Cardinall, Florio, Donado, Soranzo, Richardetto, Vasques, and attendants; they take their places.
FINIS.
The generall commendation deserved by the actors in their presentment of this tragedy may easily excuse such few faults as are escaped in the printing. A common charity may allow him the ability of spelling, whom a secure confidence assures that hee cannot ignorantly erre in the application of sence.
* ↑ 4 course. G-D, coarse.
* ↑ 5 enterteyments. G-D, entertainments.
* ↑ 43-4 How! . . . mad-man! Q prints as one line.
* ↑ 63 Hold up Florio. G-D puts a comma before Florio.
* ↑ 77 you. Q has no punctuation after you.