OpenLLM-France/wikimedia huggingface dataset:
# A Song of Dreams

1912.
A voice came to me from the night, and said, What profit hast thou in thy dreaming Of the years that are set And the years yet unrisen? Hast thou found them tillable lands? Is there fruit that thou canst pluck therein, Or any harvest to be mown? Shalt thou dig for gold in the mines of the past, Or trade for merchandise In the years where all is desolate? Are they a sea that will bring thee to any shore, Or a desert that vergeth upon aught but the waste? Shalt thou drink from the springs that are emptied, Or find sustenance in shadows? What value hath the future given thee? Is there aught in the days yet dark That thou canst hold with thy hands? Are they a fortress That will afford thee protection Against the swords of the world? Is there justice in them To balance the world's inequity, Or benefit to outweigh its loss?
Then spake I in answer, saying, Of my dreams I have made a road, And my soul goeth out thereon To that unto which no eye has opened, Nor ear become keen to hearken: To the glories that are shut past all access Of the keys of sense; Whose walls are hidden by the air, And whose doors are concealed with clarity. And the road is travelled of secret things, Coming to me from afar; Of bodiless powers, And beauties without color or form Holden by any loveliness seen of earth. And of my dreams I have builded an inn Wherein these are as guests. And unto it come the dead For a little rest and refuge From the hollowness of the unharvestable wind, And the burden of too great space.
The fields of the past are not void to me, Who harvest with the scythe of thought; Nor the orchards of future years unfruitful To the hands of visionings. I have retrieved from the darkness The years and the things that were lost, And they are held in the light of my dreams With the spirits of years unborn And of things yet bodiless. As in an hospitable house, They shall live while the dreams abide.
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 1961, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 62 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 Song of Greenwich

First published in The Last of the Trunk och Brev i Urval (2007), where it appears in a letter to Tevis Clyde Smith, c. late 1928, early 1929
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A Song of Greenwich
This work is from the United States and in the public domain because it was not legally published with the permission of the copyright holder before January 1, 2003 and the author died more than 70 years ago. This is a posthumous work and its copyright in certain countries and areas may depend on years since posthumous publication, rather than years since the author's death. Translations or editions published later may be copyrighted.
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 Song (Richmond)

O, red is the English rose,
And the lilies of France are pale,
And the poppies grow in the golden wheat,
For the men whose eyes are heavy with sleep,
Where the ground is red as the English rose,
And the lips as the lilies of France are pale,
And the ebbing pulses beat fainter and fainter and fail.
Oh, red is the English rose,
And the lilies of France are pale.
And the poppies lie in the level corn
For the men who sleep and never return.
But wherever they lie an English rose
So red, and lily of France so pale,
Will grow for a love that never and never can fail.
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
# A Song (Osgood 1)

Yes! "lower to the level" Of those who laud thee now! Go! join the joyous revel, And pledge the heartless vow! Go! dim the soul-born beauty That lights that lofty brow! Fill, fill the bowl! let burning wine Drown, in thy soul, Love's dream divine!
Yet when the laugh is lightest, When wildest goes the jest, When gleams the goblet brightest, And proudest heaves thy breast, And thou art madly pledging Each gay and jovial guest, -- A ghost shall glide amid the flowers -- The shade of Love's departed hours!
And thou shalt shrink in sadness From all the splendor there, And curse the revel's gladness, And hate the banquet's glare, And pine, 'mid Passion's madness, For true Love's purer air, And feel thou'dst give their wildest glee For one unsullied sigh from me!
Yet deem not this my prayer, love, Ah! no! if I could keep Thy alter'd heart from care, love, And charm its griefs to sleep, Mine only should despair, love, I -- I alone would weep! I -- I alone would mourn the flowers That fade in Love's deserted bowers!
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 Song (Cowper)

The sparkling eye, the mantling cheek, The polish'd front, the snowy neck,  How seldom we behold in one! Glossy locks, and brow serene, Venus' smiles, Diana's mien,  All meet in you, and you alone.
Beauty, like other pow'rs, maintains Her empire, and by union reigns;  Each single feature faintly warms, But where at once we view display'd Unblemish'd grace, the perfect maid  Our eyes, our ears, our heart alarms.
So when on earth the God of day Obliquely sheds his temper'd ray,  Through convex orbs the beams transmit, The beams that gently warm'd before, Collected, gently warm no more,  But glow with more prevailing heat.
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 Song of Hope

From Songs of Captivity:
* A Song of Hope, in Blackwood's Edinburgh Magazine Volume 34, 1833.
* The Song of Hope, in National Lyrics, and Songs for Music, 1834.
# A Song of College

First published in The Last of the Trunk och Brev i Urval (2007), where it appears in a letter to Tevis Clyde Smith, c. late 1928, early 1929
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A Song of College
This work is from the United States and in the public domain because it was not legally published with the permission of the copyright holder before January 1, 2003 and the author died more than 70 years ago. This is a posthumous work and its copyright in certain countries and areas may depend on years since posthumous publication, rather than years since the author's death. Translations or editions published later may be copyrighted.
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 Song of Delos

* A Song of Delos, in The Winter's Wreath, 1831.
* A Song of Delos, in National Lyrics, and Songs for Music, 1834.
# A Song at Parting

The tick of the blood is settling slow, my heart will soon be still.
And ripe and ready am I for rest in the grave atop the hill ;
So gather me up and lay me down, for ready and ripe am I,
For the weary vigil with sightless eyes that may not see the sky.
I have lived my life : I have spilt the wine that God the Maker gave,
So carry me up the lonely hill and lay me in the grave,
And cover me in with cleanly mould and old and lichened stones.
In a place where ever the cry of the wind shall thrill my sleepy bones.
Gather me up and lay me down with an old song and a prayer,
Cover me in with wholesome earth, and weep and leave me there ;
And get you gone with a kindly thought and an old tune and a sigh,
And leave me alone, asleep, at rest, for ready and ripe am I.
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 1967, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 56 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 Treatise on Painting/Chapter 118

Chap. CXVIII.—Of the Point of Sight.
The point of sight must be on a level with the eyes of a common-sized man, and placed upon the horizon, which is the line formed by a flat country terminating with the sky. An exception must be made as to mountains, which are above that line.
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# A Treatise on Painting/Chapter 12

Chap. XII.—That every Part be proportioned to its Whole.
If a man be short and thick, be careful that all his members be of the same nature, viz. short arms and thick, large hands, short fingers, with broad joints; and so of the rest.
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# A Treatise on Painting/Chapter 120

Chap. CXX.—Of the Dimensions of the first Figure in an historical Painting.
The first figure in your picture will be less than Nature, in proportion as it recedes from the front of the picture, or the bottom line; and by the same rule the others behind it will go on lessening in an equal degree.
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# A Treatise on Painting/Chapter 114

Chap. CXIV.—Of the Boundaries of Objects called Outlines or Contours.
The outlines or contours of bodies are so little perceivable, that at any small distance between that and the object, the eye will not be able to recognise the features of a friend or relation, if it were not for their clothes and general appearance. So that by the knowledge of the whole it comes to know the parts.
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# A Treatise on Painting/Chapter 115

Chap. CXV.—Of linear Perspective.
Linear Perspective consists in giving, by established rules, the true dimensions of objects, according to their respective distances; so that the second object be less than the first, the third than the second, and by degrees at last they become invisible. I find by experience, that, if the second object be at ​the same distance from the first, as the first is from the eye, though they be of the same size, the second will appear half the size of the first; and, if the third be at the same distance behind the second, it will diminish two thirds; and so on, by degrees, they will, at equal distances, diminish in proportion; provided that the interval be not more than twenty cubits; at which distance it will lose two fourths of its size: at forty it will diminish three fourths; and at sixty it will lose five sixths, and so on progressively. But you must be distant from your picture twice the size of it; for, if you be only once the size, it will make a great difference in the measure from the first to the second.
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# A Treatise on Painting/Chapter 112

LINEAR PERSPECTIVE.
Chap. CXII.—Of those who apply themselves to the Practice, without having learnt the Theory of the Art.
Those who become enamoured of the practice of the art, without having previously applied to the diligent study of the scientific part of it, may be compared to mariners, who put to sea in a ship ​without rudder or compass, and therefore cannot be certain of arriving at the wished-for port.
Practice must always be founded on good theory; to this, Perspective is the guide and entrance, without which nothing can be well done.
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# A Treatise on Painting/Chapter 116

Chap. CXVI.—What Parts of Objects disappear first by Distance.
Those parts which are of less magnitude will first vanish from the sight. This happens, because the shape of small objects, at an equal distance, comes to the eye under a more acute angle than the large ones, and the perception of them is less, in proportion as they are less in magnitude. It follows then, that if the large objects, by being removed to a great distance, and consequently coming to the eye by a small angle, are almost lost to the sight, the small objects will entirely disappear.
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# A Treatise on Painting/Chapter 117

Chap. CXVII.—Of remote Objects.
The outlines of objects will be less seen, in proportion as they are more distant from the eye.
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# A Treatise on Painting/Chapter 113

Chap. CXIII.—Precepts in Painting.
Perspective is to Painting what the bridle is to a horse, and the rudder to a ship.
The size of a figure should denote the distance at which it is situated.
If a figure be seen of the natural size, remember that it denotes its being near to the eye.
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# A Treatise on Painting/Chapter 119

Chap. CXIX.—A Picture is to be viewed from one Point only.
This will be proved by one single example. If you mean to represent a round ball very high up, on a flat and perpendicular wall, it will be necessary to make it oblong, like the shape of an egg, and to place yourself (that is, the eye, or point of view) so far back, as that its outline or circumference may appear round.
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# A Treatise on Painting/Chapter 200

Chap. CC.—Of proper Back-grounds.
It is of the greatest importance to consider well the nature of back-grounds, upon which any opake ​body is to be placed. In order to detach it properly, you should place the light part of such opake body against the dark part of the back-ground, and the dark parts on a light ground; as in the cut.
* ↑ See chap. ccix.
* ↑ This cannot be taken as an absolute rule; it must be left in a great measure to the judgment of the painter. For much graceful softness and grandeur is acquired, sometimes, by blending the lights of the figures with the light part of the ground; and so of the shadows; as Leonardo himself has observed in chapters cxciv. cxcv. and Sir Joshua Reynolds has often put in practice with success.
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# A Treatise on Painting/Chapter 195

Chap. CXCV.—How, in drawing a Face, to give it Grace, by the Management of Light and Shade.
A face placed in the dark part of a room, acquires great additional grace by means of light and shadow. The shadowed part of the face blends with the darkness of the ground, and the light part receives an increase of brightness from the open air, the shadows on this side becoming almost insensible; and from this augmentation of light and shadow, the face has much relief, and acquires great beauty.
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# A Treatise on Painting/Chapter 198

Chap. CXCVIII.—Of the Back-grounds of painted Objects.
The ground which surrounds the figures in any painting, ought to be darker than the light part of those figures, and lighter than the shadowed part.
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# A Treatise on Painting/Chapter 199

Chap. CXCIX.—How to detach and bring forward Figures out of their Back-ground.
If your figure be dark, place it on a light ground; if it be light, upon a dark ground; and if it be partly light and partly dark, as is generally the case, contrive that the dark part of the figure be upon the light part of the ground, and the light side of it against the dark.
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# A Treatise on Painting/Chapter 20

Chap. XX.—Of drawing Academy Figures.
When you draw from a naked model, always sketch in the whole of the figure, suiting all the members well to each other; and though you finish only that part which appears the best, have a regard to the rest, that, whenever you make use of such studies, all the parts may hang together.
In composing your attitudes, take care not to turn the head on the same side as the breast, nor let the arm go in a line with the leg. If the head turn towards the right shoulder, the parts must be lower on the left side than on the other; but if the chest come forward, and the head turn towards the left, the parts on the right side are to be the highest.
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# A Treatise on Painting/Chapter 201

Chap. CCI.—Of the general Light diffused over Figures.
In compositions of many figures and animals, observe, that the parts of these different objects ought to be darker in proportion as they are lower, and as they are nearer the middle of the groups, though they are all of an uniform colour. This is necessary, because a smaller portion of the sky (from which all ​bodies are illuminated) can give light to the lower spaces between these different figures, than to the upper parts of the spaces. It is proved thus: A B C D is that portion of the sky which gives light to all the objects beneath; M and N are the bodies which occupy the space S T R H, in which it is evidently perceived, that the point F, receiving the light only from the portion of the sky C D, has a smaller quantity of it than the point E which receives it from the whole space A B (a larger portion than C D); therefore it will be lighter in E than in F.
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# A Treatise on Painting/Chapter 194

Chap. CXCIV.—Of the Beauty of Faces.
You must not mark any muscles with hardness of line, but let the soft light glide upon them, and terminate imperceptibly in delightful shadows: from this will arise grace and beauty to the face.
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# A Treatise on Painting/Chapter 196

Chap. CXCVI.—How to give Grace and Relief to Faces.
In streets running towards the west, when the sun is in the meridian, and the walls on each side so high that they cast no reflexions on that side of the bodies which is in shade, and the sky is not too bright, we find the most advantageous situation for giving relief and grace to figures, particularly to faces; because both sides of the face will participate of the shadows of the walls. The sides of the nose and the face towards the west, will be light, and the man whom we suppose placed at the entrance, and in the middle of the street, will see all the parts of that face, which are before him, perfectly illumined, while both sides of it, towards the walls, will be in shadow. What gives additional grace is, that these shades do not appear cutting, hard, or dry, but softly blended and lost in each other. The reason of it is, ​that the light which is spread all over in the air, strikes also the pavement of the street, and reflecting upon the shady part of the face, it tinges that slightly with the same hue: while the great light which comes from above being confined by the tops of houses, strikes on the face from different points, almost to the very beginning of the shadows under the projecting parts of the face. It diminishes by degrees the strength of them, increasing the light till it comes upon the chin, where it terminates, and loses itself, blending softly into the shades on all sides. For instance, if such light were A E, the line F E would give light even to the bottom of the nose. The line C F will give light only to the under lip; but the line A H would extend the shadow to all the under parts of the face, and under the chin.
In this situation the nose receives a very strong light from all the points A B C D E.
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# A Treatise on Painting/Chapter 197

Chap. CXCVII.—Of the Termination of Bodies upon each other.
When a body, of a cylindrical or convex surface, terminates upon another body of the same colour, it will appear darker on the edge, than the body upon which it terminates. And any flat body, adjacent to a white surface, will appear very dark; but upon a dark ground it will appear lighter than any other part, though the lights be equal.
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# A Treatise on Painting/Chapter 2

Chap. II.—Rule for a young Student in Painting.
The organ of sight is one of the quickest, and takes in at a single glance an infinite variety of forms; notwithstanding which, it cannot perfectly comprehend more than one object at a time. For example, the reader, at one look over this page, immediately perceives it full of different characters; but he cannot at the same moment distinguish each letter, much less can he comprehend their meaning. He must consider it word by word, and line by line, if he be desirous of forming a just notion of these characters. In like manner, if we wish to ascend to the top of an edifice, we must be content to advance step by step, otherwise we shall never be able to attain it.
A young man, who has a natural inclination to the study of this art, I would advise to act thus: In order to acquire a true notion of the form of things, he must begin by studying the parts which compose them, and not pass to a second till he has ​well stored his memory, and sufficiently practised the first; otherwise he loses his time, and will most certainly protract his studies. And let him remember to acquire accuracy before he attempts quickness.
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# A Short Biographical Dictionary of English Literature/Herrick, Robert

​Herrick, Robert (1591-1674).—Poet, b. in London, was apprenticed as a goldsmith to his uncle, Sir William H., with whom ​he remained for 10 years. Thereafter he went to Camb., took orders, and was in 1629 presented by Charles I. to the living of Dean Prior, a remote parish in Devonshire, from which he was ejected in 1647, returning in 1662. In the interval he appears to have lived in Westminster, probably supported, more or less, by the gifts of wealthy Royalists. His Noble Numbers or Pious Pieces was pub. in 1647, his Hesperides or Works both Human and Divine in 1648, and the two together in one vol. in the latter year. Over 60, however, of the lighter poems included in Hesperides had previously appeared anonymously in a collection entitled Wit's Recreations. H.'s early life in London had been a free one, and his secular poems, in which he appears much more at ease than in his sacred, show him to have been a thorough Epicurean, though he claims that his life was not to be judged by his muse. As a lyric poet H. stands in the front rank for sweetness, grace, and true poetic fire, and some of his love songs, e.g. Anthea, and Gather ye Rose-buds, are unsurpassed in their kind; while in such exquisite little poems as Blossoms, Daffodils, and others he finds a classic expression for his love of nature and country life. In his epigrams, however, he falls much below himself. He has been described as "the most frankly pagan of English poets."
Poems ed. by Nutt (1810), Grosart (1876), Pollard (preface by Swinburne, 1891).
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# A Short Biographical Dictionary of English Literature/Hervey, James

​Hervey, James (1714-1758).—Religious writer, Rector of Weston Pavell, Northants, was the author of Meditations among the Tombs (1745-47), Theron and Aspasio, and other works, which had a great vogue in their day. They are characterised by overwrought sentiment, and overloaded with florid ornament. H. was a devout and unselfish man, who by his labours broke down a delicate constitution.
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# A Short Biographical Dictionary of English Literature/Henty, George Alfred

​Henty, George Alfred (1832-1902).—Boys' novelist, wrote over 80 books for boys, which had great popularity. Among them are By England's Aid, Dash for Khartoum, Facing Death, In Freedom's Cause, Out on the Pampas, etc., all full of adventure and interest, and conveying information as well as amusement.
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# A Short Biographical Dictionary of English Literature/Herschel, Sir John Frederick William

​Herschel, Sir John Frederick William (1792-1871).—S. of Sir William H., the eminent astronomer and discoverer of the planet Uranus, was b. at Slough, and ed. at Camb., where he was Senior Wrangler and first Smith's prizeman. He became one of the greatest of English astronomers. Among his writings are treatises on Sound and Light, and his Astronomy (1831) was for long the leading manual on the subject. He also pub. Popular Lectures and Collected Addresses, and made translations from Schiller, and from the Iliad.
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