OpenLLM-France/wikimedia huggingface dataset:
# The Ramayana/Invocation

Praise to Válmíki, bird of charming song,  Who mounts on Poesy's sublimest spray, And sweetly sings with accent clear and strong  Ráma, aye Ráma, in his deathless lay.
Where breathes the man can listen to the strain  That flows in music from Válmíki's tongue, Nor feel his feet the path of bliss attain  When Ráma's glory by the saint is sung!
The stream Rámáyan leaves its sacred fount  The whole wide world from sin and stain to free. The Prince of Hermits is the parent mount,  The lordly Ráma is the darling sea.
Glory to him whose fame is ever bright!  Glory to him, Prachetas' holy son! Whose pure lips quaff with ever new delight  The nectar-sea of deeds by Ráma done.
Hail, arch-ascetic, pious, good, and kind!  Hail, Saint Válmíki, lord of every lore! Hail, holy Hermit, calm and pure of mind!  Hail, First of Bards, Válmíki, hail once more!
* ↑ The MSS. vary very considerably in these stanzas of invocation: many lines are generally prefixed in which not only the poet, but those who play the chief parts in the poem are panegyrized. It is self-apparent that they are not by the author of the Rámáyan himself.
* ↑ The MSS. vary very considerably in these stanzas of invocation: many lines are generally prefixed in which not only the poet, but those who play the chief parts in the poem are panegyrized. It is self-apparent that they are not by the author of the Rámáyan himself.
* ↑ 'Válmíki was the son of Varuna, the regent of the waters, one of whose names is Prachetas. According to the Adhyátmá Rámáyana, the sage, although a Bráhman by birth, associated with foresters and robbers. Attacking on one occasion the seven Rishis, they expostulated with him successfully, and taught him the mantra of Ráma reversed, or Mará, Mará, in the inaudible repetition of which he remained immovable for thousands of years, so that when the sages returned to the same spot they found him still there, converted into a valmik or ant-hill, by the nests of the termites, whence his name of Válmíki.' WILSON. Specimens of the Hindu Theatre, Vol. I. p. 313. 'Válmíki is said to have lived a solitary life in the woods: he is called both a muni and a rishi. The former word properly signifies an anchorite or hermit; the latter has reference chiefly to wisdom. The two words are frequently used promiscuously, and may both be rendered by the Latin cates in its earliest meaning of seer: Válmíki was both poet and seer, as he is said to have sung the exploits of Ráma by the aid of divining insight rather than of knowledge naturally acquired.' SCHLEGEL.
* ↑ Literally, Kokila, the Koil, or Indian Cuckoo. Schlegel translates 'luscinium.'
* ↑ Comparison with the Ganges is implied, that river being called the purifier of the world.
* ↑ 'This name may have been given to the father of Válmíki allegorically. If we look at the derivation of the word (pra, before, and chetas, mind) it is as if the poet were called the son of Prometheus, the Forethinker.' SCHLEGEL.
# The Rose of England (Lovecraft)

At morn the rosebud greets the sun And sheds the evening dew, Expanding ere the day is done,  In bloom of radiant hue And when the sun his rest hath found, Rose-Petals strew the garden round!
Thus that blest Isle that owns the Rose From mist and darkness came, A million glories to disclose,  And spread BRITANNIA’S name; And ere Life’s Sun shall leave the blue, ENGLAND shall reign the whole world through!
# The Rose said: “Oh, my most radiant beauty

From The Rubaiyat of Omar Khayyam. Literal translation by Dmitri Smirnov from Russian translation by Osip Rumer (1883-1954). Source: Омар Хайям. Четверостишия. М., 1938 (Omar Khayyám. Rubaiyat. Moscow, 1938).
The Rose said: “Oh, my most radiant beauty Is being wasted for the making of rose balm!” “One who has smiled for a moment must cry for years”, – The Nightingale answered in a secret language.
The note on the translation:
This work is licensed under the terms of the GNU Free Documentation License.
The Terms of use of the Wikimedia Foundation require that GFDL-licensed text imported after November 2008 must also be dual-licensed with another compatible license. "Content available only under GFDL is not permissible" (§7.4). This does not apply to non-text media.
Public domainPublic domainfalsefalse
# The Rose of England

* Search for titles containing or beginning with: "The Rose of England."
* 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 Rose of England", traditional English ballad
* "The Rose of England", poem by H. P. Lovecraft
# The Rough Riders

AS COLONEL OF THE ROUGH RIDERS
Colonel Roosevelt in camp with his regiment, the First Volunteer Calvary at Tampa, Florida, previous to embarkation for Cuba
The Rough Riders
BY
Theodore Roosevelt
WITH PORTRAIT FRONTISPIECE
Published with the Permission of the President Through Special Arrangement with Charles Scribner's Sons
NEW YORK
P.F. COLLIER & SON
PUBLISHERS
Copyright 1899
By CHARLES SCRIBNER'S SONS
This edition is published under arrangement with Charles Scribner's Sons, of New York
ON BEHALF OF THE ROUGH RIDERS
I DEDICATE THIS BOOK
TO THE OFFICERS AND MEN OF THE
FIVE REGULAR REGIMENTS
WHICH TOGETHER WITH MINE MADE UP THE
CAVALRY DIVISION AT SANTIAGO
THEODORE ROOSEVELT
Executive Mansion Albany, N. Y., May 1, 1899
Hark! I hear the tramp of thousands, And of armed men the hum; Lo! a nation's hosts have gathered Round the quick-alarming drum— Saying, "Come, Freemen, come! Ere your heritage be wasted," said the quick-alarming drum.
"Let me of my heart take counsel; War is not of Life the sum; Who shall stay and reap the harvest When the autumn days shall come?" But the drum Echoed, "Come! Death shall reap the braver harvest," said the solemn-sounding drum.
"But when won the coming battle, What of profit springs therefrom? What if conquest, subjugation, Even greater ills become?" But the drum Answered, "Come! You must do the sum to prove it," said the Yankee-answering drum.
—Bret Harte
CONTENTS
Appendices:
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 Rosy Brier

* "The Rosy Brier", in O will I come (1818), a chapbook printed in Edinburgh
* "The Rosy Brier", in Highland Harry (1828), a chapbook printed in Glasgow
* "O bonie was yon rosy Brier", in The Poetical Works of Robert Burns (1887), edited by Alexander Smith
# The Poetical Writings of Fitz-Greene Halleck/The Tea Party

THE TEA-PARTY.
he tea-urn is singing, the tea-cups are gay, And the fire sparkles bright in the room of D. K. For the first time these six months, a broom has been there, And the housemaid has brushed every table and chair; Drugs, minerals, books, are all hidden from view, And the five shabby pictures are varnished anew; There’s a feast going on, there’s the devil to pay In the furnished apartments of Doctor D. K.
What magic has raised all this bustle and noise, Disturbing the bachelor’s still quiet joys; A pair of young witches have doomed them to death, They are distant relations to those in Macbeth. Not as ugly, ’tis true, but as mischievous quite, And like them in teasing and talking delight; This morning they sent him a billet to say, “To-night we take tea with you, Doctor D. K.”
There is Mrs. J. D., in her high glee and glory, And E. McC., with her song and her story;
There’s a smile on each lip, and a leer on each brow, And they both are determined to kick up a row. They’re mistaken for once, as they’ll presently see, For D. K.’s drinking whiskey with Langstaff and me: They’ll find the cage there, but the bird is away— Catch a weasel asleep, and catch Doctor D. K.
H.
# The Poetical Writings of Fitz-Greene Halleck/The Nightmare

THE NIGHTMARE.
“Sure he was sent from heaven express to be the pillar of the State; So terrible his name, ‘Clintonian’ nurses frightened children with it.”
Tom Thumb.
reaming, last night, of Pierre Van Wyck, I felt the nightmare creeping o’er me; In vain I strove to speak or strike, The horrid form was still before me; Till panting—struggling to be free, I raised my weak but desperate head, And faintly muttered “John Targee!” When—with a howl—the goblin fled.
I waked and cried in glad surprise: “The man is found ordained by Fate To break our bonds, and exorcise The nightmare of the sleeping State. He’ll chase the demons great and small; They’ll sink his withering gaze before. Then rouse! ye Sachems at the Hall, And nominate him Governor.
“Up with the name on Freedom’s cause, Inscribe it, Bucktails, on your banner;
Fame’s pewter trump shall sound applause, And blasts from party’s furnace fan her. Pledge high his health in mugs of beer, And, roaring like the boisterous sea, Thunder in Clinton’s frightened ear, The conquering name of John Targee!”
D.
# The Poetical Writings of Fitz-Greene Halleck/The Secret Mine

THE SECRET MINE,
SPRUNG AT A LATE SUPPER
he songs were good, for Mead and Hawkins sung ’em, The wine went round, ’twas laughter all, and joke; When crack! the General sprung a mine among ’em, And beat a safe retreat amid the smoke: As fall the sticks of rockets when you fire ’em, So fell the Bucktails at that toast accurst; Looking like Korah, Dathan, and Abiram, When the firm earth beneath their footsteps burst.
Quelled is big Haff who oft has fire and flood stood, More pallid grows the snowy cheek of Rose, Cold sweats bedew the leathern hide of Bloodgood, Deep sinks the concave of pug Edwards’ nose. But see the Generals Colden and Bogardus, Joy sits enthroned in each elated eye; While Doyle and Mumford clap their fists as hard as The iron mauls in Pearson’s factory.
The midnight conclave met—good Johnny Targee Begins, as usual, to bestow advice:
“Declare the General a fool, I charge ye! And swear the toast was not his own free choice; Tell ’em that Colden prompted, and maintain it: That is the fact, I’m sure, but we can see By sending Aleck down to ascertain it.” The hint was taken, and accordingly
A certain member had a conversation, And asked a certain surgeon all about it: Some folks assert he got the information; ’Tis also said, he came away without it. Good people all! I’m up to more than you know; But prudence frowns, my coward goose-quill lingers, For fear that flint-and-trigger Doctor Brunaugh Should slip a challenge in your poet’s fingers!
D
# The Poetical Writings of Fitz-Greene Halleck/The Militia of the City

THE MILITIA OF THE CITY.
r. Clinton, whose worth we shall know when we’ve lost him, Is delightfully free of his gifts, if they cost him But little or nothing, like smiles and brevets; With what wonderful tact he appreciates merit In bestowing on all our grown lads of high spirit His parchment commissions and gold epaulettes!
’Tis amusing to see these young nurslings of fame, With their sashes of crimson and collars of flame; Their cocked hats enchanting—their buttons divine, And even the cloth of their coats superfine! Displaying, around us, their new tinsel riches, As proud as a boy in his first pair of breeches.
Ah! who does not envy their steps of delight, Through the streets to their battle-drums prancing, While scared at their “chimney-sweep” badges so bright, Cartmen, pigs, and old women, seek safety in flight, As, in exquisite order, their lines are advancing!
Long live the Militia! from sergeant to drummer They’ve the true soldier-aspect, chivalric and wild,
In their clothes of more hues than the rainbow of summer, Or the dress which the Patriarch wore when a child. Unawed by court-martials, by fines or by fears, They glow with the feelings of free Volunteers.
Yes! long live the Militia! that free school of glory Where Mapes, Colden, and Steddiford took their degree; Lives there a man who ne’er heard their proud story, What an ignorant, unlettered cub he must be! From the Battery flag-staff their fame has ascended To the sand-hills of Greenwich and plains of Bellevue; And the belles of Park Place for the palm have contended Of rewarding the feats they have promised to do! Let the poets of Europe still scribble as hard as They please, of their Cæsars and Bonys to tell— Be ours the bright names of Laight, Ward, and Bogardus, And that promising genius, the bold Colonel Pell.
H.
# The Poetical Writings of Fitz-Greene Halleck/The Modern Hydra

THE MODERN HYDRA.
here is a beast sublime and savage, The Hydra by denomination; Well doth he know his foes to ravage, And barks and bites to admiration. Fox—wolf—cat—dog—of each, at least, he Has a full share, and never scants ’em; But what is strangest in this beast, he Can make new heads whene’er he wants ’em.
But when our Tammany Alcides Had tomahawked his head political, Straight from the bleeding trunk, out slid his Well-filled noddle scientifical. Another comes—another! see— They rise in infinite variety; One cries aloud, “Free-school trustee!” The next exclaims, “Humane Society!”
Behold the fourth—bewhiskered—big— A warlike cocked hat frowns upon it; The fifth uprears a doctor’s wig, The sixth displays the judgment-bonnet.
Herculean Noah! your strength you waste, Reserve your furious cuts and slashes, Till Satan stands beside the beast With red-hot steel to sear the gashes.
D.
# The Poetical Writings of Fitz-Greene Halleck/The National Painting

THE NATIONAL PAINTING.
wake! ye forms of verse divine; Painting! descend on canvas wing, And hover o’er my head, Design! Your son, your glorious son, I sing! At Trumbull’s name, I break my sloth, To load him with poetic riches; The Titian of a table-cloth! The Guido of a pair of breeches!
Come, star-eyed maid, Equality! In thine adorer’s praise I revel; Who brings, so fierce his love to thee, All forms and faces to a level: Old, young, great, small, the grave, the gay, Each man might swear the next his brother, And there they stand in dread array, To fire their votes at one another.
How bright their buttons shine! how straight Their coat-flaps fall in plaited grace! How smooth the hair on every pate! How vacant each immortal face!
And then the tints, the shade, the flush, (I wrong them with a strain too humble,) Not mighty Sherred’s strength of brush Can match thy glowing hues, my Trumbull!
Go on, great painter! dare be dull— No longer after Nature dangle; Call rectilinear beautiful; Find grace and freedom in an angle: Pour on the red, the green, the yellow, “Paint till a horse may mire upon it,” And while I’ve strength to write or bellow, I’ll sound your praises in a sonnet.
D.
# The Poetical Writings of Fitz-Greene Halleck/The Pilgrims

THE PILGRIMS.
hey came—a life-devouring band— In winter o’er the sea; Tearless they left their fatherland, Home of their infancy. And when they battled to be free, ’Twas not for us and ours alone: Millions may trace their destiny To the wild beach they trod upon.
The brave on Bunker’s Hill who stood, And fearless fought and died, Felt in their veins the pilgrims’ blood, Their spirit, and their pride. That day’s last sunbeam was their last, That well-fought field their death-bed scene; But ’twas that battle’s bugle-blast That bade the march of mind begin.
It sounded o’er the Atlantic waves: “One struggle more, and then Hearts that are now to tyrants slaves, May beat like hearts of men.
The pilgrims’ names may then be heard, In other tongues a battle-word— The gathering war-cry of the free; And other nations, from their sleep Of bondage waking, long may keep, Like us, the pilgrims’ jubilee.”
# The Poetical Writings of Fitz-Greene Halleck/The Tempest

THE TEMPEST.
ild beamed the sun’s departing ray, Low sinking in the rosy west; Still was the closing hour of day Sacred to silence, peace, and rest! When a poor Wanderer, bent with woe, O’er the moor travelled, sad and slow.
By dire misfortune forced to roam, He rambled on—he knew not where; In hopes to find a tranquil home, To find relief from want and care. The noonday of his life was past, And Age his mantle o’er him cast.
He stopped, and, lingering on his road, Admired the lovely prospect round; Slowly the lonely heath he trod, And gazed, in pleasing thought profound! Enraptured at the enchanting scene, His bosom heaved with joy serene.
But sudden-lowering clouds arise, And blackening mists the scene deform; Terrific darkness veils the skies, Foreboding an impending storm!
The traveller sees the danger near, And shuddering stands, appalled with fear!
Now raged the bleak wind o’er the plain, The billows bounded on the shore; Swift fell the cold and pelting rain, And loud the storm began to roar. The unhappy wanderer mourned his fate— He mourned—but ah! alas! too late.
Wild was the prospect, far and wide, And all was dreadful, dark, and drear; No shepherd’s sheep-pent fold he spied, No friendly roof or shelter near; While fiercer still the tempest grew, As o’er the lonely heath it flew.
Yet Hope still cheered him on his way: “Night soon will fly with its dark shade; Aurora soon will ope the day, And sweep the dew-drops down the glade. Soon will the fearful storm be o’er, And soon you’ll see the cottage door.”
But ah! delusive Hope! how vain Are all thy fond, enrapturing dreams; Loud howled the raging wind, the rain Still poured in swift-descending streams. Before the blast the forest yields, And shivered branches strew the fields.
At length, worn down with toil and cold, The Wanderer sunk upon the heath; And ere the shepherd loosed his fold, His weary eyes were closed in death. The last, the dreaded pang is o’er, And low he lies, to rise no more!
Such is Life’s journey—’tis a scene Where joy and grief alternate reign; Where mixed emotions intervene, Of hope and fear, of bliss and pain; Where sunbeams dart, and tempests rage, In every season, every age.
As through this wilderness we roam, Fond Hope may wear her sweetest smile, And tell of happier days to come, The wearied bosom to beguile; But vanished is her soothing power, In disappointment’s languid hour.
Then happiest he whose hopes sublime Are centred in the joys of heaven; Calmly adown the stream of time His peaceful bark shall then be driven. Firm as the adamantine rock, His heart shall brave “Misfortune’s rudest shock.”
1804.
# The Seven Bridges of Königsberg/Section 11

When the number of bridges leading to A is even, we must take into account whether the route begins in A or not. For example, if there are two bridges that lead to A and the route starts from A, then the letter A will occur twice, once to indicate the departure from A by one of the bridges and a second time to indicate the return to A by the other bridge. However, if the traveller starts his journey in another region, the letter A will occur only once, since by my method of description the single occurrence of A indicates an entrance into as well as a departure from A.
# The Seven Ages of Wise

Parliament's a stage, And all the Politicians merely players! They have their exits and entrances, And Wise doth in his time play many parts, His acts being seven changes.
First the Runner, With spiked shoe he spurns the cinder track, And just for once runs straight.
The next the Student, Burning the midnight oil with Adam Smith For Cobden Medals.
Next the youthful member, With shining morning face, creeping between Two seasoned leaders into place and power Before his whiskers grow.
The next the bravo. Jealous of greater men, he cries, "Ha, Ha! Beware Bernardo's dagger!" -- and would strike His friend i' th' back.
Then come a sudden change. Once more a child, he comes with quick-turned coat, New friends, new doctrines, and new principles, Lets Friedman loose, and wrecks the Government. Then leads the horny-handed sons of toil By many a specious promise to their doom In Arbitration Courts.
Last scene of all, That ends this strange, disastrous history. He aims at Judgeships and Commissionerships, But, failing, passes on to mere oblivion. Sans place, sans power, sans pay, sans everything.
This work is in the public domain in Australia because it was created in Australia and the term of copyright has expired. According to Australian Copyright Council - Duration of Copyright, the following works are public domain:
* published non-government works whose author died before January 1, 1955,
* anonymous or pseudonymous works and photographs published before January 1, 1955, and
* government works published more than 50 years ago (before January 1, 1974).
This work is also in the public domain in the United States because it was first published outside the United States (and not published in the U.S. within 30 days), and it was first published before 1989 without complying with U.S. copyright formalities (renewal and/or copyright notice) and it was in the public domain in Australia on the URAA date (January 1, 1996). This is the combined effect of Australia having joined the Berne Convention in 1928, and of 17 USC 104A with its critical date of January 1, 1996.
Because the Australian copyright term in 1996 was 50 years, the critical date for copyright in the United States under the URAA is January 1, 1946.
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 Seven Bridges of Königsberg/Section 1

THE branch of geometry that deals with magnitudes has been zealously studied throughout the past, but there is another branch that has been almost unknown up to now; Leibnitz spoke of it first, calling it the "geometry of position" (geometria situs). This branch of geometry deals with relations dependent on position alone, and investigates the properties of position; it does not take magnitudes into consideration, nor does it involve calculation with quantities. But as yet no satisfactory definition has been given of the problems that belong to this geometry of position or of the method to be used in solving them. Recently there was announced a problem that, while it certainly seemed to belong to geometry, was nevertheless so designed that it did not call for the determination of a magnitude, nor could it be solved by quantitative calculation; consequently I did not hesitate to assign it to the geometry of position, especially since the solution required only the consideration of position, calculation being of no use. In this paper I shall give an account of the method that I discovered for solving this type of problem, which may serve as an example of the geometry of position.
# The Seven Bridges of Königsberg/Section 12

Suppose, as in our case, there are four bridges leading into the region A, and the route is to begin at A. The letter A will then occur three times in the expression for the whole route, while if the journey had started in another region, A would occur only twice. With six bridges leading to A the letter A will occur four times if A is the starting point, otherwise only three times. In general, if the number of bridges is even, the number of occurrences of the letter A, when the starting region is not A, will be half the number of the bridges; one more than half, when the route starts from A.
# The Settlers of Long Arrow

As serialized in Once a Week.
* Part 1
* Part 2
* Part 3
* Part 4
* Part 5
* Part 6
* Part 7
* Part 8
* Part 9
* Part 10
* Part 11
# The Seven Bridges of Königsberg/Section 10

Using this method we are always able, whenever the number of bridges leading to a particular region is odd, to determine whether it is possible, in a journey, to cross each bridge exactly once. Such a route exists if the number of bridges plus one is equal to the sum of the numbers that indicate how often each individual letter must occur. On the other hand, if this sum is greater than the number of bridges plus one, as it is in our example, then the desired route cannot be constructed. The rule that I gave (section 8) for determining from the number of bridges that lead to A how often the letter A will occur in the route description is independent of whether these bridges all come from a single region B, as in Figure 2, or from several regions, because I am considering only the region A, and attempting to determine how often the letter A must occur.