OpenLLM-France/wikimedia huggingface dataset:
# Columbus (Clough)

* information about this edition.
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How in God's name did Columbus get over Is a pure wonder to me, I protest, Cabot, and Raleigh too, that well-read rover, Frobisher, Dampier, Drake, and the rest. Bad enough all the same, For them that after came, But, in great Heaven's name, How he should ever think That on the other brink Of this wild waste terra firma should be, Is a pure wonder, I must say, to me.
How a man ever should hope to get thither, E'en if he knew that there was another side; But to suppose he should come any whither, Sailing straight on into chaos untried, In spite of the motion Across the whole ocean, To stick to the notion That in some nook or bend Of a sea without end He should find North and South America, Was a pure madness, indeed I must say, to me.
What if wise men had, as far back as Ptolemy, Judged that the earth like an orange was round, None of them ever said, Come along, follow me, Sail to the West, and the East will be found. Many a day before Ever they'd come ashore, From the 'San Salvador', Sadder and wiser men They'd have turned back again; And that he did not, but did cross the sea, Is a pure wonder, I must say, to me.
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
# Complete Encyclopaedia of Music/A/Asioli, Bonifazio

Asioli, Bonifazio, was born at Correggio about the year 1760. About the year 1796, he went to London, where he remained some time, and then returned to Milan, and was appointed chapel-master and chamber musician to the King of Italy. In 1808, a new conservatory was established at Naples, to the direction of which Asioli was appointed by the king. Among his numerous dramatic and vocal works, the following list is given by Gerber : 1st, " La Volubile," opera buffa ; 2d, "Il Ratto di Proserpina," intermezzo, 1785 ; 3d, "Six Italian Duets," London, 1796; 4th, "Six Italian Airs, in the Style of Canzonets," London; 5th, "Variaz, p. it Cemb. sull' Aria, L'ame Bettinal a me'l ha fatta," Vienna ; 6th, "Ottavino a 2 V. 2 Fl. 2 Viole. Fag. e Vc.," Vienna ; 7th, Capriccio p. Piano F.," Op. 1, Zurich, 1803 ; 8th, "3 Ariette coll' acc. di Piano F.," Op. 2, Zurich ; 9th, "Capriccio p. Piano F. a 4 Mani," Op. 3, Zurich; 10th, "Capriccio p. Piano F.," Op. 5, Zurich, 1803 ; 11th, "3 Ariette cell' ace. di Piano F.," Op. 4, Zurich, 1803 ; 12th, "3 Duetti p. 2 Soprani cell' ace. di Piano F.," Op. 6, Zurich; 13th, "La Campana di Morte, Sonetto, cell' accomp. di Piano F.," Zurich, 1806. There are several other vocal works of Asioli, some of which are published by Birchall in London, and evince a taste in melody equal to that of any of the modern Italian composers. He never attempted the more severe order of composition ; but his works are in music what those of Propertius, Catullus, and Tibullus were in poetry, as compared with Horace and Virgil ; as true music di camera, they will very long be admired.
# Complete Encyclopaedia of Music/A/Asor

Asor. An ancient instrument, very much resembling the quadrangular lyre.
# Complete Encyclopaedia of Music/A/Asperges me

Asperges me. (L.) The opening of tilt mass.
# Complete Encyclopaedia of Music/A/Ashley, Richard

Ashley, Richard, younger brother of the three foregoing, is a celebrated tenor player, residing in London. He was principal tenor at the York musical festival in 1823.
# Complete Encyclopaedia of Music/A/Ashwell, T

Ashwell, T. A church composer in the time of Henry VIII. and Edward VI. Many of his works are still preserved at Oxford.
# Complete Encyclopaedia of Music/A/Asola

Asola, or ASULA, GIOVANNI MATTEO. A composer of church music at Verona, between the years 1565 and 1600.
# Complete Encyclopaedia of Music/A/Aspelmeyer

Aspelmeyer, or APPELMEYER, FRANZ, musician to the emperor, and ballet composer at Vienna, died in 1786. He composed some instrumental music and two operas.
# Complete Encyclopaedia of Music/A/Asprezza

Asprezza. (I.) With dryness; coarsely.
# Complete Encyclopaedia of Music/A/Ashworth

Ashworth, an Englishman, wrote an introduction to the art of singing about the year 1787.
# Complete Encyclopaedia of Music/A/Ashley, John James

Ashley, John James. An eminent organist and singing master. He presided for seven years at the oratorios at Covent Garden, where he introduced many of his pupils; among whom were Mrs. Vaughan, Mrs. Salmon, Master Elliott, C. Smith, and other favorite vocal performers. He was in early life a scholar of the celebrated Schroeter, and well versed in the science of music, and author of some excellent lessons for the piano-forte, canzonets, &c., &e. He was brother of the preceding, and died a few years since.
# Civil Procedure Act

* Search for titles containing or beginning with: "Civil Procedure Act."
* sister projects: Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* Civil Procedure Act 1833 (3 & 4 Will. IV c. 42), a United Kingdom Act that was extended to Western Australia. Mostly repealed with limited provisions.
* Civil Procedure Act 1997 (c. 12), a United Kingdom Act that authorizes the Civil Procedure Rules 1998 and made consequential amendments.
* Civil Procedure Act 2005 (NSW), a New South Wales Act that adopts the Uniform Civil Procedure Rules 2005.
* Civil Procedure Act 2010 (Qld), a Victoria Act that reforms the state's civil procedure law generally.

## See also

* Civil Proceedings Act
* Civil Procedure Code; Code of Civil Procedure
* Criminal Procedure Act
# Civil Rights Act of 1964

The Civil Rights Act of 1964 prohibited racial segregation in schools, public accommodations, and employment. Originally drafted to address issues affecting African Americans, the bill was amended prior to passage to extend protections to women, and explicitly included white people for the first time. It also created the Equal Employment Opportunity Commission.
Note: This is the original legislation as it was initially enacted. Any subsequent amendments hosted on Wikisource may be listed using What Links Here.
An Act To enforce the constitutional right to vote, to confer jurisdiction upon the district courts of the United States to provide injunctive relief against discrimination in public accommodations, to authorize the Attorney General to institute suits to protect constitutional rights in public facilities and public education, to extend the Commission on Civil Rights, to prevent discrimination in federally assisted programs, to establish a Commission on Equal Employment Opportunity, and for other purposes.
    Be it enacted by the Senate and House of Representatives of the United States of America in Congress assembled,
    That this Act may be cited as the "Civil Rights Act of 1964".
    • Title I – VOTING RIGHTS
    • Title II – INJUNCTIVE RELIEF AGAINST DISCRIMINATION IN PLACES OF PUBLIC ACCOMMODATION
    • Title III – DESEGREGATION OF PUBLIC FACILITIESFirst page of the Civil Rights Act of 1964
    • Title IV – DESEGREGATION OF PUBLIC EDUCATION
    • Title V – COMMISSION ON CIVIL RIGHTS
    • Title VI – NONDISCRIMINATION IN FEDERALLY ASSISTED PROGRAMS
    • Title VII – EQUAL EMPLOYMENT OPPORTUNITY
    • Title VIII – REGISTRATION AND VOTING STATISTICS
    • Title IX – INTERVENTION AND PROCEDURE AFTER REMOVAL IN CIVIL RIGHTS CASES
    • Title X – ESTABLISHMENT OF COMMUNITY RELATIONS SERVICE
    • Title XI – MISCELLANEOUS
Approved July 2, 1964.
This work is in the public domain in the U.S. because it is an edict of a government, local or foreign. See § 313.6(C)(2) of the Compendium II: Copyright Office Practices. Such documents include "legislative enactments, judicial decisions, administrative rulings, public ordinances, or similar types of official legal materials" as well as "any translation prepared by a government employee acting within the course of his or her official duties."
These do not include works of the Organization of American States, United Nations, or any of the UN specialized agencies. See Compendium III § 313.6(C)(2) and 17 U.S.C. 104(b)(5).
A non-American governmental edict may still be copyrighted outside the U.S. Similar to {{PD-in-USGov}}, the above U.S. Copyright Office Practice does not prevent U.S. states or localities from holding copyright abroad, depending on foreign copyright laws and regulations.
Public domainPublic domainfalsefalse
# Civil Rights Act

* Search for titles containing or beginning with: "Civil Rights Act."
* 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.
* Civil Rights Act of 1866
* Civil Rights Act of 1964
* The current codification of the Civil Rights Act
# Civil Rights Act of 1875

* information about this edition.
* related portals: United States Congress.
* sister projects: Wikipedia article, Wikidata item.
This act was signed into law on March 1, 1875 by President Ulysses S. Grant. It outlawed discriminatory treatment on the basis of race, color, or previous condition of servitude in public accommodations and public transportation. It also prohibited exclusion from jury service on the basis of race, color, or previous condition of servitude.
Forty-third Congress of the United States of America
At the Second Session
AN ACT
To protect all citizens in their civil and legal rights.
18 Stat. 335-337, S. 1
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
# Complete Encyclopaedia of Music/A/Accord

Accord. To agree in pitch and tone. This is a French word, and is formed, according `c some authors, from the Latin ad cor; but others, with more probability, derive it from the French corde, a string or cord, on account of the agree-able unison between the sounds of two strings struck at the same time. Whence also some of the consonants in music came to be called tetrachords, hexachords, &c., which are chords of a fourth and a sixth. When two or more voices or instruments are perfectly in tune with respect to each other, and their tones blend and intermix, so as to form one consonant and harmonious result, they are said to accord. Accord is generally used as concord, and has the same meaning.
ACCORD. (noun.) Synonymous with chord; as, the accord of the sixth, &c.
# Complete Encyclopaedia of Music/A/Accordando

Accordando. (I.) Tuning. In tune.
# Complete Encyclopaedia of Music/A/Accordare

Accordare. (I.) To agree in sound ; to become in tune; to put in tune.
# Complete Encyclopaedia of Music/A/Accorimboni, Baldassaro

Accorimboni, Baldassaro. An Italian church composer of the sixteenth century.
# Complete Encyclopaedia of Music/A/Accordatura

Accordatura. (I.) The scale or tuning the open strings of any instrument ; the notes G, D, A, and E form the accordatura of the violin.
# Complete Encyclopaedia of Music/A/Accopiate

Accopiate. Parts united, joined, or coupled by a brace.
# Complete Encyclopaedia of Music/A/Accres

Accres. (I.) A term the sense of which is similar to that of the word augmentation ; as, punto d'accressimento, the point of augmentation.
# Complete Encyclopaedia of Music/A/Accorder

Accorder. One that tunes instruments.
# Complete Encyclopaedia of Music/A/Accorimbani, Agostino

Accorimbani, Agostino, a Roman composer, produced several operas, and other works, between the years 1780 and 1790.
# Complete history of the late Mexican war/Recapitulation

Layout 4
Table of Contents
RECAPITULATION
Names of the commissioned officers killed and wounded during the operation before Monterey, Mexico, from September 21 to September 23, 1846, inclusive.
Killed.—Sept. 21.— J S Wood, bvt, 1t Lieut. 2d Infantry; L N Morris. Capt, 3d Infantry; George P Field. Capt, 3d infantry; P N Barbour. Capt and bvt Major, 3d Infantry; D S Irwin, 1st Lieut and adj, 3d Infantry; R Hazlitt, 2d Lieut, 3d Infantry: C Hoskins. 1st Lieut and Adj, 4th Infantry; H McKaveit, Capt. 8th Infantry; W E Watson. Lieut Col. Balt and Wash volunteers; M Hett. 1st Lieut, 1st Ohio regiment; WB Allen, Capt, 1st Tenn regiment; S N Putnam. 2d Lieut 1st Tenn regiment.
Wounded.—Sep. 21.— W G Williams, Capt, Top Engineers, mortally; J H F Mansfield. bvt Major, Engineers, severely; J L Abercrombie, bvt Major. 1st Infantry, slightly J H Lamotte, Capt, 1st Infantry severely; J C Terrett, 1st Lieut, 1st Infantry, mortally. K Dilworth, 2d Lieut, 1st Infantry, mortally; W W Lear, Major, 3d Infantry, dangerously; H Bainbridse, Capt. 3d infantry, slightly: R H Graham, 1st Lieut, 4th Infantry, dangerously; N B Rossell, 1st Lieut; 4th Infantry, slightly.
Sept. 22.—J H Potter, 2d Lieut, 7th Infantry, severely; George Wainwright. 2d Lieut. 8th Infantry, severely.
Sept. 23.—R C Gatlin, Capt. 7th Infantry, severely.
Sept. 21.—W O Butler, Major Gen, volunteer service, severely; A M Mitchell, Col, 1st Ohio regiment, severely ; A W Armstrong, Adj, 1st Ohio regiment, severely; James George, Capt, 1st Ohio regiment, slightly; Lewis Matter, 1st Lieut, 1st Ohio regiment slightly; A McCarty, 2d Lieut, 1st Ohio regiment, slightly; N H Niles, 2a Lieut, 1st Ohio regiment, slightly; R B Alexander, Major, 1st Tenn regiment, severely; J L Scudder, 1st Lieut, 1st Ten regiment, severely; G H Nixon, 1st Lieut, 1st Tenn regiment, slightly; J C Allen. 2d Lieut, 1st Tenn regiment, severely; A K McClung, Lieut Col, Miss regiment, severely; R N Downing, Capt, Miss Regiment, slightly; H F Cook, 1st Lieut, Miss regiment, slightly; R H Arthur, 2d Lieut, Miss regiment, slightly.
Sept. 22.—R A Gillespie, Capt, 1st Texas regiment, mortally; W E Reese, 1st Lieut. 1st Texas regiment.
Sept. 23.—L S Howard, 2d Lieut, Miss regiment, severely.
The returns of the killed, wounded, and missing, show the following results:
| Commissioned officers | 43 | |
| Non-commissioned officers, musicians, and privates | 447 | |
| Missing | 2 | |
| Making a total of | ——— | 492 |
# Complete history of the late Mexican war/Table of Contents

Layout 4
TABLE OF CONTENTS :
| PREFACE | 11 |
| BRIEF SKETCH OF THE LIFE OF GENERAL SCOTT | 13 |
| BRIEF SKETCH OF THE LIFE OF GENERAL TAYLOR | 15 |
| BATTLES OF MEXICO | 17 |
| BATTLE OF MATAMORAS | 21 |
| BATTLE OF PALO ALTO | 22 |
| BATTLE OF RESACA DE LA PALMA | 25 |
| BATTLE OF MONTEREY | 30 |
| NAVAL BATTLES | 49 |
| BATTLE OF BUENA VISTA | 54 |
| BATTLE OF VERA CRUZ | 68 |
| BATTLE OF SIERRA GORDA | 77 |
| BATTLE OF CHURUBUSCO | 81 |
| THE ARMISTICE | 85 |
| BATTLE OF MEXICO | 90 |
| BATTLE OF HUAMANTLA | 100 |
| BATTLE OF ATLIXCO | 101 |
| EXPEDITION TO TEHUACAN | 102 |
| OCCUPATION OF ORIZABA | 103 |
| NAMES OF THE KILLED, WOUNDED, AND MISSING | 81 |
| RECAPITULATION | 108 |
| MUNITIONS CAPTURED AT MONTEREY | 108 |
| LIST OF KILLED AND WOUNDED | 87 |
| TREATY | 120 |
# Complimentary Epigram on Maria Riddell

    "Praise Woman still," his lordship roars,
    "Deserv'd or not, no matter?"
    But thee, whom all my soul adores,
    Ev'n Flattery cannot flatter:
    Maria, all my thought and dream,
    Inspires my vocal shell;
    The more I praise my lovely theme,
    The more the truth I tell.
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
# Complete history of the late Mexican war/Occupation of Orizaba

Layout 4
Table of Contents
OCCUPATION OF ORIZABA.
Leaving Tehuacan, on the 23d, the troops, after a rough march of several miles, came down, Feb. 26, 1848, into the valley of Orizaba. On arriving at the gates of the city, the authorities delivered up the keys; and on entering, they discovered a white flag, at the window of every house, and found the entire population assembled to witness their entry, with apparent satisfaction.
The inhabitants of the neighboring city of Cordova, sent a deputation requesting its occupation by the American Army.
Nothing of importance occurred afterwards, until Feb. 2d, 1848, when the Treaty of Peace was signed by the American and Mexican governmens.
# Complimentary Versicles to Jessie Lewars

    THE TOAST
    Fill me with the rosy wine,
    Call a toast, a toast divine:
    Giveth me Poet’s darling flame,
    Lovely Jessie be her name;
    Then thou mayest freely boast,
    Thou hast given a peerless toast.
    THE MENAGERIE
    Talk not to me of savages,
    From Afric’s burning sun;
    No savage e’er could rend my heart,
    As Jessie, thou hast done:
    But Jessie’s lovely hand in mine,
    A mutual faith to plight,
    Not even to view the heavenly choir,
    Would be so blest a sight.
    JESSIE’S ILLNESS
    Say, sages, what’s the charm on earth
    Can turn Death’s dart aside!
    It is not purity and worth,
    Else Jessie had not died.
    ON HER RECOVERY
    But rarely seen since Nature’s birth,
    The natives of the sky;
    Yet still one seraph’s left on earth,
    For Jessie did not die.
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
# Complete history of the late Mexican war/Preface

Layout 4
PREFACE.
The following pages are designed to record, in a brief manner, those facts in reference to the war in Mexico, worthy of preservation. It comprehends the substance of larger works, and is more convenient for reference. Lists of killed and wounded are given as fully and accurately as the official and authoritive reports would admit.
It is painfull to contemplate, and especially describe the scenes of the battle field—the streams of blood—the groans of the wounded and dying—the hundreds or thousands slain—the gasp of death—the crushed hopes—undying spirits thus ushered suddenly and awfully into the presence of their Judge, perhaps unprepared—it is apalling! and we would turn away and weep for poor, depraved humanity. Still it is desirable that the facts should be laid before the public. How many wives, at the commencement of the war, parted with their companions never to meet again in this world, and are now eager to know all the circumstances connected with the war! How many parents, bereft of dear children, how many brothers and sisters, deprived of those whom they loved, are intensely anxious to hear all the particulars of each battle!
We present these pages to the public hoping the tragical scenes here described may deter others from imbibing a war spirit. We exhort them not to be influenced by the martial array, the din of battle and the clash of arms, and all the exciting parepharnalia of war.
# Clarel/Part 1/Canto 38
## 38. The Sparrow

After the hint by Rolfe bestowed, Redoubled import, one may ween, Had Nehemiah's submissive mien For Clarel. Nay, his poor abode-- And thither now the twain repair-- 5 A new significance might bear.  Thin grasses, such as sprout in sand, Clarel observes in crannies old Along the cornice. Not his hand The mower fills with such, nor arms 10 Of him that binds the sheaf, enfold. Now mid the quiet which becharms
That mural wilderness remote, Querulous came the little note Of bird familiar--one of them 15 So numerous in Jerusalem, Still snared for market, it is told, And two were for a farthing sold-- The sparrow. But this single one Plaining upon a terrace nigh, 20 Was like the Psalmist's making moan For loss of mate--forsaken quite, Which on the house-top doth alight And watches, and her lonely cry No answer gets.--In sunny hight 25 Like dotting bees against the sky What twitterers o'er the temple fly!  But now the arch and stair they gain, And in the chamber sit the twain. Clarel in previous time secure, 30 From Nehemiah had sought to lure Some mention of his life, but failed. Rolfe's hintful story so prevailed, Anew he thought to venture it. But while in so much else aside 35 Subject to senile lapse of tide, In this hid matter of his past The saint evinced a guardful wit; His waning energies seemed massed
Here, and but here, to keep the door. 40 At present his reserve of brow Reproach in such sort did avow, That Clarel never pressed him more. Nay, fearing lest he trespass might Even in tarrying longer now, 45 He parted. As he slow withdrew, Well pleased he noted in review The hermitage improved in plight.  Some one had done a friendly thing: Who? Small was Clarel's wondering. 50
# Clarel/Part 1/Canto 40
## 40. The Mounds

Ere twilight and the shadow fall On Zion hill without the wall In place where Latins set the bier Borne from the gate--who lingers here, Where, typing faith exempt from loss, 5 By sodless mound is seen a cross? Clarel it is, at Celio's grave. For him, the pale one, ere yet cold,
Assiduous to win and save, The friars had claimed as of their fold; 10 Lit by the light of ritual wicks, Had held to unprotesting lips In mistimed zeal the crucifix; And last, among the fellowships Of Rome's legitimate dead, laid one 15 Not saved through faith, nor Papal Rome's true son. Life's flickering hour they made command Faith's candle in Doubt's dying hand. So some, who other forms did hold, Rumored, or criticised, or told 20 The tale.
 Not this did Clarel win To visit the hermit of the mound. Nay, but he felt the appeal begin-- The poor petition from the ground: 25 Remember me! for all life's din Let not my memory be drowned. And thought was Clarel's even for one Of tribe not his--to him unknown Through vocal word or vital cheer: 30 A stranger, but less strange made here, Less distant. Whom life held apart-- Life, whose cross-purposes make shy-- Death yields without reserve of heart To meditation. 35  With a sigh Turning, he slow pursued the steep Until he won that leveled spot, Terraced and elevated plot Over Gihon, where yet others keep 40 Death's tryst--afar from kindred lie: Protestants, which in Salem die.  There, fixed before a founded stone With Bible mottoes part bestrown, Stood one communing with the bier. 45 'Twas Rolfe. "Him, him I knew," said he, Down pointing; "but 'twas far from here-- How far from here!" A pause. "But see, Job's text in wreath, what trust it giveth; I KNOW THAT MY REDEEMER LIVETH. 50 Poor Ethelward! Thou didst but grope; I knew thee, and thou hadst small hope. But if at this spent man's death-bed Some kind soul kneeled and chapter read-- Ah, own! to moderns death is drear, 55 So drear: we die, we make no sign, We acquiesce in any cheer-- No rite we seek, no rite decline. Is't nonchalance of languid sense, Or the last, last indifference? 60
With some, no doubt, 'tis peace within; In others, may be, care for kin: Exemplary thro' life, as well Dying they'd be so, nor repel."  He let his eyes half absent move 65 About the mound: "One's thoughts will rove: This minds me that in like content, Other forms were kept without dissent By one who hardly owned their spell. He, in fulfillment of pledged work, 70 Among Turks having passed for Turk, Sickened among them. On death-bed Silent he heard the Koran read: They shrilled the Islam wail for him, They shawled him in his burial trim; 75 And now, on brinks of Egypt's waste, Where the buried Sultans' chapels rise, Consistently toward Mecca faced, The blameless simulator lies: The turbaned Swiss, Sheik Ibrahim-- 80 Burckhardt.--But home the sparrow flees. Come, move we ere the gate they quit, And we be shut out here with these Who never shall re-enter it."