OpenLLM-France/wikimedia huggingface dataset:
# Summary of the Africa Investment Incentive Act of 2006

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SUMMARY OF AFRICA INVESTMENT INCENTIVE ACT OF 2006-- AGOA IV
The Africa Investment Incentive Act of 2006 (signed by President Bush on December 20, 2006) amends portions of the African Growth and Opportunity Act (AGOA) and is referred to as "AGOA IV". The legislation extends the third country fabric provision for five years, from September 2007 until September 2012; adds an abundant supply provision; designates certain denim articles as being in abundant supply; and allows lesser developed beneficiary sub-Saharan African countries export certain textile articles under AGOA.
Africa Investment Incentive Act of 2006 (AGOA IV) Summary:
* Extends textile and apparel provisions of the AGOA program until 2015.
* Extends the third country fabric provision until 2012 and increases the cap to 3.5 percent beginning October 1, 2006.
* Provides for special rules for fabrics or yarns produced in commercial quantities (or, "abundant supply") in any designated sub-Saharan African country for use in qualifying apparel articles. Upon receiving a petition, the International Trade Commission will determine the quantity of such fabrics or yarns that must be sourced from the region before applying the third country fabric provision.
* Provides for 30 million square meter equivalents (SMEs) of denim to be determined to be in abundant supply beginning October 1, 2006.
* Expands duty-free treatment for textiles or textile articles originating entirely in one or more lesser-developed beneficiary country.
* Provides for a process to remove designated fabrics or yarns that were determined to be not available in commercial quantities for use by lesser developed beneficiary sub-Saharan African countries on the basis of fraud.

## Source

* https://www.trade.gov/agoa/legislation/agoa4.asp
# Summer (Wharton)

Summer is a novel by Edith Wharton published in 1917 by Charles Scribner's Sons. The story is one of only two novels by Wharton to be set in New England, who was best known for her portrayals of upper class New York society. The novel details the sexual awakening of its protagonist, Charity Royall, and shares many plot similarities with Wharton's better known novel, Ethan Frome. Only moderately well-received when originally published, Summer has had a resurgence in critical popularity since the 1960's.Warning: template has been deprecated.
SUMMER
A NOVEL
BY
EDITH WHARTON
AUTHOR OF "THE REEF," "THE HOUSE OF MIRTH," ETC.
NEW YORK D. APPLETON AND COMPANY 1917
Copyright, 1917, by D. APPLETON AND COMPANY
Copyright, 1917, by The McClure Publications, Inc.
* Chapter I
* Chapter II
* Chapter III
* Chapter IV
* Chapter V
* Chapter VI
* Chapter VII
* Chapter VIII
* Chapter IX
* Chapter X
* Chapter XI
* Chapter XII
* Chapter XIII
* Chapter XIV
* Chapter XV
* Chapter XVI
* Chapter XVII
* Chapter XVIII
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 1937, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 86 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
# Summer (Pope)

One of a series of four pastorals that first appeared in Poetical Miscellanies: The Sixth Part. Containing a Collection of Original Poems, With Severall New Translations. By the most Eminent Hands (1709), published by Jacob Tonson [Based on Alexander Pope: A Bibliography Volume 1, Part 1 (1922), by Reginald Harvey Griffith, p. 5.]
* "Summer", in The Works of Alexander Pope (1717)
* "Summer", in Pastorals (1793)
# The Book of Scottish Song/The Lass o' Arranteenie

The Lass o’ Arranteenie.
[Tannahill.—Music by R. A. Smith.—Arranteenie or Ardentinny is beautifully situated on the banks of Loch Long. The song was written by Tannahill from hearing a friend describe with rapture a young woman whom he had accidentally met there, in a Highland excursion.]
Far lone amang the Highland hills, Midst nature's wildest grandeur, By rocky dens and woody glens, With weary steps I wander. The langsome way, the darksome day, The mountain mist sae rainy, Are naught to me, when gaun to thee, Sweet lass o' Arranteenie.
Yon mossy rose-bud down the howe, Just opening fresh and bonny, It blinks beneath the hazel bough, And's scarcely seen by ony. Sae sweet amidst her native hills, Obscurely blooms my Jeanie, Mair fair and gay than rosy May, The flower o' Arranteenie. >
Now from the mountain's lofty brow, I view the distant ocean, There avarice guides the bounding prow, Ambition courts promotion. Let fortune pour her golden store, Her laurell'd favours many, Give me but this, my soul's first wish, The lass o' Arranteenie.
# The Book of Scottish Song/The Lass o' Carron side

The Lass o' Carron side.
[C. J. Finlayson.—Here first printed.]
Oh! whar will I gae find a place To close my sleepless een, And whar will I gae seek the peace I witless tint yestreen? My heart that wont to dance as licht As moonshine o'er the tide, Now pines in thrall by luckless love For the lass o' Carron side.
She sat the Goddess of the stream That murmur'd at her feet, And aye she sung her artless sang Wi' a voice unearthly sweet; Sae sweet,—the birds that wont to wake The morn wi' glee and pride, Sat mute, to hear the witching strain O' the lass o' Carron side.
Sair may I rue my reckless haste, Sair may I ban the hour, That lur'd me frae my peacefu' cot Within the Siren's power, Oh! had she sprung frae humble race As she's frae ane o' pride, I might ha'e dreed a better weird Wi' the lass o' Carron side.
# The Book of Scottish Song/The Lass o' Patie's Mill

The Lass o’ Patie’s Mill
[The "Lass o' Peatie's Mill" is the name of an old air, the original words to which are lost, but the subject of the song is said to have been a daughter of John Anderson, of Peatie's Mill, in the parish of Keithhall, Aberdeenshire. Allan Ramsay wrote the present words to the old tune. Burns relates an incident connected with the composition of Ramsay's song, which does not well tally with the fact that an old tune called "The Lass o' Peatie's Mill" really did exist before Ramsay's day, as it is more likely that Ramsay borrowed his title from that tune than that two different beauties in two different Patie's Mills inspired the strains of two different poets. "In Sinclair's Statistical Account of Scotland," says Burns, "this song is localized (a verb I must use for want of another to express my idea) somewhere in the North of Scotland, and likewise is claimed by Ayrshire.—The following anecdote I had from the present Sir William Cunningham of Robertland, who had it from the last John Earl of Loudon—The then Earl of Loudon, and father to Earl John before mentioned, had Ramsay at Loudon, and one day walking together by the banks of Irvine water, near New-Mills, at a place yet called Peaty's Mill, they were struck with the appearance of a beautiful country girl. His lordship observed that she would be a fine theme for a song.—Allan lagged behind in returning to Loudon Castle, and at dinner produced this identical song."]
The lass o' Patie's Mill, Sae bonnie, blythe, and gay, In spite of a' my skill, She stole my heart away. When teddin' out the hay, Bareheaded on the green, Love mid her locks did play, And wanton'd in her een.
Her arms, white, round, and smooth; Breasts in their rising dawn; To age it would give youth, To press them with his han'. Through all my spirits ran An ecstasy of bliss, When I such sweetness fand Wrapt in a balmy kiss.
Without the help of art, Like flowers that grace the wild, She did her sweets impart, Whene'er she spak' or smiled: Her looks they were so mild, Free from affected pride, She me to love beguiled; I wish'd her for my bride.
Oh! had I a' the wealth Hopetoun's high mountains fill, Insured lang life and health, And pleasure at my will; I'd promise, and fulfil, That nane but bonnie she, The lass o' Patie's Mill, Should share the same wi' me.
# The Book of Scottish Song/The Lass o' Preston Mill

The Lass o’ Preston Mill.
[Air, "Good night and joy be wi' ye a'."]
The lark had left the evening cloud, The dew fell saft, the wind was lown, Its gentle breath amang the flowers, Scarce stirr'd the thistle's tap o' dewn, The dappled swallow had left the pool, The stars were blinking o'er the hill, As I met amang the hawthorns green, The lovely lass o' Preston mill.
Her naked feet amang the grass Seem'd like the dew-gemm'd lilies fair; Her brow shone comely 'mang her locks, Black curling o'er her shoulders bare; Her cheeks were rich in bloomy youth, Her lips were like a honey-well, And heaven seem'd looking through her een— The lovely lass o' Preston mill.
Quo' I, sweet lass, will ye gang wi' me, Where moor cocks craw, and plovers cry; Sax hills are wooly wi' my sheep— Sax vales are lowing wi' my kye. I have a lad wha's far awa', That weel could win a woman's will;
She hung her head like a dew-beut rose— The lovely lass o' Preston mill.
# The Book of Scottish Song/The Lass o' Cambuslang

The Lass o' Cambuslang.
[William Holmes.—Here first printed.]
In a cozie white cottage upon a hill side, That cheerily looks on the green vale o' Clyde, There lives a braw lassie wi' sunny-brown hair, An' a face like the momin' sae ruddy an' fair.
I lo'ed her fu' weel when I saw her wee smile, An' I thocht in my heart she look'd kindly the while; She is gentle and gleesome, an' free frae a' pride— She's the bonniest lass on the banks o' the Clyde.
O Clyde! thou art bonnie while flowing between The thick twining branches o' soft dewy green; Yet thy laneness sae deep was aye dowie to me, Though the sun brichtly lay on ilk wee flower an' tree.
But the laneness is gane, and thy beauties appear Like a vision o' hope through a sorrowfu' tear, Ilka soun' that I hear, an' ilk flower that I see, Seem happier noo sin' my love smiles on me.
When clear merry Kirkburn first meets thy embrace, A tremulous ripple steals over thy face. In a moment 'tis gone—then thegither ye run, Gaily sparklin' alang in the licht o' the sun.
Sae my heart has been flichterin' aye sin' the day I first met my love on the lane hawthorn way; But our hearts mingled ance, then thegither we'll glide Through life, wi' the sunshine o' love by our side.
Fair, fair be thy beauty for ever, dear stream!
On thy gowany banks long may true lovers dream! My thochts wander to thee wherever I gang, Sin' I met wi' the bonnie young lass o' Camb'slang.
# The Book of Scottish Song/The Lass o' Isla

The Lass o' Isla.
[Sir Alex. Boswell, Bart.]
"Ah, Mary, sweetest maid, farewell! My hopes are flown, for a's to wreck; Heav'n guard you, love, and heal your heart. Though mine, alas, alas! maun break"—
"Dearest lad, what ills betide? Is Willie to his love untrue? Engag'd the morn to be his bride, Ah! ha'e ye, ha'e ye ta'en the rue?"
"Ye canna wear a ragged gown. Or beggar wed, wi' nought ava; My kye are drown'd, my house is down My last sheep lies aneath the snaw"- ​"Tell na me o' storm or flood, Or sheep a' smoor'd ayont the hill, For Willie's sake, I Willie lo'ed; Though poor, ye are my Willie still"—
"Ye canna tho'e the wind or rain, Or wander, friendless, far frae hame; Cheer, cheer your heart, some other swain Will soon blot out lost Willie's name"-
"I'll tak' my bundle in my hand, An' wipe the dew-drop frae my e'e, I'll wander wi' ye ower the land, I'll venture wi' ye ower the sea"—
"Forgi'e me, love; 'twas all a snare; My flocks are safe; we needna part; I'd forfeit them, and ten times mair, To clasp thes, Mary, to my heart."
"How could ye wi' my feelings sport, Or doubt a heart sae warm and true? I maist could wish ye mischief for't, But canna wish ought ill to you."
# The Book of Scottish Song/The Lass o' Livingstone

The Lass o' Livingstone.
[This is the name of an old tune and old song. Burns says, "The old song, in three eight line stanzas, is well known, and has merit as to wit and humour; but it is rather unfit for insertion.
It begins,
'The bonnie lass o' Livingstone, Her name ye ken, her name ye ken, And she has written in her contract To lie her lane, to lie her lane,' &c."
The following song to the tune of "The Lass o' Livingstone," was written by Ramsay, and published in the first volume of the Tea-Table Miscelliany.]
Pain'd with her slighting Jamie's love, Bell dropt a tear, Bell dropt a tear; The gods descended from above, Well pleased to hear, well pleased to hear; They heard the praises of the youth, From her own tongue, from her own tongue, Who now converted was to truth, And thus she sung, and thus she sung:
"Bless'd days! when our ingenuous sex, More frank and kind, more frank and kind, Did not their lov'd adorers vex, But spoke their mind, but spoke their mind. Repenting now, she promis'd fair, Would he return, would he return, She ne'er again would give him care, Or cause him mourn, or cause him mourn.
Why lov'd I the deserving swain, Yet still thought shame, yet still thought shame, When he my yielding heart did gain, To own my flame, to own my flame? Why took I pleasure to torment, And seem too coy—and seem too coy? Which makes me now, alas! lament My slighted joy, my slighted joy.
Ye fair, while beauty's in its spring, Own your desire, own your desire; While love's young power, with his soft wing, Fans up the fire, fans up the fire. Oh! do not with a silly pride, Or low design, or low design, Refuse to be a happy bride, But answer plain, but answer plain."
Thus the fair mourner wail'd her crime, With flowing eyes, with flowing eyes; Glad Jamie heard her all the time, With sweet surprise, with sweet surprise. Some god had led him to the grove, His mind unchang'd, his mind unchang'd, Flew to her arms, and cry'd, My love, I am reveng'd, I am reveng'd.
# The Ballad of Oriana

* "The Ballad of Oriana", in Poems, Chiefly Lyrical (1830)
* "The Ballad of Oriana", in Poems, Volume I (1843)
# The Ballad of Reading Gaol

Written after Oscar Wilde was released from Reading prison on 19 May 1897.
* The Ballad of Reading Gaol, published by Thomas B. Mosher (1904)
* "The Ballad of Reading Gaol" in The Writings of Oscar Wilde (1907)
* "The Ballad of Reading Gaol" in The Poems of Oscar Wilde (1909)
# The Ballad of G.R. Dibbs

This is the story of G.R.D., Who went on a mission across the sea To borrow some money for you and me.
This G. R. Dibbs was a stalwart man Who was built on a most extensive plan, And a regular staunch Republican.
But he fell in the hands of the Tory crew Who said, "It's a shame that a man like you Should teach Australia this nasty view.
"From her mother's side she should ne'er be gone, And she ought to be glad to be smiled upon, And proud to be known as our hanger-on."
And G. R. Dibbs, he went off his peg At the swells who came for his smiles to beg And the Prince of Wales -- who was pulling his leg
And he told them all when the wine had flown, "The Australian has got no land of his own, His home is England, and there alone."
So he strutted along with the titled band And he sold the pride of his native land For a bow and a smile and a shake of the hand.
And the Tory drummers they sit and call: "Send over your leaders great and small; For the price is low, and we'll buy them all
"With a tinsel title, a tawdry star Of a lower grade than our titles are, And a puff at a prince's big cigar."
And the Tories laugh till they crack their ribs When they think how they purchased G. R. Dibbs.
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 Ballad of Minepit Shaw

From Rewards and Fairies (1910).
About the time that taverns shut  And men can buy no beer, Two lads went up to the keepers' hut  To steal Lord Pelham's deer.
Night and the liquor was in their heads—  They laughed and talked no bounds, Till they waked the keepers on their beds  And the keepers loosed the hounds.
They had killed a hart, they had killed a hind,  Ready to carry away, When they heard a whimper down the wind  And they heard a bloodhound bay.
They took and ran across the fern,  Their crossbows in their hand, Till they met a man with a green lantern  That called and bade 'em stand.
"What are ye doing, O Flesh and Blood,  And what's your foolish will, That you must break into Minepit Wood  And wake the Folk of the Hill?"
"Oh, we've broke into Lord Pelham's park,  And killed Lord Pelham's deer, And if ever you heard a little dog bark  You'll know why we come here.
"We ask you let us go our way,  As fast as we can flee, For if ever you heard a bloodhound bay  You'll know how pressed we be."
"Oh, lay your crossbows on the bank  And drop the knives from your hand, And though the hounds be at your flank  I'll save you where you stand!"
They laid their crossbows on the bank,  They threw their knives in the wood, And the ground before them opened and sank  And saved 'em where they stood.
"Oh, what's the roaring in our ears  That strikes us well-nigh dumb?" "Oh, that is just how things appears  According as they come."
"What are the stars before our eyes  That strike us well-nigh blind?" "Oh, that is just how things arise  According as you find."
"And why's our bed so hard to the bones  Excepting where it's cold?" "Oh, that's because it is precious stones  Excepting where 'tis gold.
"Think it over as you stand,  For I tell you without fail, If you haven't got into Fairyland  You're not in Lewes Gaol."
All night long they thought of it,  And, come the dawn, they saw They'd tumbled into a great old pit,  At the bottom of Minepit Shaw.
And the keeper's hound had followed 'em close,  And broke her neck in the fall; So they picked up their knives and their crossbows  And buried the dog. That's all.
But whether the man was a poacher too  Or a Pharisee' so bold— I reckon there's more things told than are true.  And more things true than are told!
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 1936, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 87 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# The Ballad of M.T. Nutt and His Dog

The Honourable M. T. Nutt About the bush did jog. Till, passing by a settler's hut, He stopped and bought a dog.
Then started homewards full of hope, Alas, that hopes should fail! The dog pulled back and took the rope Beneath the horse's tail.
The Horse remarked, "I would be soft Such liberties to stand!" "Oh dog," he said, "Go up aloft, Young man, go on the land!"
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 Ballad of One-Eyed Mike

Collected in Ballads of a Cheechako

### The Ballad of One-Eyed Mike

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 1958, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 65 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# The Annotated "Ulysses"/Page 037

Ineluctable modality of the visible : at least that if no more, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust : coloured signs. Limits of the diaphane. But he adds : in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, maestro di color che sanno. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it, it is a gate, if not a door. Shut your eyes and see.
Stephen closed his eyes to hear his boots crush crackling wrack and shells. You are walking through it howsomever. I am, a stride at a time. A very short space of time through very short times of space. Five, six : the nacheinander. Exactly : and that is the ineluctable modality of the audible. Open your eyes. No. Jesus! If I fell over a cliff that beetles o’er his base, fell through the nebeneinander ineluctably. I am getting on nicely in the dark. My ash sword hangs at my side. Tap with it : they do. My two feet in his boots are at the end of his legs, nebeneinander. Sounds solid : made by the mallet of Los Demiurgos. Am I walking into eternity along Sandymount strand? Crush, crack, crick, crick. Wild sea money. Dominie Deasy kens them a’.
                Won’t you come to Sandymount,
                Madeline the mare?
Rhythm begins, you see. I hear. A catalectic tetrameter of iambs march ing. No, agallop : deline the mare.