OpenLLM-France/wikimedia huggingface dataset:
# Studies in Song/The Resurrection of Alcilia

THE RESURRECTION OF ALCILIA
THE RESURRECTION OF ALCILIA.
(Gratefully inscribed to Dr. A. B. Grosart.)
Sweet song-flower of the Mayspring of our song,
Be welcome to us, with loving thanks and praise
To his good hand who travelling on strange ways
Found thee forlorn and fragrant, lain along
Beneath dead leaves that many a winter's wrong
Had rained and heaped through nigh three centuries' maze
Above thy Maybloom, hiding from our gaze
The life that in thy leaves lay sweet and strong.
For thine have life, while many above thine head
Piled by the wind lie blossomless and dead.
So now disburdened of such load above
That lay as death's own dust upon thee shed
By days too deaf to hear thee like a dove
Murmuring, we hear thee, bird and flower of love.
Layout 2
# Studies in letters and life

Boston and New York: Houghton, Mifflin and Company, page ii
STUDIES IN LETTERS AND LIFE
BY
GEORGE EDWARD WOODBERRY
BOSTON AND NEW YORK HOUGHTON, MIFFLIN AND COMPANY The Riverside Press, Cambridge 1890
Copyright, 1890, By GEORGE EDWARD WOODBERRY.
All rights reserved.
The Riverside Press, Cambridge, Mass., U. S. A. Electrotyped and Printed by H. O. Houghton & Company.
PREFACE.
The following Essays are reprinted from The Atlantic Monthly and The Nation, with little more revision than was necessary to cover unimportant omissions or to combine, in one or two instances, kindred articles. In the hope that they may afford some illustration, however fragmentary and intermittent, of the love of letters and of interest in ideal living, the author offers them to the reader.
Beverly, July 12, 1890.
CONTENTS.
| | PAGE |
| Landor | 1 |
| Crabbe | 29 |
| On the Promise of Keats | 47 |
| Aubrey de Vere on Poetry | 66 |
| Illustrations of Idealism. | |
| I. The Pergamon Marbles | 85 |
| II. A Greek Trait noticed by Dr. Waldstein | 89 |
| III. Mr. Pater on Ideal Æstheticism | 98 |
| IV. Italian Renaissance Literature | 112 |
| Remarks on Shelley. | |
| I. His Career | 124 |
| II. His Acquaintances | 133 |
| III. His Italian Letters | 156 |
| Some Actors' Criticisms of Othello, Iago, and Shylock | 167 |
| Sir George Beaumont, Coleridge, and Wordsworth | 188 |
| Three Men of Piety. | |
| I. Bunyan | 209 |
| II. Cowper | 219 |
| III. Channing | 227 |
| Darwin's Life | 240 |
| Byron's Centenary | 261 |
| Browning's Death | 276 |
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 1930, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 93 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
# Studies in Song/Six Years Old

SIX YEARS OLD
SIX YEARS OLD.
To H. W. M.
Between the springs of six and seven, Two fresh years' fountains, clear Of all but golden sand for leaven, Child, midway passing here, As earth for love's sake dares bless heaven, So dare I bless you, dear.
Between two bright well-heads, that brighten With every breath that blows Too loud to lull, too low to frighten, But fain to rock, the rose,
Your feet stand fast, your lit smiles lighten, That might rear flowers from snows.
You came when winds unleashed were snarling Behind the frost-bound hours, A snow-bird sturdier than the starling, A storm-bird fledged for showers, That spring might smile to find you, darling, First born of all the flowers.
Could love make worthy things of worthless, My song were worth an ear: Its note should make the days most mirthless The merriest of the year, And wake to birth all buds yet birthless To keep your birthday, dear.
But where your birthday brightens heaven No need has earth, God knows, Of light or warmth to melt or leaven The frost or fog that glows With sevenfold heavenly lights of seven Sweet springs that cleave the snows.
Could love make worthy music of you, And match my Master's powers, Had even my love less heart to love you, A better song were ours; With all the rhymes like stars above you, And all the words like flowers.
September 30, 1880.
Layout 2
# Studies in Song/The Launch of the Livadia

THE LAUNCH OF THE LIVADIA
Malâ soluta navis exit alite.
Hor.
Rigged with curses dark.
Milton.
THE LAUNCH OF THE LIVADIA.
i.
And space of halls afloat that glance and gleam Like the green heights of sunset heaven, or seem The golden steeps of sunrise red and cold On deserts where dark exile keeps the fold Fast of the flocks of torment, where no beam Falls of kind light or comfort save in dream, These we far off behold not, who behold
The cordage woven of curses, and the decks With mortal hate and mortal peril paven; From stem to stern the lines of doom engraven That mark for sure inevitable wrecks Those sails predestinate, though no storm vex, To miss on earth and find in hell their haven.
ii.
Go with her; heaven be dark above her way, The gulf beneath her glad and sure of prey, And, wheresoe'er her prow be pointed, still The winds of heaven have all one evil will Conspirant even as hearts of kings to slay With mouths of kings to lie and smile and pray, And chiefliest his whose wintrier breath makes chill
With more than winter's and more poisonous cold The horror of his kingdom toward the north, The deserts of his kingdom toward the east. And though death hide not in her direful hold Be all stars adverse toward her that come forth Nightly, by day all hours till all have ceased:
iii.
Be summed of all the sumless curses told Out on his head by all dark seasons rolled Over its cursed and crowned existence, dumb And blind and stark as though the snows made numb All sense within it, and all conscience cold, That hangs round hearts of less imperial mould Like a snake feeding till their doomsday come.
O heart fast bound of frozen poison, be All nature's as all true men's hearts to thee, A two-edged sword of judgment; hope be far And fear at hand for pilot oversea With death for compass and despair for star, And the white foam a shroud for the White Czar.
September 30, 1880.
Layout 2
# The American Practical Navigator

TABLE OF CONTENTS
* NATHANIEL BOWDITCH
* PREFACE
PART 1 — FUNDAMENTALS
* Chapter 1 - Introduction to Marine Navigation
* Chapter 2 - Geodesy and Datums in Navigation
* Chapter 3 - Nautical Charts
* Chapter 4 - Nautical Publications
PART 2 — PILOTING
* Chapter 5 - Short Range Aids to Navigation
* Chapter 6 - Compasses
* Chapter 7 - Dead Reckoning
* Chapter 8 - Piloting
* Chapter 9 - Tides and Tidal Current
PART 3 — ELECTRONIC NAVIGATION
* Chapter 10 - Radio Waves
* Chapter 11 - Satellite Navigation
* Chapter 12 - LORAN Navigation
* Chapter 13 - Radar Navigation
* Chapter 14 - Electronic Charts
PART 4 — CELESTIAL NAVIGATION
* Chapter 15 - Navigational Astronomy
* Chapter 16 - Instruments for Celestial Navigation
* Chapter 17 - Azimuths and Amplitudes
* Chapter 18 - Time
* Chapter 19 - The Almanacs
* Chapter 20 - Sight Reduction
PART 5 — NAVIGATIONAL MATHEMATICS
* Chapter 21 - Navigational Mathematics
* Chapter 22 - Calculations and Conversions
* Chapter 23 - Navigational Errors
* Chapter 24 - The Sailings
PART 6 — NAVIGATIONAL SAFETY
* Chapter 25 - Navigation Processes
* Chapter 26 - Emergency Navigation
* Chapter 27 - Navigation Regulations
* Chapter 28 - Maritime Safety Systems
* Chapter 29 - Hydrography
PART 7 — OCEANOGRAPHY
* Chapter 30 - The Oceans
* Chapter 31 - Ocean Currents
* Chapter 32 - Waves, Breakers and Surf
* Chapter 33 - Ice Navigation
PART 8 — MARINE METEOROLOGY
* Chapter 34 - Weather Elements
* Chapter 35 - Tropical Cyclones
* Chapter 36 - Weather Observations
* Chapter 37 - Weather Routing
GLOSSARIES
* Glossary
* Acronyms
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
# Tales from the Arabic/Illustrations

Illustrations in this work are presented here separately to avoid interrupting the text, mainly for technical reasons. Links are given to their original placement in the text, not necessarily to the passage they illustrate. Some illustrations are not present in the scans used as a source for this text, but there are reasons to believe they would be present in the original book (comparison with other editions, blank or “ghost” pages).
Frontispiece, Vol I.
Story of the Lackpenny and the Cook
Asleep and Awake
Story of King Ibrahim and His Son
Story of King Suleiman Shah and His Sons
En Numan and the Arab of the Benou Tai
Frontispiece, Vol II.
Story of the Two Sharpers Who Cheated Each His Fellow
Story of the Sharpers with the Money-Changer and the Ass
The Fifteenth Officer’s Story
Story of the Damsel Tuhfet el Culoub and the Khalif Haroun er Reshid
Women’s Craft
Frontispiece, Vol III.
Noureddin Ali of Damascus and the Damsel Sitt el Milah
The Merchant of Cairo and the Favourite of the Khalif El Mamoun el Hakim bi Amrillah
The Merchant of Cairo and the Favourite of the Khalif El Mamoun el Hakim bi Amrillah
# Tales from the Arabic/Index to the Names of the “Tales from the Arabic”

This is only an index to the story titles. For a full (and hyperlinked) list of stories in the set, refer to the Full Contents.
INDEX TO THE NAMES OF THE “TALES FROM THE ARABIC.”
N.B.—The Roman numerals denote the volume, the Arabic the page.
KHALIF, El Mamoun El Hakim bi Amrillah, The Merchant of Cairo and the Favourite of the, iii. 171.
# System of the Fine Arts/Book 1

Chapter 1: The Madwoman of the House (Imagination) Chapter 2: On Dreams and Daydreams Chapter 3: On Images and Objects Chapter 4: On the Human Body Chapter 5: Imagination in the Passions Chapter 6: On the Power Proper to the Object Chapter 7: On Material Chapter 8: On the Ceremonial Chapter 9: On a Natural Classification Chapter 10: Table of the Fine Arts
# System of the Fine Arts/Book 1/Chapter 2

We are no more in the times when the fantastic creations of dreams were considered as the announcements of destiny. But it is not necessary at all to trust too much in the lights; and man has not so much changed that he can think without confusion of a dream which would have connection to his more lively affections, as of a sick friend or calumniator, or of an unfaithful woman, or of a son killed in combat. I desire only that the wisdom of days preserves you and preserves me from such dreams; but to believe a little too much of it, if you have them, nothing will preserve you. That to give the understanding that, as soon one pays attention to a dream, the passion turns us away from considering the true causes. It is necessary however to regard this in close fashion, and this is an easy road towards an idea a little hidden, and essential in our subject.
I take a part, in dreams, in the emotions and the rememberances of each. And how to take otherwise? But, to go against the commonplaces, I say that it is necessary to reduce it as much as one can and to carry attention to other causes. Firstly that exterior objects still act on our senses during sleep which give place to some lazy perceptions. For example, noises touch us; a bell, a clock chime, a voice are heard and can be interpreted, therefore perceived although very badly. An odor, of the same. With regard to touch, it never ceases, by the weight of the body, by the heat and the cold, by the contact of clothing, from us to give to thinking. And even the view received across the eyelids from a bright light. It has happened to me after having dreamed of fire and of blood, to perceive finally in awakening me the glimmer of the sun on a red curtain. Some examples of this kind of will offer themselves to the reader, it suffices to think of them.
# T.P.'s Weekly

Content exists for this periodical, though at this stage it is not specifically organised beyond a basic hierarchy.
The pages listed below are an automatically generated listing.
Special:PrefixIndex/T.P.'s Weekly/
# System of Economic Contradictions: Or, The Philosophy of Misery

original French edition was published in 1846; this edition was translated by Benjamin R. Tucker and published in the United States in 1888.

## Contents

* Introduction
* Chapter I. Of the Economic Science
** §1. Opposition between Fact and Right in Social Economy
** §2. Inadequacy of Theories and Criticisms
* Chapter II. Of Value
** §1. Opposition of Value in Use and Value in Exchange
** §2. Constitution of Value; Definition of Wealth
** §3. Application of the Law of Proportionality of Values
* Chapter III. Economic Evolutions.—First Period.—The Division of Labor
** §1. Antagonistic Effects of the Principle of Division
** §2. Impotence of Palliatives.—MM. Blanqui, Chevalier, Dunoyer, Rossi, and Passy
* Chapter IV. Second Period.—Machinery
** §1. Of the Function of Machinery in its Relations to Liberty
** §2. Machinery's Contradiction.—Origin of Capital and Wages
** §3. Of Preservatives against the Disastrous Influence of Machinery
* Chapter V. Third Period.—Competition
** §1. Necessity of Competition
** §2. Subversive Effects of Competition, and the Destruction of Liberty thereby
** §3. Remedies against Competition
* Chapter VI. Fourth Period.—Monopoly
** §1. Necessity of Monopoly
** §2. The Disasters in Labor and the Perversion of Ideas caused by Monopoly
* Chapter VII. Fifth Period.—Police, or Taxation
** §1. Synthetic Idea of the Tax.—Point of Departure and Development of this Idea
** §2. Antinomy of the Tax
** §3. Disastrous and Inevitable Consequences of the Tax. (Provisions, Sumptuary Laws, Rural and Industrial Police, Patents, Trade-Marks, etc.)
* Chapter VIII. Of the Responsibility of Man and of God, under the Law of Contradiction, or a Solution of the Problem of Providence
** §1. The Culpability of Man.—Exposition of the Myth of the Fall
** §2. Exposition of the Myth of Providence.—Retrogression of God+
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Sören Kierkegaard

from Scandinavian Studies and Notes, George T. From, ed., vol. VI, no. 1 (Menasha, Wisconsin: February 1920)
The outer aspects of Kierkegaard's career suggest the placid and uneventful life of a student and man of letters. Born in Copenhagen on the 5th of May, 1813, the youngest son of a merchant of means, he received the humanistic discipline of a classical school, and was enrolled in the University at the age of eighteen. The ten years following were spent in somewhat discursive studies, ranging over the fields of esthetics, philosophy, and theology. At twenty-seven he received the degree of Magister artium, and soon thereafter entered into an engagement of marriage, broken after a year upon his own initiative. He remained unmarried, and from this time until his death, which took place on the 11th of November, 1855, he devoted himself unremittingly to his literary labors, unfolding an extraordinary productivity.
Kierkegaard was endowed with a sensitive organism, and under the calm surface of his outward life there stirred a tense spiritual vitality. The trait which Wordsworth eulogizes as a mark of spiritual elevation, "the capacity to be excited to significant feeling without the application of gross or violent stimulants," was his in an extraordinary degree. Events which in the lives of most men would have passed without creating a ripple upon the surface, stirred his soul to its depths; and hence the apparent exaggeration which so many of his critics have found in his interpretation of himself and his wxperiences. The man of genius is naturally characterized by freshness and fulness of feeling, and Kierkegaard's personal experiences were certainly deeply felt; so profoundly, indeed, that they served to stimulate in him a reflection of universal significance. Soren Kierkegaard, David F. Swenson p. 1
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 1940, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 83 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
# S—— in Childhood on the Nursery floor

* information about this edition.
* sister projects: Wikidata item.
From Notebook c.1808-1811 p.27. See also: Satiric verses and epigrams.

#### Edited text:

S[tothard] in Childhood on the Nursery floor
Was extreme Old & most extremely poor.
He is grown old & rich & what he will:
He is extreme old & extreme poor still.
________________________________________

#### The original text:

S—— in Childhood on the Nursery floor
Was extreme Old & most extremely poor
He is grown old & rich & what he will
He is extreme old & extreme poor still
________________________________________

## Notes

* ↑ "Blake Complete Writings", ed. Geoffrey Keynes, pub. OUP 1966/85, p. 539.
* ↑ "The Complete Poetry & Prose of William Blake", ed. by David V. Erdman, Anchor Books, 1988, p. 508.
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
# System of the Fine Arts

Foreword Book 1: On the Creatress Imagination Book 2: On Dance and Ornamentation
# The Art of War (Sun)/Appreciations of Sun Tzŭ

Appreciations of Sun Tzŭ.
Sun Tzŭ has exercised a potent fascination over the minds of some of China’s greatest men. Among the famous generals who are known to have studied his pages with enthusiasm may be mentioned 韓信 Han Hsin (d. B.C. 196), 馮異 Fêng I (d. A.D. 34), 呂蒙 Lü Mêng (d. 219), and 岳飛 Yo Fei (1103–1141). The opinion of Ts‘ao Kung, who disputes with Han Hsin the highest place in Chinese military annals, has already been recorded. Still more remarkable, in one way, is the testimony of purely literary men, such as 蘇洵 Su Hsün (the father of Su Tung-p‘o), who wrote several essays on military topics, all of which owe their chief inspiration to Sun Tzŭ.
The following short passage by him is preserved in the Yü Hai:—
​Sun Wu’s saying, that in war one cannot make certain of conquering, is very different indeed from what other books tell us. Wu Ch‘i was a man of the same stamp as Sun Wu: they both wrote books on war, and they are linked together in popular speech as “Sun and Wu.” But Wu Ch‘i’s remarks on war are less weighty, his rules are rougher and more crudely stated, and there is not the same unity of plan as in Sun Tzŭ’s work, where the style is terse, but the meaning fully brought out.
The 性理彚要, ch. 17, contains the following extract from the 藝圃折衷 “Impartial Judgments in the Garden of Literature” by 鄭厚 Chêng Hou: —
Sun Tzŭ’s 13 chapters are not only the staple and base of all military men’s training, but also compel the most careful attention of scholars and men of letters. His sayings are terse yet elegant, simple yet profound, perspicuous and eminently practical. Such works as the Lun Yü, the I Ching and the great Commentary, as well as the writings of Mencius, Hsün K‘uang and Yang Chu, all fall below the level of Sun Tzŭ.
Chu Hsi, commenting on this, fully admits the first part of the criticism, although he dislikes the audacious comparison with the venerated classical works. Language of this sort, he says, “encourages a ruler’s bent towards unrelenting warfare and reckless militarism.”
* ↑ See p. 144.
* ↑ Hou Han Shu, ch. 17 ad init.
* ↑ San Kuo Chih, ch. 54, f. 10 v$^o$ (commentary).
* ↑ Sung Shih, ch. 365 ad init.
* ↑ The few Europeans who have yet had an opportunity of acquainting themselves with Sun Tzŭ are not behindhand in their praise. In this connection, I may perhaps be excused for quoting from a letter from Lord Roberts, to whom the sheets of the present work were submitted previous to publication: “Many of Sun Wu’s maxims are perfectly applicable to the present day, and no. 11 on page 77 is one that the people of this country would do well to take to heart.”
* ↑ Ch. 140, f. 13 r$^o$
* ↑ See IV. § 3.
* ↑ The allusion may be to Mencius VI. 2. ix. 2: 戰必克
* ↑ 武用兵不能必克與書所言遠甚吳起與武一體之人皆著書言兵世稱之曰孫吳然而起之言兵也輕法制草略無所統紀不若武之書詞約而義盡.
* ↑ The Tso Chuan.
* ↑ 孫子十三篇不惟武人之根本文士亦當盡心焉其詞約而縟易而深暢而可用論語易大傳之流孟荀楊著書皆不及也.
* ↑ 是啟人君窮兵黷武之心.
# The Art of War (Sun)

Sun Tzŭ
on the
ART OF WAR
THE OLDEST MILITARY TREATISE IN THE WORLD
Translated from the Chinese with introduction and critical notes
by
LIONEL GILES, M.A.
Assistant in the Department of Oriental Printed Books & MSS.
in the British Museum.
LONDON
LUZAC & C$^o$.
1910
To my brother
Captain Valentine Giles, R.E.
in the hope that
a work 2400 years old
may yet contain lessons worth consideration
by the soldier of to-day
this translation
is affectionately dedicated
CONTENTS
Page
Introduction
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The American Cyclopædia (1879)/Fiorelli, Giuseppe

Edition of 1879. See also Giuseppe Fiorelli on Wikipedia; and the disclaimer.
​ FIORELLI, Giuseppe, an Italian archæologist, born in the province of Naples about 1823. He early became one of the directors of the excavations at Pompeii, but being denounced as a liberal, he was removed and subjected to privations and persecutions, despite the protection of the count of Syracuse, brother of the king of Naples, and not restored until the occupation of the kingdom by Victor Emanuel in 1860. He has since been the chief superintendent at Pompeii, and has made considerable progress in the restoration of the excavated buildings, and in the prosecution of new excavations, an annual allowance of 60,000 francs being granted by the government for that purpose. He has published one of the best maps of the uncovered portions of the city, and a chronological history of the discoveries (1860 et seq.), and edits the Giornale del scavi, a journal containing a daily record of the excavations, from their beginning.
# The American Cyclopædia (1879)/Fiorentino, Pier-Angelo

Edition of 1879. See also Pier Angelo Fiorentino on Wikipedia; and the disclaimer.
​ FIORENTINO, Pier-Angelo, an Italian author, born in Naples in 1806, died in Paris, May 31, 1864. He early published novels, poems, and dramas, including La Fornarina and Il medico di Parma. Alexandre Dumas père, while at Naples, induced him to settle in Paris, and to aid him in the preparation of works relating to Italian life, some of which, especially Jeanne de Naples, were regarded as the exclusive production of Fiorentino. He wrote French with the same facility and elegance as Italian. He went to Paris with 150 francs, and left 600,000 francs, acquired by literary labors.
# The American Cyclopædia (1879)/Fisher, Alvan

Edition of 1879. See also Alvan Fisher on Wikipedia; and the disclaimer.
FISHER, Alvan, an American artist, born in Needham, Mass., Aug. 9, 1792, died in Dedham, Mass., Feb. 16, 1863. He began the study of painting at the age of 18, with an ornamental painter of merit named Pennyman. In 1814 he commenced his professional career as a portrait painter, and soon after undertook barnyard scenes, winter pieces, portraits of animals, and in general scenes belonging to
rural life in which cattle are prominently introduced. He subsequently returned to portrait painting, which he practised for many years in Boston.