OpenLLM-France/wikimedia huggingface dataset:
# The Lives and Characters of the English Dramatick Poets/William Sampson

William Sampson.
A Retainer of Sir Henry Willoughby’s Family of Richley in Derbyshire, in the Reign of King Charles the First. He writ one Play and part of another.
The Vow-breaker; or, The Fair Maid of Clifton, in Nottinghamshire; a Tragedy, 4 to. 1633. acted by several Companies with great Applause; and dedicated to Mrs. Ann Willoughby, Daughter to Sir Henry, aforesaid.
Herod and Antipater, a Tragedy, 4 to. See Markham, with whom he joined in this.
# The Lives and Characters of the English Dramatick Poets/William Strode

William Strode.
POet and Divine in the Reign of King Charles the Frst; he was born in Devonshire, entred at Nineteen, and admitted Student of Christ-Church, Oxon; having taken most of his Degrees, was chose University-Orator, and after that commenc’d Doctor, and was made a Cannon by the King. He died March 11. 1644, and was buried at Christ-Church afore-said.
The Floating Island, a Comedy, 4 to. 1655. acted by the Students of Christ-Church, before his Majesty, at Oxon. 1639. The Airs and Songs were set by Mr. Henry Lawes. The Author had ​transcribed and dedicated the Play to his honoured Patron, Sir John Helle, but it was not printed till some Years after his Death. This Play is full of Morality. The Author publish’d three Sermons besides the Play.
# The Lives and Characters of the English Dramatick Poets/William Wager

William Wayer.
He has a Play so long since printed, that Mr. Langbain could never gain a Sight of it. The Title is,
The longer thou Liv'st the more Fool thou art, a Comedy, 4to. but so old that it has no Date. It has also this Title, A very merry and pithy Comedy, &c.
# The Lives and Characters of the English Dramatick Poets/William Rowley

William Rowley, vide Webster, &c.
He studied once at Pembrook-Hall, Cambridge, and was in writing Associate with Shakespear, Fletcher, Massinger, Heywood, &c.
All’s lost by Lust, a Tragedy, 4 to. 1633. acted at the Phænix in Drury-Lane, by the Lady Elizabeth’s Servants. Plot, Lipsii Monita, Lib. 1. Cap. 5. &c. Turquet, Lib. 5. Cap. 30. Unfortunate Lovers, Nov. 3.
A Match at Midnight, a pleasant Comedy, 4 to. 1633. Plot of Bloodhound’s being hid under the Widow’s Bed, taken from an old Story, you may also find in The English Rogue, part 4. chap. 19.
A Shoemaker’s a Gentleman, a Comedy, 4 to. 1638, styled, A merry and Pleasant Comedy, as it has been sundry times acted at the Red Bull. Plot from The History of the Gentle Craft, 4 to.
A new Wonder, a Woman never vext, a Comedy, 1632. The Widow’s finding her Wedding Ring in a Fishes Belly, founded on the Story of Polycrates, in Thalia of Herodotus.
The Spanish Gipsies, a Comedy, 4 to. See Middleton, who joined with him in this.
The Witch of Edmonton, a Tragi-Comedy, 4 to. 1658. acted by the Prince’s Servants at the Cock-pit in Drury-Lane, as also once at Court, with great Applause.
# The Lives and Characters of the English Dramatick Poets/William Walker

William Walker.
A Young Gentleman of about Nineteen Years of Age, he was born (if I'm not mis-inform'd) in the Isle of Barbadoes, and ​of a good Family, his Education was most in England; he has publish'd one Play, call'd,
Victorious Love, a Tragedy, as it is acted at the Theatre Royal in Drury Lane, 1698. 4to. and dedicated to the Honourable James Kendal, Esq; one of the Lords of the Admiralty. He tells us in the Preface, that he acted a part himself in his Play, which I suppose was no Disadvantage to it: for it was, as we learn from the same Preface, well received by the Town. The Play seems to be a kind of Imitation of Oroonoko only here instead of one, they are all Negroe's. But, if they think the Devil white, methinks she shou'd scarce be so very Amiable in their Eyes; but under this Censure Imoinda wou'd equally fall; and 'tis very excusable in so young a Beginner as Mr. Walker. I only say it, for fear the Publick should go on, and we see nothing but Black Heroes for the Future, since the Colour spreads so fast on the Stage. The Greek Poets seldom went out of Greece for their Heroes; but ours on the contrary, find Heroes every where but in their own Country; this is no Argnment of their Judgment or Vertue; for if Example be that they wou'd instruct by, the nearer the Example is related to us, the more force it will naturally have upon us.
# The Lives and Characters of the English Dramatick Poets/William Mountford

William Mountford.
The Birth and Parentage of this Author I know nothing of; the first Figure he made was,in the part of Tall-Boy, on the Stage, for which, being taken Notice, he was advanc’d on the Theatre, till he got into the Family of the late Lord Chancellor Jefferies; from whence he return’d to the Stage, where he continued till he was kill’d in Norfolk-Buildings, London. He has publish’d three Plays.
Greenwich-Park, a Comedy, 4 to. 1691. Acted at the Theatre Royal, by their Majesties Servants, and dedicated to the Right Honourable, Algernon, Earl of Essex, Viscount Malden, &c. This is a very pretty Comedy, and has been always received with general Applause.
The Injur’d Lovers; or, The Ambitious Father, a Tragedy, 4 to. 1688. the Dedication is to the Right Honourable, James, Earl of Arran, Son to his Grace, the Duke of Hamilton. This Play did not succeed as the Author wish’d.
The Life and Death of Dr. Faustus, made into a Farce, with the Humours of Harlequin and Scaramauch, as they were several times acted by Mr. Lee and Mr. Jevoa, at the Queen’s Theatre in Dorset-Garden, newly reviv’d at the Theatre in Lincoln’s-Inn-Fields.
The Succesful Strangers, a Tragi-Comedy, 4 to. 1690. Acted by their Majesties Servants, at the Theatre Royal. Its Dedication is to the Right Honourable, Thomas (now Lord) Wharton, Comptroller of his Majesty’s Houshold. The Catastrophe from The Rival Brothers, in Scarron’s Novels. This Play somewhat exceeded the preceding one.
# The Lives and Characters of the English Dramatick Poets/William Rider

William Rider.
THis Author was Master of Arts, and writ one Play, called,
The Twins, a Tragi-Comedy, 4 to. 1635. acted at the private House in Salisbury-Court, with general Applause.
# The Lives and Characters of the English Dramatick Poets/William Smith

William Smith.
THis Author writ one Play in King James the First his Reign, call'd,
The Hector of Germany; or, The Palsgrave Prime Elector; a History, 4to. 1615. acted at the Red Bull, &c. by a Company of young Citizens, and dedicated to the right Honourable, Sir John Swinnerton, Lord Mayor of London. This Play is not divided into Acts. He writ, with the Assistance of one Mr. Webbe, a Book call'd, The Description of the County Palatine of Chester.
# The Magic of Oz

* information about this edition.
* sister projects: Wikipedia article, Commons category, Wikidata item.
[Book 13 of the Oz series. ] Published on June 7, 1919, one month after the author's death, The Magic of Oz relates the attempt of the Munchkin boy Kiki Aru and former Nome King Ruggedo to conquer Oz.
THE MAGIC OF OZ
A Faithful Record of the Remarkable Adventures of Dorothy and Trot and the Wizard of Oz, together with the Cowardly Lion, the Hungry Tiger and Cap'n Bill, in their successful search for a Magical and Beautiful Birthday Present for Princess Ozma of Oz
BY L. FRANK BAUM "Royal Historian of Oz"

## To My Readers

Curiously enough, in the events which have taken place in the last few years in our "great outside world," we may find incidents so marvelous and inspiring that I cannot hope to equal them with stories of The Land of Oz.
However, "The Magic of Oz" is really more strange and unusual than anything I have read or heard about on our side of The Great Sandy Desert which shuts us off from The Land of Oz, even during the past exciting years, so I hope it will appeal to your love of novelty.
A long and confining illness has prevented my answering all the good letters sent me—unless stamps were enclosed—but from now on I hope to be able to give prompt attention to each and every letter with which my readers favor me.
Assuring you that my love for you has never faltered and hoping the Oz Books will continue to give you pleasure as long as I am able to write them, I am
L. Frank Baum Royal Historian of Oz
"OZCOT" at HOLLYWOOD in CALIFORNIA,
1918.
I Dedicate this Book to the Children of our soldiers, the Americans, and their Allies, with unmeasured Pride and Affection. L. F. B.

### CONTENTS

CHAPTER
* Mount Munch
* The Hawk
* Two Bad Ones
* Conspirators
* A Happy Corner of Oz
* Ozma's Birthday Presents
* The Forest of Gugu
* The Li-Mon-Eags Make Trouble
* The Isle of the Magic Flower
* Stuck Fast
* The Beasts of the Forest of Gugu
* Kiki Uses His Magic
* The Loss of the Black Bag
* The Wizard Learns the Magic Word
* The Lonesome Duck
* The Glass Cat Finds the Black Bag
* A Remarkable Journey
* The Magic of the Wizard
* Dorothy and the Bumble Bees
* The Monkeys Have Trouble
* The College of Athletic Arts
* Ozma's Birthday Party
* The Fountain of Oblivion
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 Lucky Dog

* related portals: Comedy film, Silent film.
* sister projects: Wikipedia article, Commons category, Wikidata item.
Cast and Crew :
| Cast ||
| Role | Actor |
| | Stan Laurel |
| | Oliver Hardy |
| | Edward Jefferson |
| Crew ||
| Distributor | Metro Pictures |
| Director | Jess Robbins (d. 1973) |
| Producer | Broncho Billy Anderson (d. 1971) |
| Screenwriter | Jess Robbins |
| Cinematographer | Irving G. Ries (d. 1963) |
| Based on available information, the latest crew member that is relevant to international copyright laws died in 1973, meaning that this film may be in the public domain in countries and jurisdictions with 50 years p.m.a. or less, as well as in the United States. ||
The Amalgamated Producing Company presents STAN LAUREL in "THE LUCKY DOG"
So Broke He Couldn't Buy Metal Polish For a Thumb Tack.
STANLEY LAUREL.
The Landlady whore heart is harder than her mattress.
One good turn deserves another.
LOS ANGELES OSTRICH F[ARM]
"Pay your bill it's beginning to Look like the war debt."
"If you want to be a headlight come around when you're lit up."
"Sweet one, this flower has a scent but I haven't."
"Put'em both up, insect, before I comb your hair with lead."
You can't get a truck in a Ford garage.
LUNCHES
NO DOGS ALLOWED
"He a dandruff hound—hard to get rid of."
GARBAGE
Coming to enter her dog in the barking contest.
Association
DOG SHOW Thourouhbreds Only
"What's its name?"
"I don't know whether to call it Henry or Henrietta."
There's always a crumb under the table.
He plans a revenge that's worse than the telephone service.
Her home and the butler who has a fly time.
It didn't strike father funny.
"I meant that for the butler."
"That's the only thing I've had lately with a kick in it."
"I love dogs—how long will you be with us?"
"Are you always in the same good spirits?"
"Not always—I'm seldom caught like this."
The plotters arrive as welcome as Blue Sunday.
"Be ready when I say the word."
"If they don't work I have this Bolsheviki candy."
DYNAMITE. 100%
"Meet Count De Chease from Switzerland."
"You and the world are going to separate."
"Just a minute I need a shot of this."
"What have you got in there—rubber bullets?"
"I'll fix it, I used to open shells in an oyster house."
"You get the girl and leave the rest to me."
This makes Russian blowouts successful.
THE END
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 1973, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 50 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 Librarian's Copyright Companion/Appendix G

Appendix G
Guidelines for Off-Air Recordings of Broadcast Programming for Educational Purposes (1984)
In March 1979, Congressman Robert Kastenmeier, Chairman of the House Subcommittee on Courts, Civil Liberties and Administration of Justice, appointed a Negotiating Committee consisting of representatives of educational organizations, copyright proprietors, and creative guilds and unions. The following guidelines reflect the Negotiating Committee’s consensus as to the application of “fair use” to the recording, retention, and use of television broadcast programs for educational purposes. They specify periods of retention and use of such off-air recordings in classrooms and similar places devoted to instruction and for homebound instruction. The purpose of establishing these guidelines is to provide standards for both owners and users of copyrighted television programs.
* The guidelines were developed to apply only to off-air recording by non-profit educational institutions.
* A broadcast program may be recorded off-air simultaneously with broadcast transmission (including simultaneous cable retransmission) and retained by a nonprofit educational institution for a period not to exceed the first forty-five (45) consecutive calendar days after date of recording. Upon conclusion of such retention period, all off-air recordings must be erased or destroyed immediately. “Broadcast programs” are television programs transmitted by television stations for reception by the general public without charge. ​
* Off-air recordings may be used once by individual teachers in the course of relevant teaching activities, and repeated once only when instructional reinforcement is necessary, in class-rooms and similar places devoted to instruction within a single building, cluster or campus, as well as in the homes of students receiving formalized home instruction, during the first ten (10) consecutive school days in the forty-five (45) day calendar day retention period. “School days” are school session days—not counting weekends, holidays, vacations, examination periods, and other scheduled interruptions—within the forty-five (45) calendar day retention period.
* Off-air recordings may be made only at the request of and used by individual teachers, and may not be regularly recorded in anticipation of requests. No broadcast program may be re-corded off-air more than once at the request of the same teacher, regardless of the number of times the program may be broadcast.
* A limited number of copies may be reproduced from each off-air recording to meet the legitimate needs of teachers under these guidelines. Each such additional copy shall be subject to all provisions governing the original recording.
# The Librarian's Copyright Companion/Appendix B

Appendix B
Copyright Texts for Librarians: A Selective Bibliography
# The Librarian's Copyright Companion/Appendix A

Appendix A
Online Copyright Resources
American Library Association http://www.ala.org/ala/issuesadvocacy/copyright/index.cfm
Artists Rights Society http://www.arsny.com/index.html
Association of Research Libraries http://www.arl.org/pp/ppcopyright/
Center for Social Media http://www.centerforsocialmedia.org/fair-use
Columbia University Copyright Advisory Office http://copyright.columbia.edu/copyright/
Copyright Clearance Center http://www.copyright.com/
Cornell University http://www.copyright.cornell.edu/
Creative Commons http://creativecommons.org/
Duke University http://blogs.library.duke.edu/scholcomm/copyright-in-teaching/copyright-duke/
​Library Copyright Alliance http://www.librarycopyrightalliance.org/
Stanford University Libraries http://fairuse.stanford.edu/
United States Copyright Office http://copyright.gov/
University of Minnesota Libraries http://www.lib.umn.edu/copyright
University of Texas Copyright Crash Course http://copyright.lib.utexas.edu/
Visual Resource Association http://www.vraweb.org/organization/committees/ipr/ipr_resources.html
# The Librarian's Copyright Companion/Appendix D

Appendix D
Model Policy Concerning College and University Photocopying for Classroom, Research, and Library Reserve Use (1982)
# The Librarian's Copyright Companion/Appendix I

Appendix I
Sample Permission Letter to Copyright Owner
[Date]
[Name and Address]
Dear __________:
I am writing to request permission to use [name of article/chapter from book/illustration …] for use in classes I teach at ______________ during the 2012/2013 academic year and in future semesters.
| [If a Book] | [If an Article] |
| Title: Author: | Title: Author: |
| Chapter: Copyright Date: ISBN # | Volume Number and Pages: Copyright Date: ISSN # |
The materials will be distributed to students enrolled in my classes, or made available through the library’s reserve operations or electronically. If the materials are placed on reserve, we will make no more than five copies. If the materials are made available electronically, they will be distributed only to students enrolled in the class on a secure website, and we will implement control procedures that restrict further distribution.
I greatly appreciate your supporting my students and their coursework. I hope you will agree to this non-profit academic use of your materials by returning this letter, with your signature, in the self-addressed envelope ​that I have enclosed for your convenience. Alternatively, you may e-mail your permission to me at [ ].
Again, many thanks,
Name: Title: School Name/Address: Phone Number/Fax Number/E-mail address:
Permission to Use the Materials Listed Above is Granted
Name: Title: Date:
# The Lone Hand (Pain)

From the 3-part serial in Grand Magazine, 1905, pp. 247–261; 408–425; 592–609. Accompanying illustrations omitted.
THE LONE HAND By BARRY PAIN.
In the following story, which will be completed in three instalments, the well-known author relates the singular adventures which befel a brave and high-spirited girl who came up to London to make a living for herself, with no other aid than that of her own mother-wit.
For those—and they are many—who seek in fiction a wholesome relaxation from the cares of life, there will be found in these adventures a light and pleasant form of entertainment—a series of scenes, ranging from the real to the fantastic, taken from the Great Comedy of Life.
* Part I
* I. Stranded
* II. Mr. Nathan Gould
* III. The Man of Means
* Part II
* IV. The Spirits of Hanford Gardens
* V. Unrewarded
* Part III
* VI. A Queer Commission
* VII. The Pegasus Car
* VIII. A Loss and a Gain
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 1928, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 95 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 Lone Hand

* Search for titles containing or beginning with: "The Lone Hand."
* sister projects: Wikipedia article, 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 Lone Hand (1905) short story by H. C. Bailey
* The Lone Hand (1905) novella by Barry Pain
# The Life and Opinions of Tristram Shandy, Gentleman/Volume 3/Chapter 28

CHAP. XXVIII.
From the first moment I sat down to write my life for the amusement of the world, and my opinions for its instruction, has a cloud insensibly been gathering over my father.—A tide of little evils and distresses has been setting in against him.—Not one thing, as he observed himself, has gone right: and now is the storm thicken'd, and going to break, and pour down full upon his head.
I enter upon this part of my story in the most pensive and melancholy frame of mind, that ever sympathetic breast was touched with.—My nerves relax as I tell it.—Every line I write, I feel an abatement of the quickness of ​my pulse, and of that careless alacrity with it, which every day of my life prompts me to say and write a thousand things I should not.—And this moment that I last dipp'd my pen into my ink, I could not help taking notice what a cautious air of sad composure and solemnity there appear'd in my manner of doing it.—Lord! how different from the rash jerks, and hare-brain'd squirts thou art wont, Tristram! to transact it with in other humours,—dropping thy pen,—spurting thy ink about thy table and thy books,—as if thy pen and thy ink, thy books and thy furniture cost thee nothing.
# The Life and Opinions of Tristram Shandy, Gentleman/Volume 3/Chapter 23

CHAP. XXIII.
All is quiet and hush, cried my father, at least above stairs,—I hear not one foot stirring.—Prithee, Trim, who is in the kitchen? There is no one soul in the kitchen, answered Trim, making a low bow as he spoke, except Dr. Slop.—Confusion! cried my father, (getting up upon his legs a second time)—not one single thing has gone right this day! had I faith in astrology, brother, (which by the bye, my father had) ​I would have sworn some retrograde planet was hanging over this unfortunate house of mine, and turning every individual thing in it out of its place.—Why, I thought Dr. Slop had been above stairs with my wife, and so said you.—What can the fellow be puzzling about in the kitchen?—He is busy, an' please your honour, replied Trim, in making a bridge.—'Tis very obliging in him, quoth my uncle Toby;—pray give my humble service to Dr. Slop, Trim, and tell him I thank him heartily.
You must know, my uncle Toby mistook the bridge as widely as my father mistook the mortars;—but to understand how my uncle Toby could mistake the bridge,—I fear I must give you an exact account of the road which led to it;—or to drop my metaphor, (for ​there is nothing more dishonest in an historian, than the use of one,)—in order to conceive the probability of this error in my uncle Toby aright, I must give you some account of an adventure of Trim's, though much against my will. I say much against my will, only because the story, in one sense, is certainly out of its place here; for by right it should come in, either amongst the anecdotes of my uncle Toby's amours with widow Wadman, in which corporal Trim was no mean actor,—or else in the middle of his and my uncle Toby's campaigns on the bowling green,—for it will do very well in either place;—but then if I reserve it for either of those parts of my story,—I ruin the story I'm upon,—and if I tell it here—I anticipate matters, and ruin it there.
​—What would your worships have me to do in this case?
—Tell it, Mr. Shandy, by all means.—You are a fool, Tristram, if you do.
O ye powers! (for powers ye are, and great ones too)—which enable mortal man to tell a story worth the hearing,—that kindly shew him, where he is to begin it,—and where he is to end it,—what he is to put into it,—and what he is to leave out,—how much of it he is to cast into shade,—and whereabouts he is to throw his light!—Ye, who preside over this vast empire of biographical freebooters, and see how many scrapes and plunges your subjects hourly fall into;—will you do one thing?
I beg and beseech you, (in case you ​will do nothing better for us) that where-ever, in any part of your dominions it so falls out, that three several roads meet in one point, as they have done just here,—that at least you set up a guide-post, in the center of them, in mere charity to direct an uncertain devil, which of the three he is to take.