OpenLLM-France/wikimedia huggingface dataset:
# 1914 and other poems/Heaven

​HEAVEN
Fish (fly-replete, in depth of June, Dawdling away their wat'ry noon) Ponder deep wisdom, dark or clear, Each secret fishy hope or fear. Fish say, they have their Stream and Pond; But is there anything Beyond? This life cannot be All, they swear, For how unpleasant, if it were! One may not doubt that, somehow, Good Shall come of Water and of Mud; And, sure, the reverent eye must see A Purpose in Liquidity. We darkly know, by Faith we cry, The future is not Wholly Dry. Mud unto mud!—Death eddies near— Not here the appointed End, not here! But somewhere, beyond Space and Time, Is wetter water, slimier slime! And there (they trust) there swimmeth One Who swam ere rivers were begun, Immense, of fishy form and mind, Squamous, omnipotent, and kind; And under that Almighty Fin, The littlest fish may enter in. Oh! never fly conceals a hook, Fish say, in the Eternal Brook, But more than mundane weeds are there, And mud, celestially fair; ​Fat caterpillars drift around, And Paradisal grubs are found; Unfading moths, immortal flies, And the worm that never dies. And in that Heaven of all their wish, There shall be no more land, say fish.
# 1914 and other poems/Clouds

​CLOUDS
Down the blue night the unending columns press In noiseless tumult, break and wave and flow, Now tread the far South, or lift rounds of snow Up to the white moon's hidden loveliness. Some pause in their grave wandering comradeless, And turn with profound gesture vague and slow, As who would pray good for the world, but know Their benediction empty as they bless.
They say that the Dead die not, but remain Near to the rich heirs of their grief and mirth. I think they ride the calm mid-heaven, as these, In wise majestic melancholy train, And watch the moon, and the still-raging seas, And men, coming and going on the earth.
The Pacific, October 1913
# 1914 and other poems/He wonders whether to praise or to blame her

​HE WONDERS WHETHER TO PRAISE OR TO BLAME HER
I have peace to weigh your worth, now all is over, But if to praise or blame you, cannot say. For, who decries the loved, decries the lover; Yet what man lauds the thing he's thrown away?
Be you, in truth, this dull, slight, cloudy naught, The more fool I, so great a fool to adore; But if you're that high goddess once I thought, The more your godhead is, I lose the more.
Dear fool, pity the fool who thought you clever! Dear wisdom, do not mock the fool that missed you! Most fair,—the blind has lost your face for ever! Most foul,—how could I see you while I kissed you?
So . . . the poor love of fools and blind I've proved you, For, foul or lovely, 'twas a fool that loved you.
# 1914 and other poems/Home

​HOME
I came back late and tired last night Into my little room, To the long chair and the firelight And comfortable gloom.
But as I entered softly in I saw a woman there, The line of neck and cheek and chin, The darkness of her hair, The form of one I did not know Sitting in my chair.
I stood a moment fierce and still, Watching her neck and hair. I made a step to her; and saw That there was no one there.
It was some trick of the firelight That made me see her there. It was a chance of shade and light And the cushion in the chair.
Oh, all you happy over the earth, That night, how could I sleep? I lay and watched the lonely gloom; And watched the moonlight creep From wall to basin, round the room. All night I could not sleep.
# 1914 and other poems/Love

​LOVE
Love is a breach in the walls, a broken gate, Where that comes in that shall not go again; Love sells the proud heart's citadel to Fate. They have known shame, who love unloved. Even then When two mouths, thirsty each for each, find slaking, And agony's forgot, and hushed the crying Of credulous hearts, in heaven—such are but taking Their own poor dreams within their arms, and lying Each in his lonely night, each with a ghost. Some share that night. But they know, love grows colder, Grows false and dull, that was sweet lies at most. Astonishment is no more in hand or shoulder, But darkens, and dies out from kiss to kiss. All this is love; and all love is but this.
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
# 1914 and other poems/Mary and Gabriel

​MARY AND GABRIEL
Young Mary, loitering once her garden way, Felt a warm splendour grow in the April day, As wine that blushes water through. And soon, Out of the gold air of the afternoon, One knelt before her: hair he had, or fire, Bound back above his ears with golden wire, Baring the eager marble of his face. Not man's nor woman's was the immortal grace Rounding the limbs beneath that robe of white, And lighting the proud eyes with changeless light, Incurious. Calm as his wings, and fair, That presence filled the garden. She stood there, Saying, "What would you, Sir?" He told his word, "Blessed art thou of women!" Half she heard, Hands folded and face bowed, half long had known, The message of that clear and holy tone, That fluttered hot sweet sobs about her heart; Such serene tidings moved such human smart. Her breath came quick as little flakes of snow. Her hands crept up her breast. She did but know It was not hers. She felt a trembling stir Within her body, a will too strong for her That held and filled and mastered all. With eyes Closed, and a thousand soft short broken sighs, She gave submission; fearful, meek, and glad. . . .
​She wished to speak. Under her breasts she had Such multitudinous burnings, to and fro, And throbs not understood; she did not know If they were hurt or joy for her; but only That she was grown strange to herself, half lonely, All wonderful, filled full of pains to come And thoughts she dare not think, swift thoughts and dumb, Human, and quaint, her own, yet very far, Divine, dear, terrible, familiar . . . Her heart was faint for telling; to relate Her limbs' sweet treachery, her strange high estate, Over and over, whispering, half revealing, Weeping; and so find kindness to her healing. 'Twixt tears and laughter, panic hurrying her, She raised her eyes to that fair messenger. He knelt unmoved, immortal; with his eyes Gazing beyond her, calm to the calm skies; Radiant, untroubled in his wisdom, kind. His sheaf of lilies stirred not in the wind. How should she, pitiful with mortality, Try the wide peace of that felicity With ripples of her perplexed shaken heart, And hints of human ecstasy, human smart, And whispers of the lonely weight she bore, And how her womb within was hers no more And at length hers? Being tired, she bowed her head; And said, "So be it!" The great wings were spread, ​Showering glory on the fields, and fire. The whole air, singing, bore him up, and higher, Unswerving, unreluctant. Soon he shone A gold speck in the gold skies; then was gone.
The air was colder, and grey. She stood alone.
# A Dictionary of Music and Musicians/Loder, Kate

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Logroscino, Nicolo

​LOGROSCINO, Nicolo. See vol. ii. p. 514a.
# A Dictionary of Music and Musicians/Lohengrin

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Locrian Mode

From volume 2 of the work.
​LOCRIAN MODE (Lat. Modus Locrius, Modus Hyperæolius). The Eleventh Ecclesiastical Mode: a tonality which can scarcely be said to have any real existence—as it is universally discarded, in practice, on account of its false relation of Mi contra Fa—though, in theory, it necessarily takes its regular place in the series. [See Mi contra Fa.]
Theoretically, the Final of the Locrian Mode is B. Its compass, in the Authentic form, ranges between that note, and its octave above; and its semitones lie between the first and second, and third and fourth degrees. Its Dominant is G, (F being inadmissible, by reason of its forbidden relation with the Final,) and its Mediant, D. Its Participants are E, and F; its Conceded Modulations, C, and the A below the Final; and its Absolute Initials, B, C, D, and G.
Mode XI.
In its Pagal, or Hypolocrian form, (Mode XII,) its compass lies between F and the F above; and its semitones fall between the fourth and fifth and the seventh and eighth degrees. Its Final is B; its Dominant, E; and its Mediant, D. Its Participants are G, and C; its Conceded Modulations, A, and the upper F; and its Absolute Initials, G, A, B, C, D, and E.
Mode XII.
It will be observed that the actual notes of Modes XI and XII correspond, exactly, with those of Modes IV and V. The reason why the two former are discarded, and the two latter held in good repute, is this. Mode IV, being Plagal, is subject to the 'Arithmetical Division'; i.e. it consists of a Perfect Fourth, placed below a Perfect Fifth. But, Mode XI is Authentic; and, by virtue of the 'Harmonic Division,' consists of a Quinta falsa, placed below a Tritonus—both of which intervals are forbidden, in Plain Chaunt. Again, Mode V, being Authentic, and therefore subject to the 'Harmonic Division,' resolves itself into a Perfect Fifth, below a Perfect Fourth. But, Mode XII is Plagal; and, under the 'Arithmetical Division,' exhibits a Tritonus, below a Quinta falsa. [See Modes, the Ecclesiastical.]
[ W. S. R. ]
# A Dictionary of Music and Musicians/Loder, Edward

From volume 2 of the work.
​LODER, Edward James, son of John David Loder, born at Bath, 1813, was in 1826 sent to Frankfort to study music under Ferdinand Ries. He returned to England in 1828, and went back to Germany with the view of qualifying himself for the medical profession, but soon changed his mind and again placed himself under Ries. When he again came back to England he was commissioned by Arnold to compose the music for 'Nourjahad,' an old drama of his to which he had added songs, etc., to convert it into an opera, for the opening of the new English Opera House, then building. The opera was produced in July, 1834, and, notwithstanding very general admiration of the music, proved unattractive owing to the poverty of the libretto. ​In 1835 Loder set Oxenford's 'Dice of Death.' He next entered into an engagement with Dalmaine & Co., the music publishers, to furnish them with a new composition every week, in part performance of which he produced his 'Twelve Sacred Songs,' dedicated to Sterndale Bennett. As it became necessary that some of the pieces produced under this arrangement should be heard in public, an opera entitled 'Francis I,' was written to incorporate them and produced at Drury Lane in 1838. As might have been expected, so heterogeneous a compound met with little success, although one song, 'The old house at home,' obtained a widespread popularity. His opera 'The Night Dancers,' his finest work, was produced at the Princess's Theatre in 1846, revived therein 1850, and again at Covent Garden in 1860. 'Puck,' a ballad opera, additions to 'The Sultan,' and 'The Young Guard,' were brought out at the Princess's in 1848. His cantata 'The Island of Calypso,' was written for the National Concerts at Her Majesty's Theatre in 1850, but, owing to their cessation, remained unperformed until given at the New Philharmonic Concerts in 1851 [App. p.705 "1852"]. 'Raymond and Agnes,' an opera, was produced at Manchester in 1855. Besides these works Loder has written some string quartets and numerous songs, of which 'The brave old oak,' and 'Invocation to the deep' are well known. His compositions are distinguished by the melodiousness of the parts and their skilful instrumentation. He was for several years conductor at the Princess's Theatre, and afterwards at Manchester, but although musically well qualified for the office his want of regular, business-like habits militated greatly against his success. About 1856 he was attacked by cerebral disease, which long afflicted him, and prevented his resuming his old avocations. He died April 5, 1865.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Loeschhorn, Albert

[ C. E. ]
# A Dictionary of Music and Musicians/Loewe, Johanna

From volume 2 of the work.
​LOEWE, Johanna Sophie, dramatic singer, granddaughter of Friedrich August Leopold Loewe (who died 1816 as director of the Lübeck theatre) and daughter of Ferdinand Loewe, an actor, was born at Oldenburg in 1815 [App. p.705 "March 24, 1816"], and accompanied her father to Mannheim, Frankfort, and Vienna, where he was engaged at the Burg Theater, through the influence of his sister, Julie Loewe, a celebrated actress. Here Sophie studied singing under Ciccimara and other good masters. Her début as a concert-singer was so successful that she was at once engaged for the court opera, and first appeared on the stage in 1833 in a German version of Donizetti's 'Otto mese in due ore.' A contemporary report speaks of 'her voice as not powerful, but cultivated and sympathetic, her personal appearance prepossessing, and her acting as evincing dramatic ability much above the common.' Towards the close of 1836 she went to Berlin, where she created a furore as Isabella in 'Robert le Diable,' and was at once engaged at a high salary, appearing as Amina in the 'Sonnambula' on April 28, 1837. In 1838 she was appointed chamber-singer to the king, but soon resigned, and travelled to London, Paris, and Italy. In London she appeared at Covent Garden, May 13, 1841, in Bellini's 'Straniera,' but her success was only temporary. According to Chorley she had been puffed as a new Grisi, there being an idea that Grisi had lost her voice, and he says that the public were grievously disappointed; but he allows that she was the best Elvira he had ever seen, and that her manner was sprightly, graceful, and intelligent, her 'demeanour unimpeachable, and her costume superb' as the Dogaressa in 'Marino Falieri' (Mod. German Music, ​i. 210–213). She never returned to England. She failed to obtain an engagement in Paris, and in 1845 sang again in Berlin, but coming just after Jenny Lind, was only moderately received. In 1848 she married Prince Lichtenstein and retired. She died at Pesth, Nov. 29, 1866. Her special characteristic was the singular harmony between her bodily and mental gifts. In conversation she was witty and intellectual, and as a singer had a great diversity of rôles, playing both Elvira and Donna Anna, Jessonda and Madeleine ('Postilion'), Lucrezia and Adine ('Elisir'). An admirable portrait of her was painted by Krüger, and engraved by Sachse of Berlin.
[ F. G. ]
# A Dictionary of Music and Musicians/Logier, Johann Bernard

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Lodoiska

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Judith

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Jullien's Military Journal

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Jupiter

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Jähns, Friedrich

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Jüngste Gericht, Das

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Juive, La

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Jullien, Adolphe

[ M. ]
# A Dictionary of Music and Musicians/Jödel

​JÖDEL. See Tyrolienne.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Ogina

OGINA, Daughter of Edward the Elder, King of England, and third Wife of Charles the Simple,
Was a princess of great merit and a superior genius. After the captivity of her husband, in 922, she sought refuge in the court of her brother Athelstan, with her son Lewis, who from thence was called Outremer; and made every possible effort to persuade the Count de Vermandois to set her husband at liberty. She came back in triumph, on the death of Raoul the Norman, their most potent enemy; and it was principally by the succours from England, that this revolution was effected. Ogina herself conducted the army, composed of French and English, to the combat. More worthy to reign than her husband or her son, she revenged the first, established the other on the throne, and restored peace to the kingdom. Till the age of 60, her life had been illustrious; but she tarnished the lustre of her grey hairs, by marrying a young man, second son of the Count de Vermandois, the enemy of her husband, and was despised.
Rivalité de la Fr. & de l'Ang.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Orval, (Anne-Eleanor de Bethune d')

ORVAL (ANNE-ELEANOR DE BETHUNE D'), Abbess of Notre Dame du Val-de-Gif, in the Diocese of Paris;
A French lady, in the reign of Lewis XIV. celebrated for her learning and piety. She wrote many religious works, and died 1733, aged 76.
F. C.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Pacheco, (Donna Maria)

P.
On the ill conduct of one of their generals, they were much discomfited, and in great distress for money. Donna Maria, a woman of noble birth, great abilities, and unbounded ambition, superior to the prejudices of the age, proposed to seize all the rich and magnificent ornaments in the cathedral of Toledo; but lest that action should offend the people, by an appearance of impiety, she and her retinue went to the church in a solemn mourning procession, and implored pardon of the saints, whose shrines she was about to violate. By this artifice, she procured a considerable sum of money for the Junta, without paining the minds of the pious. Their general, the young and generous Padilla, was however taken prisoner, and condemned to death, which he bore with christian magnanimity. He wrote an affectionate letter to his wife, in which he tells her the bitterest pang of death is the grief she will suffer on the occasion: yet he exhorts her to consider it as his deliverance. This blow was fatal to the confederacy.—The city of Toledo alone, animated by Donna Maria, who sought to revenge her husband's death, yet held out. Respect, admiration, and sympathy, secured to her the ascendancy over the people which he had possessed; and the prudence and vigour with which she ​acted justified this confidence. She wrote to the French general in Navarre, encouraging him to invade Castile: she endeavoured, by her letters and emissaries, to revive the hopes and spirits of other Castilian cities; raised soldiers, and by keeping the death of their beloved general fresh in the minds of the people, by processions, &c. she prevented fear or despondency from acting on their minds. Her enemies in vain tried to undermine her popularity; and, when the city was invested, she defended it with vigour, her troops frequently repulsed the royalists, and no progress was made in reducing the place, till the clergy, whose property she had been forced to invade, ceased to support her. They soon openly deserted her; and persuaded the credulous multitude, impatient of a long blockade, that she had acquired such influence over them by enchantments, and that she was assisted by a familiar demon, in the form of a negro maid. Incensed by these suggestions, they themselves took arms against her, drove her out of the city, and surrendered it to the royalists. She then retired to the citadel, which she defended with amazing fortitude four months longer; and, when reduced to the last extremities, made her escape in disguise, and fled into Portugal, where he had many relations.
Robertson's Charles V.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Nogarole, (Isotta)

She was a great philosopher and divine, mistress of several languages, and of an eloquence surpassing all the orators of Italy. She made a most elaborate speech at the council of Mantua, convened by Pope Pius II. that all Christian princes might enter into a league against the Turks, she wrote eloquent epistles not only to him, but to his predecessor Nicholas V., and a Dialogue, in which was disputed which was most guilty, Adam or Eve. Some of her works coming to the sight of Cardinal Bessarion, that illustrious patron of literature was so taken with her genius, that he made a journey from Rome to Verona, purely to pay her a visit. It is to be regretted, that 566 MS. Letters of hers upon different subjects, which a modern author affirmed he saw in the library of de Thou, are now supposed to be lost.
Father Feejoo, &c.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Olympia

OLYMPIA,
A painter, in ancient Greece, of whom we find no other memorial, than that Autobolus was her scholar.
Abec. Pitt.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Norton, (Lady Frances)

She seems by her writings to have been educated ​in the knowledge of the Greek and Latin tongues. She married first Sir George Norton, knt. of Abbots Leigh, in Somersetshire, by whom she had three children, George and Elizabeth, who died young; and Grace, a lady of uncommon abilities, who married Sir Richard Gethin, and died in the flower of her age (See her Life) to the inexpressible grief of her mother. To alleviate her sorrow on this occasion, lady Norton wrote two books with the following titles. The Applause of Virtue. In four parts, published in 1705. This treatise she dedicated to her cousin, madam Freke of Shroten. Also Memento Mori; Meditations of Death; which she dedicated to her cousin the hon. Mrs. Elizabeth Hamilton. These pious treatises are an abundant proof of her learning, and how well read she was in the primitive fathers, philosophers, &c. which she perpetually quotes to elucidate her subject; nor are they less demonstrative of her good sense, and exalted piety.
It is said, that there are still remaining at Abbots Leigh, several pieces of furniture of her own working, with many devout sentences wrought in them; many were excellent and seasonable admonitions, which she gave to her friends and acquaintance. Among others the following are remembered: "Prayer is the great duty and greatest privilege of a christian; it is his intercourse with God, a petitioning for such things as we need for our support; it is an abstract, or summary of the christian religion, and divine worship, confessing God's power and mercy; it celebrates his attributes, confesseth his glory, reveres his person, implores his aid, and gives thanks for his blessings: it is an act of charity, for it prays for others; it is an act of repentance, when it ​confesseth and begs pardon for our sins, and exercises our grace according to the design of the man, and the manner of the prayer. In praying we imitate the employment of angels and beatified spirits, by which we ascend to God in spirit while we remain on earth. We speak to God in prayer: when the tongue is stiffened with the approachings of death, prayer can dwell in the heart or the eye, by a thought or groan; prayer, of all actions of religion, is the last alive, and it serves God without circumstances and exercises material to the last breath." Nor were her discourses on other religious subjects less sensible and affecting. She would say, "The quintessence of all wisdom is to prepare for death; it is the business we should learn all our lives to exercise; the faults therein committed are irreparable, and the loss without recovery; we should no more confide in the prosperity of the world than to a still sea, which in a great calm oft-times presageth the approaching tempest; to declare, that in good we should live in distrust of ill; and in evil in hope of good; but in both the one and the other ever in equality." She married secondly Colonel Norton, and thirdly Mr. Jones, and was living in 1720.
Female Worthies.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Pamphila (of Egypt)

PAMPHILA,
An Egyptian lady, who composed a miscellaneous history divided into thirty-three books, as also many other treatises.
F. C.
# A Dictionary of Music and Musicians/Perfect

From volume 2 of the work.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Perigourdine

From volume 2 of the work.
​PERIGOURDINE, or PERIJOURDINE, a country dance which takes its name from Perigord, where it is chiefly danced. It is sometimes accompanied by singing. The following example is from the Essai sur la Musique (Paris, 1780), of De la Borde and Roussier.
[ W. B. S. ]