OpenLLM-France/wikimedia huggingface dataset:
# The Two Frogs

* Search for titles containing or beginning with: "The Two Frogs."
* sister projects: Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* "The Two Frogs at the Well", one of Aesop's Fables
* "The Two Frogs by the Road", another of Aesop's Fables
# The Two Frogs at the Well

Perry index 43
* "Two Frogs that wanted Water", translated by Roger L'Estrange, in Fables of Æsop and Other Eminent Mythologists (1692)
* "The Two Frogs", translated by George Fyler Townsend, in Three Hundred Æsop's Fables (1867)
* "The Frogs and the Well", translated by Vernon Stanley Jones, illustrated by Arthur Rackham, in Æsop's fables: A New Translation (1912)
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# The Two Gentlemen of Verona (Lamb)

A retelling of Shakespeare's play The Two Gentlemen of Verona.
* "The Two Gentlemen of Verona," in Tales from Shakspeare, by Charles and Mary Lamb (1831)
* "The Two Gentlemen of Verona," Tales from Shakespeare (1908), by Charles and Mary Lamb, illustrated by Arthur Rackham
# The Two Magics (New York: The Macmillan Company, 1898)/Covering End

COVERING END
* Chapter 1
* Chapter 2
* Chapter 3
* Chapter 4
* Chapter 5
* Chapter 6
* Chapter 7
* Chapter 8
# The Western Mail (Wales)/22 September 1919/Welsh Artist - Death of Mr George Howell Baker

Article from The Western Mail, 22 September 1919
Welsh Artist.
Death of Mr. George Howell Baker.
The death of Mr George Howell Baker, A.R.W.A. at the age of 48, which occurred at his residence, Ingleside, Bridgend, on Friday night, has removed from the world of art a man of considerable ability and attainments. Circumstances had been against him during the greater part of his career, but he was inspired by a wonderful optimism, and worked on until two years ago his hard toil resulted in a serous nervous breakdown which culminated in a fatal seizure.
Mr Baker was well known in Paris and London, was permanently represented in the art galleries of Cardiff, Bristol, Swansea, and Aberystwyth, and exhibited at the Salon, Paris, and the "Section de Gravures du Salon Artistes Francais." and a number of the best-known London galleries. In press notices he was included with artists in the front rank. He was a lecturer in art for Swansea, Bridgend, Port Talbot, Llantrissant, and the Ogmore and Garw Valley, and five or six years ago was made a member of the art council in connection with the Glamorgan Education Committee.
The symbolic and imaginative nature of his work was considered unique by Sir Ernest Waterlow, and the Earl of Plymouth in several pages of commendatory criticism on his pen and ink work accepted the dedication of two pen and ink sketches, one being "The Forest Hymn," a series of beautiful illustrations of a well-known composition. The Earl of Plymouth so admired his work that he promised to further the publication of his efforts in the right channels. It was in symbolic painting and pen and ink sketches that Mr. Baker excelled.
Amongst the oil paintings that have received favourable criticism are "Joan of Arc." in St Anne's, Rouen; "The Angel of Pity," in Venetian style, which was exhibited in the salon, Paris; "Dusk," "A Window in the Woodlands," "The Serpent in the Wilderness" (which was much admired), and "The Model," a painting which was warmly commented upon by Sir Ernest Waterlow, and "In Memoriam." "Llanilid Church," a choice painting in oils was accepted by the Royal Academy.
Mr Baker was a man of versatile talent, and did carving, etching, and silverpoint. His design for applied art was exhibited not only in Europe, but in America and Australia. While at Owen's College (now Victoria University), Manchester, he received honorary mention for biology and zoology. He was a great reader, and wrote much poetry.
A son of the late Mr. Geo. Baker of London and Manchester, and of Mrs. Baker, Bridgend, he was born at Prestwich Park and was unmarried.
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 Western Mail (Western Australia)/24 December 1897

* The Abrolhos tragedy
* The Abrolhos from the scientist's standpoint
The copyright status of this work varies from article to article.
Public domainPublic domainfalsefalse
# The Western Australian Times/5 December 1876

The Georgette sprung a leak on Friday night off Margaret River, 15 miles from land; one boat, full of passengers, capsized on leaving the vessel. Several were picked up by a second boat which landed them safely far up the coast.
The Georgette beached on a sandy shore eight miles south of Margaret, and landed all remaining on board safely.
Three women and five children are missing, and supposed to have been drowned by the upsetting of the boat; names unknown as yet.
# The Western Mail (Western Australia)

* related portals: Newspapers, Australia.
* sister projects: Wikipedia article, Wikidata item.
the name of two defunct weekly newspapers published in Perth, Western Australia. The original Western Mail was published from 1885 to 1955, and the name was later revived for a newspaper that ran from 1980 to 1988.

## Issues

* 24 December 1897
The copyright status of this work varies from article to article.
Public domainPublic domainfalsefalse
# The Western Maid

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
257 U.S. 419
The Western Maid
Argued: Dec. 12 and 13, 1921. --- Decided: Jan 3, 1922
Mr. Solicitor General Beck, of Washington, D. C., for the United States.
[Argument of Counsel from pages 421-423 intentionally omitted]
Mr. T. Catesby Jones, of New York City, for respondents Thompson and others.
[Argument of Counsel from pages 423-426 intentionally omitted]
Mr. E. E. Blodgett, of Boston, Mass., for respondents Morton and others.
Mr. Charles S. Haight, of New York City, for respondents Rose and others.
[Argument of Counsel from pages 427-429 intentionally omitted]
Mr. Justice HOLMES delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# The Western Mail (Wales)

Newspaper published in Wales since 1869

## Issues

* 22 September 1919
The copyright status of this work varies from article to article.
Public domainPublic domainfalsefalse
# The Western Mail (Wales)/22 September 1919

The copyright status of this work varies from article to article.
Public domainPublic domainfalsefalse
# The Voyage Out

The Voyage Out is the first novel by Virginia Woolf, published in the UK in 1915 by Duckworth, and published in the US in 1920 by Doran. It was written during a period in which Woolf was especially psychologically vulnerable. The resultant work contained the seeds of all that would blossom in her later work: the innovative narrative style, the focus on feminine consciousness, sexuality and death.
    Warning: template has been deprecated.
THE
VOYAGE OUT
BY
VIRGINIA WOOLF
NEW YORK
GEORGE H. DORAN COMPANY
* Chapter I
* Chapter II
* Chapter III
* Chapter IV
* Chapter V
* Chapter VI
* Chapter VII
* Chapter VIII
* Chapter IX
* Chapter X
* Chapter XI
* Chapter XII
* Chapter XIII
* Chapter XIV
* Chapter XV
* Chapter XVI
* Chapter XVII
* Chapter XVIII
* Chapter XIX
* Chapter XX
* Chapter XXI
* Chapter XXII
* Chapter XXIII
* Chapter XXIV
* Chapter XXV
* Chapter XXVI
* Chapter XXVII
TO
L. W.
COPYRIGHT, 1920, BY GEORGE H. DORAN COMPANY
PRINTED IN THE UNITED STATES OF AMERICA
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 1941, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 82 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
# The Vow of the Peacock and Other Poems/The Thessalian Fountain

THE THESSALIAN FOUNTAIN.
Gleamings of poetry,—if I may give That name of beauty, passion, and of grace, To the wild thoughts that in a starlit hour, In a pale twilight, or a rose-bud morn, Glance o'er my spirit—thoughts that are like light, Or love, or hope, in their effects.
A small clear fountain, with green willow trees Girdling it round, there is one single spot Where you may sit and rest, its only bank; Elsewhere the willows grow so thick together: And it were like a sin to crush that bed Of pale and delicate narcissus flowers, Bending so languidly, as still they found In the pure wave a love and destiny;
But here the moss is soft, and when the wind Has been felt even through the forest screen,— For round, like guardians to the willows, stand Oaks large and old, tall firs, dark beach, and elms Rich with the yellow wealth that April brings,— A shower of rose-leaves makes it like a bed Whereon a nymph might sleep, when, with her arm Shining like snow amid her raven hair, She dreamt of the sweet song wherewith the faun Had lulled her, and awakening from her rest When through the leaves an amorous sunbeam stole And kissed her eyes; the fountain were a bath For her to lave her ivory feet, and cool The crimson beauty of her sleep-warm cheek, And bind her ruffled curls in the blue mirror Of the transparent waters. But these days
Of visible poetry have long been past!— No fear that the young hunter may profane The haunt of some immortal; but there still— For the heart clings to old idolatry, If not with true belief, with tenderness,— Lingers a spirit in the woods and flowers Which have a Grecian memory,—some tale Of olden love or grief linked with their bloom, Seem beautiful beyond all other ones. The marble pillars are laid in the dust, The golden shrine and its perfume are gone; But there are natural temples still for those Eternal though dethroned Deities, Where from green altars flowers send up their incense: This fount is one of them. - - -
# The Vow of the Peacock and Other Poems/The Wreck

THE WRECK.
The moonlight fell on the stately ship;  It shone over sea and sky; And there was nothing but water and air  To meet the gazing eye.
Bright and blue spread the heaven above,  Bright and blue spread the sea; The stars from their home shone down on the wave,  Till they seemed in the wave to be.
With silver foam like a cloud behind,  That vessel cut her way;
But the shadow she cast, was the sole dark thing  That upon the waters lay.
With steps of power, and with steps of pride,  The lord of the vessel paced The deck, as he thought on the waves below,  And the glorious heaven he faced.
One moment's pause, and his spirit fell  From its bearing high and proud— But yet it was not a thought of fear,  That the seaman's spirit bow'd:
For he had stood on the deck when washed  With blood, and that blood his own; When the dying were pillowed upon the dead,  And yet you heard not a groan—
For the shout of battle came on the wind,  And the cannon roar'd aloud; And the heavy smoke hung round each ship,  Even like its death shroud.
And he had guided the helm, when fate  Seemed stepping every wave, And the wind swept away the wreath of foam,  To show a yawning grave.
But this most sweet and lighted calm,  Its blue and midnight hour, Wakened the hidden springs of his heart  With a deep and secret power.
Is there some nameless boding sent,  Like a noiseless voice from the tomb?—
A spirit note from the other world,  To warn of death and doom?
He thought of his home, of his own fair land,  And the warm tear rushed to his eye; Almost with fear he looked around,  But no cloud was on the sky.
He sought his cabin, and joined his band—  The wine cup was passing round; He joined in their laugh, he joined in the song,  But no mirth was in the sound.
Peaceful they sought their quiet sleep,  In the soft and lovely night; But, like life, the sea was false, and hid  The cold dark rock from sight.
At midnight there came a sudden shock,  And the sleepers sprang from bed; There was one fierce cry of last despair—  The waves closed over head.
There was no dark cloud on the morning sky,  No fierce wind on the morning air; The sun shone over the proud ship's track,  But no proud ship was there!
# The Vow of the Peacock and Other Poems/Unknown Female Head

UNKNOWN FEMALE HEAD.
I know not of thy history, thou sad Yet beautiful faced Girl:—the chestnut braid Bound darkly round thy forehead, the blue veins Wandering in azure light, the ivory chin Dimpled so archly, have no characters Graven by memory; but thy pale cheek, Like a white rose on which the sun hath looked Too wildly warm, (is not this passion's legend?) The drooping lid whose lash is bright with tears, A lip which has the sweetness of a smile But not its gaiety—do not these bear The scorched footprints sorrow leaves in passing
O'er the clear brow of youth?—It may but be An idle thought, but I have dreamed thou wert A captive in thy hopelessness: afar From the sweet home of thy young infancy, Whose image unto thee is as a dream Of fire and slaughter, I can see thee wasting, Sick for thy native air, loathing the light And cheerfulness of men; thyself the last Of all thy house, a stranger and a slave!
# The Vow of the Peacock and Other Poems/The Violet

THE VIOLET.
Why better than the lady rose  Love I this little flower? Because its fragrant leaves are those  I loved in childhood's hour.
Though many a flower may win my praise,  The violet has my love; I did not pass my childish days  In garden or in grove:
My garden was the window-seat,  Upon whose edge was set A little vase—the fair, the sweet—  It was the violet.
It was my pleasure and my pride;—  How I did watch its growth! For health and bloom, what plans I tried,  And often injured both!
I placed it in the summer shower,  I placed it in the sun; And ever, at the evening hour,  My work seemed half undone.
The broad leaves spread, the small buds grew,  How slow they seemed to be! At last there came a tinge of blue,—  'Twas worth the world to me!
At length the perfume filled the room,  Shed from their purple wreath;
No flower has now so rich a bloom,  Has now so sweet a breath.
I gathered two or three,—they seemed  Such rich gifts to bestow; So precious in my sight, I deemed  That all must think them so.
Ah! who is there but would be fain  To be a child once more; If future years could bring again  All that they brought before?
My heart's world has been long o'erthrown,  It is no more of flowers; Their bloom is past, their breath is flown,  Yet I recall those hours.
Let Nature spread her loveliest,  By spring or summer nurst; Yet still I love the violet best,  Because I loved it first.
# The Witnesses to the Historicity of Jesus

* information about this edition.
* sister projects: Wikidata item.

## Contents

* Preface
* The Jewish Witnesses
** 1. Philo and Justus of Tiberias
** 2. Josephus
** 3. The Talmud
* The Roman Witnesses
** 1. Pliny and Suetonius
** 2. Tacitus
** 3. “Lucus a non Lucendo”
* The Witness of Paul
** 1. Proofs of the Historicity of Jesus in Paul
** 2. Paul no Witness to the Historicity of Jesus
** 3. The Question of Genuineness
* The Witness of the Gospels
** 1. The Sources of the Gospels
** 2. The Witness of Tradition
** 3. The Methods of Historical Criticism
** 4. The “Uniqueness” and “Uninventibility” of the Gospel Portrait of Jesus
** 5. Schmiedel’s “Main Pillars”
** 6. The Methods of “The Christ-Myth”
** 7. The Mythic-Symbolic Interpretation of the Gospels
** 8. Historians and the Gospels
** 9. The Words of the Lord
** 10. The Parables of Jesus
** 11. General Result
** 12. The “Strong Personality”
** 13. The Historical Jesus and the Ideal Christ
** 14. Idea and Personality: Settlement of the Religious Crisis
* Appendix
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The Works of Dionysius the Areopagite/On the Heavenly Hierarchy/Caput VI

Which is the first Order of the Heavenly Beings? which the middle? and which the last?
How many, and of what sort, are the Orders of the supercelestial Beings, and how the Hierarchies are classified amongst themselves, I affirm, the deifying Author of their consecration alone distinctly knows; and further, that they know their own proper powers and illuminations, and their sacred and supermundane regularity. For it is impossible that we should know the mysteries of the supercelestial Minds and their most holy perfections, except, some one might say, so far as the Godhead has revealed to us, through them, as knowing perfectly their own condition. We, then, will utter nothing as from ourselves, but whatever angelic visions have been gazed upon by the holy Prophets of God, we, as initiated in these, will set forth as best we can. The Word of God has designated the whole Heavenly Beings as nine, by appellations, which shew their functions. These our Divine Initiator divides into three threefold Orders. He also says that that which is always around God is first and is declared by tradition to be united closely and immediately, to Him, before all the rest. For he says that the teaching of the Holy Oracles declares, that the most Holy Thrones, and the many-eyed and many-winged hosts, named in the Hebrew tongue Cherubim and Seraphim, are established immediately around God, with a nearness superior to all. This threefold order, then, our illustrious Guide spoke of as one, and of equal rank, and really first Hierarchy, than which there is not another more Godlike or immediately nearer to the earliest illuminations of the Godhead. But he says, that which is composed of the Authorities, and Lordships, and Powers is second; and, as respects the lowest of the Heavenly Hierarchies, the Order of the Angels and Archangels and Principalities is third.
# The Works of Dionysius the Areopagite/On the Heavenly Hierarchy/Caput X

A Repetition and Summary of the Angelic discipline.
# The Works of Dionysius the Areopagite/On the Heavenly Hierarchy/Caput XI

For what reason all the Heavenly Beings, in common, are called Heavenly Powers.

## Section I

Now that we have defined these things, it is worthy of consideration for what reason we are accustomed to call all the Angelic Beings together, Heavenly Powers. For it is not possible to say, as we may of the Angels, that the Order of the holy Powers is last of all. The Orders of the superior Beings share in the saintly illumination. of the last; but the last in no wise of the first; and on this account all the Divine Minds are called Heavenly Powers, but never Seraphim and Thrones and Lordships. For the last do not enjoy the whole characteristics of the highest. For the Angels, and those above the Angels--Archangels, and Principalities, and Authorities,--placed by the Word of God after the Powers, are often in common called by us, in conjunction with the other holy Beings, Heavenly Powers.

## Section II

But we affirm that, whilst often using the appellation, Heavenly Powers, for all in common, we do not introduce a sort of. confusion of the characteristics of each Order. But, inasmuch as all the Divine Minds, by the supermundane description given of them, are distributed into three,--into essence, and power, and energy,--when we speak of them all, or some of them, indiscriminately, as Heavenly Beings or Heavenly Powers, we must consider that we manifest those about whom we speak in a general way, from their essence or power severally. For we must not apply the superior characteristic of those holy Powers, whom we have already sufficiently distinguished, to the Beings which are entirely inferior to them, so as to overthrow the unconfused order of the Angelic ranks. For according to the correct account which we have already frequently given, the superior Orders possess abundantly the sacred characteristics of the inferior, but the lowest do not possess the superior completeness of the more reverend, since the first-manifested illuminations are revealed to them, through the first Order, in proportion to their capacity.
# The Works of Dionysius the Areopagite/On the Heavenly Hierarchy/Caput V

For what reason all the Heavenly Beings are called, in common, Angels.
This, then, in our judgment, is the reason for the appellation Angelic in the Oracles. We must now, I suppose, enquire for what reason the theologians call all the Heavenly Beings together "Angels;" but when they come to a more accurate description of the supermundane orders, they name exclusively, "angelic rank," that which completes the full tale of the Divine and Heavenly Hosts. Before this, however, they range pre-eminently, the Orders of Archangels, and the Principalities, the Authorities, and Powers, and as many Beings as the revealing traditions of the Oracles recognize as superior to them. Now, we affirm that throughout every sacred ordinance the superior ranks possess the illuminations and powers of their subordinates, but the lowest have not the same powers as those who are above them. The theologians also call the most holy ranks of the highest Beings "Angels," for they "also make known the supremely Divine illumination. But there is no reason to call the lowest rank of the celestial Minds, Principalities, or Thrones, or Seraphim. For it does not possess the highest powers, but, as it conducts our inspired Hierarchs to the splendours of the Godhead known to it; so also, the saintly powers of the Beings above it are conductors, towards the Divine Being, of that Order which completes the Angelic Hierarchies. Except perhaps some one might say this also, that all the angelic appellations are common, as regards the subordinate and superior communication of all the celestial powers towards the Divine likeness, and the gift of light from God. But, in order that the question may be better investigated, let us reverently examine the saintly characteristics set forth respecting each celestial Order in the Oracles.
# The Works of Abraham Cowley/Volume 1/Ode, from Catullus. Acme and Septimius

ODE,
FROM CATULLUS.
ACME and SEPTIMIUS.
# The Works of Abraham Cowley/Volume 1/Hymn to Light

HYMN TO LIGHT.
# The Works of Abraham Cowley/Volume 1/Ode

ODE.
# The Works of Abraham Cowley/Volume 1/Ode: Mr. Cowley's Book presenting itself to the University Library of Oxford

ODE.
MR. COWLEY'S BOOK PRESENTING ITSELF TO THE UNIVERSITY LIBRARY OF OXFORD.
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
# The Works of Abraham Cowley/Volume 1/Ode: Sitting and drinking in the Chair made out of the Relicks of Sir Francis Drake's Ship

ODE.
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
# The Works of Abraham Cowley/Volume 1/In imitation of Martial's Epigram

IN IMITATION OF
MARTIAL'S EPIGRAM,
"Si tecum mihi, chare Martialis," &c. L. 5. Ep. 21.
# The Works of Abraham Cowley/Volume 1/Love

ANACREONTIQUES:
OR,
SOME COPIES OF VERSES,
TRANSLATED PARAPHRASTICALLY OUT OF ANACREON.
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
$\scriptstyle {\left.{\begin{matrix}\ \\\\\ \ \end{matrix}}\right\}\,$
# The Works of Abraham Cowley/Volume 1/Ode. In imitation of Horace's Ode

ODE.
IN IMITATION OF HORACE'S ODE,
# The Works of Abraham Cowley/Volume 1/Ode. Of Wit

ODE.
OF WIT.