OpenLLM-France/wikimedia huggingface dataset:
# Modern Russian Poetry/Dmitry Merezhkovsky

Dmitry Merezhkovsky
(Born 1865)
Merezhkovsky had every opportunity of study and travel afforded the son of a comfortably circumstanced, bureaucratic family. He made his pilgrimage to the seats of the antique Mediterranean culture, and the Parthenon brought him, like Renan, to his knees. Yet this devout and learned Hellenist is much of a lay theologian. He has constructed a professedly mystical, but actually rationalistic religion, which dominates all his work. The synthesis of paganism and Christianity, of flesh and spirit, which is his religion of "the Third Testament," is the Procrustean bed of both his brilliant criticism and his vast historical novels. In the latter his method is chiefly that of an historical mosaicist. His trilogy is accessible to the English reader, as well as some of his critical work, notably a part of his remarkable study on Tolstoy and Dostoyevsky.
His prose forms the bulk of his writings. As a poet, Merezhkovsky was one of the initiators of the modernist movement, but he counts mainly as the champion of their poetics. His own lyrical work is largely ineffectual and imitative of men as curiously alien to him as Baudelaire, Poe, and Nietzsche. Against a background of melancholy pieces, expressing metaphysical ennui and cold intellection, one finds some poems informed with spiritual beauty and religious intensity.
# Modern Russian Poetry/Cimmerian Twilight I

CIMMERIAN TWILIGHT I
The evening light has soaked with ancient gold And gall the yellow hills. Like tawny fur Grass rises shaggy in a ruddy blur; Past fiery bushes metal waves unfold; And enigmatic cliffs and boulders hold Worn troughs that are the sea's chronologer. In the winged twilight figures seem to stir: A heavy paw, a jowl grins stark and bold, Like swelling ribs the dubious hillocks show; On what bent back, like wool, does savory grow? What brute, what titan, to this region cleaves? The dark is strange … and yonder, space is clean. And there the tired ocean, panting, heaves, And rotting grasses breathe of iodine.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Modern Russian Poetry/Cimmerian Twilight III

CIMMERIAN TWILIGHT III
Above dark, rippled waters rises in retreat
Earth's heavy mass: the spines and rocky crests defying
The tortured steep in torrents of red rubble lying— A lifeless land, its mourning reaches at my feet.
Sad dreams and solemn dreams flow by me, bitter-sweet:
Earth ancient and obscure, whose echoing bays are sighing,
Where in late twilight with a sadder beauty dying
The waves in waste hexameters billow and beat.
And where no roadways run upon the dark's still rivers,
Breathing an ancient mystery, the dim sail swells and quivers
With winds of tossed desire and seas that lift and fall.
An alien tremor takes my ship upon its going
Where destined roads of daring and retribution call.
And lamp-like in the sky the Seven Stars are glowing.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Modern Russian Poetry/Creation

CREATION
Thou queen of all serenity,
Soul of my soul, most chaste,
I summon thee, divinity,
I summon thee, make haste!
But to the tryst thy offering
Shall not be brought alone.
My guilt will come, my suffering,
My sin will lift its moan.
Before thy heart insulted so,
In shame my head will sink;
And I, who once exulted so,
My humble tears shall drink.
Forgive me that diurnity
Is all my love could dower;
That not for all eternity,— I made thee for an hour.
Alone my will hath kindled here
Thy being from the void.
And thou shalt soon have dwindled here,
By my sole will destroyed.
As I, thou shalt grow tremulous,
Till all my strength is gone,
To fall, of silence emulous,
Into oblivion.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Modern Russian Poetry/Euthanasia

EUTHANASIA
The shining and ponderous goblet
I empty: the earth drops below me,
All things sink away,—I am treading
Cold space—the vast void—the dim ether.
But distant, in ancient space looming,
My glimmering goblet: the Sun.
I look—far below me are lying
The rivers, the forests, the valleys,
Estranged in the vanishing distance.
A cloud, blowing fog on my eyelids,
Trails gossamer gold in its going.
The flickering landscape is burning
Its last: mid-day stars newly-kindled
Look into my soul, sparkling: "Welcome,"
With radiance silently streaming:
"The end of long wanderings, brother,
Lies here, in your motherland, welcome!"
Slow hour upon hour in procession,
Slow centuries, smiling, pass onward.
In ancient space proudly I lift it,
My glimmering goblet: the Sun.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Modern Russian Poetry/Confession

CONFESSION
From my poor sins I am set free.
In lilac dusk the taper smolders;
The dark stole's rigid drapery
Conceals a massive head and shoulders.
"Talitha kumi": Is it He
Once more? How fast the heart is beating . . . A touch: a hand moves absently
The customary cross repeating.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Modern Russian Poetry/Centuries of Centuries Will Pass

CENTURIES OF CENTURIES WILL PASS
Long centuries of centuries will pass, unsighted Millenniums as locusts in deathy clouds descend, And in the muttering of centuries affrighted The same enduring firmament will watch the end. The dumb, dead firmament—that God will not remember, Who breathes Eternity behind the farther skies, Beyond the fading of the last star's last slow ember, Beyond the utter threshold words may scrutinize. Forever cold, that starry desert, clouds out-topping, Is flung forth, alien to the end, on space, When tearing comet-fires will crumble with it, dropping As dumbly burning tears from a despairing face.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Modern Russian Poetry/Cimmerian Twilight II

CIMMERIAN TWILIGHT II
Here stood a sacred forest. Here the messenger
Wing-footed went, his touch upon the dumb glades leaving . . . Upon the site of cities, nor stones, nor ruins heaving:
Now on burnt slopes but sheep in scattered patches stir.
The mountain peaks: cut crowns! Across each bitten spur
The clear green twilight flows, mysteriously grieving.
By whose dim longing stung, what is my soul retrieving?
Who knows the road of gods? The dawns and dusks that blur?
In its sonorous caves the rubble, churned, is sounding;
Lifting its weighty crests, the troubled sea is pounding
Upon the sandy dunes, upon the ringing shore.
The heavy nights pass on in tears through starry spaces . . .
The outcast gods command, whom men invoke no more,
And ineluctably they show dark, alien faces.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Mongolia, the Tangut country, and the solitudes of northern Tibet/Volume 2/The Murui-ussu

THE MURUI-USSU, THE TIBETAN SOURCE OF THE YANGTSE-KIANG. P. 221.
The Chinese seem generally to regard the River Min, which flows through the city of Chingtu-fu, and joins the Yangtse at that of Siu-chau-fu, as the true river. But there is no question that the river which comes from Tibet is much the longer, and probably little question that it is also much the larger. The Dutchman, Samuel Van de Putte, who travelled from Lhassa to Peking in the earlier part of last century, wrote to the Italian priests at Lhassa, that when crossing the river upon that journey he started in a boat of hide one morning, passed the night upon a small island in the river, and did not achieve the completion of the passage till the middle of the following day.
The ' Tangutan ' name given as Di-chu in the text should probably be Bi-chu. Bi-tsiu, or Bhri-tsiu, 'the River of the Yak-cow,' is the Tibetan name, and this is almost certainly the origin of the name Brius, that Marco Polo gives to the river. The Mongol name Murui-ussu means, not 'River-water,' as the author says, but 'Winding River.' The Chinese name down to Siu-chau is Kinsha-Kiang or Gold-sand River.—[Y.]
# Mongolia, the Tangut country, and the solitudes of northern Tibet/Volume 2/The Taldi

SUPPLEMENTARY NOTES.
THE TALDI.
P. 69-70.
It is obvious that the passage of Palladius which Mr. Morgan has translated in the footnotes bears no very clear reference to the Taldi of Col. Prejevalsky. Mr. Ney Elias remarks on his account of them as follows:—
'The description of these people, as also the locality in which they occur, corresponds closely with Huc's account of the race he calls Dchiahours. The name of Dalde may certainly have suffered in copying or printing, but I can find no approximation to it in any work treating of Western China; nor, with the exception of Huc's, it must be added, of the Dchiahours either. The only specimen of Dchiahours that I am personally acquainted with is Huc's old servant "Samdadchiemba," who certainly, as regards language, corresponds to Prejevalsky's description of the Daldes.'
I transcribe Huc's account, referred to by Mr. Elias: 'The Dchiahours ... occupy the country commonly called San-tchouan—"Three Valleys,"—the native district of our camel-driver Samdadchiemba. The Dchiahours have all the rascality and craft of the Chinaman without his civility and polished language; so they are feared and detested by all their neighbours. When they fancy their rights infringed on it is always with the dagger that they seek redress. Among them the man held in most honour is always the one who has committed most murders. They ​speak a language of their own, which is a medley of Mongol, Chinese, and East-Tibetan. By their own account they are of Tartar origin; and if it be so it may be said that they have exceedingly well preserved the savage and independent character of their forefathers, whilst the manners of the present people of Mongolia have been singularly modified and softened.
'Although subject to the Emperor of China, the Dchiahours are under the immediate government of a kind of hereditary sovereign belonging to their own tribe, and bearing the title of Tou-ssẻ.'—[Y.]
* ↑ So it is written in Col. Prejevalsky's original letters as published in the Journal de St. Pétersbourg.
* ↑ Proc. Roy. Geog. Soc., xviii. 84.
* ↑ ii. 35-36.
# Mongolian romanization table

Mongolian (Classical Mongolian in Vertical Script)
| Initial | Medial | Medial | Final | Final | Romanization |
| ᠠ‍ | ‍ᠠ‍ | (see Note 1) | ‍ᠠ᠋‍ᠠ | (see Note 1) | a |
| ᠡ‍ | ‍ᠡ‍ | (see Note 1) | ‍ᠡ᠋‍ᠡ | (see Note 1) | e |
| ᠢ‍ | ‍ᠢ‍ | | ‍ᠢ | | i |
| ᠣ‍ | ‍ᠣ‍ | (see Note 1) | ‍ᠣ | (see Note 1) | o or u |
| ᠥ‍ | ‍ᠥ‍‍ᠥ᠋‍ | (see Note 1) | ‍ᠥ | (see Note 1) | ȯ or u̇ |
| ᠨ‍ | ‍ᠨ᠋‍‍ᠨ‍ | | ‍ᠨ | | n |
| | ‍ᠩ‍ | | ‍ᠩ | | ng |
| ᠬ‍ | ‍ᠬ‍ | | ‍ᠬ | | q |
| ᠭ‍ | ‍ᠭ᠋‍‍ᠭ‍ | | ‍ᠭ᠍‍ᠭ | | ġ |
| ᠪ‍ | ‍ᠪ‍ | | ‍ᠪ | | b |
| ᠫ‍ | ‍ᠫ‍ | | ‍ᠫ | | p |
| ᠹ‍ | ‍ᠹ‍ | | ‍ᠹ | | f |
| ᠰ‍ | ‍ᠰ‍ | | ‍ᠰ‍ᠰ᠋ | | s |
| ᠱ‍ | ‍ᠱ‍ | | | | ś |
| ᠳ‍ (see Note 2) | ‍ᠳ᠋‍‍ᠳ‍ | (see Note 2) | ‍ᠳ | (see Note 2) | t or d |
| ᠯ‍ | ‍ᠯ‍ | | ‍ᠯ | | l |
| ᠮ‍ | ‍ᠮ‍ | | ‍ᠮ | | m |
| ᠴ‍ | ‍ᠴ‍ | | | | c |
| ᠵ‍ | ‍ᠵ‍ | | | | j |
| ᠶ‍ | ‍ᠶ‍ | | ‍ᠶ | | y |
| ᠻ‍ (see Note 2) | ‍ᠻ‍ | (see Note 2) | ‍ᠻ | (see Note 2) | k or g |
| ᠺ‍ | ‍ᠺ‍ | | | | k |
| ᠷ‍ | ‍ᠷ‍ | | ‍ᠷ | | r |
| ᠸ‍ | ‍ᠸ‍ | | | | v |
| ᠾ‍ | ‍ᠾ‍ | | ‍ᠾ | | h |
Notes
* Romanize medial and final vowels according to the rules of vocalic harmony.
* Romanize the dental and velar stops according to the pronunciation given in standard dictionaries.
​TRANSCRIPTION OF GALIG LETTERS
Vowels and Diphthongs
* ᠠ᠋  a
* ᠠ᠋᠎ᠠ  ā
* ᠢ  i
* ᠢᠢ  ī
* ᠦ  u
* ᠤᠦ  ū
* ᠷᠢ  r̥
* ᠷᠢᠢ  r̥̄
* ᠯᠢ  l̥
* ᠯᠢᠢ  l̥̄
* ᠧ  e
* ᠧᠧ  ai
* ᠣᠸᠠ  o
* ᠣᠸᠸᠠ  au
Consonants
Anusvara
Visarga
CHARACTER MODIFIERS IN ROMANIZATION
| Character modifiers | Name | USMARC hexadecimal code |
| ◌́ | acute | E2 |
| ◌̃ | tilde | E4 |
| ◌̄ | macron | E5 |
| ◌̇ | dot above | E7 |
| ◌̣ | dot below | F2 |
| ◌̥ | circle below | F4 |
# Micrographia/Chapter 45

Observ. XLV. Of the great Belly'd Gnat or female Gnat.
THe second Gnat, delineated in the twenty ninth Scheme, is of a very differing shape from the former; but yet of this sort also, I found several of the Gnats, that were generated out of the Water Insect: the wings of this, were much larger then those of the other, and the belly much bigger, shorter and of an other shape; and, from several particulars, I ghest it to be the Female Gnat, and the former to be the Male.
The thorax of this, was much like that of the other, having a very strong and ridged back-piece, which went also on either side of its leggs; about the wings there were several joynted pieces of Armor, which seem'd curiously and conveniently contriv'd, for the promoting and strengthning the motion of the wings: its head was much differing from the other, being much bigger and neater shap'd, and the horns that grew out between his eyes on two little balls, were of a very differing shape from the tufts of the other Gnat, these having but a few knots or joynts, and each of those but a few, and those short and strong, brisles. The formost horns or feelers, were like those of the former Gnat.
One of these Gnats I have suffer'd to pierce the skin of my hand, with its proboscis, and thence to draw out as much blood as to fill its belly as full as it could hold, making it appear very red and transparent; and this without any further pain, then whilst it was sinking in its proboscis, as it is also in the stinging of Fleas: a good argument, that these creatures do not wound the skin, and suck the blood out of enmity and revenge, but for meer necessity, and to satisfy their hunger. By what means this creature is able to suck, we shall shew in another place.
# Modern and contemporary Czech art/Preface

PREFACE
Contemporary Czech art is hardly known in the countries of Western Europe. This could not be otherwise in the days of Austrian domination, when the Czechs were compelled, at big international exhibitions, to accept the label of “Austrian” or “Hungarian” art which their former rulers imposed upon them. The latter, moreover, greatly restricted the number of Czech contributors, and favoured artists of German nationality.
Now that an independent Czechoslovak State exists, however, there is nothing to prevent Czech art from being manifested under the true title, and it is the aim of the present volume to acquaint the English-speaking world with Czechoslovak activities and aspirations in the domain of art. The text of the book is intended to give a brief history of a subject which, for reasons indicated above, has been known abroad only in an intermittent and, consequently, imperfect manner. As regards the reproductions, it is obvious that they cannot claim completeness, but if they succeed in stimulating a further interest in the works of Czechoslovak artists, sculptors and architects, they will have fulfilled their purpose.
# Modern reciter

THE
MODERN
RECITER,
A SELECTION
OF THE
MOST POPULAR PIECES
FOR
RECITATION,
PRINCIPALLY FROM
SIR WALTER SCOTT, CAMPBELL, LORD BYRON, HOGG, WOLFE, AND OTHER POETS OF THE DAY.
KILMARNOCK:
printed by h. crawford, bookseller.
1829.
THE RECITER.
On the Manner of Reading Verse.
“Whatever difficulties we may find in reading prose, they are greatly increased when the composition is in verse: and more particularly if the verse be rhyme. The regularity of the feet, and the sameness of sound in rhyming verse, strongly solicits the voice to a sameness of tone; and tone, unless directed by a judicious ear, is apt to degenerate into a song, and a song, of all others, the most disgusting to a person of just taste.—If, therefore, there are few who read prose with propriety, there are still fewer who succeed in verse. For those, therefore, whose ears are not just, and who are totally deficient in a true taste for the music of poetry, the best method of avoiding this impropriety is to read verse exactly as if it were prose; for though this may be said to be an error, it is certainly an error on the safer side.
“To say, however, as some do, that the pronunciation of verse is entirely destitute of song, and that it is no more than a just pronunciation of prose, is far distant from truth. Poetry without song is a body without a soul. The tune of this song is, indeed, difficult to hit; but when once it is hit, it is sure to give the most exquisite pleasure. It excites in the hearer the most eager desire of imitation; and if this desire be not accompanied by a just taste of good instruction, it generally substitutes the tum ti, tum ti, as it is called, for simple, elegant, poetic harmony.
​“It must, however, be confessed, that elegant readers of verse often verge so nearly on what is called sing song, without falling into it, that it is no wonder those who attempt to imitate them, slide into that blemish which borders so nearly on a beauty.”
Walker.
* Glenara
* The Death of Sir John Moore
* Hymn on Modern Greece
* Lord Ullin's Daughter
* The Fate of Macgregor
* Lochinvar
* The Field of Waterloo
* A Beth Gelert
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
# Modern and contemporary Czech art/The pronunciation of Czech words

THE PRONUNCIATION OF CZECH WORDS
(In “Czech,” the English spelling of Čech, the cz is pronounced like “ch” in “cherry,” and the final “ch” like “ch” in the Scotch “loch”—or like the German “ch” in “Buch”).
The consonants are pronounced like their English equivalents with the following exceptions:— chc is a gutteral(unmarked) is pron. like chts in its. chj is a gutteral„ is„ pron.„ like„ chy in yes. ch is a gutteral is pron.„ like„ ch in Scotch “loch.” chč is a gutteral(marked) is„ pron.„ like„ ch in cherry, as Čermák, pron. Cher-mahk. chš is a gutte„ral is„ pron.„ like„ chsh in she, as Aleš, pron. Ul-esh. chž is a gutte„ral is„ pron.„ like„ chz in azure (zh), as Brožík, pron. Brozh-eek. chř is a gutte„ral is„ pron.„ like„ rolled r followed by ž (rzh), as Mařák, pron. marzh-ahk
Vowels are pronounced as follows:— a like short oou in but. e like„ short„ ooe in pen. o like„ short„ ooo in log. u like„ short„ oo in took. y like„ short„ ooy in hymn.
An accent over the vowel (´) indicates length:— ú or ůá like the ooa in father. ú or ůé like„ the„ ooa in May. ú or ůí like„ the„ ooee in sheep. ú or ůý like„ the„ ooi in machine. ú or ů like„ the„ oo in doom, cool.
A hook over e (ě) softens it into ye; as in Purkyně, pron. Poor-kyn-ye(r).
The primary stress in Czech words always falls on the first syllable.
# Modern reciter/A Beth Gelert

A Beth Gelert.
The spearman heard the bugle sound, And cheerly smiled the morn, And many a brach, and many a hound, Attend Llewellyn's horn:
And still he blew a louder blast, And gave a louder cheer; Come, Gelert! why art thou the last Llewellyn's horn to hear?
Oh, where does faithful Gelert roam? The flower of all his race! ⟨So⟩ true, so brave, a lamb at home— A lion in the chase!'
​'Twas only at Llewellyn's board The faithful Gelert fed; He watch'd, he served, he cheer'd his lord, And sentinel'd his bed.
In sooth, he was a peerless hound. The gift of royal John; But now no Gelert could be found, And all the chase rode on.
And now, as over rocks and dells The gallant chidings rise, All Snowdown's craggy chaos yells, With many mingled cries.
That day Llewellyn little loved The chase of hart or hare, And scant and small the booty proved, For Gelert was not there.
Unpleased, Llewellyn homeward hied, When, near the portal seat, His truant Gelert he espied, Bounding his Lord to greet.
But when he gain'd his castle door, Aghast the chieftain stood; The hound was smear'd with gouts of gore, His lips and fangs ran blood!
Llewellyn gazed with wild surprise, Unused such looks to meet; His favourite check'd his joyful guise, And crouch'd and lick'd his feet.
​Onward in haste Llewellyn pass'd (And on went Gelert too,) Ind still, where'er his eyes were cast, Fresh blood-gouts shock'd his view!
O'erturn'd his infant's bed he found, The blood-stain'd covert rent, And, all around, the walls and ground With recent blood besprent.
He call'd his child—no voice replied; He search'd—with terror wild; Blood! blood! he found on every side, But no where found the child!
Hell-hound! by thee my child's devour'd The frantic father cried, And to the hilt his vengeful sword He plunged in Gelert's side!
His supplicant, as to earth he fell, No pity could impart; But still his Gelert's dying yell, Pass'd heavy o'er his heart.
Aroused by Gelert's dying yell, Some slumberer awaken'd nigh; What words the parent's joy can tell, To hear his infant cry!
Conceal'd beneath a mangled heap, His hurried search had miss'd, All glowing from his rosy sleep, His cherub boy he kiss'd!
​Nor scratch had he, nor harm, nor dread—. But the same couch beneath, Lay a great wolf, all torn and dead— Tremendous still in death!
Ah! what was then Llewellyn's pain! For now the truth was clear; The gallant hound the wolf had slain, To save Llewellyn's heir.
Vain, vain, was all Llewellyn's wo: 'Best of thy kind adieu! The frantic deed which laid thee low, This heart shall ever rue!'
And now a gallant tomb they raise. With costly sculpture deck'd; And marbles, storied with his praise, Poor Gelert's bones protect.
Here never could the spearmen pass, Or forester, unmoved; Here oft the tear-besprinkled grass Llewellyn's sorrow proved.
And here he hung his horn and spear; And, oft as evening fell, In fancy's piercing sounds would hear Poor Gelert's dying yell!
Spencer
FINIS.
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
# Modern reciter/Glenara

Glenara.
Oh! heard ye yon pibroch sound sad in the gale, Where a band cometh slowly it weeping and wail? 'Tis the Chief of Glenara laments for his dear; And her sire and her people are called to her bier.
Glenara came first with the mourners and shroud; Her kinsmen they follow'd but mourned not aloud; Their plaids all their bosoms were folded around; They march'd all in silence—they look'd to the ground.
In silence they reach'd over mountain and moor, To a heath, where the oak-tree grew lonely and hoar, 'Now here let us place the gray-stone of her cairn- Why speak ye no word?' said Glenara the stern.
'And tell me, I charge you, ye clan of my spouse, Why fold ye your mantles, why cloud ye your brows?' So spake the rude chieftain: no answer is made, But each mantle unfolding, a dagger display'd.
​'I dream'd of my lady, I dreamed of her shroud,' Cried a voice from the kinsmen, all wrathful and loud; 'And empty that shroud and that coffin did seem; Glenara! Glenara! now read me my dream!'
Oh! pale grew the cheek of the chieftain I ween; When the shroud was unclosed, and no body was seen; On a rock of the ocean fair Ellen did seem:
Glenara! Glenara! now read me my dream!'
In dust low the traitor has knelt to the ground, And the desert reveal'd where his lady was found; From a rock of the ocean that beauty is borne; Now joy to the house of fair Ellen of Lorn!
Campbell.
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
# NSTC-1

NSTC-1, January 25, 1994
The following instrumentalities are hereby established to direct the work of the National Science and Technology Council and to inform the departments and agencies of Presidential directives:
This series will be used to direct that reviews and analyses be undertaken by the departments and agencies.
This series will be used to promulgate Presidential decisions on national science and technology matters.
William J. Clinton
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