OpenLLM-France/wikimedia huggingface dataset:
# A Chinese and English vocabulary, in the Tie-chiu dialect/Tʽáng
### Tʽáng.
#### 虫$^{-1}$蟲$^{-1}$

    Insects; reptiles; small animals.

#### 膛$^{-1}$

    Fat; fleshy.

#### 螳$^{-1}$

    A species of locust. ​

#### 棠$^{-1}$

    Name of a wood; transverse bars of a carriage.

#### 搪$^{-1}$

    To stretch or extend; fill up; offend; suddenly.

#### 倘$^2$儻$^2$

    A conditional particle; if; should it be.

#### 桶$^2$

    A wooden vessel; bucket; tub; cask; barrel.

#### 疸$^2$

    Yellow jaundice.

#### 䦔$^{3-}$

    A bolt or fastening to door.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Tʽó or Tù
### Tʽó or Tù.
#### 胎$^1$

    The womb; pregnancy.

#### 退$^{3-}$

    To decline; refuse; retire; draw back; yield.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Tʽⁿoa
### Tʽⁿoa.
#### 攤$^{-1}$

    To open; spread out; a stall; slow; remiss.

#### 灘$^{-1}$

    Water rushing through a narrow pass; a rapid.

#### 炭$^{3-}$

    Coals; charcoal.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Tʽⁿoi
### Tʽⁿoi.
#### 看$^2$

    To see; look at; consider.
# A Cyclopaedia of Female Biography/Cirani, Elizabeth

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CIRANI, ELIZABETH,
A native of Bologna, was eminently distinguished as a painter. Though she was happy in tender and delicate subjects, she excelled also in the great and terrible. Her genius gained her many friends, ​whom her excellent qualities retained. She died near the close of the eighteenth century.
# A Cyclopaedia of Female Biography/Clairon, Clara Josepha de la Tude

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CLAIRON, CLARA JOSEPHA DE LA TUDE,
One of the most celebrated actresses of France, was born in 1723, near Condé and went upon the stage when only twelve years old. Phédre was the first character in which she displayed all her theatrical talents. In 1765 she left the stage, and was for many years mistress of the Margrave of Anspach. She died in 1803. She published "Memoirs and Reflections upon the Declamation Theatrical."
# A Cyclopaedia of Female Biography/Chiomara

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CHIOMARA,
The heroic wife of Ortiagon, a Gaulish prince, equally celebrated for her beauty and her chastity. During the war between the Romans and the Gauls, B. C. 186, the latter were entirely defeated on Mount Olympus. Chiomara, among many other ladies, was taken prisoner, and committed to the chaise of a centurion. This centurion, not being able to overcome the chastity of the princess by persuasion, employed force; and then, to make her amends, offered her her liberty, for an Attic talent. To conceal his design from the other Romans, he allowed her to send a slave of her own, who was among the prisoners, to her relations, and assigned a place near the river where she could be exchanged for the gold.
She was carried there the next night by the centurion, and found there two relations of her own, with the money. While the centurion was weighing it, Chiomara, speaking in her own tongue, commanded her friends to kill him, which they did. Then cutting off his head herself, she carried it under her robe to her husband, Ortiagon, who had returned home after the defeat of his troops. As soon as she came into his presence she threw the head at his feet. Surprised at such a sight, he asked whose head it was, and what had induced her to do a deed so uncommon with her sex? Blushing, but at the same time expressing her fierce indignation, she declared the outrage that had been done her, and the revenge she had taken. During the remainder of her life, she strenuously retained her purity of manners, and was ever treated with great respect.
# A Cyclopaedia of Female Biography/Chudleigh, Lady Mary

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CHUDLEIGH, LADY MARY,
Was born in 1656, and was the daughter of Richard Lee, Esq., of Winslade, in Devonshire. She married Sir George Chudleigh, Bart., by whom she had several children; among the rest Eliza Maria, who dying in the bloom of life, her mother poured out her grief in a poem, called "A Dialogue between Lucinda and Marissa." She wrote another poem called "The Ladies' Defence," occasioned by a sermon preached against women. These, with many others, were collected into a volume and printed, for the third time, in 1722. She published also a volume of essays, in prose and verse, in 1710, which have been much admired for their delicacy of style.
This lady is said to have written several tragedies, operas, masques, etc., which were not printed. She died in 1711, in her fifty-fifth year. She was a woman of great virtue as well as understanding, and made the latter subservient to the former. She was only taught her native language, but her great application and uncommon abilities, enabled her to figure among the literati of her time. She wrote essays upon knowledge, pride, humility, life, death, fear, grief, riches, self-love, justice, anger, calumny, friendship, love. ​avarice, and solitude, in which she shewed an uncommon degree of knowledge and piety.
# A Cyclopaedia of Female Biography/Cicci, Marie Louisa

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CICCI, MARIE LOUISA,
Was born at Pisa, in 1760. When she was seven years old her father placed her in a convent, ordered her to be instructed merely in domestic duties, and forbade her to be taught even to write. By stealth, however, she read some of the best poets, and acquired the rudiments of writing, supplying the want of pen and ink by grape-juice and bits of wood. With these rude materials she wrote her first verses in her tenth year. At a more mature age, she made herself mistress of natural philosophy, of the English and French languages, and studied the works of Locke and Newton. Her Anacreontic verses are distinguished by their graceful ease and spirit. In private life she was virtuous and amiable. She died in 1794.
# A Cyclopaedia of Female Biography/Cibber, Susanna Maria

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CIBBER, SUSANNA MARIA,
Who for several years was considered not only the best actress in England, but thought by many superior to the celebrated Mdlle. Clairon, of Paris, was the daughter of an upholsterer of Covent-Garden, and sister to Dr. Thomas Augustin Arne, celebrated for his taste in musical composition. Her first appearance on the stage was as a singer, but either her judgment or ear was not equal to her sweetness of voice. She married, in April, 1734, Theophilus Cibber, who was then a widower. This marriage was not pleasing to Colley Cibber, the father, but he was induced to forgive them. He was then manager of Drury-Lane Theatre, and one day at rehearsal, his son happening to say he hoped young Mrs. Gibber might be brought on in speaking parts, Colley desired her to declaim before him, and was surprised to find such a variety of powers of voice, face, figure, and expression united. She appeared on the stage in 1736, in the character of Zara, in the first representation of Aaron Hill's tragedy. The audience were astonished and delighted, and her reputation as an actress was established.
But her domestic tranquillity did not equal her public success. Her husband was luxurious, prodigal, rapacious, and unscrupulous, and dishonourable in his means of obtaining money. She soon discontinued living with him, and resided entirely with a man on whom Mr. Cibber bestowed the appellation of Mr. Benefit. She retained her beauty and her power of pleasing, as an actress, for a long time. She died January 30th., 1766, and was buried at Westminster; leaving one child by the gentleman with whom she lived.
# A Cyclopaedia of Female Biography/Choin, Marie Emilie Joly de

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CHOIN, MARIE EMILIE JOLY DE,
A lady descended from a noble Savoy family. She was employed about the person of the Duchess of Conti, where she was sought ​by the Dauphin of France; but no solicitatious could induce her to forfeit her honour; and it is said that the prince at last married her privately, and, by her influence, was reformed, and regained the affections of the king. After his death, in 1711, she retired to obscurity, and died in 1744, universally respected.
# A Cyclopaedia of Female Biography/Cinchon, Countess of

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CINCHON, COUNTESS OF,
The wife of the viceroy of Peru, was the first person who brought the Peruvian bark to Europe, and made known its virtues. This took place in 1632. In honour of her, Linnaeus gave the name of Cinchona to the genus of plants by which the bark is produced.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Tiu
### Tiu.
#### 細$^{-1}$

    To select; take from; draw out; silk.

#### 裯$^{-1}$

    A covering for a bed; bed curtains; a single garment.

#### 丢$^1$

    To throw away; throw.

#### 冑$^2$

    A helmet.

#### 抒$^2$

    To take by the hand; lead; to lay open; explain; to strain; to decant.

#### 杼$^2$

    Transverse part of a loom; thin; narrow; to pare thin.

#### 紓$^2$

    Slow; remiss; procrastinating.

#### 宁$^2$

    The space between the door and screen.

#### 佇$^2$

    To stand and wait for a long time.

#### 竚$^2$

    To stand for a long time; stand.

#### 貯$^2$

    To accumulate; store up; an accumulation. ​

#### 苧$^{-3}$

    Name of a plant; a species of hemp.

#### 宙$^{-3}$

    To contain; the earth or universe which contains all things.

#### 晝$^{-3}$

    Day in distinction from night; day-light.

#### 紂$^{-3}$

    Name of an infamous king of China.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Tu
### Tu.
#### 侏$^1$

    A pigmy; low stature; small pillars.

#### 蛛$^1$

    A spider.

#### 誅$^1$

    To make inquisition; punish; destroy; exterminate.

#### 堵$^2$

    A low wall; to fend off; to shut; settled; tranquil.

#### 暏$^2$

    The morning light.

#### 楮$^2$

    Name of a tree of the bark of which cloth and paper are made.

#### 渚$^2$

    A small island.

#### 睹$^2$覩$^2$

    To look; observe; see.

#### 闍$^2$

    A battlement over a city gate; a tower for observation.

#### 著$^{3-}$

    To manifest; make conspicuous; publish; to supply.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Toi
### Toi.
#### 蹄$^{-1}$

    The foot or hoof of a quadruped; to kick.

#### 題$^{-1}$

    The forehead; head; title of a book; a theme; to contribute; to praise.

#### 堤$^1$

    To stop or fill up; to raise a dike or barrier; firm.

#### 底$^2$

    Low; the bottom of; mean; only.

#### 第$^{-3}$

    A degree; series; the ordinal of numbers; but; only.

#### 苐$^{-3}$

    Name of a plant.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Tue
### Tue.
#### 兌$^{-3}$

    To exchange; compare; give an equivalent; pleased.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Tiáng
### Tiáng.
#### 暢$^{3-}$

    Expanding; pervading; to fill; joy; hilarity.

#### 鬯$^{3-}$

    Name of a fragrant plant; odoriferous wine used in sacrifice.
# A Chinese and English vocabulary, in the Tie-chiu dialect/To
### To.
#### 圖$^{-1}$

    To draw a map or picture; delineate; a map or delineation; to plan; to try; to contrive.

#### 塗$^{-1}$

    To plaster; to ornament; to daub; to blot out.

#### 厨$^{-1}$

    A quiver; a case for books; a cook-house.

#### 蹰$^{-1}$

    Entangled; embarrassed.

#### 屠$^{-1}$

    To butcher; kill; rend in pieces.

#### 都$^1$

    A metropolis; abundant; all; general; to dwell.

#### 賭$^2$

    To gamble; play; risk.

#### 肚$^2$

    The belly; stomach; seat of the sentient principle.

#### 杜$^{-3}$

    To stop or fill up; shoot out; bark of which cords are made; name of a tree.

#### 豆$^{-3}$

    A vessel used in sacrifice; a certain measure.

#### 度$^3$

    A law; rule; measure; limit; a degree; to measure; to think.

#### 渡$^3$

    To pass through or over; to ford a stream.

#### 鍍$^3$

    To wash or plate with silver or gold.

#### 竇$^{3-}$

    A aperture; crevice; den; hole; aqueduct; channel.

#### 闘$^{3-}$

    To wrangle; fight; contest.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Tok
### Tok.
#### 獨$^{-4}$

    Single; alone; only; one; one's self.

#### 𣵠$^{-4}$

    Flowing down in drops; name of a stream.

#### 逐$^{-4}$

    To propel; drive out; reject; each; one by one.

#### 凟$^{-4}$

    Foul; muddy; to defile; insult; annoy; disrespect.

#### 匵$^{-4}$

    A box; case or press.

#### 櫝$^{-4}$

    A case for a sword or any such thing; a coffin.

#### 牘$^{-4}$

    A written document; a tablet; a card; small book.

#### 犢$^{-4}$

    A calf; a heifer; a victim for sacrifice.

#### 讟$^{-4}$

    Resentment; hatred and dissatisfaction; murmurs.

#### 覿$^4$

    To look; see; gaze at; to have an audience.

#### 黷$^4$

    Sordid; filthy; black; defiled.

#### 啄$^4$

    To peck; a bird eating; to take up food in the mouth; to choose.

#### 斵$^4$

    To cut; pare; hew.

#### 督$^4$

    To examine; reprove; rule; govern; lead; give orders.

#### 篤$^4$

    Thick; substantial; firm; real; sincere; superlative.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Tong
### Tong.
#### 中$^1$

    The middle, centre; within.

#### 忠$^2$

    Faithful; honest; upright; not selfish; fidelity.

#### 仲$^{-3}$

    The middle of three; younger; part of the name of Confucius.

#### 動$^{-3}$

    To move; shake; to excite; agitate; stir up.

#### 慟$^{-3}$

    The feelings moved to excess; extreme grief.

#### 中$^{3-}$

    To hit the centre; right; exact; correct; to succeed.

#### 凍$^{3-}$

    Ice; cold as ice; cold.

#### 棟$^{3-}$

    Name of a kind of tree; a cross-beam in a house.

#### 疼$^{3-}$

    Pain; acute feeling; affection; extreme regard.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Toa
### Toa.
#### 舵$^{-3}$

    A helm or rudder.

#### 大$^3$

    Great; large.

#### 帶$^{3-}$

    A belt; girdle; to draw, lead or take along with.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Tuan
### Tuan.
#### 端$^1$

    Straight, upright; decorous; commencement; first cause.

#### 彖$^{-3}$

    A pig; porcupine; symbols used in divination.

#### 篆$^{-3}$

    The ancient or seal character of writing.

#### 斷$^{-3}$

    To decide; determine; certainly; positively; to break off.

#### 斷$^{3-}$

    A decision; judgement.

#### 煆$^{3-}$鍜$^{3-}$

    To fuse metals; to hammer; to work; to mature.
# A Clue to Holt's Treatment of the Freudian Wish

Published in The Journal of Philosophy, Psychology and Scientific Methods, 1917-08-02
A Clue to Holt’s Treatment of the Freudian Wish
I find myself in close agreement with Professor Watson’s recent estimate of Edwin Holt’s brilliant little book on The Freudian Wish. “That Holt’s wish is not Freud’s” (p. 86$^2$) and that there is from my point of view, very fortunately—more of Holt than of Freud in the book (p. 90$^2$); that we none the less are indebted to Holt for his emphasis on Freud’s genuine contribution to general psychology; that Holt is justified in his effort to replace the sensation as unit of psychology (p. 86$^1$) ; that his effort is not wholly successful and that, in particular, he does not present us with a satisfactory substitute for “Meynert’s justly criticized scheme”—to all these conclusions I subscribe very cordially. I also agree with Mr. Watson that the book has a thoroughly “behavioristic tendency” (p. 90$^4$), while yet “in many places” it has not rid itself from “subjectivism.” But Watson, I think, has net found the clue to Holt’s apparent see-saw between “hehaviorism” and “subjectivism.” Yet it lies ready ​to hand: Holt rightly rejects the abstractions of the ordinary sensationalistic and ideistic psychology. When, however—in this study of moral behavior—he is discussing a social situation, then, though he neither acknowledges nor even realizes the fact, he is taking as primary unit of his psychology neither the reflex arc nor the wish, but rather the morally behaving, wishing, willing, self—the “mother” or “father” or “boy” of his masterly illustrations. Thus, to take almost random examples, when Holt says that “the child is frustrated, but not instructed,” or when he insists “that one untruthful word of father or mother will often undermine the child’s confidence forever,” his teaching gains its force from the implicit reference to frustrated or confiding child and to truthful or untruthful parents, not as higher organisms of integrated reflexes, but as purposing selves in social relation.
Mary Whiton Calkins.
Wellesley College.
* ↑ This Journal, Vol. XIV., pp. 85–92.
* ↑ The Freudian Wish, p. 108.
* ↑ Ibid., p. 113.
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 1930, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 93 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
# A Collection of Ballads/The Dowie Dens of Yarrow

    Late at e'en, drinking the wine,
    And ere they paid the lawing,
    They set a combat them between,
    To fight it in the dawing.
    "Oh, stay at hame, my noble lord,
    Oh, stay at hame, my marrow!
    My cruel brother will you betray
    On the dowie houms of Yarrow."
    "Oh, fare ye weel, my ladye gaye!
    Oh, fare ye weel, my Sarah!
    For I maun gae, though I ne'er return,
    Frae the dowie banks of Yarrow."
    She kiss'd his cheek, she kaim'd his hair,
    As oft she had done before, O;
    She belted him with his noble brand,
    And he's away to Yarrow.
    As he gaed up the Tennies bank,
    I wot he gaed wi' sorrow,
    Till, down in a den, he spied nine arm'd men,
    On the dowie houms of Yarrow.
    "Oh, come ye here to part your land,
    The bonnie Forest thorough?
    Or come ye here to wield your brand,
    On the dowie houms of Yarrow?"
    "I come not here to part my land,
    And neither to beg nor borrow;
    I come to wield my noble brand,
    On the bonnie banks of Yarrow.
    "If I see all, ye're nine to ane;
    An that's an unequal marrow:
    Yet will I fight, while lasts my brand,
    On the bonnie banks of Yarrow."
    Four has he hurt, and five has slain,
    On the bloody braes of Yarrow;
    Till that stubborn knight came him behind,
    And ran his body thorough.
    "Gae hame, gae hame, good-brother John,
    And tell your sister Sarah,
    To come and lift her leafu' lord;
    He's sleepin' sound on Yarrow."
    "Yestreen I dream'd a dolefu' dream;
    I fear there will be sorrow!
    I dream'd I pu'd the heather green,
    Wi' my true love, on Yarrow.
    "O gentle wind, that bloweth south,
    From where my love repaireth,
    Convey a kiss from his dear mouth,
    And tell me how he fareth!
    "But in the glen strive armed men;
    They've wrought me dole and sorrow;
    They've slain - the comeliest knight they've slain -
    He bleeding lies on Yarrow."
    As she sped down yon high, high hill,
    She gaed wi' dole and sorrow,
    And in the den spied ten slain men,
    On the dowie banks of Yarrow.
    She kiss'd his cheek, she kaim'd his hair,
    She search'd his wounds all thorough,
    She kiss'd them, till her lips grew red,
    On the dowie houms of Yarrow.
    "Now, haud your tongue, my daughter dear!
    For a' this breeds but sorrow;
    I'll wed ye to a better lord
    Than him ye lost on Yarrow."
    "Oh, haud your tongue, my father dear!
    Ye mind me but of sorrow:
    A fairer rose did never bloom
    Than now lies cropp'd on Yarrow."
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
# A Clock stopped—

A Clock stopped — Not the Mantel's — Geneva's farthest skill Can't put the puppet bowing — That just now dangled still —
An awe came on the Trinket! The Figures hunched, with pain — Then quivered out of Decimals — Into Degreeless Noon —
It will not stir for Doctors — This Pendulum of snow — The Shopman importunes it — While cool — concernless No —
Nods from the Gilded pointers — Nods from the Seconds slim — Decades of Arrogance between The Dial life — And Him —
# A Code of Morals

* Kipling, Rudyard (1899, 1919), "A Code of Morals" in Departmental Ditties and Ballads and Barrack-Room Ballads.
* Kipling, Rudyard (1919), "A Code of Morals" in Rudyard Kipling's Verse, Inclusive Edition, 1885-1918.
# A Collection, of One Hundred and Eighty Loyal Songs/Lay by your Pleading

* related portals: Lay by your pleading.
* related works: Ignoramus, The Loyal Conquest, The Newcastle Associators.
Ignoramus, An Excellent Song. To the Tune of, Lay by your Pleading.
The Loyal Conquest, or Destruction of Treason. Tune, Lay by your Pleading.
The Newcastle Associators; Or the Trimmers Loyalty, being a true Relation how several Sanctified Brethren were Apprehended, and found Signing the Association, (several others having made their escapes) at the Assizes at Mewcastle, August the 2d. 1684. To the Tune of, Ignoramus.
# A Collection of Esoteric Writings of T. Subba Row

A
COLLECTION
OF
ESOTERIC WRITINGS
OF
T. SUBBA ROW, F.T.S., B.A., B.L.
PUBLISHED FOR THE BOMBAY THEOSOPHICAL
PUBLICATION FUND
BY
RAJARAM TOOKARAM.
Bombay.
Printed at "the Tatva-Vivechaka" Press.
1910.
Price Re. 1-8.
​Esoteric Writings by T. Subba Row. Published by The Theosophical Publishing House, Adyar, Madras, India. Price, cloth, $4.25.
This revised and enlarged edition of T. Subba Row's Esoteric Writings will be welcomed by students of the sacred writings of the East. The author was a valued member of the Theosophical Society in the early days and his unexpected death at the age of thirty-four was a great loss to the Society and a shock to its members.
The present collection of his writings consists mainly of articles contributed to the Theosophist, and many of them are of a controversial nature, consisting largely of reviews of articles contributed to the magazine and discussions of occult subjects.
CONTENTS.
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