OpenLLM-France/wikimedia huggingface dataset:
# Laughlin v. Mitchell

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
121 U.S. 411
Laughlin v. Mitchell
[Murray F. Smith, for appellant.
A. M. Lea, for appellee.
BLATCHFORD, J.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Jerry of the Islands

* Foreword
* 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
* Chapter XIX
* Chapter XX
* Chapter XXI
* Chapter XXII
* Chapter XXIII
* Chapter XXIV
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
# Jerome v. United States

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
318 U.S. 101
Jerome v. United States
Argued: Jan. 7, 1943. --- Decided: Feb 1, 1943
Mr. John T. Sapienza, of Washington, D.C., for petitioner.
Mr. Wendell Berge, Asst. Atty. Gen., for respondent.
Mr. Justice DOUGLAS delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Judgment is justest

Judgment is justest When the Judged, His action laid away, Divested is of every Disk But his sincerity.
Honor is then the safest hue In a posthumous Sun — Not any color will endure That scrutiny can burn.
# Judicial Committee Act 1915

The Judicial Committee Act 1915 was passed to allow the Judicial Committee of the Privy Council to sit in more than one division at the same time.
(c.92 5 and 6 Geo 5)
An Act to enable the Judicial Committee of the Privy Council to sit in more than one Division at the same time. [23rd December 1915]
1.— (1) The Judicial Committee of the Privy Council may, subject to the approval of the Lord Chancellor and the Lord President of the Council, sit in more than one division at the same time, and in such case anything which may be done to, by or before the Judicial Committee may be done to, by or before any such division of the Judicial Committee.
(2) The power of His Majesty in Council to make rules as to the practice and procedure before the Judicial Committee shall include the power to make orders for the constituting of divisions and the holding of divisional sittings of the Judicial Committee.
2. This Act may be cited as the Judicial Committee Act 1915.

## Source

* Text from Statute Law Database
This work is in the public domain worldwide because it is one of the following types of legislation in the United Kingdom or its predecessor states, and received Royal Assent or the approval of HM in Council (as applicable) before 1974:
* Act of Parliament
* Act of the Scottish Parliament
* Measure of the National Assembly for Wales
* Act of Senedd Cymru (formerly known as an Act of the National Assembly for Wales)
* Act of the Northern Ireland Assembly
* Measure of the General Synod of the Church of England
See section 164 of the Copyright, Designs and Patents Act 1988 (as amended).
Public domainPublic domainfalsefalse
# John Masefield/Of The Elect

"OF THE ELECT"
By Arthur Guiterman
The tumult and the shouting dies, the critics and their bards depart; John Masefield remains, one of the few who carry on the high tradition of English poetry, a great poet by virtue of a great soul. In his fiftieth year his poems and plays have been collected as The Collected Works of John Masefield, in four volumes, making it easier to arrive at some estimate of the literary achievement of an unusually varied career. In these books there is nothing weak nor petty. We have the lyric vigor and rude mirth of the early Salt Water Ballads, with the sailor's yearning for the sea and the loveliness of tall ships; the plays and the tragic poems, with their deep feeling for struggling humanity; Reynard the Fox, with its rich Chaucerian pictures of the English countryside; the later sonnets, with their definite philosophy and melodious charm; and always the understanding sympathy that drives out hatred and the passionate devotion of the seeker for—
that one beauty God put me here to find.
Great poetry is essential truth revealed in beauty; and poetry is not an exercise for the neurotic, the lazy, nor the mentally deficient. The mind of a true poet should be as logical as that of a mathematician and as clean, vigorous, and well-trained as the body of an athlete; his observation and insight should be as unerring as that of a scientist; and his utterance, with all its graces of diction, should be as clear as that of a mountaineer or a wise child. The great poet, like the great scientist, deals not in "common sense," but in that uncommon sense of a better day. By these tests and more, John Masefield is surely of the elect.—The Outlook
# John Masefield/Rule Brittania

We learn from time to time that the Englishmen are all dead. Some fomenting soul hints darkly that Anglophiles are poring over English tripe at the reviewing stand. Bennett and Wells and Galsworthy are dead upon their feet; old age has overtaken Hardy; Kipling has pneumonia; and Joseph Conrad is home from the sea.
We also learn that English poetry is now laid low. Housman has quit. Bridges never does anything, and the Sitwells and Huxleys are rightly mad. The young men of England, so it is said, are vainly attempting to fit the glass slipper of Lord Alfred of Victoria upon their feet or wear the clog shoes of T. S. Eliot. And as for the theatre, Shaw alone maintains the tradition, and he an Irishman. The rest are so many Michael Arlens laid hat to hat.
All this being the case, it is disconcerting for John Masefield to dump his collected works upon the unsuspecting and preening American self-esteem. We Americans, one hears everywhere, are on the up-grade in literachoor. We have a hey-nonny-nonny lilt of virility for new forms, new things, new gods. Then comes another collected edition from England, this time John Masefield's.
Whaddye mean, the English are all dead? Macmillan's sends the Masefield collection down to Park Row. Masefield dead? Masefield isn't nearly through. He has simply collected four volumes of the things he wishes preserved. If it is newness of verse you seek, there's the volume containing The Widow in the Bye Street and The Everlasting Mercy. If it is excellence in the classic style, you might read again "Be With Me, Beauty, for the Fire Is Dying." If it be drama or plays, you may have your choice between good plays in verse and good plays in prose. For narrative there is Dauber and for the crude, uncut rhythms of verse you may again read Right Royal or Reynard the Fox.
Masefield has not yet included his prose in the collection. His study of Gallipoli is absent—that long, straight flight of ​writing which preserves forever still another crowd of bright and deathless figures on the beaches near Troy. One recalls fugitive other pieces. The English are all worn out and awry? Just so many Cosmo Hamiltons running from WJZ? Ho! Ho! Ho! Stop me if you've heard this one.
I wish to God we had one American who gave the promise of some day living, on a hill somewhere, comparable to Boar's Hill in Oxford, who might dump four volumes of Masefield's stuff down upon this desk. Then there would be another Anglo-phobe following the trail which Sinclair Lewis blazes anew whenever he returns from London, monocle in eye, stars and stripes forever.
—New York World
# John Masefield/The Most Satisfying Poet

"THE MOST SATISFYING POET"
By John Farrar
Upon the publication of the complete edition of his poems and plays, I find little new to say about John Masefield. He seems to me by far the most satisfying poet of our time. In its final essence, greatness in poetry, as far as current poets are concerned, is certainly a matter of personal preference. There are those who find, in some of Masefield, swinging rhythms that ​mark him for them as "popular." Others belittle him on other grounds. The fact remains that for beauty of form and line, originality of conception, serenity of thought, John Masefield is supreme. He is a more vital poet than Hardy, a more thoughtful poet than Kipling, a more virile poet than Yeats. His great lines are many, and there are many great and memorable poems. As a dramatist, he possesses a quiet depth that is perhaps the mark also of the great poet rather than the dramatic genius;
—The Bookman
# Korean Air Flight 801 - Aircraft Accident Report (NTSB)

* related portals: National Transportation Safety Board.
* sister projects: Wikipedia article, quotes, Wikidata item.
PB00-910401 NTSB/AAR-00/01 DCA97MA058
NATIONAL TRANSPORTATION SAFETY BOARD
WASHINGTON, D.C. 20594
AIRCRAFT ACCIDENT REPORT
CONTROLLED FLIGHT INTO TERRAIN KOREAN AIR FLIGHT 801 BOEING 747-300, HL7468 NIMITZ HILL, GUAM AUGUST 6, 1997
6952B
Abstract: This report explains the accident involving Korean Air flight 801, a Boeing 747-300, which crashed into high terrain at Nimitz Hill, Guam, on August 6, 1997. Safety issues in the report focus on flight crew performance, approach procedures, and pilot training; air traffic control, including controller performance and the inhibition of the minimum safe altitude warning system at Guam; emergency response; the adequacy of Korean Civil Aviation Bureau and Federal Aviation Administration oversight; and flight data recorder documentation. Safety recommendations concerning these issues are addressed to the Federal Aviation Administration, the Governor of the Territory of Guam, and the Korean Civil Aviation Bureau.
The National Transportation Safety Board is an independent Federal agency dedicated to promoting aviation, raiload, highway, marine, pipeline, and hazardous materials safety. Established in 1967, the agency is mandated by Congress through the Independent Safety Board Act of 1974 to investigate transportation accidents, study transportation safety issues, and evaluate the safety effectiveness of government agencies involved in transportation. The Safety Board makes public its actions and decisions through accident reports, safety studies, special investigation reports, safety recommendations, and statistical reviews.
Recent publications are available in their entirety at <http://www.ntsb.gov>. Other information about available publications may also be obtained from the Web site or by contacting:
National Transportation Safety Board Public Inquiries Section, RE-51 490 L'Enfant Plaza, East, S.W. Washington, D.C. 20594 (800) 877-6799 or (202) 314-6551
Safety Board publications may be purchased, by individual copy or by subscription, from the National Technical Information Service. To purchase this publication, order report number PB00-910401 from:
National Technical Information Service 5285 Port Royal Road Springfield, Virginia 22161 (800) 553-6847 or (703) 605-6000
Controlled Flight Into Terrain Korean Air Flight 801 Boeing 747-300, HL7468 Nimitz Hill, Guam August 6, 1997
PB00-910401 Notation 6952B
National Transportation Safety Board 490 L'Enfant Plaza, S.W.
​Contents
Tables
This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Law of the People's Republic of China on Judicial Immunity from Compulsory Measures Concerning the Property of Foreign Central Banks

* information about this edition.
* related portals: Law of China.
* sister projects: Wikidata item.
(Adopted at the 18th Meeting of the Standing Committee of the Tenth National People's Congress on October 25, 2005)
Article 1
The People's Republic of China grants to foreign central banks’ property the judicial immunity from the compulsory measures of property preservation and execution, except where a foreign central bank, or a government to which a central bank is subordinate, gives up such immunity in writing, and where the property which is designated to be used for property preservation and execution.
Article 2
For the purposes of this Law, a foreign central bank means the central bank of a foreign country and of a regional economic integration organization, or the financial administration institution exercising the functions of a central bank. For the purposes of this Law, the property of foreign central banks includes the cash, notes, bank deposits, securities, foreign exchange reserve and gold reserve of the foreign central banks and the banks’ immovable property and other property.
Article 3
Where a foreign country grants no immunity to the property of the central bank of the People's Republic of China or to the property of the financial administration institutions of the special administrative regions of the People's Republic of China, or the immunity granted covers less items than what are provided for in this Law, the People's Republic of China shall apply the principle of reciprocity.
Article 4
This Law shall go into effect as of the date of promulgation.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Joseph and His Brethren: A Pageant Play/Illustrations

ILLUSTRATIONS
# Joseph and His Brethren: A Pageant Play/Note

NOTE
The term Pageant Play, which is new, may require a word of explanation. A Pageant Play, as I conceive it, is a play written on the same principles as my English Pageants. In those the towns in which they took place were the heroes. In my Pageant Plays the hero is some outstanding figure: Drake—Joseph. As in my pageants I told the entire history of the town, so in these plays I attempt to tell the entire history of the man. The so-called unities of time and place are therefore of no consideration; but are replaced by a much more important unity: the unity of idea. I should like to add that under no circumstances is what is commonly, but wrongly, understood as pageantry introduced for its own sake; nor scenery either. There is, for instance, no unnecessary display of scenery in "Joseph," any more than there is in "Drake." On the contrary, the scenery in both plays is of the simplest nature, or the play could not be represented. It happens, however, to be extraordinarily well painted. Joseph and His Brethren was first performed under the management of Messrs. Liebler & Co. at the Century Theatre, New York, on Saturday, January 11, 1913.
I reprint the programme of the first performance because I am very grateful to this large body of artists, and because I hope they will be glad to have a permanent record of what was, to us, a memorable occasion.
Louis N. Parker.
# Laws of the Game

* Laws of the Game (1863) (initial resolutions)
* Laws of the Game (1863) (draft)
* Laws of the Game (1863) (as submitted for adoption)
* Laws of the Game (1863)
* Laws of the Game (1866)
* Laws of the Game (1867)
* Laws of the Game (1869)
* Laws of the Game (1870)
* Laws of the Game (1871)
* Laws of the Game (1872)
* Laws of the Game (1873)
* Laws of the Game (1874)
* Laws of the Game (1875)
* Laws of the Game (1877)
* Laws of the Game (1878)
* Laws of the Game (1880)
* Laws of the Game (1881)
* Laws of the Game (1882)
* Laws of the Game (1883)
* Laws of the Game (1886)
* Laws of the Game (1887)
* Laws of the Game (1888)
* Laws of the Game (1889)
* Laws of the Game (1890)
* Laws of the Game (1891)
* Laws of the Game (1892)
* Laws of the Game (1893)
* Laws of the Game (1894)
* Laws of the Game (1895)
* Laws of the Game (1896)
* Laws of the Game (1897)
* Laws of the Game (1898)
* Laws of the Game (1901)
* Laws of the Game (1902)
* Laws of the Game (1903)
* Laws of the Game (1904)
* Laws of the Game (1905)
* Laws of the Game (1907)
* Laws of the Game (1908)
* Laws of the Game (1909)
* Laws of the Game (1910)
* Laws of the Game (1911)
* Laws of the Game (1912)
* Laws of the Game (1913)
* Laws of the Game (1914)
* Laws of the Game (1920)
* Laws of the Game (1921)
* Laws of the Game (1923)
* Laws of the Game (1924)
* Laws of the Game (1925)
* Laws of the Game (1927)
# Leaves of Grass (1882)/Drum-Taps/Spirit whose Work is Done

SPIRIT WHOSE WORK IS DONE.
(Washington City, 1865.)
Spirit whose work is done—spirit of dreadful hours! Ere departing fade from my eyes your forests of bayonets; Spirit of gloomiest fears and doubts, (yet onward ever unfaltering pressing,) Spirit of many a solemn day and many a savage scene—electric spirit, That with muttering voice through the war now closed, like a tireless phantom flitted, Rousing the land with breath of flame, while you beat and beat the drum, Now as the sound of the drum, hollow and harsh to the last, reverberates round me, As your ranks, your immortal ranks, return, return from the battles, As the muskets of the young men yet lean over their shoulders, As I look on the bayonets bristling over their shoulders, As those slanted bayonets, whole forests of them appearing in the distance, approach and pass on, returning homeward, Moving with steady motion, swaying to and fro to the right and left, Evenly lightly rising and falling while the steps keep time; Spirit of hours I knew, all hectic red one day, but pale as death next day, Touch my mouth ere you depart, press my lips close, Leave me your pulses of rage—bequeath them to me—fill me with currents convulsive, Let them scorch and blister out of my chants when you are gone, Let them identify you to the future in these songs.
# Leaves of Grass (1882)/Drum-Taps/To the Leaven'd Soil They Trod

TO THE LEAVEN'D SOIL THEY TROD.
To the leaven'd soil they trod calling I sing for the last, (Forth from my tent emerging for good, loosing, untying the tent-ropes,) In the freshness the forenoon air, in the far-stretching circuits and vistas again to peace restored, To the fiery fields emanative and the endless vistas beyond, to the South and the North, To the leaven'd soil of the general Western world to attest my songs, To the Alleghanian hills and the tireless Mississippi, To the rocks I calling sing, and all the trees in the woods, To the plains of the poems of heroes, to the prairies spreading wide, ​To the far-off sea and the unseen winds, and the sane impalpable air; And responding they answer all, (but not in words,) The average earth, the witness of war and peace, acknowledges mutely, The prairie draws me close, as the father to bosom broad the son, The Northern ice and rain that began me nourish me to the end, But the hot sun of the South is to fully ripen my songs.
# Leaves of Grass (1882)/Drum-Taps/Virginia—the West

VIRGINIA—THE WEST.
The noble sire fallen on evil days, I saw with hand uplifted, menacing, brandishing, (Memories of old in abeyance, love and faith in abeyance,) The insane knife toward the Mother of All.
The noble son on sinewy feet advancing, I saw, out of the land of prairies, land of Ohio's waters and of Indiana, To the rescue the stalwart giant hurry his plenteous offspring, Drest in blue, bearing their trusty rifles on their shoulders.
Then the Mother of All with calm voice speaking, As to you Rebellious, (I seemed to hear her say,) why strive against me, and why seek my life? When you yourself forever provide to defend me? For you provided me Washington—and now these also.
# Leaves of Grass (1882)/Drum-Taps/The Artilleryman's Vision

THE ARTILLERYMAN'S VISION.
While my wife at my side lies slumbering, and the wars are over long, And my head on the pillow rests at home, and the vacant midnight passes, And through the stillness, through the dark, I hear, just hear, the breath of my infant, There in the room as I wake from sleep this vision presses upon me; The engagement opens there and then in fantasy unreal, The skirmishers begin, they crawl cautiously ahead, I hear the irregular snap! snap! I hear the sounds of the different missiles, the short t-h-t! t-h-t! of the rifle-balls, I see the shells exploding leaving small white clouds, I hear the great shells shrieking as they pass, The grape like the hum and whirr of wind through the trees, (tumultuous now the contest rages,) All the scenes at the batteries rise in detail before me again, The crashing and smoking, the pride of the men in their pieces, The chief-gunner ranges and sights his piece and selects a fuse of the right time, After firing I see him lean aside and look eagerly off to note the effect; Elsewhere I hear the cry of a regiment charging, (the young colonel leads himself this time with brandish'd sword,) I see the gaps cut by the enemy's volleys, (quickly fill'd up, no delay,) I breathe the suffocating smoke, then the flat clouds hover low concealing all; Now a strange lull for a few seconds, not a shot fired on either side, Then resumed the chaos louder than ever, with eager calls and orders of officers, While from some distant part of the field the wind wafts to my ears a shout of applause, (some special success,) And ever the sound of the cannon far or near, (rousing even in dreams a devilish exultation and all the old mad joy in the depths of my soul,) And ever the hastening of infantry shifting positions, batteries, cavalry, moving hither and thither, ​(The falling, dying, I heed not, the wounded dripping and red I heed not, some to the rear are hobbling,) Grime, heat, rush, aide-de-camps galloping by or on a full run, With the patter of small arms, the warning s-s-t of the rifles, (these in my vision I hear or see,) And bombs bursting in air, and at night the vari-color'd rockets.
# Leaves of Grass (1882)/Drum-Taps/To A Certain Civilian

TO A CERTAIN CIVILIAN.
Did you ask dulcet rhymes from me? Did you seek the civilian's peaceful and languishing rhymes? Did you find what I sang erewhile so hard to follow? Why I was not singing erewhile for you to follow, to understand—nor am I now; (I have been born of the same as the war was born, The drum-corps' rattle is ever to me sweet music, I love well the martial dirge, With slow wail and convulsive throb leading the officer's funeral;) What to such as you anyhow such a poet as I? therefore leave my works, And go lull yourself with what you can understand, and with piano-tunes, For I lull nobody, and you will never understand me.
# Leaves of Grass (1882)/Drum-Taps/Turn O Libertad

TURN O LIBERTAD.
Turn O Libertad, for the war is over, From it and all henceforth expanding, doubting no more, resolute, sweeping the world, Turn from lands retrospective recording proofs of the past, From the singers that sing the trailing glories of the past, From the chants of the feudal world, the triumphs of kings, slavery, caste, Turn to the world, the triumphs reserv'd and to come—give up that backward world, Leave to the singers of hitherto, give them the trailing past, But what remains remains for singers for you—wars to come are for you, (Lo, how the wars of the past have duly inured to you, and the wars of the present also inure;) Then turn, and be not alarm'd O Libertad—turn your undying face, To where the future, greater than all the past, Is swiftly, surely preparing for you.