OpenLLM-France/wikimedia huggingface dataset:
# The Booke of Thenseygnementes and Techynge that the Knyght of the Towre made to his Doughters/Chapter 59

THEXAMPLE OF THE QUENE SABA AND OF THE KYNGE SALAMON.
SHALLE telle yow another ensample of the quene Saba, whiche was a moche good lady and wyse, the whiche cam fro oryent in to Ierusalem for to demaunde & aske counceylle of the kynge Salamon, and she loste not her waye, for she had of hym good counceylle, of the whiche wel it happed to her. Therfore ye ought to take here good ensample, for euery good lady oughte to chese a good and krewe man, and also wyse, of her lygnage or else of other, and hold and kepe hym in love and frendship, of whome she may take counceylle of that she hath to doo. And yf she falle in plee or in ony contempte the good and wyse man shalle amodere hit, and shalle make her to haue her ryghte withoute grete costes and expenses, and euer therof cometh somme good, as did to the good quene Saba, that fro ferre came to haue counceylle of the kynge Salamon. Yet wold I ye wyst thexample of an Emperour of Rome. This emperour was seke and lay in the bedde of dethe. Euery one of the lordes and Senatours, for to please hym, sayd to hym that he shold soone be hole yf he coude swette. But ony frend that he had spake to hym noothyng of the prouffyte and saluacion of his sowle. There was there with hym one of his chamberlayne which he had nourysshed and brought vp of his yougthe. This chamberlayne sawe wel that his lord couthe not scape fro dethe, and how all they that were there sayd nought but for to please hym, wherfor he cam to hym and sayd, "Syre, how fele yow your herte?" And themperour ansuerd to hym, "Sore and feble is my hert." Then beganne the chamberlayn to saye moche humbly, "Syre, god hath gyuen to yow in this world alle worship & honour, and also grete quantite of worldly goodes, wherfor ye must thanke hym, and ye shall doo wel. And of suche goodes as god hath sente to yow ye ​must ordeyne, and departe to the poure folke a parte of them, in suche wyse that he haue no cause to repreue yow therof."
Whanne themperour had herd hym, he was wel pleased with hym that he had so sayd, and sayd two wordes, "More worthe is the frend whiche prycketh than the flaterynge frend whiche enoynteth." Thus he spak by cause that his other frendes had spoken to hym of bodyly helthe only for to please hym, but the same spake to hym of the saluacion of his sowle; for who that loueth the body of very loue ought in especiall to loue the sowle. And none oughte to cele or hyde nothynge fro his frend yf it be his prouffyte and honour. And for loue ne for hate of ony body he ought not to counceylle hym but trewely after his power as a good and trewe frend shold doo, and not flatere hym ne make the placebo, as dyd the frendes of themperour, whiche knewe wel that he coude not scape fro dethe, and durste not say ne shewe vnto hym the prouffyte of his soule, the which his trewe frend and pouer chamberlayne putte in the waye of saluacion. For themperour byleuyd hym and gaf and departed largely of his goodes to the poure for the loue of god.
# The Czecho-Slovaks

* Search for titles containing or beginning with: "The Czecho-Slovaks."
* 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 Czecho-Slovaks: An Oppressed Nationality by Lewis Bernstein Namier (1917)
** "The Czecho-Slovaks", excerpt from the Namier’s publication in The Bohemian Review, vol. 1, no. 6 (1917)
* "The Czecho-Slovaks: Outline of their History", by Edvard Beneš in Bohemia's case for independence (1917)
# The Drunken Exciseman (1)/When I was Young

WHEN I WAS YOUNG.
# The Dual World

Published in Thrilling Wonder Stories, 1938
A Gerry Carlyle short

## Contents

* Chapter I: The Lost Continent
* Chapter II: The Arkette
* Chapter III: The Twin Race
* Chapter IV: The Rotifer
This work is in the public domain in the United States because it was legally published within the United States (or the United Nations Headquarters in New York subject to Section 7 of the United States Headquarters Agreement) before 1964, and copyright was not renewed.
* For Class A renewal records (books only) published between 1923 and 1963, check the Stanford University Copyright Renewal Database.
* For other renewal records of publications between 1922–1950, see the University of Pennsylvania copyright records.
* For all records since 1978, search the U.S. Copyright Office records.
Works published in 1938 could have had their copyright renewed in 1965 or 1966, i.e. between January 1st of the 27th year after publication or registration and December 31st of the 28th year. As this work's copyright was not renewed, it entered the public domain on January 1st, 1967.
The longest-living author of this work died in 1969, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 54 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.
It is imperative that contributors ascertain that there is no evidence of a copyright renewal before using this license. Failure to do so will result in the deletion of the work as a copyright violation.
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# The Drunken Exciseman (1)/The Drunken Exciseman

SONGS.
THE DRUNKEN EXCISEMAN.
# The Drunken Exciseman (1)/Robin Hood

ROBIN HOOD.
# The Encyclopedia Americana (1920)/Doll's House, A

Edition of 1920. See also A Doll's House on Wikipedia, and the disclaimer.
DOLL'S HOUSE, A. The theme out of which ‘A Doll's House’ was constructed was not of sudden choice. In his notes for this modern tragedy, Ibsen jotted down, under date of 19 Oct 1878, the following statement:
   “A woman cannot be herself in the society of the present day which is an exclusively masculine society with laws framed by men and with the judicial system that judges feminine conduct from a masculine point of view.”
Those who take ‘A Doll's House’ as indication that Ibsen was a champion of the woman question are wrong in their conclusions; for he was interested much more in the larger spiritual question of the equality of the sexes. If he stressed the feminine in his plays, to the detriment of the masculine, it was simply because he felt that the weaker side of the argument needed the stronger support, in order to reach an equal balance of fairness and justice. ‘A Doll's House’ was completed while Ibsen was spending the summer of 1879 in Amalfi; and it was almost immediately published. It raised a storm of protest everywhere, and for many years was regarded solely as an attack upon marriage. Ibsen was called every preposterous name imaginable. The only way in which the play was allowed to be given in London was in an adapted form made by Henry Arthur Jones and called ‘Breaking a Butterfly’; it was produced at the Princess Theatre, 3 March, 1884.
Nora's slamming of the door in her husband's face, as she leaves the house, resounded throughout the world. Debates were held everywhere as to whether Nora was justified in leaving her home, whether it was the true act of a mother and a wife, and whether Nora, in the end, would return to Torvald, her husband
As an acting drama, ‘A Doll's House’ has held the stage and has been as much a goal for the young actress as ‘Camille.’ Apart from its philosophic preachment, it is a portrait of a most interesting woman, — not as subtle a portrait as Hedda Gabler, or as Rebecca West in ‘Rosmersholm,’ but affording, in deep psychology, as well as in such outward scenes as the Christmas Tree, the Tarantella dance, and the denunciation scene, ample opportunity for histrionic ability. Eleanor Duse, Madame Réjane,
Agnes Sorma, Mrs. Fiske, Madame Nazimova and Ethel Barrymore, are among the many who have attempted the role. The play was first seen is America when, during 1883, in Louisville, Ky., Madame Modjeska acted Nora. It was first played in London, in its regular form, by Janet Achurch and Charles Carrington, at the Novelty Theatre, 7 June 1889.
# The Encyclopedia Americana (1920)/Drake, Francis Marion

Edition of 1920. See also Francis M. Drake on Wikipedia, and the disclaimer.
DRAKE, Francis Marion, American capitalist and lawyer: b. Rushville, Ill., 30 Dec. 1830; d. Centreville, Ia., 20 Nov. 1903. In 1837 his family moved to Iowa, where he was educated. In 1852 he crossed the plains to California with ox-teams, encountering and defeating a band of Pawnee Indians on the route, and in 1854 crossed again with a drove of cattle. In 1855 he engaged in mercantile business in Drakeville, Ia., and in 1861 entered the army as a private. He served through the Civil War, attaining the rank of brigadier-general of volunteers. After the war he studied and practised law, and engaged in the railroad business, particularly the building of new roads. He was the first president of the Missouri, Iowa and Nebraska Railroad, and was later president of the Albia and Centreville Railroad. In 1880 he founded Drake University (q.v.) which he liberally endowed, and was president of the board of trustees till the time of his death. He was one term (1896-98) governor of the State of Iowa, being elected on the Republican ticket.
# The Encyclopedia Americana (1920)/Dodd, Frank Howard

Edition of 1920. See also Frank Howard Dodd on Wikipedia, and the disclaimer.
DODD, Frank Howard, American publisher: b. Bloomfield, N. J., 12 April 1844; d. New York, 10 Jan. 1916. He prepared at Bloomfield Academy to enter Yale, but instead went into the New York publishing house of his father, M. W. Dodd. To this business he succeeded in 1870, forming a partnership with Edward S. Mead. Six years later Bleecker Van Wagenen joined the firm and the name was changed to Dodd, Mead & Company. Beside publishing books in all departments of literature, the firm, under Mr. F. H. Dodd's
supervision, founded the Bookman in 1895 and in 1902 the ‘New International Encyclopædia’ which succeeded the ‘International Cyclopædia’ of earlier years. Mr. Dodd was president of the American Publishers' Association for a number of years and had various civic and philanthropic interests, being largely instrumental, as president of the Fourth Avenue Association, in the business development of that street.
# The Encyclopedia Americana (1920)/Dodder

Edition of 1920. See also Cuscuta on Wikipedia, and the disclaimer.
DODDER, a genus of plants, Cuscuta, of the family Custcutaceæ. The characteristics of the group are filiform twining stems, parasitic on other plants, to which they attach themselves by suckers. They have lost all trace of leaves, even the cotyledons of the embryo being no longer distinguishable, while chlorophyll is almost completely absent. In one American species a slight trace of coloring matter has been noticed. The seed germinates very late in spring, and as the seedling rises from the ground a yellow or pink stem soon begins to show the sweeping movements of circumnutation of a climbing plant. If no plant known as the “host” is in the neighborhood for it to take up its quarters on, it falls to the ground, but retains its vitality for some weeks, by which time a victim may probably have germinated. As soon as it touches a living plant it twines firmly round it, and a series of small wart-like adventitious roots (haustoria) are developed, from the centre of each of which a bundle of suctorial cells force their way through the epidermis and cellular envelope into the bast and press against the woody tissue of the host. The portion of the dodder stem below this attachment now dies off and there is then no longer any connection with the ground. The growing point again circumnutates until it finds a new base of attachment upon the same or a different stem of the host, there to repeat the formation of suckers. In this way a tangled skein of threads is formed, over which, late in the season, the yellow or white flowers develop in dense clusters and the black seeds are shaken out of the capsule by the wind or gathered with the crop. This parasite ins often very injurious, fields of flax, clover and lucerne sometimes showing well-marked patches completely desolated by the pest. These have to be mowed down and burned before new seed has set; while pains must be taken to procure seed free from those of the parasite. Preventive measures are to make careful examination of the
seed (see Seed Testing), rejecting any that contains dodder seed and any produced upon land known to be infested by dodder. When observed growing among a crop, frequent hoeing and burning are often satisfactory. Pasturing with sheep confined to the infested patches is also practised, the animals being kept for several weeks upon the land and given extra food if necessary. The most satisfactory treatment, however, is clean cultivation or the growing of a crop upon which the dodder cannot grow. There are about 100 species of dodder of wide geographic distribution, of which at least 25 are found in the western and southern parts of North America. The temperate species are all annual, but some of the tropical species are perennial. A common American name is tangle-weed. It is a remarkable circumstance that Cassytha, a totally unrelated Oriental genus of Lauraceæ, has not only assumed the same general mode of life, and the twining, leafless habit, but germinates and penetrates in a precisely similar way.
# The Encyclopedia Americana (1920)/Doremus, Charles Avery

Edition of 1920. See also Charles Avery Doremus on Wikipedia, and the disclaimer.
DOREMUS, Charles Avery, American chemist: b. New York City, 6 Sept. 1851. He was graduated at the College of the City of New York in 1870 and took the degree of D.Ph. at the University of Heidelberg in 1873. In 1874-79 he was a member of the faculty of Bellevue Hospital Medical College; from 1879 to 1882 was professor of chemistry and toxicology at the University of Buffalo. In 1882-92 he was professor of chemistry at the American Veterinary College, New York, and from 1892 to 1904 was connected with the department of chemistry of the College of the City of New York. He is a patentee of a process for softening water, for a gas furnace, another for producing hydrofluoric acid, and for extracting alumina from clay and for the extraction of potash from feldspar. He is
author of ‘Report on Photography, Vienna Exposition’ (1873); section on gaseous poisons in ‘Textbook of Legal Medicine and Toxicology’ (1903); and contributions to various scientfic journals.
# The Encyclopedia Americana (1920)/Drake, Friedrich

Edition of 1920. See also Friedrich Drake on Wikipedia, and the disclaimer.
DRAKE, drä'kë, Friedrich, German sculptor: b. Pyrmont, 23 June 1805; d. Berlin, 6 April 1882. He was the son of a mechanic, and after an apprenticeship in cabinet-making turned to clay modelling and studied under Rauch. He traveled also in Italy, where he met Thorwaldsen (1836-37) by whom he was influenced somewhat. Among his works are ‘The Eight Provinces of Prussia’ (colossal allegorical figures adorning a hall in the royal palace at Berlin), and a ‘Warrior crowned by Victor,’ which is reckoned one of the masterpieces of German sculpture. Noteworthy also are his portrait sculptures of Goethe, Schiller, Rauch; the marble statue of Frederick William III in the Thiergarten, Berlin; that of Christian Rauch, at Berlin; and the colossal bronze representing William I, on the Hohenzollern Bridge of Cologne, for which he was awarded the
cross of the Legion of Honor. His work is marked by virility and classic simplicity. He was professor of the Academy of Art at Berlin, and a member of the academies of all the leading countries of Europe. Consult Heinrich, ‘Rauch, Reitschel and Drake’ (Basel 1884).
# The Encyclopedia Americana (1920)/Dodd, Walter Fairleigh

Edition of 1920. See also Walter F. Dodd on Wikipedia, and the disclaimer.
DODD, Walter Fairleigh, American educator: b. Hopkinsville, Ky., 7 April 1880. He was graduated from Florida State College in 1898. In 1905 he took the degree of D.Ph. at the University of Chicago. In 1904-07 he was in charge of the section of foreign law in the Library of Congress. He held a research appointment at Johns Hopkins in 1908-10, in 1910-11 was associate in political science, in 1911-14 assistant professor, and in 1914-15 associate professor of political science in the University of Illinois. Since 1915 he has been associate professor of political science in the University of Chicago. He has published ‘Modern Constitutions’ (2 vols., 1909); ‘Government of the District of Columbia’ (1909); ‘Revision and Amendment of State Constitutions’ (1910), also contributions to legal and other technical journals.
# The Encyclopedia Americana (1920)/Doré, Paul Gustave

Edition of 1920. See also Gustave Doré on Wikipedia, and the disclaimer.
DORÉ, dō'rā', Paul Gustave, French artist: b. Strassburg, 6 Jan. 1832; d. Paris, 23 Jan. 1883. He early showed signs of remarkable artistic talent: after his fourth year he was seldom without a pendl in his hand, and in his 11th year he executed drawings on borrowed
lithographic stones. In 1847 he was sent to the Lycée Charlemagne at Paris and presently his remarkable skill as a designer and draughtsman of humorous and satirical subjects gained him a place among the illustrators of the Journal pour Rire. From 1848 lo 1853 he contributed to the Salon a series of pen drawings which attracted much attention. In 1857 he obtained honorable mention for his landscapes and a picture of the Battle of Inkermann. Meantime his fame as an illustrator of books was rapidly rising, and it is in this branch of art that his fame is mainly founded — one in which his strongly marked individuality, pictorial and decorative sense, grotesque humor and vivid imagination found full play. He began his embellishment of the world's literary masterpieces by his drawings for Balzac's ‘Contes drolatiques’ (1856); followed by illustrations for Montaigne (1858), the ‘Inferno’ (1861); ‘Don Quixote’ (1863); the ‘Purgatorio’ and ‘Paradiso’ (1864-66); and the Bible (1865-67). His productivity was extraordinary, and included paintings in water colors and oils and sculpture. After 1870 he painted for the most part Scriptural subjects; and on the strength of his large canvas, ‘Christ Leaving the Prætorium,’ he was hailed in England as a great poet-preacher and enjoyed a great vogue in that country, and a permanent gallery of his work was established in London. Some of his canvases were so large that he had to erect ladders and scaffolding in his studio in order to reach them. In sculpture his most successful essays were the colossal vase now in the Golden Gate Park at San Francisco and the monument to Alexandre Dumas in the Place Malesherbes, Paris.
Doré's juvenile and adolescent successes reacted disastrously on his after-career. They prevented him from applying himself steadily to a mastery of the technique of drawing; he lacked self-control; from first to last he was deficient in interpreting the subtleties of expression; he attempted to excel in too many fields; and so great was the market demand for his work that he wore himself out by overproduction. He was appointed a Chevalier of the Legion of Honor in 1861 and an officer of the Legion in 1879. Consult Beraldi, ‘Les graveurs du 19ième siècle’ (Paris 1885); Delorme, ‘Gustave Doré’ (ib. 1879); Jerrold, B., ‘Life of Gustave Doré’ (London 1891); Roosevelt, ‘Life and Reminiscences of Gustave Doré’ (New York 1885).
# The Encyclopedia Americana (1920)/Drake, Francis Samuel

Edition of 1920. See also Francis Samuel Drake (historian) on Wikipedia, and the disclaimer.
DRAKE, Francis Samuel, American historical writer: b. Northwood, N. H., 22 Feb. 1828; d. Washington, D. C., 22 Feb. 1885. He was a son of S. G. Drake (q.v.). He prepared a ‘Dictionary of American Biography’ (1872), He also published ‘Life of Gen. Henry Knox’ (1873); ‘Tea Leaves’ (1884); and ‘Indian History for Young Folks’ (1885). Before his death he had gathered material for a new edition of his ‘Dictionary,’ which was incorporated in ‘Appleton's Cyclopædia of American Biography.’
# The Cash Boy/Chapter XVII

It was twenty minutes before Frank, waiting impatiently, heard the steps of his late companion ascending the stairs.
But the door was not unlocked. Instead, a slide was revealed, about eight inches square, through which his late traveling companion pushed a plate of cold meat and bread.
"Here's something to eat," he said; "take it."
"Why do you lock me in?" demanded our hero.
"You can get along without knowing, I suppose," said the other, with a sneer.
"I don't mean to," said Frank, firmly. "I demand an explanation. How long do you intend to keep me here?"
"I am sorry I can't gratify your curiosity, but I don't know myself."
"Perhaps you think that I am rich, but I am not. I have no money. You can't get anything out of me," said Frank.
"That may be so, but I shall keep you."
"I suppose that was all a lie about your keeping store?"
"It was a pretty little story, told for your amusement, my dear boy," said Graves. "I was afraid you wouldn't come without it."
"You are a villain!" said Frank.
"Look here, boy," said Graves, in a different tone, his face darkening, "you had better not talk in that way. I advise you to eat your dinner and be quiet. Some supper will be brought to you before night."
So saying, he abruptly closed the slide, and descended the stairs, leaving Frank to his reflections, which it may be supposed, were not of the pleasantest character.
Frank did not allow his unpleasant situation to take away his appetite, and though he was fully determined to make the earliest possible attempt to escape, he was sensible enough first to eat the food which his jailer had brought him.
His lunch dispatched, he began at once to revolve plans of escape.
There were three windows in the room, two on the front of the house, the other at the side.
He tried one after another, but the result was the same. All were so fastened that it was quite impossible to raise them.
Feeling that he could probably escape through one of the windows when he pleased, though at the cost of considerable trouble, Frank did not trouble himself much, or allow himself to feel unhappy. He decided to continue his explorations.
In the corner of the room was a door, probably admitting to a closet.
"I suppose it is locked," thought Frank, but on trying it, he found that such was not the case. He looked curiously about him, but found little to repay him. His attention was drawn, however to several dark-colored masks lying upon a shelf.
He also discovered a small hole in the wall of the size of a marble. Actuated by curiosity, he applied his eye to the opening, and peeped into what was probably the adjoining room. It was furnished in very much the same way as the one in which he was confined, but at present it was untenanted. Having seen what little there was to be seen, Frank withdrew from his post of observation and returned to his room.
It was several hours later when he again heard steps ascending the stairs, and the slide in the door was moved.
He looked toward it, but the face that he saw was not that of Nathan Graves.
It was the face of a woman.
# The Encyclopedia Americana (1920)/Grimma

Edition of 1920. See also Grimma on Wikipedia, and the disclaimer.
GRIMMA, Saxony, town on the left bank of the Mulde; on the Döbeln-Dresden Railroad. 19 miles southeast of Leipzig. The principal buildings are the old castle dating from the 12th, the town hall from the 15th, and the Catholic church from the 13th centuries; the old Fürstenschule, founded in 1550 on the site of the old Augustinian monastery and moved to a new building in 1892; the teachers' seminary; the brewers' school and commercial school. A point of historical interest in the neighborhood is the convent of Nimbschen which once sheltered Luther's wife Katharina von Bora. Important manufactures of leather, gloves, vehicles, paper are carried on, and there are also large iron works, machine shops and dyeworks. Pop. 11,500. Consult Fraustadt, ‘Grimmenser Stammbuch’ (Grimma 1900).