OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Armageddon

See also Armageddon on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​ARMAGEDDON, a name occurring in the Authorized Version of the English Bible in Rev. xvi. 16. The Revised Version has Harmagedon. The form is commonly regarded as the Greek equivalent of the Hebrew har megiddōn, the mountain district of Megiddo. The writer is describing the place where the last decisive battle was to be fought at the Day of Judgment, and Harmagedon may have been chosen as the name because the district about Megiddo had been on several occasions the scene of great battles (cf. Judg. iv. 6 ff., v. 19). It has, however, been suggested in the Zeitschrift für die Alttestamentliche Wissenschaft, vii. 170 (1887), that the name is for har migdo, “his fruitful mountain”—the mountain land of Israel. Prof. Cheyne (Encyc. Bibl. s.v.) again, following suggestions of H. Gunkel, H. Zimmern and P. Jensen, compares the dragon of the Apocalypse with the Babylonian Tiāmat, thinks that some myth is referred to, and finds the μαγεδων of Ἀρμαγεδων in the divine name Ὑεσεμμιγαδων, a Babylonian god of the underworld. The name of the place where Tiāmat was defeated by Marduk perhaps included that of a god of the underworld. (See Antichrist.) From the application of the word Armageddon to the great battle of the End of Time comes the use of the phrase “an Armageddon” to express any great slaughter or final conflict.
# The Army and Navy Hymnal/Hymns/Who Is on the Lord's Side

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| | Who Is on the Lord's Side | 125 |
| | (ARMAGEDDON. 6, 6, 6, 5, 12 lines) | 125 |
| Frances R. Havergal, 1877 Arranged by John Goss, 1871 |||
| A musical score should appear at this position in the text. See Help:Sheet music for formatting instructions |||
* Who is on the Lord's side ? Who will serve the King ? Who will be his help-ers Other lives to bring ? Who will leave the world's side ? Who will face the foe ? Who is on the Lord's side ? Who for him will go ? By thy call of mercy, By thy grace Divine, We are on the Lord's side, Saviour, we are thine.
* Not for weight of glory, Not for crown and palm, Enter we the army, Raise the war-rior psalm ; But for Love that claimeth Lives for whom he died : He whom Jesus nameth, Must be on his side. By thy love constraining, By thy grace Divine, We are on the Lord's side, Saviour, we are thine.
* Jesus,thou hast bought us, Not with gold or gem, But with thine own life-blood, For thy diadem : With thy blessing filling Each who comes to thee, Thou hast made us willing, Thou hast made us free. By thy grand redemption, By thy grace Divine, We are on the Lord's side, Saviour, we are thine.
* Fierce may be the conflict, Strong may be the foe, But the King's own army None can over-throw : Round his standard ranging, Victory to secure; For his truth unchanging Makes the triumph sure. Joyfully enlisting By thy grace Divine, We are on the Lord's side, Saviour, we are thine. Amen.
# 1914 and other poems/The Treasure

​THE TREASURE
When colour goes home into the eyes, And lights that shine are shut again With dancing girls and sweet birds' cries Behind the gateways of the brain; And that no-place which gave them birth, shall close The rainbow and the rose:—
Still may Time hold some golden space Where I'll unpack that scented store Of song and flower and sky and face, And count, and touch, and turn them o'er, Musing upon them; as a mother, who Has watched her children all the rich day through, Sits, quiet-handed, in the fading light, When children sleep, ere night.
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 Treasure

* Search for titles containing or beginning with: "The Treasure"
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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 Treasure,” a poem by Rupert Brooke
* “Treasure,” a poem by Georgia Douglas Camp Johnson
* “The Treasure,” a poem by Alice Meynell
* “The Treasure,” a short story by Isaac Löb Perez
* “The Treasure,” a poem by Sara Teasdale
* “Treasure,” a poem by Jeannie Copes White

## See also

* Treasures
# Retrospection

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* Retrospection, a work by Hubert Howe Bancroft
* “Retrospection,” a poem by Alice J. Green Barker
* “Retrospection,” a poem by Paul Laurence Dunbar
* “Retrospection,” a poem by Georgia Douglas Camp Johnson
* “Retrospection,” a poem by Mary C. Ryan
* “Retrospection,” a poem by Anna Shipton
* “Retrospection,” a poem by Eliza Jane Stephens
* “Retrospection,” a poem by Ella Wheeler Wilcox
# Retrospection (Dunbar)

* "Retrospection", published in Lyrics of Lowly Life (1896)
* "Retrospection", published in The Complete Poems of Paul Laurence Dunbar (1913)
This work was published before January 1, 1930, and is in the public domain worldwide because the author died at least 100 years ago.
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# Lyrics of Lowly Life/Retrospection

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RETROSPECTION.
# The Complete Poems of Paul Laurence Dunbar/Retrospection

RETROSPECTION
When you and I were young, the days  Were filled with scent of pink and rose,  And full of joy from dawn till close, From morning's mist till evening's haze.  And when the robin sung his song  The verdant woodland ways along,
 We whistled louder than he sung. And school was joy, and work was sport For which the hours were all too short,  When you and I were young, my boy,  When you and I were young.
When you and I were young, the woods  Brimmed bravely o'er with every joy  To charm the happy-hearted boy. The quail turned out her timid broods;  The prickly copse, a hostess fine,  Held high black cups of harmless wine;  And low the laden grape-vine swung With beads of night-kissed amethyst Where buzzing lovers held their tryst,  When you and I were young, my boy,  When you and I were young.
When you and I were young, the cool  And fresh wind fanned our fevered brows  When tumbling o'er the scented mows, Or stripping by the dimpling pool,  Sedge-fringed about its shimmering face,  Save where we 'd worn an ent'ring place.  How with our shouts the calm banks rung! How flashed the spray as we plunged in,— Pure gems that never caused a sin!  When you and I were young, my boy,  When you and I were young.
When you and I were young, we heard  All sounds of Nature with delight,—  The whirr of wing in sudden flight, The chirping of the baby-bird.  The columbine's red bells were rung;  The locust's vested chorus sung;  While every wind his zithern strung To high and holy-sounding keys, And played sonatas in the trees—  When you and I were young, my boy,  When you and I were young.
When you and I were young, we knew  To shout and laugh, to work and play,  And night was partner to the day In all our joys. So swift time flew  On silent wings that, ere we wist,  The fleeting years had fled unmissed;  And from our hearts this cry was wrung— To fill with fond regret and tears The days of our remaining years—  "When you and I were young, my boy,  When you and I were young."
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
# Springtime

* Search for titles containing or beginning with: "Springtime"
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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.
* “Springtime,” a poem by Anne Lynch Botta
* Springtime (1929), a Silly Symphonies film by Walt Disney
* “Springtime,” a poem by Georgia Douglas Camp Johnson
* “Springtime,” a poem by Sara Beaumont Kennedy

## See also

* Spring
# An Autumn Love Cycle/Springtime

INTERMEZZI
# Destiny

* Search for titles containing or beginning with: "Destiny"
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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.
* "Destiny", a poem by Matthew Arnold
* "Destiny", a poem by Abraham Cowley
* "Destiny", a poem by Jane Francesca Agnes Elgee
* "Destiny", a poem by Ralph Waldo Emerson (also published as "Fate": That you are fair or wise is vain)
* Destiny, or the Chief's Daughter (1831), a novel by Susan Edmonstoune Ferrier
* "Destiny", a poem by Richard Watson Gilder
* "Destiny", a poem by Jane Elizabeth Roscoe Hornblower
* Destiny by Rupert Hughes
* “Destiny,” a poem by Georgia Douglas Camp Johnson
# A Handbook of Phrenotypics for Teachers and Students/How to Commit to Memory Knowledge Belonging to the First Phrenotypic Problem

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HOW TO COMMIT TO MEMORY KNOWLEDGE BELONGING TO THE FIRST PHRENOTYPIC PROBLEM.
Suppose I had to commit to memory the following series of couples; i.e. I want to connect together the two notions belonging to each couple so strongly, that when one of them be given, the other might immediately spring up before the imagination.
| paper | heaven |
| tallow | knowledge |
| beauty | mischief |
| fire | life |
| chalk | mathematics. |
| &c., &c. ||
I put these couples before the mind of one of my pupils, and the following took place:—As soon as paper and heaven were put, a globe jumped up before his imagination, which he related to me in the following words—
"A paper globe representing heaven."
After tallow and knowledge, enlightening rose before his imagination, which he related to me in the following words—
"Tallow burning enlightens, and so does knowledge."
​After beauty—mischief, a certain lady rose before his imagination, which he related thus—
"The Beauty of that lady was my mischief."
After fire—life, a fireplace rose before his imagination, which he related thus—
"Fire is upon a certain fireplace; round it is Life."
After chalk—mathematics, a slate rose before his imagination, which he related thus—
"Chalk traces upon that slate the symbols of Mathematics,"
and so on to the number of 30. In 29 of them he had a common phantom springing up, or in other words he had a phantom owing its birth to the combined power of both the given notions; and this common phantom was all-sufficient to make out of all the three notions one old notion, of which one extremity being given, the other rises immediately. In one case he failed, viz. in that of India-rubber—small pox. After them, death from small-pox rose before his imagination, but death had for him nothing to do with India-rubber, and therefore did not serve the purpose of agglutinating the two given notions together.
What my pupil did, is what philosophers call the association of ideas; they say that in order to ​connect such notions, you must form some anecdote or story that connects them. What I recommend is, not to be active in this transaction—not to form purposely a story, but merely to wait patiently until a something rises before the imagination after the two given notions have been put before the mind. That something will either be or not be a common sprung-up notion: in the first case, and in the first case only, it will serve our purpose of connecting together the two given notions: but if for the individual student there happens not to exist any common notion, and you form for him a story, he will have to commit to memory the two notions and the new story into the bargain.
Symbolically, I will represent the method of managing the 1st Phrenotypic Problem, thus—
the letter C designating the common sprung-up notion.
# Ecstasy

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* "Ecstasy," in Catholic Encyclopedia, (ed.) by Charles G. Herbermann and others, New York: The Encyclopaedia Press (1913)
* "Ecstasy," in Encyclopædia Britannica (11th ed., 1911)
* “Ecstasy,” a poem by Elsa Gidlow
* “Ecstasy,” a poem by Georgia Douglas Camp Johnson
* “Ecstasy,” a poem by Sarojini Naidu
* “Ecstasy,” a poem by Clark Ashton Smith

### See also

* The Ecstasy
# 1911 Encyclopædia Britannica/Ecstasy

See also Ecstasy on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​ECSTASY (Gr. ἔκστασις, from ἐξίστημι, put out of its place, alter), a term applied to a morbid mental condition, in which the mind is entirely absorbed in the contemplation of one dominant idea or object, and loses for the time its normal self-control. With this there is commonly associated the prevalence of some strong emotion, which manifests itself in various ways, and with varying degrees of intensity. This state resembles in many points that of catalepsy (q.v.), but differs from it sufficiently to constitute it a separate affection. The patient in ecstasy may lie in a fixed position like the cataleptic, apparently quite unconscious, yet, on awaking, there is a distinct recollection of visions perceived during this period. More frequently there is violent emotional excitement which may find expression in impassioned utterances, and in extravagant bodily movements and gesticulations. Ecstasy usually presents itself as a kind of temporary religious insanity, and has frequently appeared as an epidemic. It is well illustrated in the celebrated examples of the dancing epidemics of Germany and Italy in the middle ages, and the Convulsionnaires of St Medard at the grave of the Abbé Paris in the early part of the 18th century, and in more recent times has been witnessed during periods of religious revivalism. (See also Insanity and Neuropathology.)
# On a Grey Thread/Ecstasy

Ecstasy
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# The Golden Threshold/Songs for Music/Ecstasy

ECSTASY
Cover mine eyes, O my Love! Mine eyes that are weary of bliss As of light that is poignant and strong; O silence my lips with a kiss, My lips that are weary of song!
Shelter my soul, O my love! My soul is bent low with the pain And the burden of love, like the grace Of a flower that is smitten with rain: O shelter my soul from thy face!
# A Handbook of Phrenotypics for Teachers and Students/How to Commit to Memory Knowledge Belonging to the Second Phrenotypic Problem

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Returning back to our simile of the two boxes, I will now suppose that I take with my right hand one thousand cards, but with the left I take only a few. It is clear that there will be very little chance of having a card common to both hands; and at any rate the probability is here far less than in the case of my grasping with each hand one thousand cards. When I put before my mind a series of couples forming the 2nd phrenotypic problem, the probability of having a common phantom spring up is far less than in the first problem, and therefore I will proceed differently.
Suppose I had to commit to memory the following arbitrary vocabulary.
| scopo | bread |
| stireen | water |
| lamono | sofa, |
| &c. &c. ||
I will first put before my mind scopo alone: this makes rise before my mind the notion scope: this notion scope I will put simultaneously before my mind with bread, and immediately labour springs up thus—"The scope of labour is bread."
I put stireen alone: this excites the notion of stir in: I put stir in and water simultaneously, ​and up jumps the pump that is opposite my window, thus—"Stir in the pump the water."
Lamono excites the notion lemon: lemon put simultaneously with sofa, brings up a stain of ink: thus—"Lemon has take out the inkstain from my sofa."
Symbolically I will represent this process thus—
In the very outset of this case I knew that there was no great probability of having a common or associating notion between the two given notions, on account of one of them being very little familiar. I therefore crept out first from that not-familiar notion into a familiar one; and this thus-obtained familiar notion I put simultaneously with the given familiar notion, and I knew beforehand that I should thus have a greater probability of obtaining an associating notion: the result fully answered my expectation.
In this manœuvre consists the whole secret of those who are remarkable for their polyglottic acquirements; but of this more in particular when we come to the application of our principles to the study of Languages.
# Oakland Enquirer/1912/In the East on Honeymoon

Perry Maranius Olsen (1886-1972) and Dorothy Frances Penfield (1887-1976) honeymoon in the Oakland Enquirer on June 25, 1912. Mrs. A. F. Penfield is Adelaide Frances Sherman (1853-1938), her husband George Franklin Penfield (1852-1911), died the previous year.
In the East on Honeymoon.
Mr. and Mrs. Perry M. Olsen are spending their honeymoon in the East and are at present in Chicago for a visit with relatives. Mrs. Olsen was formerly Miss Penfield and she is the daughter of Mrs. A. F. Penfield of East Oakland. The wedding took place a couple of weeks ago at the family home of the bride, with the Rev. William Keeney Towner to read the service, and following there was an informal reception and repast. Miss Ruth Penfield was her sister's only attendant. Upon returning from the East the couple will establish a home in this city. Both Mr. and Mrs. Olsen are well known church workers and are members of the First Baptist church. Olsen is secretary for the Young Men's Christian Association.
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
# A Handbook of Phrenotypics for Teachers and Students/The Principle of Familiarity

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THE PRINCIPLE OF FAMILIARITY.
The nature, the truth, and the importance of it is already acknowledged by thousands—these thousands, in company with the press, will soon plant it in the brains of all.
At the head of my introductory Lecture, published a year ago, I inscribed these presumptuous words—
​"By following this method, men shall henceforth be enabled to acquire more knowledge in days, than they could hitherto do in weeks; and what was the task of laborious long years, they will achieve in as many easy and cheerful months."
I now state, Thousands of my pupils do acquire more knowledge in days, than they could hitherto do in weeks.
# Pledge

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.
* "Pledge," in Encyclopædia Britannica (11th ed., 1911)
* “Pledge,” a poem by Georgia Douglas Camp Johnson
* “The Pledge,” a poem by Letitia Elizabeth Landon
# 1911 Encyclopædia Britannica/Pledge

See also Pledge (law) on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​PLEDGE, or Pawn, in law “a bailment of personal property as a security for some debt or engagement” (Story on Bailments, § 286). The term is also used to denote the property which constitutes the security. Pledge is the pignus of Roman law, from which most of the modern law on the subject is derived. It differs from hypothec and from the more usual kind of mortgage in that the pledge is in the possession of the pledgee, it also differs from mortgage in being confined to personal property A mortgage of personal property in most cases takes the name and form of a bill of sale. The chief difference between Roman and English law is that certain things, e.g. wearing apparel, furniture and instruments of tillage, could not be pledged in Roman law, while there is no such restriction in English law. In the case of a pledge, a special property passes to the pledgee, sufficient to enable him to maintain an action against a wrongdoer, but the general property, that is the property subject to the pledge, remains in the pledgor. As the pledge is for the benefit of both parties, the pledgee is bound to exercise only ordinary care over the pledge. The pledgee has the right of selling the pledge if the pledgor make default in payment at the stipulated time. No right is acquired by the wrongful sale of a pledge except in the case of property passing by delivery, such as money or negotiable securities. In the case of a wrongful sale by a pledgee, the pledgor cannot recover the value of the pledge without a tender of the amount due.
The law of Scotland as to pledge generally agrees with that of England, as does also that of the United States. The main difference is that in Scotland and in Louisiana a pledge cannot be sold unless with judicial authority. In some of the American states the common law as it existed apart from the Factors’ Acts is still followed; in others the factor has more or less restricted power to give a title by pledge.
See also Factor and Pawnbroking.
# Landon in The Literary Gazette 1828/The Pledge

​6
Literary Gazette, 28th June, 1828, Page 412
ORIGINAL POETRY.
THE PLEDGE.
Come, let your cup flash sunshine-like
 To friends now far away:
"Here's to the absent and the loved!"
 The absent, did you say?
And wherefore should we drink to them?
 It is a weary toast:
What boots it to recall the friends
 Whom we have loved and lost?
Fast cuts our good ship through the sea—
 What does it leave behind?
There is no path upon the wave,
 No track upon the wind.
Like that swift ship we have past on,
 And left no deeper trace;
The circle parted from at home
 Has now no vacant place.
Fewer and happier years than mine
 On thy young brow are set;
Soon thou wilt learn Time's easiest task
 Is teaching to forget.
I'll fill as high, I'll drink as deep—
 Or, must a toast be said?
Well, here are all I ever pledge—
 "The present and the dead!"L. E. L.
# Finality

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* “Finality,” a poem by Winifred Virginia Jackson
* “Finality,” a poem by Georgia Douglas Camp Johnson
* “Finality,” a poem by Edward S. Silvera
# A Short Biographical Dictionary of English Literature/Lyly, John

Lyly, John (1554?-1606). -- Dramatist and miscellaneous writer, was b. in the Weald of Kent, and ed. at both Oxf. and Camb. He wrote several dramas, most of which are on classical and mythological subjects, including Campaspe and Sapho and Phao (1584), Endymion (1591), and Midas (1592). His chief fame, page 247however, rests on his two didactic romances, Euphues, the Anatomy of Wit (1579), and Euphues and his England (1580). These works, which were largely inspired by Ascham's Toxophilus, and had the same objects in view, viz., the reform of education and manners, exercised a powerful, though temporary, influence on the language, both written and spoken, commemorated in our words "euphuism" and "euphuistic." The characteristics of the style have been set forth as "pedantic and far-fetched allusion, elaborate indirectness, a cloying smoothness and drowsy monotony of diction, alliteration, punning, and such-like puerilities, which do not, however, exclude a good deal of wit, fancy, and prettiness." Many contemporary authors, including Shakespeare, made game of it, while others, e.g. Greene, admired and practised it. L. also wrote light dramatic pieces for the children of the Chapel Royal, and contributed a pamphlet, Pappe with an Hatchet (1589) to the Mar-prelate controversy in which he supported the Bishops. He sat in Parliament for some years.