OpenLLM-France/wikimedia huggingface dataset:
# The Letters of Queen Victoria/Volume 3/Chapter 23/From King of Belgians 9 January 1854

​The King of the Belgians to Queen Victoria. LAEKEN, 9th January 1854. My DEAREST Victoria,—I wrote you a most abominable scrawl on Friday, and think myself justified in boring you with a few words to-day.
The plot is thickening in every direction, and we may expect a great confusion. The dear old Duke used to say "You cannot have a little war." The great politicians of the ​Press think differently. The Duke told me also once: “At the place where you are you will always have the power to force people to go to war.” I have used that power to avoid complications, and I still think, blessed are the peacemakers.
How the Emperor could get himself and everybody else into this infernal scrape is quite incomprehensible; the more so as I remain convinced that he did not aim at conquest. We have very mild weather, and though you liked the cold, still for every purpose we must prefer warmth. Many hundred boats with coal are frozen up, and I am told that near two hundred ships are wanting to arrive at Antwerp. . . .
I am much plagued also by little parliamentary nonsense of our own here, a storm in a bottle; this is the way of human kind, and in such cases it always pleases me to think that I am not bound to be always their working slave, and I cast a sly look at my beautiful villa on the Lake of Como, quite furnished. . . . My beloved Victoria. Your devoted Uncle.
Leopold R.
# The Letters of Queen Victoria/Volume 3/Chapter 23/To John Russell 21 January 1854

Queen Victoria to Lord John Russell.
WINDSOR CASTLE, 21st January 1854. The Queen has received Lord John Russell’s letter of the 19th, and the Bill as now agreed upon by the Cabinet, which she hopes may meet the wishes of the Country and pass into law. From what she understands the chief argument used in opposition to the measure will be, that corruption and bribery is the evil which the Country really complains of, and not an unequal distribution of the representation, and that a new distribution or even extension of the franchise will not touch the evil, and may be said perhaps in some instances to tend towards increasing it. The success of the measure will therefore, she concludes, in some degree depend upon the Bribery Bills which will accompany it. How far are these advanced? and what expectation has Lord John Russell of succeeding in framing such a measure as would remove that ground of objection to the Reform Bill?
# The Letters of Queen Victoria/Volume 3/Chapter 23/From Earl Aberdeen 6 January 1854

CHAPTER XXIII
1854
The Earl of Aberdeen to Queen Victoria.
LONDON, 6th January 1854.
Lord Aberdeen presents his humble duty to your Majesty. He cannot wonder at the indignation expressed by your Majesty at the base and infamous attacks made upon the Prince during the last two or three weeks in some of the daily papers. They are chiefly to be found in those papers which represent ultra-Tory or extreme Radical opinions; but they are not sanctioned by the most respectable portion of the Press. Lord Aberdeen has received some information respecting the origin of these attacks; but it is vague and uncertain. At all events he believes that your Majesty may safely make yourself at ease upon the subject, as he is satisfied that these hostile feelings are shared by few. It is much to be desired that some notice of the subject may be taken in Parliament, when, by being treated in a proper manner, it may be effectually stopped. Lord Aberdeen has spoken to Lord John Russell, who will be quite prepared to moot it in the House of Commons.
It cannot be denied that the position of the Prince is somewhat anomalous, and has not been specially provided for by the Constitution; but the ties of Nature, and the dictates of common sense are more powerful than Constitutional fictions; and Lord Aberdeen can only say that he has always considered it an inestimable blessing that your Majesty should possess so able, so zealous, and so disinterested an adviser. It is true that your Ministers are alone responsible for the conduct of public affairs, and although there is no man in England whose opinion Lord Aberdeen would more highly respect and value, still if he had the misfortune of differing ​from His Royal Highness, he would not hesitate to act according to his own convictions, and a sense of what was due to your Majesty’s service.
The Prince has now been so long before the eyes of the whole country, his conduct so invariably devoted to the public good, and his life so perfectly inattackable, that Lord Aberdeen has not the slightest apprehension of any serious consequences arising from these contemptible exhibitions of malevolence and faction.
Your Majesty will graciously pardon Lord Aberdeen for writing thus plainly; but there are occasions on which he almost forgets your Majesty’s station, and only remembers those feelings which are common to all ranks of mankind.
# The Letters of Queen Victoria/Volume 3/Chapter 23/From King of Belgians 13 January 1854

​The King of the Belgians to Queen Victoria. Laeken, 13th January 1854. My beloved Victoria,—I grieve to see how unjustly you are plagued, and how wonderfully untrue and passionate are the attacks of part of the Press. Abuse is somewhat the staff of life in England, everything, everybody is to be abused; it is a pity, as nothing more unproductive as this everlasting abuse can well be imagined. As nothing ever gave the slightest opening to this abuse, it is to be hoped that it will be soon got over—the meeting of Parliament will now do good in this respect. As far as your few continental relations are concerned, I don’t think they will be able to fix anything upon your faithful servant. I have done England at all times good services, in the sense of her best interests. I hold a position of great geographical importance for England, just opposite the mouth of the Thames. Successes of vanity I am never fishing for in England, nor anywhere else. The only influence I may exercise is to prevent mischief where I can, which occasionally succeeds; if war can be avoided, and the same ends obtained, it is natural that that should be tried first. Many English superficial newspaper politicians imagine that threatening is the thing—I believe it the worst of all systems. The Emperor Nicholas and Menschikoff wanted by threatening the Turks to get certain things, and they have by that means got a very troublesome and expensive affair on their hands. I wish England too well to like to see it, but one of these days ​they will get into some scrape in the same way. The foolish accusation that we are doing all we can to break up the French Alliance is certainly the most absurd of all; if anything can be for our local advantage, it is to see England and France closely allied, and for a long period—for ever I should say. . . .
I have heard, and that from the Prussian Quarter, that great efforts are making on the part of Russia, to gain over Louis Napoleon. I understand, however, that though Louis Napoleon is not anxious for war, that his opinion is favourable to the continuation of a good understanding with England. That it should be so is, I must say, highly desirable. The poor Orleans will be grieved and hurt by all these things. The death of the child of the poor Queen of Spain will not be a favourable omen for Spain. . . .
# The Letters of Queen Victoria/Volume 3/Chapter 23/To Earl Clarendon 9 January 1854

Queen Victoria to the Earl of Clarendon.
WINDSOR CASTLE, 9th January 1854. The Queen thanks Lord Clarendon for his letter just received with the enclosures.
As the proposed answer to the Emperor contains perhaps necessarily only a repetition of what the Queen wrote in her former letter, she inclines to the opinion that it will be best to defer any answer for the present—the more so, as a moment might possibly arrive when it would be of advantage to be able to write and to refer to the Emperor’s last letter.
With respect to the Persian Expedition the Queen will not object to it—as the Cabinet appears to have fully considered the matter, but she must say that she does not much like it in a moral point of view. We are just putting the Emperor of Russia under the ban for trying “to bring the Sultan to his senses” by the occupation of part of his territory after a diplomatic rupture, and are now going to do exactly the same thing to the Shah of Persia!
* ↑ See ante, vol. ii, pp. 459, 461, 464.
* ↑ Under the belief that Persia had declared war against Turkey, and that diplomatic relations between England and Persia were suspended, the Cabinet had agreed upon the occupation of the Island of Karak by a British force.
# The Modern Art of Taming Wild Horses/Chapter 8

SUGGESTIONS ON THE HABIT OF SMELLING.
We might very naturally suppose from the fact of the horse's applying his nose to everything new to him, that he always does so for the purpose of smelling these objects. But I believe that it is as much or more for the purpose of feeling, and that he makes ​use of his nose, or muzzle (as it is sometimes called), as we would of our hands; because it is the only organ by which he can touch or feel anything with much susceptibility.
I believe that he invariably makes use of the four senses, seeing, hearing, smelling, and feeling, in all of his examinations, of which the sense of feeling is, perhaps, the most important. And I think that, in the experiment with the robe, his gradual approach and final touch with his nose was as much for the purpose of feeling as anything else, his sense of smell being so keen that it would not be necessary for him to touch his nose against anything in order to get the proper scent; for it is said that a horse can smell a man at the distance of a mile. And if the scent of the robe was all that was necessary he could get that several rods off. But we know from experience, that if a horse sees and smells a robe a short distance from him he is very much frightened (unless he is used to it) until he touches or feels it with his nose; which is a positive proof that feeling is the controlling sense in this case.
# The Modern Dances/Chapter 1

Introduction
At the outset I wish to emphasize one point most emphatically. The new dances are not improper dances. On the contrary, they are just as proper and graceful as the time-honored waltz and two-step, and far more interesting, both to young and old, than their predecessors ever were.
To the fact of their almost instant popularity is probably due the storm of criticism which arose against them. Taken up at once by all sorts and conditions of people, they were danced in public by plenty of well-meaning persons with no thought?of impropriety, but without sufficient knowledge and experience to direct them into the proper positions or correct steps.
The greatest criticism has been caused, however, by the fact that the new dances were performed very generally by those whose performance of any dances would be improper and in many cases even suggestive.
That this, however, has not militated against the dances themselves, is proved by their increasing popularity among refined people of all ages.
Public sentiment is placing the stamp of approval more strongly every day on the new dances. Chiefly so because the best teachers in all parts of the country now know where they ​stand and are teaching the positions and steps as they should be done.
The popularity of these dances is due very largely to the fascination of the endless variety of pretty, graceful steps and figures which can be interpolated into them. Many of the figures are widely known and are designated by names such as the "Lame Duck," "The Twinkle," and so on, but in reality the number of figures which can be woven into practically all of these dances is only limited to the ingenuity of those performing them.
Their popularity, therefore, is well deserved, while the criticism which in some instances has been so severe, is certainly not warranted by the dances as dances.
If the poses shown in this book are carefully observed, and the instructions, both general and specific, are followed, these dances will be performed in a manner which cannot possibly provoke unfavorable criticism.
I have made no attempt in this book to teach stage dancing. On the contrary, all of these dances with their many figures can be performed at any dancing party and even on a crowded floor.
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# The Modern Dances/Chapter 4

Illustration 10
The Castle Walk
Originated and made famous by Mr. and Mrs. Vernon Castle, the Castle Walk has become immensely popular through its introduction into the Tango. It really is so simple that it is difficult to describe.
In this figure the man continually goes forward and the lady backward. In order that the lady may be properly guided about the room, the man's arm encircles her just under her arm, while her left hand rests on the man's right arm. The position of the lady's right arm and the man's left arm is high, with their hands clasped. (See Illustration 10.)
The man starts forward with his left foot and the lady backward with her right, simply walking, but keeping on the toes, one count of the music to each step. This step is continued to the end of the room, where a large circle is begun, which is gradually made smaller and smaller, until it is ended by whirling completely around three times, to three counts of the music and then dip.
The Castle Walk may be varied by describing the figure eight instead of the large circle.
To make the three whirls is rather a difficult matter, as it must be done very rapidly to ac​complish a complete revolution to one beat of the music, but with a little practice it is soon learned.
To the on-looker the Castle Walk appears very foolish—and it is—but it is great fun for those doing it.
Layout 2
# The Modern Art of Taming Wild Horses/Chapter 7

EXPERIMENT WITH THE ROBE.
If you want to satisfy yourself of this characteristic of the horse, and to learn something of importance concerning the peculiarities of his nature, &c., turn him into the barn-yard, or a large stable will do, and then gather up something that you know will frighten him—a red blanket, buffalo robe, or something of that kind. Hold it up so that he can see it, he will stick up his head and snort. Then throw it down somewhere in the centre of the lot or barn, and walk off to one side. Watch his motions, and study his nature. If he is frightened at the object, he will not rest until he has touched it with his nose. You will see him begin to walk around the robe and snort, all the time getting a little closer, as if drawn up by some magic spell, until he finally gets within reach of it. He will then very cautiously stretch out his neck as far as he can reach, merely touching it with his nose, as though he thought it was ready to fly at him. But after he has repeated these touches a few times, for the first time (though he has ​been looking at it all the while), he seems to have an idea what it is. But now he has found, by the sense of feeling, that it is nothing that will do him any harm, and he is ready to play with it. And if you watch him closely, you will see him take hold of it with his teeth, and raise it up and pull at it. And in a few minutes you can see that he has not that same wild look about his eye, but stands like a horse biting at some familiar stump.
Yet the horse is never so well satisfied when he is about anything that has frightened him, as when he is standing with his nose to it. And, in nine cases out of ten, you will see some of that same wild look about him again, as he turns to walk from it. And you will, probably, see him looking back very suspiciously as he walks away, as though he thought it might come after him yet. And in all probability, he will have to go back and make another examination before he is satisfied. But he will familiarize himself with it, and, if he should run in that lot a few days, the robe that frightened him so much at first will be no more to him than a familiar stump.
# The Modern Dances

The Modern Dances is a dance manual containing detailed step descriptions and style instructions for dances such as the Tango, or One Step, the Castle Walk, the Walking Boston, the Hesitation Waltz, the Dream Waltz and the Argentine Tango.
The MODERN
DANCES
TANGO✠CASTLE WALK
HESITATION WALTZ✠✠
ONE STEP ✠DREAM WALTZ
By CAROLINE WALKER
THE MODERN DANCES
First Edition, Jan. 27, 1914
Second Edition, Feb. 12, 1914
Third Edition, March 20, 1914
Photographs by Archibald Studio
Chicago
THE
Modern Dances
How to Dance Them
BY
Caroline Walker
COMPLETE INSTRUCTIONS FOR LEARNING
The Tango, or One Step The Castle Walk The Walking Boston The Hesitation Waltz The Dream Waltz The Argentine Tango
PUBLISHED BY
SAUL BROTHERS
626 FEDERAL ST., CHICAGO
1914
Copyright, 1914, by Saul Brothers
This book is dedicated to those who enjoy dancing, who wish to dance the new dances properly and gracefully, and who desire to learn such steps and figures as may be performed at any dancing party.
Table of Contents
Layout 2
This work is in the public domain in the United States because it was published before January 1, 1929.
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 Modern Dances/Chapter 2

General Instructions
These instructions apply to all the dances taught in the following pages. They should be read carefully before going further, for the points brought out here will not only make the dances easier to learn, but will add grace and beauty to the figures as well as a greater degree of satisfaction to those performing them.
Do not hold the partner too close. It does not look well and it interferes with easy and graceful motions. Illustration I shows the correct position. The man's right arm encircles the lady well up under her arm—not around the waist. The lady should be careful not to grip her partner's right arm. Her hand should rest lightly on his arm. The man's left arm and the lady's right should be extended straight out from the shoulder. Do not grip the hands together. The lady's hand should lie in the man's upturned open palm.
Dance in a narrow line. By this I mean that the feet should not be kept wide apart, for that not only looks awkward, but it interferes with the proper performance of the figures. Forward steps, for instance, should be made with the feet almost directly in front of each other.
Do not hold the body or arms tense. All movements should be free, easy and natural.
​Do not sway the body or hunch up the shoulders.
Dance with a "soft" knee. By this I do not mean that one should have the appearance of jumping up and down. On the contrary, the shoulders should travel on a line as though there were pieces of glass on them, which must not be allowed to drop off. But do not keep the knees stiff. These dances are done with the limbs, not with the body, the weight being always on the ball of the foot.
In all figures where one foot is raised from the floor be careful to point the toes downward, for the sake of a graceful, easy appearance.
These dances are really very simple and should be learned very readily from the instructions given in the following pages. Regarding these instructions, I advise that they be observed in this manner: First, read all the instructions given for one figure. Second, if there is a diagram, study it carefully in the light of what you have read. Third, after reading the instructions and studying the diagram, practice the figure with the book before you. Fourth, practice with music. Fifth, practice with music and partner.
Layout 2
# The Modern Art of Taming Wild Horses/Chapter 9

PREVAILING OPINION OF HORSEMEN.
It is a prevailing opinion among horsemen generally that the sense of smell is the governing sense of the horse. And Faucher, as well as others, has with that view got up receipts of strong smelling oils, &c., to tame the horse, sometimes using the chesnut ​of his leg, which they dry, grind into powder, and blow into his nostrils, sometimes using the oils of rhodium, origanum, &c., that are noted for their strong smell; and sometimes they scent the hand with the sweat from under the arm, or blow their breath into his nostrils, &c. &c. All of which, as far as the scent goes, have no effect whatever in gentling the horse, or conveying any idea to his mind; though the acts that accompany these efforts—handling him, touching him about the nose and head, and patting him, as they direct you should, after administering the articles, may have a very great effect, which they mistake to be the effect of the ingredients used. And Faucher, in his work, entitled "The Arabian Art of Taming Horses," page 17, tells us how to accustom a horse to a robe, by administering certain articles to his nose; and goes on to say that these articles must first be applied to the horse's nose, before you attempt to break him, in order to operate successfully.
Now, reader, can you, or any one else, give one single reason how scent can convey any idea to the horse's mind of what we want him to do? If not, then of course strong scents of any kind are of no avail in taming the unbroken horse. For, everything that we get him to do of his own accord, without force, must be accomplished by some means of conveying our ideas to his mind. I say to my horse, "Go-'long!" and he goes; "Ho!" and he stops ​because these two words, of which he has learned the meaning by the tap of the whip and the pull of the rein that first accompanied them, convey the two ideas to his mind of go and stop.
Neither Faucher, nor any one else, can ever teach the horse a single thing by the means of scent alone.
How long do you suppose a horse would have to stand and smell a bottle of oil before he would learn to bend his knee and make a bow at your bidding, "Go yonder and bring your hat," or "Come here and lie down?" Thus you see the absurdity of trying to break or tame the horse by the means of receipts for articles to smell at, or medicine to give him, of any kind whatever.
The only science that has ever existed in the world, relative to the breaking of horses, that has been of any value, is that true method which takes them in their native state, and improves their intelligence.
# The Librarian's Copyright Companion/Appendix N

Appendix N
Sample Law Journal Author Agreement (2011)
# The Librarian's Copyright Companion/Appendix K

Appendix K
American Association of Law Libraries Model Law Firm Copyright Policy (2007)
# The Librarian's Copyright Companion/Appendix J

Appendix J
American Association of Law Libraries Guidelines on the Fair Use of Copyrighted Works by Law Libraries (2001)
# The Librarian's Copyright Companion/Appendix L

Appendix L
Visual Resources Association Image Collection Guidelines: The Acquisition and Use of Images in Non-Profit Educational Visual Resources Collections (2004)