OpenLLM-France/wikimedia huggingface dataset:
# The Posthumous Works of Ann Eliza Bleecker/To the same (1)

Dear Sir, when late in town you chose To correspond no more in prose, My viscious muse---(but 'tis in vain Of her abuses to complain)--- Neglects to aid, as I expected, And so I must be self-directed.
You've broke th' agreement, Sir, I find; (Excuse me, I must speak my mind) It seems, in your poetic fit, You mind not jingling, when there's wit; And so to write like Donne you chose, Whose prose was verse, and verse was prose: From common tracts of rhyming stray, And versify another way. Indeed it suits, I must aver, A genius to be singular.
On F---r kept in durance vile, Did once more erring fortune smile: Again he would extend his ray, And shine his riches all away. Birch said, (and what he said I sing) 'A shilling is a serious thing;' But like Icarus, F---r springs, Where suns dissolv'd his waxen wings: No more the wings his weight sustain, He plunges headlong in the main: The shades of death steal o'er his eyes; And to black Styx the spirit flies.
Life is a grand vicissitude Of pain and health, of ill and good: Your goose now mourns a murder'd mate, (Attend while I the fact relate) He chanc'd upon a cloudless morn, To wander in our neighbour's corn; Perhaps he thought all lands were free, And none had private property;
Or sure he ne'er had trod the plain, And pick'd, like Eve, forbidden grain: Careless he fed, in graceful ease And sweet simplicity of geese. Ill-fated bird! he there was kill'd By man, the tyrant of the field.
His widow's wing, Oh dire relation! Next underwent sad amputation: Weep not, dear Sir, at this abuse; She bears it like a patient goose: I fear the widow is a prude, Or matters sooner would conclude; Or else you have a coward heart, And fear to act the suitor's part. Of all the things beneath the sun, you know, Faint heart fair lady never won. Adieu.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# The Posthumous Works of Ann Eliza Bleecker/To Mrs. D—

Dear Betsey now Pleasure the woodland has left, Nor more in the water she laves, Since winter the trees of their bloom has bereft, And stiffen'd to crystal the waves.
Now clad all in fur our guest she appears, By the fire-side a merry young grig; She pours out the wine, our pensiveness cheers, And at night leads us out to a jig.
Then venture among the tall pines if you dare, Encounter the keen arctic wind; Dare this for to meet with affection sincere, And Pleasure untainted you'll find.
I know you have Pleasure, my sister, by whiles, But then she appears in great state; She is hard of access, and lofty her smiles, While Envy and Pride on her wait.
Thro' drawing rooms, Betsey, you'll chase her in vain, The Colonel may seek her in blood; The Poets agree (and they cannot all feign) That she's born and resides in the wood.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# The Posthumous Works of Ann Eliza Bleecker/To Mr. L—

The sun that gilds the western sky And makes the orient red, Whose gladsome rays delight the eye And cheer the lonely shade,
Withdraws his vegetative heat, To southern climes retires; While absent, we supply his seat With gross, material fires.
'Tis new-year's morn; each rustic swain Ambrosial cordials take; And round the fire the festive train A semi-circle make:
While clouds ascend, of sable smoke, From pipes of ebon hue, With inharmonick song and joke They pass the morning through.
You tell me this is solitude, This Contemplation's seat; Ah no! the most impervious wood Affords me no retreat.
But let me recollect: 'tis said, When Orpheus tun'd his lyre The Fauns and Satyrs left the shade, Warm'd by celestial fire.
His vocal lays and lyra made Inanimated marble weep; Swift-footed Time then paus'd, 'tis said, And sea-born monsters left the deep:
Impatient trees, to hear his strain Rent from the ground their roots?--- Such is my fate, as his was then, Surrounded here---by brutes.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# The Posthumous Works of Ann Eliza Bleecker/To the same (2)

From plains and peaceful cots I send The humble wishes of a friend: May love still spread his silken wing, And life to you be ever spring: May virtue guide you with her clue, Life's mazy path to wander thro'; And may your offspring the blest tract pursue: On you may Heav'n benignly smile, And inward peace external cares beguile; Long may you live supremely blest, Then die, and be a Saviour's guest. The wish is o'er, permit me to descend To the familiar converse of a friend. Well, you've done right to get a wife, For change the comfort is of life; Besides, I've read in ancient story, A virtuous wife's a crown of glory: And yet 'tis true that some adorn Their husband's brows with crown of horn: The wisest man on earth we find Was partial to the female kind, Till he was trick'd a thousand ways, (But men are wiser now-a-days) Which made the honest Jew exclaim, They were all vanities, and vain: His father, you remember David, Who tore Saul's skirt, and ran away with't, He also had, (tho' lov'd of God) Plurality of wives allow'd: But since polygamy's abolish'd, The wives are chaste, the husbands polish'd Since with plagiary you've tax'd me, And never since for pardon ask'd me, To prove my false accuser guilty, Repeat his borrow'd lines I will t'ye: "No goose that swims, but soon or late" "Will find some gander for a mate." You'll find this couplet, I'll engage, In Wife of Bath, the hundredth page, Volume the second,---works of Pope--- Brother, you're now convinc'd, I hope.
However, what you prophesied About the goose, is verified; She's slipt her neck in marriage noose, And owns a sov'reign Lord, and goose. Adieu, Mon Cher Ami; the Muse Begs you her freedom will excuse.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# The Postmaster

English-language translations of পোস্ট্‌মাস্টার include:
* The Postmaster (1918), translated by Debendranath Mitra, published in Stories from Tagore
* The Postmaster (1918), translated by Debendranath Mitra, published in Mashi and Other Stories
# The Poetical Works of Jonathan E. Hoag/San Francisco

San Francisco
1921
# The Poetical Works of Jonathan E. Hoag/The Beautiful Boon of Death

The Beautiful Boon of Death
Tenderly Inscribed to Jonathan E. Hoag, author of "Death"
# The Poetical Works of Jonathan E. Hoag/Our Camp-Fire Girls

Our Camp-Fire Girls
1920
# The Poetical Works of Jonathan E. Hoag/Our Dedication

Our Dedication
(From Eurus for February, 1918, published by the well-known New England poetess Winifred V. Jackson and dedicated to Mr. Hoag on his 87th birthday.)
It is with a feeling of genuine pride, keen respect, and warm regard, that we dedicate this opening number of EURUS to a fellow-worker whose poetic grace and merit have endeared him to the entire amateur world, and whose long years of intellectual activity and virtuous endeavor entitle him to a double share of affection and veneration.
Jonathan E. Hoag, whose eighty-seventh birthday our pages cordially celebrate, was born at Valley Falls, New York, on the tenth of February, 1831. Throughout his life a student, poet, philosopher, and temperance worker, he stands today as a model for the rising age; an example of the best which the generous past affords. In Mr. Hoag we may observe that rarest and finest of mortals—a true gentleman of the old school.
Residing during recent years at Greenwich, New York, Mr. Hoag learned of our Association (the United Amateur Press Association) through his gifted neighbor, Miss Verna McGeoch, and through that foremost of recruiters, Mrs. Anne Tillery Renshaw. His sweet, stately, and melodious verse soon proved a leading factor in the literature of amateurdom, and each new piece from his pen is today awaited with eagerness. His Muse, as versatile as it is graceful, covers a wide variety of themes and measures; one moment singing the vast unfathomed deeps of Old Ocean, and the next moment portraying in quaintly inimitable brogue the longing of a lonely Celt for his far Erin home. The grandeur of ancient Nature awakes him to noble strains, and the contemplation of Life draws sublime and solemn chords from his many-stringed lyre.
We take delight in being able to head these pages with one of Mr. Hoag's longest and most spirited compositions, "To The Falls of Dionondawa," which preserves in song the fame of a beautiful and legend-haunted cataract of the Battenkill River, close to Vista Buena, the author's pleasant Greenwich estate. This poem, we feel, forms a substantial addition to the lore of a natural wonder already rich in poetic associations; and is a fitting specimen of its creator's art to adorn a publication dedicated to him at this happy milestone of his extended career.
Winifred Virginia Jackson.
Boston, 1918.
# The Poetical Works of Jonathan E. Hoag/Pad and Pencil on the Mohawk Trail

Pad and Pencil on The Mohawk Trail
1918
# The Poetical Works of Jonathan E. Hoag/Papa Is Sleeping Somewhere Over There

Papa Is Sleeping Somewhere Over There
1918
# The Poetical Works of Jonathan E. Hoag/The Barefoot Girl

The Barefoot Girl: A Parody To Martha
1921
# The Poetical Works of Jonathan E. Hoag/That Old Cider Mill

That Old Cider Mill
1921
# The Poetical Works of Jonathan E. Hoag/Our Little Martha

Songs of Childhood
Our Little Martha
1916
# The Poetical Works of Jonathan E. Hoag/Scatter Sweet Roses

Scatter Sweet Roses
1922
# The Prince (Byerley)/Chapter 2

CHAP. II.
Of Hereditary Principalities.
I shall not here speak of republics, having treated that subject amply enough in my Essay on Livy. I shall confine myself to principalities only ; and in following the divisions which I have already laid down, I shall consider how these kind of states ought to be governed, and how preserved.
I will first premise that hereditary states, accustomed to be governed by a line of princes, are more easily maintained than such as are new. In fact, it is only necessary for an hereditary prince not to exceed the limits of those orders and measures established by his predecessors, and merely act as the exigencies of events may obviously require: Thus, by the rational exercise of common faculties, he will always be able to maintain himself with credit in hils states, at least he can only be deprived of them by a force infinitely superior to his own, and even in this case, he may very easily re-establish himself on the first reverse of his adversary's fortune. We have for example, in Italy the Duke of Ferrara, who only resisted, the ​Venetians in 1484, and Pope Julius the Second in 1510, because he was the ancient sovereign of the duchy. The natural prince having the least occasion or necessity to irritate his subjects, he of consequence will be the most beloved by them; hence, if some extraordinary vices do not excite their hatred, it is natural that they should feel an inclination and regard for him. It is in the antiquity and the long duration of a government that the remembrance or occasion of a change is lost, for every change produces an increasing inclination for a new one.
# The Prince (Byerley)/Chapter 22

CHAP. XXII.
Of Ministers.
One of the most important points, and which is a sure index to the degree of wisdom possessed by those who govern, is the choice of ministers. A prince who knows where rightly to place his confidence is no ordinary man; hence it is by this rule we judge of him, his other talents being only to be ascertained from the casualty of circumstances, which occasionally call them into action. Those who knew Antonio de Venafro could not refuse to render justice to the judgment and wisdom of Pandolpho Petrucci, who made choice of so able a man for the administration of his affairs. (Vide Appendix F)
Now we may divide the human mind into three classes: of the first are those who know how to ascertain whatever is important for them to know; of the second class are those who easily discern what is pointed out to them by another; the third class neither understand of themselves, nor with the assistance of others. The first are excellent, the second are good, and the others worth nothing at all. ​Pandolpho belonged at least to the second class; for when a prince knows how to distinguish that which is useful from that which is injurious, he may, without being a man of genius, judge of the conduct of his ministers, and praise or blame it with such discretion, that they; being convinced they cannot deceive him, serve him with zeal and fidelity.
But how are princes to know their ministers? there is oneinfallible method:-it is to observe whether he attends more to his own interest than that of the state. A minister ought to be entirely devoted to the public service, and ought never to address the prince on his particular affairs. It is the part of the prince to attend to the interests of the minister, who, as it were, forgets himself, and to heap fortune and honours upon him: by this means he will remove the idea from the mind of his minister, of seeking riches and honours independent of his prince's bounty; nay, more, he will dread, and endeavour with all his power to prevent, any fatal reverse which may threaten his master. And this is the only method of establishing between a prince and his ministers a confidence equally useful and honourable to both.
# The Rebels; or, Boston before the Revolution

This American historical novel takes place in prerevolutionary Boston. Published in 1825.
   * Title page
   * Preface
   * Chapter I
   * Chapter II
   * Chapter III
   * Chapter IV
   * Chapter V
   * Chapter VI
   * Chapter VII
   * Chapter VIII
   * Chapter IX
   * Chapter X
   * Chapter XI
   * Chapter XII
   * Chapter XIII
   * Chapter XIV
   * Chapter XV
   * Chapter XVI
   * Chapter XVII
   * Chapter XVIII
   * Chapter XIX
   * Chapter XX
   * Chapter XXI
   * Chapter XXII
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# The Rubaiyat of Omar Khayyam (tr. Fitzgerald)

* The Rubaiyat of Omar Khayyam, 1st edition, London: Bernard Quaritch (1859) (transcription project)
* The Rubaiyat of Omar Khayyam, 2nd edition (1868).
* The Rubaiyat of Omar Khayyam, 3rd edition (1872).
* The Rubaiyat of Omar Khayyam, 4th edition (n.d.)
* The Rubaiyat of Omar Khayyam, 5th edition (1889).
* The Rubáiyát, in Persian Literature (1900). (transcription project)
* Rubáiyát of Omar Khayyám (1905) (transcription project)
# The Rubaiyat of Omar Khayyam

The Rubáiyát (Persian: رباعیات) is a collection of poems (of which there are about a thousand) attributed to the Persian mathematician and astronomer Omar Khayyám (1048–1123). "Rubaiyat" means "quatrains": verses of four lines.
English-language translations of Rubaiyat include:
* The Rubaiyat of Omar Khayyam (1859), tr. by Edward FitzGerald
* The Quatrains of Omar Khayyam (1882), tr. by Edward Henry Whinfield
* Rubáiyát of Omar Khayyám (1902), tr. by Richard Le Gallienne

### See Also

* Az Amadan
* The Rose said: “Oh, my most radiant beauty"
* What do you mean to the world? – Nothing!
# The Rubaiyat of Omar Khayyam (tr. Fitzgerald, 1st edition)

This transcription is of a facsimile of the first edition of FitzGerald's translation, published in 1859 by Bernard Quaritch, London. It does not mention FitzGerald's name. The introduction (pp. iii-xiii) contains a lengthy quote from a review, entitled "Omar Khayyam, the Astronomer-Poet of Persia", published anonymously by E. B. Cowell (referred to by FitzGerald as "the Reviewer") in The Calcutta Review, vol. XXX (1858), pp. 149-162. Note numbers in the text are linked to the relevant Note. The note number for note 22 is missing.
RUBÁIYÁT
OF
OMAR KHAYYÁM,
THE ASTRONOMER-POET OF PERSIA.
Translated into English Verse.
LONDON: BERNARD QUARITCH, CASTLE STREET, LEICESTER SQUARE. 1859.
Facsimile of the First Edition of FitzGerald's Rubaiyat of Omar Khayyam
One Spring day in 1856 Edward B. Cowell discovered in the Bodleian library at Oxford a manuscript containing 158 quatrains of Omar Khayyam which he transcribed and sent to his friend and pupil Edward FitzGerald. Later Cowell sent him from India a transcript of the so-called Calcutta manuscript. In 1857 FitzGerald completed his first draft of the poem and in January, 1858, sent it to Fraser's Magazine. After many months, in January, 1859, FitzGerald recovered his neglected manuscript and made a re-draft of the poem, which he printed privately in an edition of 250 copies, most of which he gave to Quaritch, who had ill success in disposing of them, and the remainder were sold from a clearance box at a penny each.
Since the appearance of this modest book more than two million copies have been sold in over two hundred editions, and it has been translated into almost all the tongues of modern Europe, as well as into Greek and Latin.
A soiled and penciled copy of the rare original would readily bring $300, while an uncut copy is priceless.
This facsimile is made from the fine copy owned by Charles Dana Burrage, to whose interest and courtesy Omarians owe so much.
RUBÁIYÁT
OF
OMAR KHAYYÁM,
THE ASTRONOMER-POET OF PERSIA.
Translated into English Verse.
LONDON: BERNARD QUARITCH, CASTLE STREET, LEICESTER SQUARE. 1859.
G. NORMAN, PRINTER, MAIDEN LANE, COVENT GARDEN, LONDON
* Introduction
* The Rubaiyat of Omar Khayyam
* Notes
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# The Prohibition

This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
TAKE heed of loving me; At least remember, I forbade it thee; Not that I shall repair my unthrifty waste Of breath and blood, upon thy sighs and tears, By being to thee then what to me thou wast; But so great joy our life at once outwears. Then, lest thy love by my death frustrate be, If thou love me, take heed of loving me. Take heed of hating me, Or too much triumph in the victory; Not that I shall be mine own officer, And hate with hate again retaliate; But thou wilt lose the style of conqueror, If I, thy conquest, perish by thy hate. Then, lest my being nothing lessen thee, If thou hate me, take heed of hating me. Yet love and hate me too; So these extremes shall ne'er their office do; Love me, that I may die the gentler way; Hate me, because thy love's too great for me; Or let these two, themselves, not me, decay; So shall I live thy stage, not triumph be. Lest thou thy love and hate, and me undo, O let me live, yet love and hate me too.
# The Proletarian Revolution and Kautsky the Renegade

Translation of Пролетарская революция и ренегат Каутский (Proletarskai︠a︡ revoli︠u︡t︠s︡ii︠a︡ i renegat Kautskiĭ). Contemporary Publishing Association was a cover name for the Communist Party of America.
KAUTSKY the RENEGADE
AND THE
PROLETARIAN REVOLUTION
By NICHOLAI LENIN V. I. ULIANOV
CONTEMPORARY PUBLISHING ASSOCIATION 1920
PRICE 25 CENTS
THE
PROLETARIAN REVOLUTION
AND
KAUTSKY the RENEGADE
By NICHOLAI LENIN
(V. I. ULIANOV)
CONTEMPORARY PUBLISHING ASSOCIATION 1920
TABLE OF CONTENTS.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The Slavers (Kate)

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
69 U.S. 350
The Slavers (Kate)

## Notes

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
# The Road to Old Man's Town

The fields of youth are filled with flowers, The wine of youth is strong: What need have we to count the hours? The summer days are long.
But soon we find to our dismay That we are drifting down The barren slopes that fall away Towards the foothills grim and grey That lead to Old Man's Town.
And marching with us on the track Full many friends we find: We see them looking sadly back For those who've dropped behind
But God forfend a fate so dread -- Alone to travel down The dreary toad we all must tread, With faltering steps and whitening head, The road to Old Man's Town!
This work is in the public domain in Australia because it was created in Australia and the term of copyright has expired. According to Australian Copyright Council - Duration of Copyright, the following works are public domain:
* published non-government works whose author died before January 1, 1955,
* anonymous or pseudonymous works and photographs published before January 1, 1955, and
* government works published more than 50 years ago (before January 1, 1974).
This work is also in the public domain in the United States because it was first published outside the United States (and not published in the U.S. within 30 days), and it was first published before 1989 without complying with U.S. copyright formalities (renewal and/or copyright notice) and it was in the public domain in Australia on the URAA date (January 1, 1996). This is the combined effect of Australia having joined the Berne Convention in 1928, and of 17 USC 104A with its critical date of January 1, 1996.
Because the Australian copyright term in 1996 was 50 years, the critical date for copyright in the United States under the URAA is January 1, 1946.
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 Son of the Wolf (London collection)

MALEMUTE KID HALTED HIM (page 64)
THE SON OF THE WOLF
Tales of the Far North
BY
JACK LONDON
BOSTON AND NEW YORK HOUGHTON, MIFFLIN AND COMPANY The Riverside Press, Cambridge 1900
COPYRIGHT, 1900, BY JACK LONDON ALL RIGHTS RESERVED
TO THE SONS OF THE WOLF WHO SOUGHT THEIR HERITAGE AND LEFT THEIR BONES AMONG THE SHADOWS OF THE CIRCLE
CONTENTS
| | PAGE |
| The White Silence | 1 |
| The Son of the Wolf | 21 |
| The Men of Forty-Mile | 52 |
| In a Far Country | 69 |
| To the Man on Trail | 102 |
| The Priestly Prerogative | 119 |
| The Wisdom of the Trail | 145 |
| The Wife of a King | 160 |
| An Odyssey of the North | 190 |
The gathering of these tales under one cover is due to the courtesy of the "Overland Monthly" and the "Atlantic Monthly," in the pages of which magazines they have already seen print.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# The Son of the Wolf

* Search for titles containing or beginning with: "The Son of the Wolf."
* sister projects: Wikidata item.
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 Son of the Wolf", a short story by Jack London
* "The Son of the Wolf", a collection of short stories by Jack London