OpenLLM-France/wikimedia huggingface dataset:
# The Merry Muses of Caledonia/Coming o'er the Hills o' Coupar

COMING O'ER THE HILLS O' COUPAR.
Tune—"Ruffian's Rant."
An old song with internal evidence that it hails from the East coast.
Coming o'er the Hills o' Coupar,
Coming o'er the Hills o' Coupar,
Donald in a sudden wrath,
Ran his Highland dirk into her.
Donald Brodie met a lass,
Coming o'er the Hills o' Coupar,
Donald wi' his Highland wand.
Sounded a' the bits about her.
Coming o'er, &c.
Weel I wat she was a quean
Wad mak' a body's mouth to water;
Our mess John, wi's auld grey pow,
His holy lips wad lickit at her.
Coming o'er, &c.
Up she started in a fright,
And o'er the braes what she could bicker,
Let her gang, said Donald now.
For in her a—e my shot is sicker.
Coming o'er, &c.
# The Merry Muses of Caledonia/Duncan Davison

DUNCAN DAVIDSON
An old song. Burns's purified version is well known.
There was a lass, they ca'd her Meg,
And she gaed o'er the muir to spin,
She fee'd a lad to lift her leg,
They ca'ed him Duncan Davidson.
Fal lal, &c.
Meg had a muff, and it was rough,
'Twas black without and red within,
And Duncan, 'cause he'd got a cauld,
He slipt his Highland p—t—e in.
Fal lal, &c.
Meg had a muff, and it was rough,
And Duncan stuck twa nievefu' in.
Meg clapped her heels about his waist,
"I thank ye, Duncan, yerk it in."
Fal lal, &c.
Duncan made her hurdies dreep,
Brise 'yont, my lad, then Meg did say: O gang he east, or gang he west.
My c—t will not be dry the day.
Fal lal, &c.
# The Merry Muses of Caledonia/Can ye no let me be?

CAN YE NO LET ME BE?
Tune—"I hae laid a Herring in Saut."
An old song in metre characteristic of old compositions of the kind.
There lived a wife in Whistle Cockpen,
Will ye no, can ye no, let me be,
She brewed good ale for gentlemen,
And aye she waggit it wantonly.
The night blew sair wi' wind and weet,
Will ye no, can ye no, let me be?
She shewed the traveller ben to sleep,
And aye she waggit it wantonly.
She saw a sight below his sark.
Will ye no, can ye no, let me be?
She wished she had it for a merk,
And aye she waggit it wantonly.
She saw a sight aboon his knee,
Will ye no, can ye no, let me be?
She would not wanted it for three.
And aye she waggit it wantonly.
O where live ye, and what's yer trade?
Will ye no, can ye no, let me be?
I am a thresher gude, he said.
And aye she waggit it wantonly.
And that's my flail, and working graith.
Will ye no, can ye no, let me be?
And noble tools, quoth she, by my faith!
And aye she waggit it wantonly.   I would gie ye a browst, the best I hae, Will ye no, can ye no, let me be?
For a good night's work with tools like thae,
And aye she waggit it wantonly.
I would sell the hair frae aff my tail,
Will ye no, can ye no, let me be?
To buy our Andrew sic a flail, And aye she waggit it wantonly.
# The Merry Muses of Caledonia/Comin' Thro' the Rye

COMIN' THRO' THE RYE.
* An old song which Burns's purified version completely superseded. There is an echo of "Errock Brae" in the third line of the chorus.
Comin' thro' the rye, my jo.
An' comin' thro' the rye.
She fand a staun o' staunin' graith,
Comin' thro' the rye.
O gin a body meet a body,
Comin' thro' the rye;
Gin a body f—k a body,
Need a body cry.
Comin', &c.
Gin a body meet a body,
Comin' thro' the glen;
Gin a body f—k a body.
Need the warld ken.
Comin', &c.
Gin a body meet a body,
Comin' thro' the grain;
Gin a body f—k a body,
C——s a body's ain.
Comin', &c.
Gin a body meet a body.
By a body's sel,
Whatna body f——s a body.
Wad a body tell.
Comin' &c.
Mony a body meets a body,
They dare na weel avow;
Mony a body f——s a body.
Ye wad na think it true.
Comin'. &c.
# The Kind Ghosts

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
She sleeps on soft, last breaths; but no ghost looms Out of the stillness of her palace wall, Her wall of boys on boys and dooms on dooms.
She dreams of golden gardens and sweet glooms, Not marvelling why her roses never fall Nor what red mouths were torn to make their blooms.
The shades keep down which well might roam her hall. Quiet their blood lies in her crimson rooms And she is not afraid of their footfall.
They move not from her tapestries, their pall, Nor pace her terraces, their hecatombs, Lest aught she be disturbed, or grieved at all.
# The Marines' Hymn (1929)

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
* information about this edition.
* related portals: United States Marine Corps.
The Marines' hymn is the official hymn of the United States Marine Corps. It is often also referred to as "The Marine Corps' Hymn". It is the oldest official song in the U.S. Armed Forces. The song has an obscure origin—the words date from the 19th century, but no one knows the author. The music is from the opera Geneviève de Brabant by Jacques Offenbach, which had its début in Paris in 1859. The Marine Corps secured a copyright on the song on August 19, 1919, but it is now in the public domain.Warning: template has been deprecated.
See also:
From the Halls of Montezuma To the shores of Tripoli; We fight our country’s battles On the land as on the sea; First to fight for right and freedom And to keep our honor clean; We are proud to claim the title Of United States Marine.
Our flag’s unfurled to every breeze From dawn to setting sun; We have fought in ev’ry clime and place Where we could take a gun; In the snow of far-off Northern lands And in sunny tropic scenes; You will find us always on the job The United States Marines
Here’s health to you and to our Corps Which we are proud to serve; In many a strife we’ve fought for life And never lost our nerve; If the Army and the Navy Ever look on Heaven’s scenes; They will find the streets are guarded By United States Marines.
# The Marines' Hymn

* related portals: United States Marine Corps.
* sister projects: Wikipedia article, Commons category, Wikidata item.
The Marines' hymn is the official hymn of the United States Marine Corps. It is often also referred to as "The Marine Corps' Hymn". It is the oldest official song in the U.S. Armed Forces. The song has an obscure origin—the words date from the 19th century, but no one knows the author. The music is from the opera Geneviève de Brabant by Jacques Offenbach, which had its début in Paris in 1859. The Marine Corps secured a copyright on the song on August 19, 1919, but it is now in the public domain. Warning: template has been deprecated.
See also:
* "From the Halls of Montezuma" in The Army and Navy Hymnal, 1920
* "The Marines' Hymn", official version authorized by the Commandant of the Marine Corps, 1929-1942
* "The Marines' Hymn", official version authorized by the Commandant of the Marine Corps, 1942-present
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 Marianna Flora

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
24 U.S. 1
The Marianna Flora

## 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 Margaret Carlos Fernando Haley

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
22 U.S. 421
The Margaret Carlos Fernando Haley
APPEAL from the Circuit Court of Maryland. Feb. 11th.
This cause was argued by the Attorney-General, for the appellants, and by Mr. D. B. Ogden, for the respondent and claimant. Feb. 15th.
Mr. Justice STORY 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 New International Encyclopædia/Codazzi, Agostino

Edition of 1905. See also Agostino Codazzi on Wikipedia; and the disclaimer.
​ CODAZZI, kō̇-dät′sē̇, Agostino (1792-1859). An Italian traveler, engineer, and geographer, born at Lugo, near Ferrara. He entered the army as a volunteer, and afterwards set up as a merchant at Constantinople, whence he made extensive journeys through Europe. In 1817 he went to the United States. He served in the Venezuelan Revolutionary Army, and later entered the Colombian service, in which he rose in 1820 to be a lieutenant-colonel. From 1831 to 1838 he prepared maps of the State of Venezuela, being compelled, for the purpose of topographical surveys, to explore the deserts of Guiana, and to penetrate nearly to the sources of the Orinoco. The results of this undertaking he published in Paris in 1841, under the title Resumen de la geografía de Venezuela (with an atlas). He subsequently made surveys of the Isthmus of Panama, with reference to the possibility of an interoceanic ship-canal.
# The New International Encyclopædia/Codde, Pieter

Edition of 1905. See also Pieter Codde on Wikipedia; and the disclaimer.
​ CODDE, kō̇d′de, Pieter (c.1598-1678). A Dutch painter, born in Amsterdam. He is of the school of Frans Hals, and is known to have completed one of the latter's pictures. His subjects, generally groups of people drinking, singing, or dancing, are brilliantly painted and have much spirit. The best of them is “The Ball” (1633). His treatment of costume is especially good. It is only recently that his works have been clearly identified and their value understood.
# The New International Encyclopædia/Coda

Edition of 1905. See also Coda (music) on Wikipedia; and the disclaimer.
​ CODA (It., tail, end). The concluding passage of a musical composition. Originally a single phrase intended as a winding-up cadence, it grew in importance in the sonata, rondo, etc., becoming in some cases an independent movement.
# The New International Encyclopædia/Cogswell, Joseph Green

Edition of 1905. See also Joseph Cogswell on Wikipedia; and the disclaimer.
COGS′WELL, Joseph Green (1786-1871). An American librarian and bibliographer. He was born in Ipswich, Mass., graduated at Harvard in 1806, and studied law, but preferred to teach, and became a tutor at Harvard in 1814. With George Ticknor he spent two years (1816-18) at the University of Göttingen, where he paid special attention to the methods and principles of instruction. In 1820 he was made professor of mineralogy and geology and librarian of Harvard College, and in 1823, with George Bancroft, founded the Round Hill School at Northampton, Mass. He removed to New York, to become editor of the Review in that city, in 1836; continued in that work until 1842; became a personal friend of John Jacob Astor, and was appointed one of the trustees of the fund to create the Astor Library. He was, besides, the chief adviser of the philanthropist in planning this library. He became superintendent in 1848, and went abroad to purchase volumes for the collection. His general bibliographical knowledge was of great service to the library, one great work undertaken by him being the preparation of an analytical and alphabetical catalogue of the collection. He contributed valuable papers to periodicals, and numerous specimens to the botanical and mineralogical collections at Harvard. Consult Ticknor (editor), Life of Joseph Green Cogswell, as Sketched in His Letters (Cambridge, Mass., 1874).
# The New International Encyclopædia/Coal Apples

Edition of 1905. See also Nescopeck Creek on Wikipedia; and the disclaimer.
​ COAL APPLES. The name given to some curious specimens of spheroidal anthracite coal found in the Mammoth seam of Pennsylvania. They vary from one-fourth inch to ten inches in diameter, but are usually about the size of a hen's egg. They are thought to be due to jointing.
# The New International Encyclopædia/Coaling Ship

Edition of 1905. See also Coaling (ships) on Wikipedia; and the disclaimer.
​ COALING SHIP. In modern naval vessels coaling ship has become an operation of importance. Special machinery is provided for handling it, and the men are drilled at coaling expeditiously. Notwithstanding all that can be done in the way of drill and the improvement of appliances, the operation of coaling must take many hours, and in time of war may necessitate a trip to the nearest coaling-station. This loss of time may prove most serious and defeat the plans of a campaign. Means of coaling at sea without leaving station, or while en route to a place, are therefore sought. Several plans have been devised, in the most successful of which a steel hawser runs between the collier and the vessel to be coaled, starting from a high point on the collier's mast. This serves as a stay on which bags, carried by a trolley, pass to and fro, very much after the fashion of a cableway (q.v.).
# The New International Encyclopædia/Coalfish

Edition of 1905. See also Pollachius virens and Sablefish on Wikipedia; and the disclaimer.
​ COALFISH (so named from its color). (1) The pollack (q.v.). (2) A singular and interesting chirid fish (Anoploma fimbriata) of the North Pacific, which is usually slaty-black above and white below, but variable with age and place. It is about 18 inches long, allied to the rock-trout, and called in California beshow, candlefish, and skilfish.
# The New International Encyclopædia/Cocytus

Edition of 1905. See also Cocytus on Wikipedia; and the disclaimer.
​COCY′TUS (Lat., from Gk. Κωκυτός, Kokytōs, river of wailing, from κωκύειν, kōkyein, to wail. Skt. kū. to cry). A tributary of the Acheron in Epirus, now called Βωβός, Bōbos. Cocytus was also the name of a river of the infernal regions, a branch of the Styx.
# The New International Encyclopædia/Cohort

Edition of 1905. See also Cohort (military unit) on Wikipedia; and the disclaimer.
​CO′HORT (Lat. cohors, originally meaning inclosure, connected with Gk. χορτός, chortos, garden, Olr. gort, sedge, Ger. Garten, garden, AS. geard, Engl. yard). A portion of a legion in the ancient Roman armies. Usually there were 600 men to a cohort, and ten cohorts to a legion (q.v.). See Centurion.
# The New International Encyclopædia/Suffragan

Edition of 1905. See also Suffragan bishop on Wikipedia; and the disclaimer.
​SUFFRAGAN (ML. suffraganus, sufraganus, from Lat. suffragari, to assist, to vote for, from suffragium, vote, originally probably a broken potsherd used in voting, from suffringere, subfringere, to break, from sub. under + frangere, to break). The name given to a bishop to express his relation, in a province, to the archbishop or metropolitan (q.v.). The name is also applied to coadjutor or assistant bishops, especially in the Church of England, where suffragan bishops are usually known by territorial titles, although they have no independent jurisdiction, and their local commission, given by the bishop of the diocese, terminates with his death. In the Roman Catholic Church similar assistant bishops are usually designated by the titles of extinct sees. See Titular Bishops.
# The New International Encyclopædia/Sturdza, Demeter

Edition of 1905. See also Dimitrie Sturdza on Wikipedia; and the disclaimer.
STURDZA, Demeter (1833—). A Rumanian statesman and author. He studied political science at Munich, Göttingen, Bonn, and Berlin, became Minister of Public Instruction in 1859, and was one of the most zealous promoters of the overthrow of Cuza and the election of Prince Charles of Hohenzollern, in 1866. In the Cabinet of Bratianu, 1876-88, he held repeatedly ministerial posts, and in 1895-96 presided over a National-Liberal Ministry. Again in 1897-99 and since 1901 he was at the head of the Government as president of the Council and Minister of Foreign Affairs. He wrote La Marche progressive de la Russie sur le Danube (1878); Uebersicht der Münzen und Medaillen des Fürstentums Rumänien (1874); Europa, Russia, Romania (1888); La question des portes de fer et des cataractes du Danube (1899); and Charles I., roi de Roumanie (1899 et seq.).
# The New International Encyclopædia/Sturm, Julius

Edition of 1905. See also Julius Sturm on Wikipedia; and the disclaimer.
STURM, stōōrm, Julius (1816-96). A German poet, born at Köstritz, Reuss. After studying theology at Jena (1837-41), he was private tutor to the hereditary prince Henry XIV. of Reuss, then pastor at Göschitz, near Schleiz, in 1851-57, and at Köstritz from 1857 to 1885. He died at Leipzig. All his lyrics reveal him as a poet of deep religious sentiment and genuine national spirit. The religious poems are incorporated in the collections Fromme Lieder, three parts (1852, 1858, 1892); Zwei Rosen oder das Hohe Lied der Liebe (1854); Von der Pilgerfahrt (1868); Gott grüsse dich (1876); Dein Herrn mein Lied (1884); Palmen und Krone (1888); and others; while the volumes with secular contents include: Für das Haus (1861); Lieder und Bilder (1870); Kampf- und Siegesgedichte (1870); Spiegel der Zeit in Fabeln (1872); Kinderleben (1877), illustrated by Ludwig Richter; Immergrün (1880); Natur, Liebe, Vaterland (1884); In Freud und Leid (1896). For his biography consult Hepding (Giessen, 1896) and Hoffmann (Hamburg, 1898). — His son August (1852—), born at Göschitz, also won reputation as a poet. He studied at Jena, Leipzig, and Berlin, first theology, afterwards law, which he practiced at Naumburg, since 1884, having in the meanwhile lived as assessor at Rudolstadt (1880-82) and, given to literary pursuits, in Berlin (1882-84). Besides the epic poems, Merlin (1892), Kaiser Friedrich der Edle (1896), König Laurins Rosengarten (1897), and Der König von Babel (1902), he published Hohenzollernsagen, Balladen (1898); the lyrics Auf Flügeln des Gesanges (1883); Lied und Leben (1889); Auf der Höhe (1902); and others; several dramas and the sketches in prose, Sylter Skizzen (1887); also a series of juridical works, notably Revision der gemeinrechtlichen Lehre vom Gewohnheitsrecht (1900).
# The New International Encyclopædia/Sudermann, Hermann

Edition of 1905. See also Hermann Sudermann on Wikipedia; and the disclaimer.
SUDERMANN, zo͞o′dẽr-män, Hermann (1857—). A German dramatist and novelist, born at Matzicken, East Prussia, September 30, 1857. He studied history, philology, and literature at Königsberg and Berlin, and after some obscure years as tutor and journalist he won European fame and assured literary position by a drama Die Ehre (1888), and the novel Frau
Sorge (1888; trans. as Dame Care, 1892). He followed these up with the novel Der Katsensteg (1889; trans. as Regina, 1898); the stories Im Zwielicht and a sensational drama, Sodoms Ende (1890); the humorous novel Iolanthes Hochzeit (1893); and his greatest drama, Heimat (1893; trans. as Magda, 1895); a fine novel of moral psychology, Es war (1894); an inferior drama, Die Schmetterlingsschlacht (1894); and Das Glück im Winkel (1896), a strong but unpleasant play. Then came three one-act dramatic scenes in verse collected under the appropriate title Morituri (1896); Johannes (1897), a realistic dramatic presentation of the story of John the Baptist; Die drei Reiherfedern (1898), an ethical and literary mystery in dramatic form. Es lebe das Leben (1902, translated The Joy of Living, 1902), is a powerful drama of the struggle between soul affinity and marital obligation. His work since 1894 shows failing power and has been much interrupted by sickness, but that for the six years preceding is, with the dramas of Hauptmann, the most significant in contemporary Germany, powerful in conception, admirable in technique, virile in its grasp of humanity in the more sombre aspects, and with occasional touches of delicate humor, though Sudermann is more skilled with the sterner weapons of satire. Frau Sorge is a pathetic Odyssey of duty with some romantic aberrations; Katzensteg is a declaration of ‘naturalism;’ Iolanthes Hochzeit breathes the serener realism of common life; Es war is a protest against the fruitlessness of brooding repentance. The dramas Die Ehre, Sodoms Ende, and Heimat are all social satires and militant democratic protests. By comparison the later dramas are increasingly out of touch with modern life. In Die drei Reiherfedern the evolution has become complete transformation. To some it seems a deepening, to others a sinking of his dramatic power. All Sudermann's greater works are translated into English. Consult: Brandes, Menschen und Werke (2d ed., Frankfort, 1895); Litzmann, Das deutsche Drama (Hamburg, 1896).
# The New International Encyclopædia/Sture

See also Sture, Sten Sture the Elder, Svante Nilsson, Sten Sture the Younger, and Sture Murders on Wikipedia; and the disclaimer.
STURE, stōō're. A noble family of Sweden which played a very prominent part in the affairs of that country in the fifteenth and sixteenth centuries and became extinct in 1616. Its chief representatives were: (1) Sten Sture the Elder (d.1503). He was a son of Gustaf Sture and the nephew of King Charles VIII., on whose death, in 1470, he became Regent of Sweden, in spite of the opposition of the Swedish nobility, who supported the claims of Christian I. of Denmark. He defeated the Danish King in the battle of Brukeberg, near Stockholm (1471). He introduced printing, and founded the University of Upsala (1477). In 1497 he was forced to resign his place to John of Denmark, but regained power in 1501 and ruled till his death (1503). He was followed by (2) Swante Nillson Sture, a kinsman, who also kept the Danes and the nobility in check and died in 1512. (3) The latter's son,
Sten Sture the Younger, aided by the peasantry, foiled the plan of the nobles to place Trolle, one of their own number, in power, gained the Regency for himself, twice defeated (1517 and 1518) Gustaf Sture, Archbishop of Upsala, whom he had deposed in 1517, and was himself defeated and mortally wounded in a battle against Christian II. of Denmark at Bogesund in 1520. His widow, Christina Gyllenstierna, held Stockholm until the new King guaranteed a constitutional government. (4) His son, Swante Sture, though a loyal partisan of the House of Vasa, was murdered by Eric XIV. (1567).
# The New International Encyclopædia/Sturm, Jacques Charles François

Edition of 1905. See also Jacques Charles François Sturm on Wikipedia; and the disclaimer.
STURM, stụrm, Jacques Charles François (1803-55). A French mathematician, born at Geneva. He was educated at the Academy of Geneva, and in 1827, with his friend Colladou, took the Grand prix de mathématiques for the best memoir on the compression of liquids. The famous theorem that bears his name was discovered in 1829. A statement of the results secured by this theorem requires the definition of Sturm's functions: If f(x) = 0 be freed from equal roots, and f(x) be divided by f'(x) (the derivative of f(x)), and the last divisor by the last remainder, changing the sign of each remainder before dividing by it, until a remainder independent of x is obtained, or else a remainder which cannot change its sign, then f(x), f'(x), and the successive remainders, constitute Sturm's functions. The theorem asserts that if, as x increases, f(x) passes through the value zero, Sturm's functions lose one change of sign; if any other of Sturm's functions vanishes, there is neither
loss nor gain in the number of changes of sign; the number of roots of f(x) = 0 between a and b is equal to the difference in the number of changes of sign in Sturm's functions, when x = a and when x = b. In 1838 Sturm began teaching in the Ecole Polytechnique, and two years later was elected to the chair made vacant by the death of Poisson.