OpenLLM-France/wikimedia huggingface dataset:
# The New International Encyclopædia/Catharine I.

Edition of 1905. See also Catherine I of Russia on Wikipedia; and the disclaimer.
CATHARINE I. ( ? -1727). Mistress and wife of Peter the Great, and Empress of Russia from 1725 to 1727. She was born between 1682
and 1685, the daughter of a Lithuanian peasant, Samuel Skavronski, or perhaps of a Baltic nobleman, Colonel Rosen. Her mother was undoubtedly a serf. She was brought up as a foundling by the pastor Glück, at Ringen and Marienburg, in Livonia, and was married to a dragoon, who was immediately ordered into active service. At the taking of Marienburg by the Russians, in 1702, Glück threw himself and his family on the mercy of the Russian commander, Sheremetieff, who was attracted by the beautiful face of the young peasant girl, and kept her with him when the other captives were forwarded to Moscow. A few months later Menshikoff, the favorite of Peter, saw her, and took advantage of his rank and power to deprive Sheremetieff of his prize, only to be in turn despoiled by Peter himself. With a figure and bearing that bore testimony to her ignoble birth, she seems nevertheless to have had in her face a peculiar charm, and unlettered though she was, she possessed an active and practical mind that appealed to Peter. She became his most influential adviser and confidant, exercising over this man of iron will and violent passions an influence such as no other person had. Peter profited by her resourceful intellect in the campaign against the Turks in 1711, and the colored accounts that have come down to us represent her as having saved the Czar and his army when they were hemmed in at the river Pruth by bribing the Grand Vizier with jewels and money. In recognition of her services, Peter founded the Order of Love and Fidelity, or of Saint Catharine, for women, and in 1712 made Catharine his wife. By a ukase of 1721 the Czar proclaimed his right to designate his successor, and in 1724 Catharine was crowned Empress. An intrigue which she carried on with one of the chamberlains of the royal household aroused Peter's jealousy, but he spared her life, and after his death, February 8, 1725, it was alleged by Menshikoff and others that he had at the last moment forgiven the Empress and carried out his earlier intention of designating her as his successor. The claims of the grandson of Peter by the son of his first wife were set aside, although maintained by the Old Russian party, and Catharine became Empress. Of her brief reign Menshikoff was the controlling spirit. As Empress, Catharine lived a life of dissipation. Her death, which occurred on May 17, 1727, came suddenly. She had eight children by Peter, all of whom died in infancy except two daughters, Anna and Elizabeth. The latter afterwards became Empress. There are studies and memoirs in Russian and French bearing upon the life of Catharine I. A good list may be found in Lavisse and Rambaud, Histoire générale, Vol. VII. (Paris, 1896). Consult, also Schuyler, Peter the Great (New York, 1884).
# The New International Encyclopædia/Catharine de' Medici

Edition of 1905. See also Catherine de' Medici on Wikipedia; and the disclaimer.
CATHARINE DE' MEDICI, dắ mā'dḗ-chē (1519-89). Queen of Henry II. of France. She was the daughter of Lorenzo de' Medici, Duke of Urbino, and was born in Florence in 1519. In 1533 she married Henry, second son of Francis I. of France. The death of her uncle, Pope Clement VII., who had arranged the marriage, left her without a powerful friend, but her submissive conduct won the favor of Francis, and in some measure that of her husband, who became King in 1517. She was the mother of four sons, of whom three became kings of France; and with the accession of the eldest, Francis II., in 1559, the Queen-mother asserted herself in the Government. On the death of Francis II., in 1560, and the accession of Charles IX., the Government fell entirely into her hands. Her political principles were the selfish ones which obtained at the petty courts of Italy in the Fifteenth and Sixteenth centuries. She made a league with the Huguenots to overthrow the Guises (q.v.), and when this attempt failed, and the civil war which ensued ended in the Peace of Amboise, highly favorable to the Protestants, she became alarmed at the increase of their power, and entered into a secret treaty with Spain for the extirpation of heretics. Subsequently she entered into a plot with the Guises, in which at first only the murder of the Protestant leaders was contemplated, but which resulted in the fearful massacre of Saint Bartholomew. (See Bartholomew's, Massacre of Saint.) The Queen-mother boasted of this deed to the Roman Catholic governments, and palliated it to Protestants, for she now managed all the correspondence of the Court. About this time she succeeded, by gold and intrigues, in having her third son, afterwards Henry III., elected to the Polish throne (1573). Her arbitrary administration roused the opposition of a party among the Catholics, headed by her fourth son, the Duke of Alençon, who allied themselves with the Protestants. It was very generally believed that she contributed to Alençon's death. After the accession of Henry III., Catharine continued to be the power behind the throne, the mainspring of all intrigues. The treachery of Catharine and her sons toward all who trusted them alienated all parties, and she died, January 5, 1589, friendless and unmourned, at the Castle of Blois. Her control had done much toward the demoralization of France. Consult: Lettres de Cathérine de Medicis (Paris, 1880-91); Balzac, Sur Cathérine de Medicis (Paris, 1864); Chéruel, Marie Stuart et Cathérine de Medicis (Paris, 1858); Zeller (editor), Cathérine de Medicis et les Protestants: extraits de Castelnau (Paris, 1889); Alberi, Vita de Caterina de' Medici (Florence, 1838).
# The New International Encyclopædia/Cascine, Le

Edition of 1905. See also Parco delle Cascine on Wikipedia; and the disclaimer.
​ CASCINE, kȧ-shē′nā̇, Le. A park about two miles long, in Florence, bordering the Arno. It is laid out in fine walks and drives and is the favorite afternoon resort of Florentine society.
# The New International Encyclopædia/Cathari

Edition of 1905. See also Catharism on Wikipedia; and the disclaimer.
CATH'ARI, or Catharists (Med. Lat., from Gk. καθαρὀς, katharos, pure). A name very generally given to various sects which appeared in the Church during the Middle Ages. It appears to have been sometimes assumed in profession of a purity of doctrine and morals superior to that which generally prevailed in the Church, sometimes bestowed ironically in ridicule of such a profession, and was used as a designation of the Paulicians (q.v.) of the Seventh and succeeding centuries, of sects which appeared in Lombardy in the beginning of the Eleventh Century, and afterwards in France and the west of Germany, and of the Bogomiles of the Twelfth Century. In the Eleventh Century the Patarenes appeared in Milan, and were called Cathari. The names Albigenses and Cathari are often used as equivalent to one another; in fact it is almost impossible to differentiate the various bodies known as Petrobrusians and Arnoldists (from their leaders), or Passagers and Publicans (from different features of their morals and customs), Manicheism. Gnosticism, and Montanism are ascribed to the Cathari; but as their doctrines were a confused agglomeration of different heresies, and consequently the descriptions of contemporary writers are not always concordant, it is difficult to make out their system in detail. It appears quite certain that the Cathari differed among themselves in their doctrines, and in the degree of their opposition to the dominant Church. Some of them advocated and practiced a rigid asceticism. There is no good evidence that any of them nearly approached to the doctrines of the Reformation, although in their rejection of tradition, of the authority of Rome, of the worship of saints and images, etc., there are notable points of agreement with the views of the reformers. Consult C. Schmidt, La secte des Cathares (Strassburg. 1849): J. J. Döllinger, Sektengeschichte, Vol. II. (Munich, 1890); also H. C. Lea, History of the Inquisition (3 vols., New York, 1888).
# The New International Encyclopædia/Cattegat, The

Edition of 1905. See also Kattegat on Wikipedia; and the disclaimer.
CAT'TEGAT, or KATTEGAT (anc. Lat. Sinus Codanus), The. The strait or sound separating the east coast of Jutland, Denmark, from the west coast of Sweden, and, by joining the Skagerrak on the west and the Little and Great Belts and the Sound on the east, forming the middle link in the chain of waters connecting the Baltic with the North Sea (Map: Denmark, E 2). It is about 150 miles long, and has a greatest width of about 90 miles. Its depths are very unequal, varying in the deepest portions in the western part from 40 to 65 feet, and in the eastern part from 100 to 200 feet. It offers dangers to navigation on account of its numerous shoals and the frequency of stormy winds. Its principal islands are Läsö, at the north, Anholt, near the middle, and Samsö, at the south. The eastern shores are steep and rocky, but those on the west are low.
# The New International Encyclopædia/Casco Bay

Edition of 1905. See also Casco Bay on Wikipedia; and the disclaimer.
​ CAS′CO BAY. A bay on the southwest coast of Maine, about 20 miles in width at its mouth, from Bald Head on the east to Cape Elizabeth on the west, and extending about 12 miles inland (Map: Maine, C 8). The bay contains hundreds of small islands, most of which are occupied as summer resorts, and affords an excellent harbor. Portland (q.v.) is located on the west side of Casco Bay.
# The New Monthly Belle Assemblée/Volume 22

January–June 1845
* January 1845 (transcription project)
* February 1845 (transcription project)
* March 1845 (transcription project)
* April 1845 (transcription project)
* May 1845 (transcription project)
* June 1845 (transcription project)
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 New Monthly Belle Assemblée/Volume 22/April 1845

* "Fatal Curiosity" by Johann August Apel, translated by Mary Ann Youatt
* "Stanzas", author unknown
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 New Monthly Belle Assemblée/Volume 22/April 1845/Stanzas

The first quote is by John Bigland from The Philosophical Wanderers (1811). The author of the poem is unknown. The second quote is by Thomas Carlyle from Lectures on the History of Literature (1838). The final quote is by Elizabeth Carter, from a letter to Elizabeth Montagu (1776).
The sympathies of nature are neither exploded by philosophy, nor condemned by religion. These two luminaries of the mind do not extinguish, but only regulate the affections; restraining them when inordinate, and reducing them under the dominion of reason when they begin to acquire an undue and dangerous tendency.
STANZAS.
The thing that is uttered from the inmost parts of a man’s soul differs altogether from what is uttered by the outer part. The outer is of to-day, and passes away; the inmost is the same yesterday, to-day, and for ever.
The weakness of sickly and imperfect virtue might perhaps often be recovered and strengthened by the support, and in the society of more fixed and regular characters, and this would lead to its being established upon a better and surer foundation.
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 New Monthly Magazine/Volume 11

THE
NEW MONTHLY
MAGAZINE
AND
LITERARY JOURNAL.
VOL. XI.
ORIGINAL PAPERS.
LONDON:
PRINTED FOR HENRY COLBURN,
NEW BURLINGTON STREET.
1824.
LONDON: PRINTED BY S. AND R. BENTLEY, DORSET-STREET.
CONTENTS
OF
THE ELEVENTH VOLUME.
# The New Monthly Magazine/Volume 11/Fragment of a Projected Ode

FRAGMENT OF A PROJECTED ODE
On the Influence of Fancy upon Mythology.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The New Monthly Magazine

* related portals: Periodicals.
* sister projects: Wikipedia article, Commons category, Wikidata item.
Shortcut: NMM
The New Monthly Magazine was a British monthly magazine published by Henry Colburn between 1814 and 1884.

## Series 1: The New Monthly Magazine and Universal Register

* Volume 1 (February–July 1814)
* Volume 2 (August 1814–January 1815)
* Volume 3 (February–July 1815)
* Volume 4 (August 1815–January 1816)
* Volume 5 (February–July 1816)
* Volume 6 (August 1816–January 1817)
* Volume 7 (February–July 1817)
* Volume 8 (August 1817–January 1818)
* Volume 9 (February–July 1818)
* Volume 10 (August 1818–January 1819) (transcription project)
* Volume 11 (February–July 1819) (transcription project)
* Volume 12 (August–December 1819)
* Volume 13 (January–December 1820)

## Series 2: The New Monthly Magazine

* Volume 1
* Volume 2
* Volume 3
* Volume 4
* Volume 5
* Volume 6
* Volume 7 (1823) (transcription project)
* Volume 8
* Volume 9
* Volume 10
* Volume 11 (1824) (transcription project)
* Volume 12
* Volume 13
* Volume 14
* Volume 15
* Volume 16
* Volume 17
* Volume 18
* Volume 19
* Volume 20
* Volume 21
* Volume 22
* Volume 23
* Volume 24
* Volume 25
* Volume 26
* Volume 27
* Volume 28 (1830, Part 1) (transcription project)
* Volume 29 (1830, Part 2) (transcription project)
* Volume 30 (1830, Part 3)
* Volume 31 (1831, Part 1)
* Volume 32 (1831, Part 2)
* Volume 33 (1831, Part 3) (transcription project)
* Volume 34 (1832, Part 1)
* Volume 35 (1832, Part 2)
* Volume 36 (1832, Part 3)
* Volume 37 (1833, Part 1)
* Volume 38 (1833, Part 2)
* Volume 39 (1833, Part 3) (transcription project)
* Volume 40
* Volume 41
* Volume 42
* Volume 43
* Volume 44
* Volume 45
* Volume 46
* Volume 47
* Volume 48
* Volume 49
* Volume 50
* Volume 51
* Volume 52
* Volume 53
* Volume 54
* Volume 55
* Volume 56
* Volume 57
* Volume 58
* Volume 59
* Volume 60
* Volume 61
* Volume 62
* Volume 63
* Volume 64
* Volume 65
* Volume 66
* Volume 67
* Volume 68
* Volume 69
* Volume 70
* Volume 71
* Volume 72
* Volume 73
* Volume 74
* Volume 75
* Volume 76
* Volume 77
* Volume 78
* Volume 79
* Volume 80
* Volume 81
* Volume 82
* Volume 83
* Volume 84
* Volume 85
* Volume 86
* Volume 87
* Volume 88
* Volume 89
* Volume 90
* Volume 91
* Volume 92
* Volume 93
* Volume 94 (1852) (transcription project)
* Volume 95 (transcription project)
* Volume 96 (transcription project)
* Volume 97 (transcription project)
* Volume 98 (transcription project)
* Volume 99 (transcription project)
* Volume 100 (transcription project)
* Volume 101 (transcription project)
* Volume 102 (transcription project)
* Volume 103 (transcription project)
* Volume 104 (transcription project)
* Volume 105 (transcription project)
# The Masque of the Red Death

* "The Masque of the Red Death", edited by Rufus Wilmot Griswold, in The Works of the Late Edgar Allan Poe, Volume 1 (1850)
* "The Masque of the Red Death", illustrated by Arthur Rackham, in Poe's Tales of Mystery and Imagination (1935)
* "The Mask of the Red Death" in Weird Tales, 7 (3) (March 1926)
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 Massacre at Paris/Scene 10

Enter five or sixe Protestants with bookes, and kneele together.Enter also the Guise.
Guise. Downe with the Hugonites, murder them.
Protestant. O Mounser de Guise, heare me but speake.
Guise. No villain, that toung of thine, That hath blasphemde the holy Church of Rome, Shall drive no plaintes into the Guises eares, To make the justice of my heart relent: Tue, tue, tue, let none escape: kill them. So, dragge them away. Exeunt.
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# The Massacre at Paris/Scene 13

Enter the Duchesse of Guise, and her Maide.
Duch. Goe fetch me pen and inke.
Maid. I will Madam. Exit Maid.
Duch. That I may write unto my dearest Lord. Sweet Mugeroune, tis he that hath my heart, And Guise usurpes it, cause I am his wife: Faine would I finde some means to speak with him but cannot, and therfore am enforst to write, That he may come and meet me in some place, Where we may one injoy the others sight.
Enter the Maid with Inke and Paper.
She writes. O would to God this quill that heere doth write, Had late been pluckt from out faire Cupids wing:
That it might print these lines within his heart.
Enter the Guise.
Guise. What, all alone my love, and writing too: I prethee say to whome thou writes?
Duch. To such a one my Lord, as when she reads my lines, will laugh I feare me at their good aray.
Guise. I pray thee let me see.
Duch. O no my Lord, a woman only must partake the secrets of my heart.
Guise. But Madam I must see. he takes it. Are these your secrets that no man must know?
Duch. O pardon me my Lord.
Guise. Thou trothles and unjust, what lines are these? Am I growne olde, or is thy lust growne yong, Or hath my love been so obscurde in thee, That others need to comment on my text? Is all my love forgot which helde thee deare? I, dearer then the apple of mine eye? Is Guises glory but a clowdy mist, In sight and judgement of thy lustfull eye? Mor du, wert not the fruit within thy wombe, Of whose encrease I set some longing hope: This wrathfull hand should strike thee to the hart. Hence strumpet, hide thy head for shame, And fly my presence if thou looke to live. Exit. O wicked sexe, perjured and unjust, Now doe I see that from the very first,
Her eyes and lookes sow'd seeds of perjury, But villaine he to whom these lines should goe, Shall buy her love even with his dearest bloud.Exit.
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# The Massacre at Paris/Scene 14

Enter the King of Navarre, Pleshe and Bartus, and their train, with drums and trumpets.
Navarre.
We undertake to mannage these our warres: Against the proud disturbers of the faith, I meane the Guise, the Pope, and King of Spaine, Who set themselves to tread us under foot, And rent our true religion from this land. But for you know our quarrell is no more, But to defend their strange inventions, Which they will put us to with sword and fire: We must with resolute mindes resolve to fight, In honor of our God and countries good. Spaine is the counsell chamber of the pope, Spaine is the place where he makes peace and warre, And Guise for Spaine hath now incenst the King, To send his power to meet us in the field.
Bartus. Then in this bloudy brunt they may beholde, The sole endevour of your princely care, To plant the true succession of the faith, In spite of Spaine and all his heresies.
Navarre. The power of vengeance now incampes it selfe, Upon the hauty mountains of my brest: plaies with her goary coulours of revenge, Whom I respect as leaves of boasting greene, That change their coulour when the winter comes, When I shall vaunt as victor in revenge.
Enter a Messenger.
Mes. My Lord, as by our scoutes we understande, A mighty army comes from France with speed: Which is already mustered in the land, And meanes to meet your highnes in the field.
Na. In Gods name, let them come. This is the Guise that hath incenst the King, To leavy armes and make these civill broyles: But canst thou tell who is their generall?
Mes. Not yet my Lord, for thereon doe they stay: But as report doth goe, the Duke of Joyeux Hath made great sute unto the King therfore.
Na. It will not countervaile his paines I hope, I would the Guise in his steed might have come, But he doth lurke within his drousie couch, And makes his footstoole on securitie: So he be safe he cares not what becomes, Of King or Country, no not for them both. But come my Lords, let us away with speed,
And place our selves in order for the fight.Exeunt.
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# The Massacre at Paris

The Massacre at Paris is an Elizabethan play by the English dramatist Christopher Marlowe. It concerns the Saint Bartholomew's Day Massacre, which took place in Paris in 1572, and the part played by the Duc de Guise in those events.
The only surviving text is an undated quarto that is too short to represent the complete original play, and, in all probability, it is a memorial reconstruction by the actors who performed the work. One clue to the original substance of the play is a page which survives in manuscript. It is known as the "Collier leaf," and supplies a much longer and more interesting version of a blank verse speech than appears in the quarto. This suggests that the more thoughtful parts of the play were precisely the ones that tended to be cut.
THE MASSACRE AT PARIS:
With the Death of the Duke of Guise.
As it was plaide by the right honourable the Lord high Admirall his Servants.
Written by Christopher Marlow.
AT LONDON
Printed by E. A. for Edward White, dwelling neere the little North doore of S.Paules Church, at the signe of the Gun.
* Scene I.
* Scene II.
* Scene III.
* Scene IV.
* Scene V.
* Scene VI.
* Scene VII.
* Scene VIII.
* Scene IX.
* Scene X.
* Scene XI.
* Scene XII.
* Scene XIII.
* Scene XIV.
* Scene XV.
* Scene XVI.
* Scene XVII.
* Scene XVIII.
* Scene XIX.
* Scene XX.
* Scene XXI.
* Scene XXII.
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 Massacre at Paris/Scene 1

THE MASSACRE AT PARIS.
With the Death of the Duke of Guise.
Charles.
Prince Condy, and my good Lord Admirall, I wishe this union and religious league, Knit in these hands, thus joyn'd in nuptiall rites, May not desolve, till death desolve our lives, And that the native sparkes of princely love,
That kindled first this motion in our hearts: May still be feweld in our progenye.
Navar. The many favours which your grace hath showne, From time to time, but specially in this: Shall binde me ever to your highnes will, In what Queen Mother or your grace commands.
Old Qu. Thanks sonne Navarre, you see we love you well, That linke you in mariage with our daughter heer: And as you know our difference in Religion, Might be a meanes to crosse you in your love.
Charles. Well Madam, let that rest: And now my Lords the mariage rites perfourm'd, We think it good to goe and consumate the rest, With hearing of an holy Masse: Sister, I think your selfe will beare us company.
Q. Mar. I will my good Lord,
Charles. The rest that will not goe (my Lords) may stay: Come Mother let us goe to honor this solemnitie.
Old Q. Which Ile desolve with bloud and crueltie.
Navar. Prince Condy and my good L. Admiral, Now Guise may storme but doe us little hurt: Having the King, Qu. Mother on our sides, To stop the mallice of his envious heart,
That seekes to murder all the Protestants: Have you not heard of late how he decreed, If that the King had given consent thereto, That all the protestants that are in Paris, Should have been murdered the other night?
Ad. My Lord I mervaile that th'aspiring Guise, Dares once adventure without the Kings consent, To meddle or attempt such dangerous things.
Con. My L. you need not mervaile at the Guise, For what he doth the Pope will ratifie: In murder, mischeefe, or in tiranny.
Na. But he that sits and rules above the clowdes, Doth heare and see the praiers of the just: And will revenge the bloud of innocents, That Guise hath slaine by treason of his heart, And brought by murder to their timeles ends.
Ad. My Lord, but did you mark the Cardinall, The Guises brother and the Duke Dumain: How they did storme at these your nuptiall rites, Because the house of Burbon now comes in, And joynes your linnage to the crowne of France?
Na. And thats ye cause that Guise so frowns at us, And beates his braines to catch us in his trap: Which he hath pitcht within his deadly toyle. Come my Lords lets go to the Church and pray, That God may still defend the right of France: And make his Gospel flourish in this land.Exeunt.
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