OpenLLM-France/wikimedia huggingface dataset:
# The Recluse (Cook)/In the Grave

In the Grave
By Donald Wandrei
And I am dead. Six feet deep I lie, And I am dead. I can not move an eye; I can not move a thigh; I can not even sigh, For I am dead. Set, fixed, immovable my head; Set, fixed, immovable my bed; Set, fixed, immovable myself, now wed To coffin, earth, the dead. All the rottenness, I dread; All the flesh on which fat worms have fed; All the slime and mould that slowly spread About me, who am dead. Nevermore shall I hear sound In my tomb beneath the ground, In my grave beneath my mound. Six feet deep my corpse lies, drowned In dissolution’s rot. Around, Eternal night, and earth damp, black, and cold That presses on my grave and me, all rolled In my own decomposition. Thick, white worms have lolled Their dripping tongues from my soft flesh that, old And spoiling, lured them. But I could not squirm When I felt through me spread the germ Of worm that multiplied on worm Until my dead flesh stirred. I only lay, Sick, still, and weary, while they ate their way; I only sighed to feel them play And wriggle through my gray Corruption. Six feet deep I lie in my last sleep; Six feet deep. I feel the worms that creep, creep, creep, I feel the worms that leap In ecstacy to reap The harvest, and to revel deep In dark liquescence. Mocking maggots peep At me and slyly chuckle while they keep Their festful riot in my melting heap.
I now have ceased to bloat; Worms now have ceased to gloat, Or in my dead flesh foul to float, Forevermore. Stained is the coffin floor
Forevermore. My corpse was once a festering sore, And rotten in each swelling pore, And rotten to the very core, But now that time is gone of yore Forevermore. My body will not pour A noisome pool as once before. My bones are hoar Forevermore. Dark, dank, cold, dead, Silent, still, old, dead; Dead, dead, Forever dead. Dead, dead, Forever dead. Flesh? Fled. Forever fled. Body? Spread. Forever spread. Soul? Dead. Forever dead. Forever dead, dead, dead.
# The Recluse (Cook)/Ballad of St. Anthony

Ballad of St. Anthony
By Frank Belknap Long, Jr.
When Anthony was seventeen And leaner than a tree, By day and night he scourged his flesh That hated chastity.
When Anthony was seventeen He fasted night and day; He scarcely tasted wine and meat, And eggs he sent away.
When Anthony was seventeen He thought: “I fear the bark, The talons of the dog, God keep My soul when it is dark.”
But Anthony was very young, And youth must sleep and dream, And what is murdered in the day Will wake at night and scream.
So listen to the tale I tell And do not mourn or grieve; For virtue lost at seventeen Is not beyond retrieve.
When Anthony had prayed and prayed Until his lips were white, He drew off breeches, blouse and shoes, And blew upon the light.
And then in darkness he lay down Upon his narrow cot; And what was murdered in the day, Came back and left him not.
And as he tossed from side to side Upon his wretched bed The Holy Saints grew pale with Shame, And midnight hung its head,
For she had bells upon her toes And fillets on her brow, But every inch of space between Was white as virgin snow.
And every inch of space between Set Anthonw afire: Alas, that such a goodly youth Should burn with such desire!
Alas, that such a goodly youth Should think, “I can’t escape! O must I then be slaughtered by This beast in woman’s shape?”
Yet lo! he flung her arms aside And rolled upon the floor, And screaming ran with naked feet To beat upon the door.
“O let me out!” he shrieked and prayed “For there are succubi Upon my heels and I am lost! O heaven pity me!”
But as he screamed and sought to wake The Holy Brotherhood She bent and kissed his lipe and eyes And he—was turned to wood.
Yet it was something less than death That to his lot befell, And it was sweeter in his sight Than marigolds in hell.
My tale is done; but men who sit In judgment on our sins Will never know the joy he gat Because they sleep on pins.
# Collier's New Encyclopedia (1921)/Drake, Joseph Rodman

Edition of 1921; disclaimer.
DRAKE, JOSEPH RODMAN, an American poet; born in New York, Aug. 7, 1795. The poems for which he is gratefully remembered are “The Culprit Fay” (1819), and “The American Flag” (1819). With Fitz-Greene Halleck, under the signature, “The Croakers,” he published in a New York journal in 1819 a series of short lyrics, mostly of a humorous kind, on the political affairs of the time. He died Sept. 21, 1820.
# Collier's New Encyclopedia (1921)/Dred Scott Case

Edition of 1921; disclaimer.
DRED SCOTT CASE, a notable case before the Supreme Court of the United States in 1856. A negro called Dred Scott, with his wife and two children, had been held as slaves by a Mr. Emerson in Missouri. After Dr. Emerson's death, Scott and his family claimed to be free, as having resided with their owner in a free territory. The decision was hostile to their claim, and they were held to be still slaves.
# Collier's New Encyclopedia (1921)/Dresden

Edition of 1921; disclaimer.
DRESDEN (drez'den), the capital of Saxony, formerly a kingdom, but now a state in the German Republic; situated in a beautiful valley on both sides of the river Elbe. It is first mentioned in history in 1206, was greatly extended and
embellished by Augustus the Strong (1694-1736), and rapidly increased during the 19th century. Among the chief edifices besides several of the churches are the museum containing a famous picture-gallery and other treasures; the Japanese Palace (Augusteum), containing the royal library of from 300,000 to 400,000 volumes, besides a rich collection of manuscripts; the Johanneum, containing the collection of porcelain and the historical museum, a valuable collection of arms, armor, domestic utensils, etc., belonging to the Middle Ages. The royal palace contains (in what is called the Green Vault) a valuable collection of curiosities, jewels, trinkets, and works of art.
The city is distinguished for its excellent educational, literary, and artistic institutions, among which are the Polytechnic School, much on the plan and scale of a university; the Conservatory and School of Music; the Academy of Fine Arts, etc. The manufactures are various in character; the china, however, for which the city is famed is made chiefly at Meissen, 14 miles distant. The commerce is considerable. The chief glory of Dresden is the gallery of pictures, one of the finest in the world, which first became of importance under Augustus II., King of Poland, and Elector of Saxony, but owes its most valuable treasures to Augustus III., who purchased the greater portion of the gallery of the Duke of Modena for $900,000. The pictures number about 25,000, and in particular comprise many fine specimens of the Italian, Dutch, and Flemish schools. Besides this fine collection the museum contains also engravings and drawings amounting to upward of 350,000. There is here also a rich collection of casts exemplifying the progress of sculpture from the earliest times, and including copies of all the most important antiques. It suffered severely in the
Thirty Years' War, and also in 1813, when it was the headquarters of Napoleon's army. It was occupied by the Prussians in 1866, but was evacuated in the following spring. Pop. about 550,000.
# Collier's New Encyclopedia (1921)/Drake, Sir Francis

Edition of 1921; disclaimer.
DRAKE, SIR FRANCIS, an English navigator, born in Tavistock, in Devonshire, England, in 1539. or according to some authorities in 1545. He served as a sailor in a coasting vessel, and afterward joined Sir John Hawkins in his last expedition against the Spaniards (1567), losing nearly all he possessed in that unfortunate enterprise. Having gathered a number of adventurers, he fitted out a vessel in which he made two successful cruises to the West Indies in 1570 and 1571. Next year, with two small ships, he again sailed for the Spanish Main, captured the cities of Nombre de Dios and Vera Cruz, and took a rich booty which he brought safely home. In 1577 Drake made another expedition to the Spanish Main, having this time command of five ships. On this the most famous of his voyages Drake passed the Straits of Magellan, plundered all along the coasts of Chile and Peru, sacked several ports, and captured a galleon laden with silver, gold, jewels, etc., to the value of perhaps $1,000,000.
He then ran N. as far as lat. 48° N., seeking a passage to the Atlantic, but was compelled to return to Port San Francisco on account of the cold. He then steered for the Moluccas, and
holding straight across the Indian Ocean doubled the Cape of Good Hope, and arrived at Plymouth Nov. 3, 1580, being thus the first of the English circumnavigators. The queen showed her favor to Drake by knighting him on board his own ship. Five years afterward Drake was again attacking the Spaniards in the Cape Verde Islands and in the West Indies, and in 1588 particularly distinguished himself as vice-admiral in the conflict with the Spanish Armada. In 1593 he represented Plymouth in Parliament. His later expeditions, that in 1595 against the Spanish West Indies and that to Panama, were not so successful, and his death, on Jan. 28, 1596, at sea off Porto Bello, was hastened by disappointment.
SIR FRANCIS DRAKE
# Collier's New Encyclopedia (1921)/Drakenberge

Edition of 1921; disclaimer.
DRAKENBERGE (drä'ken-ber-ge) (Dragon Mountains), the general name given by the Dutch colonists to the range of mountains in the E. of south Africa, between Cape Colony and the Vaal river. From about 29° S. lat. the three chains which form the S. portion unite and extend N. E. in one mass, whose highest points are the Mont aux Sources and Catkin Peak (10,360 feet). The range is crossed by Van Reenen (5,415) and De Beers (5,635) passes.
# Collier's New Encyclopedia (1921)/Dreiser, Theodore

Edition of 1921; disclaimer.
DREISER, THEODORE, an American author and journalist; born in Terre Haute, Ind., 1871. After a common school education he began newspaper work in Chicago, in 1892. After 1898 he did special work for magazines. In 1905 he became editor of “Smith's Magazine,” then, subsequently edited the “Broadway Magazine” (1906-1907). From 1907 till 1910 he was editor-in-chief of the Butterick publications. Among his best known books are: “Sister Carrie” (1900); “The Genius” (1915); “A Hoosier Holiday” (1916), and “The Hand of the Palter,” a tragedy (1919).
# Collier's New Encyclopedia (1921)/Dover (Ohio)

Edition of 1921; disclaimer.
DOVER, a city of Ohio, in Tuscarawas co. It was formerly known as Canal Dover. The city is on the Baltimore and Ohio, the Pennsylvania, and other railroads. It is an important industrial center and has a large plant of the United States Steel Corporation and several important coke and coal companies. It has also important plants for manufacturing electrical devices. Pop. (1910) 6,621; (1920) 8,101.
# Collier's New Encyclopedia (1921)/Drake, Samuel Adams

Edition of 1921; disclaimer.
DRAKE, SAMUEL ADAMS, an American journalist and writer; born in Boston, Dec. 20, 1833. He entered journalism in 1858 as correspondent of the Louisville “Journal” and St. Louis “Republican.” In 1861 he joined the army and served throughout the war, becoming Brigadier-General in 1863. He returned to Boston in 1871 and resumed literary work. His most important publications are: “Old Landmarks of Boston” (1872); “New England Legends” (1883); “The Making of New England” (1886); “The Pine Tree Coast” (1891); “Our Colonial Homes” (1894), etc. He died Dec. 4, 1905.
# Collier's New Encyclopedia (1921)/Drake, Franklin Jeremiah

Edition of 1921; disclaimer.
DRAKE, FRANKLIN JEREMIAH, an American naval officer, born at Yates, N. Y., in 1846. He graduated from the United States Naval Academy in 1868. He rose through the various grades, becoming lieutenant-commander in 1893, commander in 1899, and captain in 1903. In 1906 he was retired as rear-admiral. He served during the Civil War and filled many posts on shore and at sea as a commander of vessels and on special duty. He was executive officer of the Oregon in 1896-1897. From 1913 to 1915 he was technical expert at
the Hague Tribunal, and was expert of the revision of regulations of the United States Navy in 1918-1919-1920.
# Collier's New Encyclopedia (1921)/Drake University

Edition of 1921; disclaimer.
DRAKE UNIVERSITY, a coeducational institution in Des Moines, Ia.; founded in 1891, under the auspices of the Christian Church; reported at the end of 1919: Professors and instructors, 60; students, 1,460; president, Arthur Holmes.
# The Recluse (Cook)/Brumes et Pluies

Brumes et Pluies
(From the French of Charles P. Baudelaire)
By Clark Ashton Smith
Long ends of autumn, winters, springs re-drenched with gloom, You seasons dim with sleep! I love and laud you, fain To fold about my heart and my oblivious brain Your vaporous pall and vague, itinerary tomb.
In the void plain where boreal blasts are revelling, Where wheels the weathervane through the delaying night, Better than in soft summer dawns, with more delight, My soul most amply will unfurl her raven wing.
To a heart replete with funeral memories numberless Whereon autumnal frosts have fallen from old time, Naught is more sweet, O queenliest seasons of our clime,
Than the abiding train of your pale darknesses,— Unless it be, some evening when the moon is dead, To enslumber all our grief upon a chanceful bed.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The Recluse (Cook)/Heart Symphony for Dare

Heart Symphony for Dare
By Vrest Orton
There is no balm that time brings with the years… The dullard days cure not my own dull pain, When only thoughts of you do still remain. Ah, ’tis a jest to allay children’s fears, To say that time will right the heart’s arrears. Why do they mock me? Can the heart contain Your presence multiplied? Can I refrain From crying lie…when such a lie appears?
Under glare of tropic sun, Crowded sidewalk we Stood upon. And no one passed, No one jostled me.
Now you are gone. Oh words as few as four, To think that they can carry such a power To transmute light to darkness, yet no more Than four small words to you. Oh for one hour! What would I change for just one hour again? I feel you as I see arbutus show, I feel you in the warmth of summer rain, You are in autumn colours, when they go Somewhere, I know not where, yet would that I Could, after you are gone return to you, As after winter’s blight they blossom new Into the spring again. I wonder why To you no more than four small words are they… They’re on my lips so many times a day.
In no dream I ever miss You and I together, Soft cheek, first kiss, Light as a feather.
Before me is a picture that was you, But only can I see your parted hair Was short like mine. You could not then know who Would once possess it and if you had known… But then, it does not matter…it is true Your lips are tight, your eyes are full of care.
In studio, late one night, We thought to say good-bye. You back to be a wife, I home to die.
Gone is the life from beauty since you went, It is no more than just a shining row
Of buttons that I push because I like To push the buttons, though the cells are dead, And nothing rings or answers for my work. Though you are gone I know that you still live, But in a different world than this sad world. I feel that I am dead and you alive, Or else I dream and you are not asleep, But far away and doing what you think You ought to do. Well, you will come to me, Some day when you are tired, some sad long day When you are tired and worn and buffeted By this stern task-master, your other self. Oh yes, you’ll come and I awaiting be, In a far silent land you do not know, Where everlasting hills and valleys are, Where only those who ever love may go… Into its realm of peace where only love Is king. What use is heaven When life can be as sweet as life can be?
You used to sit watching sails, Out beyond……go by And turn from the harbour view, With a sad little cry.
# The Rock-cut Temples of India/The Caves of Ellora/Introduction

INTRODUCTION.
ALTHOUGH the caves at Ellora do not possess that unity and completeness which characterises those of Ajunta, their variety, and the exceptional magnificence of some of them, renders them perhaps even more interesting: but it must be confessed they are in consequence far more difficult to understand. It is only, indeed, after having become familiar with all the other forms of Cave architecture, that their history becomes at all intelligible.
It is not, therefore, to be wondered at that such strange theories were announced with regard to their age and uses when they were first made known to Europeans; for, beside their complexity, it also happened that the Ellora Caves were the earliest series of which any trustworthy illustrations were published, and they consequently attracted attention at a time when very few materials existed for forming a judgment regarding their peculiarities. Very correct views of them were published by the Daniels, from drawings made by Wales, in the first years of this century; and the writings of Seely, of Colonel Sykes, and Sir Charles Mallet, have all contributed to make them known; but unfortunately none of these gentlemen were familiar—at the time they wrote—with the other forms of Cave architecture, and they were consequently unable to classify them correctly as to either age or style.
​The whole series consists of about thirty excavations. Of these ten were devoted to the religion of Buddha, fourteen were excavated by the followers of the Brahmanical creeds, and six cannot be said to belong to either of these sects; nor can they in strictness be ascribed to the Jains, though their sculpture savours more of the tenets of their religion than those of the other two.
Architecturally the Ellora Caves differ from those of Ajunta in consequence of their being excavated in the sloping sides of a hill, and not in a nearly perpendicular cliff. From this formation of the ground almost all the caves at Ellora have courtyards in front of them. Frequently also, an outer wall of rock with an entrance through it is left standing, so that the caves are not generally seen from the outside at all, and a person might pass along their front without being aware of their existence unless warned of the fact. On the other hand, the advantage architecturally of the fore-court, and the protection it affords not only from violence, but also from atmospheric influences, more than compensate for this defect.
# The Rock-cut Temples of India/The Caves of Ellora/Kylas—Ellora

KYLAS.—ELLORA.
NO sooner had the Brahmans made the discovery that the Rock afforded them as good an opportunity of displaying their architectural magnificence as it did to their hated rivals, than they proceeded to excavate the Kylas—the next in situation—and which is, certainly, the most remarkable, though it may not be the most beautiful, of the rock-cut structures of India.
Strange to say it is not, however, in any style of architecture found in any other instance north of the Kistnah, but is a purely southern temple, such as are found at Tanjore or Tritchinopoly—a circumstance that aids in fixing a date to it, for we know that the southern Cholas, in the ninth and tenth centuries, did extend their dominions to this quarter, and it is to them, probably, that we owe this excavation. It certainly is not the work of any other race we know of who occupied this country either before or since.
# The Rock-cut Temples of India/The Caves of Ellora/Bas-relief, Kylas—Ellora

BAS-RELIEF, KYLAS.—ELLORA.
THE amount of sculpture, both historical and architectural, that covers every part of the Kylas adds immensely to the impressive but mysterious effect of the whole, and its variety is as remarkable as its quantity.
There are, for instance, two bas-reliefs, one on each side of the great Vimana, which are such as could only be executed by the patient Hindoo. The one here given represents Ravana's conquest of Ceylon. On the lower part, and at the right-hand side, the giant Ravana is seen defending his castle, and throughout the picture the Monkey God, Hunuman, with his army of monkeys, are seen lending their aid to their human allies: in the second lowest tier, bringing the rocks with which Adam's bridge is said to have been constructed in order to enable the invading army to pass from the continent to the island.
# The Rock-cut Temples of India/The Caves of Ellora/Dus Avatara—Ellora 2

DUS AVATARA.—ELLORA.
ANOTHER circumstance that points out the Hindoo origin of this Cave is the Mantapa, or porch, left standing in the centre of the court-yard. This is an invariable accompaniment of Brahmanical temples, and generally is occupied by a statue of the bull Nundi—in Sivite temples, at least—and such we probably must consider this to be.
This Porch is further interesting as being the first known attempt to reproduce the exterior of a temple in the rock—a thing never done by the Buddhists. All their Caves are interiors as they ought to be. It was the Brahmans, who really had no use for caves, who first set the example of this architectural absurdity.
It was evidently intended that the mass between the lower and upper stories of this Cave should have been sculptured into a frieze. This not having been accomplished, the façade has consequently a clumsy and heavy look, which would have been relieved by the sculpture.
# The Rock-cut Temples of India/The Caves of Ellora/Dus Avatara—Ellora

DUS AVATARA.—ELLORA.
THE third of these caves is called the Dus Avatara, after the ten Avatars of Vishnu; is a two-storied cave, very like the other two in architectural detail and arrangement, but essentially Hindoo in its sculptures.
The upper storey is a splendid hall, measuring 100 feet each way; the roof supported by 44 pillars spaced equally over the floor, but in lieu of the cells of a Vihara, there is a group of sculpture between each pilaster. On the left hand, all the groups are to the honour of Siva and Parvati; and in the sanctuary, in the centre of the inner wall, is his emblem, the Lingam. On the right hand everything is Vishnave, a curious instance of these two religions—which afterwards became so antagonistic—occupying one temple, as there can be no doubt but that these sculptures formed part of the original decorations. The whole of them are in the very best style of Hindoo sculpture, perhaps superior as a whole to anything else either here or elsewhere.
# The Rock-cut Temples of India/The Caves of Ellora/Cloister, Kylas—Ellora

CLOISTER, KYLAS.—ELLORA.
THE pit in which the Temple stands measures 150 ft. in width by 270 in length, and is surrounded on all sides by a cloister of which one bay is illustrated in the annexed view. Like everything else in the Kylas, it has the defect of being a literal copy from a structural form without any adaptation to its position. The consequence is that the pillars look painfully light or slender when considered as supporting the 80 or 100 ft. of plain rock which towers over them.
The back of the cloister is covered with sculptured groups, exhibiting all the wild exuberance and strange fancies of the Hindoo imagination, though still free from the worst exaggerations of the modern style. It is when standing in its shade and looking upwards, towards the Vimana, that we become aware of the grandeur of the composition, and feel that the whole forms an architectural picture not often surpassed.