OpenLLM-France/wikimedia huggingface dataset:
# The Book of Scottish Song/Jamie Gay

Jamie Gay.
[This is a Cockney imitation of Scottish song, and was popular in London about the middle of the last century. It is given in Johnson's Museum, Vol. I. Burns says of it that "it is a tolerable Anglo-Scottish production." The composer of the music was Mr. Berg: the author of the words is unknown.]
As Jamie Gay gang'd blythe his way, Along the banks of Tweed; A bonny lass, as ever was, Came tripping o'er the mead: The hearty swain, untaught to feign, The buxom nymph survey'd: And full of glee, as lad could be, Bespake the pretty maid.
Dear lassy, tell, why by thinesell Thou hast'ly wand'rest here? My ewes, she cry'd, are straying wide; Can'st tell me, laddy, where? To town I'll hie, he made reply, Some meikle sport to see; But thou'rt so sweet, so trim and neat, I'll seek the ewes with thee.
She gae'm her hand, nor made a stand, But lik'd the youth's intent; O'er hill and dale, o'er plain and vale, Right merrily they went; The birds sang sweet the pair to greet, And flowers bloom'd around; And as they walk'd, of love they talk'd, And joys which lovers crown'd.
And now the sun had rose to noon, (The zenith of his pow'r,) When to a shade their steps they made, To pass the mid-day hour: The bonny lad row'd in his plaid, The lass who scorn'd to frown; She soon forgot the ewes she sought. And he to gang to town.
# The Book of Scottish Song/Janet

Janet.
[Robert Nicoll.]
I'll mak' a fire upo' the knowe, An' blaw it till it bleeze an' lowe; Syne in't I'll ha'e ye burnt, I trow— Ye ha'e bewitch'd me, Janet!
Your een in ilka starn I see— The hale night lang I dream o' thee—
The bonnie lintie on the lea, I liken to you, Janet!
When leaves are green, an' fresh an' fair- When blythe an' sunny is the air— I stroke my beard, and say they're rare; But naething like you, Janet!
'Twas but yestreen, as I gaed hame,
The minister said, "What is your name? My answer—'deed I may think shaime— Was, "Sir, my name is Janet!"
Last Sabbath, as I sang the psalm, I fell into an unco dwaum, An' naething frae my lips e'er cam' But "Janet! Janet! Janet!" ​I've fought, I've danced, an' drucken too; But nane o' thae are like to do; Sae I maun come an' speer at you, "What ails me, think ye, Janet?"
I'll soon be either dead or daft, Sic drams o' luve frae you I've quaff'd; Sae lay aside your woman-craft— Ha'e mercy on me, Janet!
An' if ye winna, there's my loof, I'll gar the provost lead a proof, An' pit ye 'neath the tollbooth roof: Syne what will ye do, Janet?
I'll mak' a fire upo' the knowe, An' blaw it till it bleeze an' lowe; Syne in 't I'll ha'e ye burnt, I trow— Ye ha'e bewitch'd me, Janet!
# The Book of Scottish Song/Janet Dunbar

Janet Dunbar.
[Robert Nicoll.—Air, "Glenorchy braes."—Printed here with the permission of Nicol's publisher, Mr. Tait of Edinburgh.]
A sonsie auld carline is Janet Dunbar, A donsie auld carline is Janet Dunbar; For a gash skilly body, weel kent near and far, Thro' the hail kintra side, canty Janet Dunbar.
Folk spier her advice, baith the greatest and least, For she cures a' diseases o' man an' o' beast; She has words that will keep awa' witches and dells, She has syrups in bottles, and herbs in auld creels; To caulds and rheumatics she proves sic a fae, They canna get rest in the parish a day; In this queer kind o' warld there's mony a waur, Than our cheery auld carline, gash Janet Dunbar! A sonsie, &c.
Her hame is a howf to the bairnies at schule, And she dauts them an' hauds them fu' couthie an' weel; Till in her auld lug a' their sorrows they tell, For she'll scold for their sakes, e'en the dominie's sell! But Janet's hie time is when night settles doun, An' a' the auld wives gather in frae the toun, To tell what they are na, and thae ither are, This is meat, drink, and claething to Janet Dunbar. A sonsie, &c.
And Janet's auld house has a butt and a ben, Where twa folk can meet and let naebody ken; For Janet thinks true love nane e'er should restrain, Having had, thretty years' sin', a lad o' her ain; And then when the whispering and courting has dune, For some lee-like story is Janet in tune, About some bluidy doings in some Highland scaur, You're a queer ane!—'deed are ye noo, Janet Dunbar. A sonsie, &c.
But when some o' her cronies ha'e kirsen'd a wean, Then Janet sae braw in her glory is seen, She winks to the neighbours, and jokes the guidman, Till his face grows sae red, that he maistly could ban; Syne she turns to the mither, an' tak's the wean's loof, An' tells that he'll neither be laggard nor coof! You're a happy auld body—sae bright be your star, And lang may ye stump about, Janet Dunbar. A sonsie, &c.
# The Book of Scottish Song/It fell on a Morning

It fell on a Morning.
[This song, by Joanna Baillie, originally appeared in The Harp of Caledonia, published at Glasgow in 1821, and edited by Mr. John Struthers.]
It fell on a morning whan we were thrang, Our kirn was gaun, our cheese was making, And bannocks on the girdle baking, That ane at the door chapt loud and lang. But the auld gudewife and her Mays sae tight, Of this stirring and din took sma' notice, I ween For a chap at the door, in braid day-light, Is no like a chap when heard at e'en.
Then the clocksey auld laird of the warlock glen, Wha stood without, half cow'd, half cheerie, And yearn'd for a sight of his winsome dearie, Raised up the latch and came crousely ben. His coat was new and his o'erlay was white, And his hose and his mittens were coozy and bein; But a wooer that comes in braid day-light, Is no like a wooer that comes at e'en.
He greeted the carlin' and lasses sae braw, And his bare lyart pow he smoothly straiket, And looked about, like a body half glaiket, On bonnie sweet Nanny the youngest of a'. "Ha ha!" quo' the carlin, "and look ye that way? Hoot! let na sic fancies bewilder ye clean; An elderlin man i' the noon o' the day, Should be wiser than youngsters that come at e'en." ​"Na na!" quo' the panky auld wife, "I trow, You'll fash na' your head wi' a youthfu' gilly, As wild and as skeigh as a muirland filly, Black Madge is far better and fitter for you He hem'd and he haw'd and be screw'd in his mouth, And he squeez'd his blue bonnet his twa hands between, For wooers that come when the sun's in the south, Are mair aukwart than wooers that come at e'en.
"Black Madge she is prudent."—"What's that to me?" "She is eident and sober, has sense in her noddle, Is douse and respeckit."—"I care na a boddle. I'll baulk na' my luive, and my fancy's free." Madge toss'd back her head wi' a saucy slight, And Nanny ran laughing out to the green; For wooers that come whan the sun shines bright, Are no like the wooers that come at e'en.
Awa' flung the laird and loud muttered he, "All the daughters of Eve, between Orkney and Tweed, O, Black and fair, young and old, dame, damsel and widow, May gang wi' their pride to the deil for me!" But the auld gudewife and her Mays sae tight, For a' his loud banning cared little, I ween; For a wooer that comes in braid day-light, Is no like a wooer that comes at e'en.
# The Book of Scottish Song/Jamie frae Dundee

Jamie frae Dundee.
[This is a sweet singing and rather popular song, but we can say nothing of its authorship. It is here quoted from recitation, and may be imperfect.]
I canna like you, gentle sir, Although a laird you be, For weel I like the bonnie lad Wha brought me frae Dundee. And I'll gang awa' wi' Jamie, O, I'll gang awa" wi' Jamie, O, I'll gang awa' wi' Jamie O'er the lea; I'll gang awa' wi' a free gude will, For he's a' the warld lo me. ​I'll gang wi' Jamie frae Dundee, To cheer the lanesome way; His cheeks are ruddy o'er wi' health, He's frolicsome and gay. And I'll gang, &c.
The laverock mounts to hail the morn, The lintwhite swells her throat, But nane o' them's sae sweet or clear As Jamie's tunefu' note. And I'll gang, &c.
# The Book of Scottish Song/Jamie o' the Glen

Jamie o’ the Glen.
[This is an old and once popular song, but nothing is known of its author.]
Auld Rob, the laird o' muckle land, To woo me was na very blate, But spite o' a' his gear he fand He came to woo a day owre late. A lad sae blythe, sae fu' o' glee, My heart did never ken, And nane can gi'e sic joy to me As Jamie o' the glen.
My minnie grat like daft, and rair'd, To gar me wi' her will comply, But still I wadna ha'e the laird, Wi' a' his ousen, sheep, and kye. A lad sae blythe, &c.
Ah, what are silks and satins braw? What's a' his warldly gear to me? They're daft that cast themsel's awa', Where nae content or love can be. A lad sae blythe, &c.
I cou'dna bide the silly clash Came hourly frae the gawky laird! And sae, to stop his gab and fash, Wi' Jamie to the kirk repair'd. A lad sae blythe, &c.
Now ilka summer's day sae lang, And winter's clad wi' frost and snaw, A tunefu' lilt and bonnie sang Aye keep dull care and strife awa'. A lad sae blythe, &c.
# The Complete Works of Swami Vivekananda/Volume 5/Notes from Lectures and Discourses/On Art

ON ART
The secret of Greek Art is its imitation of nature even to the minutest details; whereas the secret of Indian Art is to represent the ideal. The energy of the Greek painter is spent in perhaps painting a piece of flesh, and he is so successful that a dog is deluded into taking it to be a real bit of meat and so goes to bite it. Now, what glory is there in merely imitating nature? Why not place an actual bit of flesh before the dog?
The Indian tendency, on the other hand, to represent the ideal, the supersensual, has become degraded into painting grotesque images. Now, true Art can be compared to a lily which springs from the ground, takes its nourishment from the ground, is in touch with the ground, and yet is quite high above it. So Art must be in touch with nature — and wherever that touch is gone, Art degenerates — yet it must be above nature.
Art is — representing the beautiful. There must be Art in everything.
The difference between architecture and building is that the former expresses an idea, while the latter is merely a structure built on economical principles. The value of matter depends solely on its capacities of expressing ideas.
The artistic faculty was highly developed in our Lord Shri Ramakrishna, and he used to say that without this faculty none can be truly spiritual.
# The Complete Works of Swami Vivekananda/Volume 5/Notes from Lectures and Discourses
## Notes from Lectures and Discourses

* On Karma-Yoga
* On Fanaticism
* Work is Worship
* Work Without Motive
* Sadhanas or Preparations for Higher Life
* The Cosmos and The Self
* Who is A Real Guru?
* On Art
* On Language
* The Sannyasin
* The Sannyasin and The Householder
* The Evils of Adhikarivada
* On Bhakti-Yoga
* Ishvara and Brahman
* On Jnana-Yoga
* The Cause of Illusion
* Evolution
* Buddhism and Vedanta
* On The Vedanta Philosophy
* Law and Freedom
* The Goal and Methods of Realisation
* World-Wide Unity
* The aim of Raja-Yoga
# The Complete Works of Swami Vivekananda/Volume 5/Notes from Lectures and Discourses/Ishvara and Brahman

ISHVARA AND BRAHMAN
In reply to a question as to the exact position of Ishvara in Vedantic Philosophy, the Swami Vivekananda, while in Europe, gave the following definition:
"Ishvara is the sum total of individuals, yet He is an Individual, as the human body is a unit, of which each cell is an individual. Samashti or collected equals God; Vyashti or analysed equals the Jiva. The existence of Ishvara, therefore, depends on that of Jiva, as the body on the cell, and vice versa. Thus, Jiva and Ishvara are coexistent beings; when one exists, the other must. Also, because, except on our earth, in all the higher spheres, the amount of good being vastly in excess of the amount of evil, the sum total (Ishvara) may be said to be all-good. Omnipotence and omniscience are obvious qualities and need no argument to prove from the very fact of totality. Brahman is beyond both these and is not a conditioned state; it is the only Unit not composed of many units, the principle which runs through all from a cell to God, without which nothing can exist; and whatever is real is that principle, or Brahman. When I think I am Brahman, I alone exist; so with others. Therefore, each one is the whole of that principle."
# The Boy and the Thief

* related authors: Aesop.
* sister projects: Wikidata item.
Perry index 587
* "Of the Theef and of the Child whiche Wepte", translated by William Caxton, edited by Joseph Jacobs, in The fables of Aesop, as first printed by William Caxton in 1484 (1484)
* "A Boy and a Thief", translated by Roger L'Estrange, in Fables of Æsop and Other Eminent Mythologists (1692)
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 Boyne Water

* Search for titles containing or beginning with: "The Boyne Water."
* 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 Boyne Water (1896) by John Banim
* "The Boyne Water," a song by an anonymous lyricist about the Battle of the Boyne.
# The Boy and the Nettles

* "The Boy and the Nettles", translated by George Fyler Townsend, in Three Hundred Æsop's Fables (1867)
* "The Boy and the Nettles", translated by Vernon Stanley Jones, in Æsop's fables: A New Translation (1912)
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 Boyne Water (song)

"The Boyne Water" is an Ulster Protestant folksong by an anonymous lyricist. The lyrics of the song commemorate King William III of Orange's victory over James II at the Battle of the Boyne in 1690, part of the Williamite War in Ireland.
* "The Battle of the Boyn," in The Battle of the Boyn (n.d.), a chapbook with no printing location
* "The Battle of the Boyn," in The Battle of the Boyn (n.d.), a chapbook printed in Edinburgh
* "The Battle of the Boyn," in The Battle of the Boyn (n.d.), a chapbook printed in Kilmarnock
* "The Battle of the Boyn", in The Battle of the Boyn (1824), a chapbook printed in Edinburgh
* "The Battle of the Boyne," in The Battle of the Boyne (1825), a chapbook printed in Stirling
# The Confiscation Cases Slidell's Land

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
87 U.S. 92
The Confiscation Cases Slidell's Land

## 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 Confidence Man

* Search for titles containing or beginning with: "The Confidence Man."
* sister projects: Wikipedia article, 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 Confidence-Man (1857), a novel by Herman Melville
* "The Confidence Man" (1911), a short story by Julius Stettenheim
# The Confirmation Warrant of Phoenix Lodge

THE CONFIRMATION WARRANT.
The Original Warrant of the Lodge having evidently been destroyed in the fire, the Brethren appear to have conducted the work of the Lodge for a number of years without making application for a Confirmation. In 1813, the rival Masonic Authorities had amalgamated and become known as the "United Grand Lodge of England," but it was not until nine years later that any application was made to have a new warrant issued. A Warrant of Confirmation was granted, and is dated September 29th, 1821. On the 5th of February, in the following year, the Document was presented by the W.M. (Bro. D. Hopper) who informed the Lodge that it had been received free of expense from John George Lambton, Esq., M.P., (afterwards First Earl of Durham), Provincial Grand Master for the County of Durham, through the medium of Bro. Wm. Loraine, P.G.W. Eng., Deputy P.G.M.
A cordial letter of thanks was returned to the Provincial Grand Master through the same channel as the Warrant had been received.
This is the Warrant under which the Lodge now works, and which is expressed in the following terms:—
Augustus Frederick, G.M.
To all and every our Right Worshipful and Loving Brethren.
Grand Master
By command of the M.W. Grand Master By command of the M.W. Grand MasterDundas, D.G.M.
| William H. White, Edw. Harper, | $\scriptstyle {\left.{\begin{matrix}\ \\\ \end{matrix}}\right\}\,$ | G.S. |
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 Crowne of All Homers Workes/To Men of Hospitalitie

To Men of
Hospitalitie.
# The Crowne of All Homers Workes/To Neptune (2)

To Neptune.
# The Crowne of All Homers Workes/To Thestors Sonne Inquisitiue of Homer, Abovt the Cavses of Things

TO
THESTORS
SONNE
Inquisitiue of
HOMER,
ABOVT THE CAVSES
OF THINGS.
Homer intimated in this his Answer to Thestorides, A will to haue him learne, The knowledge of himselfe, before his enquir'd so curiously the causes of other things. And from hence, had the great Peripatetique (Themistius) his most graue Epiphoneme, Anima quæ seipsam ignorat, quid sciret ipsa de alijs? And therefore (according to Aristotle) aduises all Philosophicall Students, to beginne with that Studie.
# The Crowne of All Homers Workes/To Mercurie

To Mercurie.
# The Crowne of All Homers Workes/To My Ever Most-Worthie-To-Be-Most Honor'd Lord, the Earle of Somerset, &c

TO
MY EVER
MOST-WORTHIE-TO-
BE-MOST HONOR'D LORD,
THE EARLE OF SOMERSET, &c.
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Whose most worthy Discoueries, to your
Lordships Iudiciall Perspectiue in most subdude Humilitie submitteth,
George Chapman.
* ↑ A simile illustrating the most renownd seruice of Generall Norris in his Retreate before Gant, neuer before made sacred to Memorie.
* ↑ Ut non sine maximo favore Dei comparari niqueat. Pla in Ione.
# The Crowne of All Homers Workes/To Pallas (2)

To Pallas.
# The Crowne of All Homers Workes/To Pan

To Pan.
# The Crowne of All Homers Workes/To Phœbus

To Phœbus.
# The Crowne of All Homers Workes/To Neptune

To Neptune.
# The Crowne of All Homers Workes/To Pallas

To Pallas.
# The Czar: A Tale of the Time of the First Napoleon

THE CZAR
A Tale of the Time of the
First Napoleon.
SWEET COUNSEL TO A MOURNFUL HEART.
Page 442.
T. NELSON AND SONS,
LONDON, EDINBURGH, AND NEW YORK.
TIMELY AID.
Page 30.
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
# The Choirmaster's Manual/Chapter 6

CHAPTER VI
THE SCALES
Sing all major scales from C upward.
Exercise 13.
For words and loose jaw.
The jaw must be kept quite still and feel as if floating; the tongue must form consonants. Sing second time mf.
Exercise 14.
Twice each vowel, slowly at first, or the notes will not be distinct.
Exercise 15.
Major thirds are very hard to sing. Boys often get a little flat on them.
​Exercise 16.
Slowly at first. See that the middle note is distinct.
Exercise 17.
Exercise 18.
In Exercises 16, 17, and 18 care must be taken not to unduly accentuate the first note of the group of three.
Exercise 19.
The staccato must be effected by a sharp inward movement of the abdomen, similar to an attack (see Chapter IV); but no breath must be taken between the notes.
​Exercise 20.
Sing on all vowels, softly, paying particular attention to the staccato and slurred passages. Pause on last note.
Exercise 21.
Exercise 22.
Note. Sometimes a fuller resonance is obtained by using "na" for vocalizing; this combination is also very useful for making the tongue active.
# The Choise of Valentines

* information about this edition.
* sister projects: Wikipedia article, Wikidata item.
At some time in the early 1590s Nashe produced a bawdy poem, The Choice of Valentines, possibly for the private circle of Lord Strange. This circulated only in manuscript. This version was edited and annotated by John S. Farmer, London, 1899.
The
Choise of Valentines
OR THE MERIE BALLAD OF
NASH HIS DILDO
[BY THOMAS NASH]
From MSS. Copies in the Inner Temple (Petyt MS. 538, Vol. 43, f. viii., 295 b, circa 1680) and Bodleian (Rawl. MS. Poet 216, leaves 96-106, circa 1610-20) Libraries
Edited by
JOHN S. FARMER
LONDON
[PRIVATELY PRINTED FOR SUBSCRIBERS ONLY]
MDCCCXCIX
Introduction
To the right honorable the Lord S.
The Choosing of Valentines
Post-script
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 Choise of Valentines/To the right honorable the Lord S.

TO THE RIGHT honorable the Lord S.
Pardon, sweete flower of Matchles poetrie,  And fairest bud the red rose euer bare;  Although my Muse, devorst from deeper care,  4Presents thee with a wanton Elegie.
Ne blame my verse of loose unchastitie  For painting forth the things that hidden are,  Since all men acte what I in speache declare,  8Onlie induced with varietie.
Complants and praises euery one can write,  And passion out their pangu's in statlie rimes;  But of loues pleasures none did euer write,  12That have succeeded in theis latter times.
Accept of it, Deare Lord, in gentle gree,  And better lynes, ere long, shall honor thee.

## Footnotes

* ↑ Henry Wriothesley, the Earl of Southampton, and Baron of Titchfield. The dedication is absent in the Rawlinson text: cf. variorum reading in line 13.
* ↑ Matchles, machles.
* ↑ the red rose euer bare, that euer red rose bare.
* ↑ devorst from deeper care, diuert from deepest care. Nash was notoriously impecunious all through his life, and probably reference is here made to some bounty received at the hands of Lord Southampton (see Introduction). What patronage meant at times is gleaned from Florio's dedication of The Worlde of Wordes in 1598 to the same nobleman. He says:—"In truth I acknowledge an entire debt, not only of my best knowledge, but of all; yea, of more than I know, or care, to your bounteous lordship, in whose pay and patronage I have lived some years.... But, as to me, and many more, the glorious and gracious sunshine of your honour hath infused light and life." Rowe also tells a story of Lord Southampton's munificence to Shakspeare. It is said that he gave the poet £1,000 (equal to £12,000 now-a-days) to complete a special purchase. Whether this story be true or not, it is certain that Lord Southampton was a most liberal patron of letters.
* ↑ Presents thee with, Presentes you with.
* ↑ "Ne" = Nor, A.S.; unchastitie, inchastitye.
* ↑ painting, paynting; things, thinges; hidden are, hidden be.
* ↑ In Rawl. MS. these lines are transposed. Since all men act, sith most men marke; speache declare, speech descrie; Onlie, only; varietie, varyetye.
* ↑ Complants and praises euery one, Complayntes & prayses every man.
* ↑ passion out, passion forth; their pangu's, there loue; statlie rimes, statly rime.
* ↑ pleasures none, pleasure non; euer write, e're indite.
* ↑ theis latter times, this latter time.
* ↑ Deare Lord, deare loue. A significant reading in view of the absence of the dedication in the Rawl. MS. "Accept ... in gentle gree," to take kindly.
* ↑ And better lynes ere long, And better farr, ere long (see Introduction).