OpenLLM-France/wikimedia huggingface dataset:
# The Choirmaster's Manual/Chapter 7

CHAPTER VII
ENUNCIATION
To a stranger the service of the Church as sung and said by many choirs is wholly unintelligible; the common fault is the saying of the responses, etc., too quickly, on the reciting-note especially, owing to the inertia of the muscles of the tongue and mouth. In the Gloria Patri we hear, "Glorybe t'the Father-ran' t'the Son," or "Glory be to + Father." Further, "As 'twas beginning," or, "As it was in + beginning." Which is just the elision of little words, or the running of one word into another. All words should be said or sung distinctly, in no case should words be so gabbled that it is impossible to use the tongue quickly enough to form clean consonants. It is a good plan to slightly accent the word "in" in "As it was IN the beginning."
All words such as "may," "day," "say," "night," etc., must be finished without any upward movement of the jaw, otherwise "mayee," "dayee," "sayee," "ni-eet," will be the result. All the regular church responses should be carefully gone through with regard to pronunciation, and with a little care one would not so often hear the responses to the litany: "Web 'seach Thee t'yeerus;" "Good Lor' dliverus."
We can hardly exaggerate the effect of a consonant, unless it be "s" or "f," and such diphthongs as "ch" and "sh." Nevertheless, the final consonant of a word or syllable must never be heard unless the very end of the value of the note is reached on the vowel-sound. The shaded parts in the squares of the following example will give some idea of the proportionate value of the Consonants to the Vowels.
* ′I ncl I nth I n E r I incl I nth I n E r t O me E
Notwithstanding the remark about the rolling of "r's," where a word ends with an "r" immediately followed by a word commencing with a vowel, the "r" must be clearly rolled—clear of the following vowel,—and a special little "attack" made on the following vowel.
Incline Thine ear-r, incline Thine ear to me.
Not
Incline Thine earincline.
Glory be to the Father..r, And to the Son.
Not
Glory be to the Fatherand to the Son.
Care must also be taken in the pronunciation of such words as fire: "FI′re," not "fyer." Also when one word ends with a letter that the v next commences with, special pains must be taken to pronounce both.
The people that trust in Thee,
Often sounds
The people tha' trust in Thee.
"R's" may be rolled at the commencement of a word, seldom at the end.
# The Choirmaster's Manual/Chapter 5

CHAPTER V
BLENDING THE REGISTERS
In Chapter III the head-tones were attacked and brought down the scale; on this principle all the registers are blended, and the voice made even.
Below are the various ideas held by some leading choirmasters as to the "division-notes" or boundaries of the various registers in the boy's voice:
(Lower Medium Resonance felt in highest part of back of mouth, on hard palate. Upper Medium felt on top of mouth, well forward. Head Resonance felt at the highest part of back of head.)
Voices trained on this plan blend much better with women's voices, and don't stand out, but add brilliancy only.
Contraltos (or altos) use "chest" and "medium" registers only. The chest-note resonance is felt in the lower or upper chest, the change
The principal break in the voice is between "upper medium" and "head," occurring on D; the break is very seldom noticed between lower and upper medium.
Exercise 9.
​When the lower note can be taken with the same resonance as the upper, the scale-passage from lower note upward may be attempted, always singing piano.
Exercise 10.
Exercise 11.
Exercise 12.
Start in head-voice, sing very softly. In so doing, the voice will unconsciously get into the medium register, which is what is required.
Wrong head-tone production is combined with a loss of all facial expression, a fixed chin, and a stony eye.
# The Choise of Valentines/Post-script

    Thus hath my penne presum'd to please my friend—
       Oh mightst thou lykewise please Apollo's eye.
       No, Honor brooke's no such impietie,
       Yett Ouids wanton Muse did not offend.
    He is the fountaine whence my streames doe flowe—
       Forgive me if I speake as I was taught,
       A lyke to women, utter all I knowe,
       As longing to unlade so bad a fraught.
    My mynde once purg'd of such lasciuious witt,
       With purifide words and hallowed verse,
       Thy praises in large volumes shall rehearce,
       That better maie thy grauer view befitt.
    Meanewhile yett rests, you smile at what I write;
       Or, for attempting, banish me your sight.

## Footnotes

* ↑ Quite detached, on page 94 of the Rawl. MS. (the text commences on page 96), are a few lines entitled "The Epilogue," which are obviously part of the above, albeit more than usually imperfectly copied. Why so placed does not appear, especially as several blank pages immediately follow the conclusion of the Bodleian copy.
# The Czar's Spy (unknown edition)

* His Brittanic Majesty's Service
* Why the Safe was Opened
* The House over the Water
* In Which the Mystery Increases
* Contains Certain Confidences
* The Gathering of the Clouds
* Contains a Suprise
* Life's Counter-Claim
* Strange Disclosures are Made
* I Show My Hand
* The Castle of Terror
* The Strangler
* A Double Game and its Consequences
* Her Highness is Inquisitive
* Just off the Strand
* Marked Men
* The Truth About the "Lola"
* Contains Elma's Story
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1927, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 96 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
# The Complete Poems of Paul Laurence Dunbar/Noon

NOON
Shadder in de valley Sunlight on de hill, Sut'ny wish dat locus' Knowed how to be still. Don't de heat already Mek a body hum, 'Dout dat insec' sayin' Hottah days to come?
Fiel' 's a shinin' yaller Wid de bendin' grain, Guinea hen a callin', Now's de time fu' rain; Shet yo' mouf, you rascal, Wha' 's de use to cry? You do' see no rain clouds Up dah in de sky.
Dis hyeah sweat's been po'in' Down my face sence dawn; Ain't hit time we 's hyeahin' Dat ah dinnah ho'n? Go on, Ben an' Jaspah, Lif yo' feet an' fly, Hit out fu' de shadder Fo' I drap an' die.
Hongry, lawd a' mussy, Hongry as a baih, Seems lak I hyeah dinnah Callin' evahwhaih; Daih 's de ho'n a blowin'! Let dat cradle swing, One mo' sweep, den da'kies, Beat me to de spring!
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 Complete Poems of Paul Laurence Dunbar/On The Dedication Of Dorothy Hall

ON THE DEDICATION OF DOROTHY HALL
TUSKEGEE, ALA., APRIL 22, 1901.
Not to the midnight of the gloomy past,  Do we revert to-day; we look upon The golden present and the future vast  Whose vistas show us visions of the dawn.
Nor shall the sorrows of departed years  The sweetness of our tranquil souls annoy, The sunshine of our hopes dispels the tears,  And clears our eyes to see this later joy.
Not ever in the years that God hath given  Have we gone friendless down the thorny way, Always the clouds of pregnant black were riven  By flashes from His own eternal day.
The women of a race should be its pride;  We glory in the strength our mothers had, We glory that this strength was not denied  To labor bravely, nobly, and be glad.
God give to these within this temple here,  Clear vision of the dignity of toil, That virtue in them may its blossoms rear  Unspotted, fragrant, from the lowly soil.
God bless the givers for their noble deed,  Shine on them with the mercy of Thy face, Who come with open hearts to help and speed  The striving women of a struggling race.
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 Complete Poems of Paul Laurence Dunbar/Ode for Memorial Day

DONE are the toils and the wearisome marches,  Done is the summons of bugle and drum. Softly and sweetly the sky overarches,  Shelt'ring a land where Rebellion is dumb. Dark were the days of the country's derangement,  Sad were the hours when the conflict was on, But through the gloom of fraternal estrangement  God sent his light, and we welcome the dawn. O'er the expanse of our mighty dominions,  Sweeping away to the uttermost parts, Peace, the wide-flying, on untiring pinions,  Bringeth her message of joy to our hearts.
Ah, but this joy which our minds cannot measure,  What did it cost for our fathers to gain! Bought at the price of the heart's dearest treasure,  Born out of travail and sorrow and pain; Born in the battle where fleet Death was flying,  Slaying with sabre-stroke bloody and fell; Born where the heroes and martyrs were dying,  Torn by the fury of bullet and shell. Ah, but the day is past: silent the rattle,  And the confusion that followed the fight. Peace to the heroes who died in the battle,  Martyrs to truth and the crowning of Right!
Out of the blood of a conflict fraternal,  Out of the dust and the dimness of death, Burst into blossoms of glory eternal  Flowers that sweeten the world with their breath. Flowers of charity, peace, and devotion  Bloom in the hearts that are empty of strife; Love that is boundless and broad as the ocean  Leaps into beauty and fulness of life. So, with the singing of paeans and chorals,  And with the flag flashing high in the sun, Place on the graves of our heroes the laurels  Which their unfaltering valor has won!
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 Complete Poems of Paul Laurence Dunbar/On A Clean Book

ON A CLEAN BOOK
TO F. N.
Like sea-washed sand upon the shore,  So fine and clean the tale, So clear and bright I almost see,  The flashing of a sail.
The tang of salt is in its veins,  The freshness of the spray God give you love and lore and strength,  To give us such alway.
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 Complete Poems of Paul Laurence Dunbar/Noddin' by de Fire

NODDIN' BY DE FIRE
Some folks t'inks hit's right an' p'opah,  Soon ez bedtime come erroun', Fu' to scramble to de kiver,  Lak dey 'd hyeahed de trumpet soun'. But dese people dey all misses  Whut I mos'ly does desiah; Dat 's de settin' roun' an' dozin',  An' a-noddin' by de fiah.
When you 's tiahed out a-hoein',  Er a-followin' de plough, Whut's de use of des a-fallin'  On yo' pallet lak a cow? W'y, de fun is all in waitin'  In de face of all de tiah, An' a-dozin' and a-drowsin'  By a good ol' hick'ry fiah.
Oh, you grunts an' groans an' mumbles  Case yo' bones is full o' col', Dough you feels de joy a-tricklin'  Roun' de co'nahs of yo' soul. An' you 'low anothah minute  'S sho to git you wa'm an' dryah, W'en you set up pas' yo' bedtime,  Case you hates to leave de fiah.
Whut's de use o' downright sleepin'?  You can't feel it while it las', An' you git up feelin' sorry  W'en de time fu' it is pas'. Seem to me dat time too precious,  An' de houahs too short entiah, Fu' to sleep, w'en you could spen' 'em  Des a-noddin' by de fiah.
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 Complete Poems of Paul Laurence Dunbar/Not They Who Soar

Not they who soar, but they who plod Their rugged way, unhelped, to God Are heroes; they who higher fare, And, flying, fan the upper air, Miss all the toil that hugs the sod. 'Tis they whose backs have felt the rod, Whose feet have pressed the path unshod, May smile upon defeated care,  Not they who soar.
High up there are no thorns to prod, Nor boulders lurking 'neath the clod To turn the keenness of the share, For flight is ever free and rare; But heroes they the soil who've trod,  Not they who soar!
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 Complete Poems of Paul Laurence Dunbar/Ode to Ethiopia

O Mother Race! to thee I bring This pledge of faith unwavering,  This tribute to thy glory. I know the pangs which thou didst feel, When Slavery crushed thee with its heel,  With thy dear blood all gory.
Sad days were those--ah, sad indeed! But through the land the fruitful seed  Of better times was growing. The plant of freedom upward sprung, And spread its leaves so fresh and young--  Its blossoms now are blowing.
On every hand in this fair land, Proud Ethiope's swarthy children stand  Beside their fairer neighbor; The forests flee before their stroke, Their hammers ring, their forges smoke,--  They stir in honest labour.
They tread the fields where honour calls; Their voices sound through senate halls  In majesty and power. To right they cling; the hymns they sing Up to the skies in beauty ring,  And bolder grow each hour.
Be proud, my Race, in mind and soul; Thy name is writ on Glory's scroll  In characters of fire. High 'mid the clouds of Fame's bright sky Thy banner's blazoned folds now fly,  And truth shall lift them higher.
Thou hast the right to noble pride, Whose spotless robes were purified  By blood's severe baptism. Upon thy brow the cross was laid, And labour's painful sweat-beads made  A consecrating chrism.
No other race, or white or black, When bound as thou wert, to the rack,  So seldom stooped to grieving; No other race, when free again, Forgot the past and proved them men  So noble in forgiving.
Go on and up! Our souls and eyes Shall follow thy continuous rise;  Our ears shall list thy story From bards who from thy root shall spring, And proudly tune their lyres to sing  Of Ethiopia's glory.
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 Complete Poems of Paul Laurence Dunbar/Nora: a Serenade

NORA: A SERENADE
Ah, Nora, my Nora, the light fades away,  While Night like a spirit steals up o'er the hills; The thrush from his tree where he chanted all day,  No longer his music in ecstasy trills. Then, Nora, be near me; thy presence doth cheer me,  Thine eye hath a gleam that is truer than gold.
I cannot but love thee; so do not reprove me,  If the strength of my passion should make me too bold. Nora, pride of my heart—  Rosy cheeks, cherry lips, sparkling with glee,— Wake from thy slumbers, wherever thou art;  Wake from thy slumbers to me.
Ah, Nora, my Nora, there 's love in the air,—  It stirs in the numbers that thrill in my brain; Oh, sweet, sweet is love with its mingling of care,  Though joy travels only a step before pain. Be roused from thy slumbers and list to my numbers; My heart is poured out in this song unto thee. Oh, be thou not cruel, thou treasure, thou jewel;  Turn thine ear to my pleading and hearken to me.
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 Complete Poems of Paul Laurence Dunbar/Nutting Song

NUTTING SONG
The November sun invites me, And although the chill wind smites me, I will wander to the woodland  Where the laden trees await; And with loud and joyful singing I will set the forest ringing, As if I were king of Autumn,  And Dame Nature were my mate,—
While the squirrel in his gambols Fearless round about me ambles, As if he were bent on showing  In my kingdom he'd a share; While my warm blood leaps and dashes, And my eye with freedom flashes, As my soul drinks deep and deeper  Of the magic in the air.
There's a pleasure found in nutting, All life's cares and griefs outshutting, That is fuller far and better  Than what prouder sports impart. Who could help a carol trilling As he sees the baskets filling? Why, the flow of song keeps running  O'er the high walls of the heart.
So when I am home returning, When the sun is lowly burning, I will once more wake the echoes  With a happy song of praise,— For the golden sunlight blessing, And the breezes' soft caressing, And the precious boon of living  In the sweet November days.
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 Complete Poems of Paul Laurence Dunbar/October

OCTOBER
October is the treasurer of the year,  And all the months pay bounty to her store; The fields and orchards still their tribute bear,  And fill her brimming coffers more and more. But she, with youthful lavishness, Spends all her wealth in gaudy dress,  And decks herself in garments bold  Of scarlet, purple, red, and gold.
She heedeth not how swift the hours fly,  But smiles and sings her happy life along; She only sees above a shining sky;  She only hears the breezes' voice in song. Her garments trail the woodlands through, And gather pearls of early dew  That sparkle, till the roguish Sun  Creeps up and steals them every one.
But what cares she that jewels should be lost,  When all of Nature's bounteous wealth is hers? Though princely fortunes may have been their cost,  Not one regret her calm demeanor stirs. Whole-hearted, happy, careless, free, She lives her life out joyously,  Nor cares when Frost stalks o'er her way  And turns her auburn locks to gray.
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 Encyclopedia Americana (1920)/Loess

LOESS, lės or lō'es, a loamy deposit of Pleistocene Age, abundantly developed in the valleys of the Rhine, the Danube, the Rhone and many of their tributaries. It is a pulverulent yellowish-gray or brownish loam, homogeneous and non-plastic, and consists principally of clay with small angular grains of quartz, and extremely minute scales of mica, together with a larger or smaller admixture of carbonate of lime and some iron oxide. It has a tendency to cleave in vertical planes, and thus forms cliffs where streams intersect it. The organic remains of the loess consist principally of land-shells of existing species, but now and again fresh-water shells are met with. Occasionally, also, the remains of man and the Pleistocene mammals are encountered. The deposit varies from a small thickness up to nearly 300 feet, and occurs at greatly differing levels, so that more than one agency would seem to have been active in its formation. Escaping floodwaters from glaciers are believed to have made some of the deposit; some of it may have been the result of weathering and rain-washings. The European loess is undoubtedly associated with the glacial deposits of the Continent, and in North America the same relationship obtains. Many geologists of the United States Geological Survey maintain that the accumulations which cover enormous areas in the great basin traversed by the Mississippi and its affluents are essentially fluviatile. Richthofen believes the Chinese accumulation, the largest in the world, to have been of Æolian origin, and this theory of wind-blown material has also been advanced with respect to deposits in the United States. There is no unanimity of opinion as to its origin, but loess is probably in part fluviatile and in part wind-blown. Consult Sixth Annual Report of the United States Geological Survey (1888); Chamberlin and Salisbury, ‘The Driftless Area of the Upper Mississippi Valley’; McGee, ‘The Pleistocene History of Northeastern Iowa,’ in the United States Geological Survey, Eleventh Annual Report (1891); Geikie, ‘Prehistoric Europe’ (1881).
# The Encyclopedia Americana (1920)/Lofftz, Ludwig

Edition of 1920. See also Ludwig Löfftz on Wikipedia, and the disclaimer.
LOFFTZ, lėftz, Ludwig, German painter: b. Darmstadt, 1845; d. 1910. He studied at Nuremberg under Kreling and Raupp and at Munich under Diez. In 1879 he became professor at the Academy of Munich, and from 1891 to 1899 was director of this institution. His best-known paintings are ‘Cardinal Playing the Organ’ (1876; exhibited in New York 1909); portrait of Liszt; ‘Avarice and Love’ (1879, owned by W. H. Vanderbilt, New York); ‘Erasmus,’ in the Stuttgart Museum; ‘Pietà,’ and ‘Eurydice’ (1898), both in the New Pinakothek, Munich, ‘Assumption of the Virgin’ (1889), in Freising Cathedral. In his later years he painted several landscapes, but his greatest success lay in his work as a teacher.
# The Encyclopedia Americana (1920)/Loftus, Augustus William Frederick Spencer

Edition of 1920. See also Lord Augustus Loftus on Wikipedia, and the disclaimer.
LOFTUS, Lord Augustus William Frederick Spencer, English diplomatist: b. 4 Oct. 1817; d. 9 March 1904. He entered the diplomatic service in 1837 as attaché at Berlin and was likewise attaché at Stuttgart in 1844. He was secretary to Stratford Canning in 1848, and after serving as secretary of legation at Stuttgart (1852), and Berlin (1853), was envoy at Vienna (1858), Berlin (1860) and Munich (1862); became Ambassador at Berlin 1865, to the North German Confederation (1868-71) and to Saint Petersburg (1871-79). He was governor of New South Wales (1879-85). He published his Reminiscences (1892-94).
# The Encyclopedia Americana (1920)/Lofoten

Edition of 1920. See also Lofoten on Wikipedia, and the disclaimer.
LOFOTEN, lō-fō'ten, or LOFODDEN, Norway, a group of islands off the northwest coast, stretching southwest to northeast about 175 miles and including the Vesteraaelen islands to the north. The largest are Andoen, Langoen, Hindoen (the largest 860 square miles), East and West Vaagen and Flagstadöe. They have bold, precipitous, rugged and deeply indented coasts, the channels between which are deep, narrow and tortuous, and an elevated, sterile interior, several containing mountains which, though not lofty, are covered with perpetual snow. The highest peak is Higrafstind (3,811 feet). Immense shoals of cod and herring frequent their shores, and extensive and valuable fisheries are carried on. The principal cod-fishery beginning January-February ends in April, but the herring-fishery continues, and furnishes an important branch of national revenue. In ordinary years about 4,000 boats, each manned by five hands, are employed. The celebrated whirlpool, the Maelstrom, is situated at the southwest extremity of these islands. Permanent population of group, about 40,000.
# The Encyclopedia Americana (1920)/Loftie, William John

Edition of 1920. See also W. J. Loftie on Wikipedia, and the disclaimer.
LOFTIE, William John, Irish-Anglican clergyman, writer on antiquities: b. Tandragee, County Armagh, 25 July 1839; d. 16 June 1911. He was educated at Trinity College, Dublin, and after holding church appointments joined the staff of the Saturday Review, and in 1894 that of the National Observer. As a writer on antiquarian subjects he combined learning and picturesque statement. He published ‘Round About London’ (1877; 4th ed., 1880); ‘Plea for Art in the House’ (1877); ‘Memorials of the Savoy’ (1879); ‘A Ride in Egypt’ (1879); ‘A History of London’ (1883); ‘Authorized Guide to the Tower of London’
(1886); ‘London’ (1887); ‘Windsor’ (1887); ‘Westminster Abbey’ (1890); ‘The Cathedral Churches of England’ (1892); ‘Inigo Jones and Wren’ (1893); ‘Inns of Court and Chancery’ (1894); ‘London Afternoons’ (1901); ‘Coronation Book of Edward VII’; ‘Colour of London’ (1907).