OpenLLM-France/wikimedia huggingface dataset:
# Kattie's answer to wabster Jock/Roger of Coverly

ROGER of COVERLY.
BOLD Britons with courage advance upon this present occasion; ​Revenge your wrongs on proud France, who threatens you with an invasion. They say forty thousand they'll land, and put all the world in wonder, But, while the Royal Scots are at hand, we’ll make Monsieur to knock uuder.
chorus.
Then Monsier come if you dare, I’ll warrand we'll handle you cleverly, And shew you what Royal Scots are, By a dance call’d Roger of Coverly.
Young Roger has left off his plough, and now he is ploughing the ocean, And Johnny's a gentleman now, a soldier in the height of promotion. His sword for his flail now he's worn, who every day was a treshing, But instead of his threshing of corn, the French he’s cutting and slashing. Then Monsieur come if you dare, &c.
The Royal Scots they are as good, as ever was belted in leather, For their king and their country they stood, they'll beat or they'll all die together, In the front of the battle array, they cruize from their honoured station, ​For victory they will lead the way, to Monsieur's mortification.
Then Monsieur come if you dare, &c. The ancient South Britons of Wales, Morgan and the Cock of Carmathen ; And Taffey cries Cot splat her nails, for a file bid ashue to her Matam. Hur's ready with hur sword and gun, to give Monsieur a good threshing, Till the last drop of hur blood is run, hur will die before hur will be beaten. Then Monsieur come if you dare, &c, Says Sandy, if I stay at hame, may the curse of my country attend me, Says Jamie, if thou go alone, may the heavens never befriend me; For my King and my country I'll fight, so long as fighting's in fashion, The Thistle and Rose shall unite, to give Monsieur a good threshing &c. Hark o'er Hibernia, and far away, how the merry bagpipes are whistling. The Highland Lad bonny and gay, they run for their share of the tilting. To the Western waves they are bound, where a deal of deep seas will affright 'em, Where both French and Spaniards are found, but with good heart & courage we'll fight 'em. Then Monsieur come if you dare, &c.
FINIS.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
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# Kattie's answer to wabster Jock/The Roving Batchelor

THE ROVING BACHELOR
I Am a roving bachelor, and has been all my life, ​And now I do intend for to go and seek a wife.
Such a wife as I want, is not for to be found, And such a wife as I want, is not above the ground.
It‘s if I marry an old one. I‘m sure that she will fade, And if l marry a young one, she'll kill me with her pride;
It‘s if I marry a tall one, she'll crack me on the crown. And if I marry a little one, they pull the young men down.
It's if I marry a pretty one, a cuckold I will be And if I marry an ugly one, the boys will laugh at me.
One night as I lay on my bed, strange things there came to pass, Who did I see at my bed-side, but a handsome pretty lass.
The first question I asked her; If that she was a maid, ​The answer that she gave to me, I was once what you said.
The next question that I asked her, if she was one just now, The answer that she gave to me, I am sure I'm one for you.
The next question that l asked her, if that she would take a man. The answer that she made to me, it's only when I can.
The next question that I asked her, if along with me she would go, The answer that she gave to me, what farther would you know.
Green it is a pretty colour, before it gets a dip, And he that gets another man’s wife, is sure to get the nip.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
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# Katy

* Search for titles containing or beginning with: "Katy."
* 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.
* "Katy", a song by an unknown author, published in 1843 by Alexander Whitelaw
* "K-K-K-Katy" (1917), a song by Geoffrey O'Hara
* "Katie" (1884), a poem by Henry Timrod
* Katy (1872–1890), a series of novels by Sarah Chauncey Woolsey
# Katz v. Realty Equities Corp.

* related portals: United States Court of Appeals for the Second Circuit.
* sister projects: Wikidata item.
* Court Documents
* Opinion of the Court
* Concurring Opinion Friendly
* 521 F.2d 1354
* GEORGE KATZ, Plaintiff-Appellee, v. REALTY EQUITIES CORPORATION OF NEW YORK et al., Defendants-Appellees, and KLEIN, HINDS & FINKE and ALEXANDER GRANT & COMPANY, Defendants-Appellants. KENNETH I. HERMAN, Trustee F/B/O SHERIL ESTA KUPFER, Plaintiff-Appellee
* v.
* REPUBLIC NATIONAL LIFE INSURANCE COMPANY et al., Defendants-Appellees, and KLEIN, HINDS & FINKE and ALEXANDER GRANT & COMPANY, Defendants-Appellants
* No. 74-2053, 74-2054, Nos. 583, 719 - September Term, 1974
* United States Court of Appeals, Second Circuit.
* January 15, 1975, Argued
* June 30, 1975, Decided
Joseph P. Napoli, Harry H. Lipsig, New York, New York, Stuart D. Wechsler, Robert S. Schachter, Samuel K. Rosen, Kass, Goodkind, Wechsler & Gerstein, New York, New York, for Plaintiffs-Appellees.
James R. Hawkins, II, Richard P. Lasko, Andrew S. O'Connor, Shearman & Sterling, New York, New York, for Klein, Hinds & Finke and Alexander Grant & Co.
Sheldon Oliensis, Kaye, Scholer, Fierman, Hays & Handler, New York, New York, for Realty Equities and Republic National and certain other Defendants-Appellees.
Waterman, Friendly and Gurfein, Circuit Judges. Friendly, Circuit Judge, concurring.
# Landon in The New Monthly 1824

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
This work is available under the Creative Commons CC0 1.0 Universal Public Domain Dedication.
The person who associated a work with this deed has dedicated the work to the public domain by waiving all of their rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission.
Public domainPublic domainfalsefalse
Landon in The New Monthly 1824
A Poem in The New Monthly Magazine in the year 1824 possibly by Letitia Elizabeth Landon? (O.)
compiled by Peter J. Bolton
* The Wind
F. J. Sypher reports that Miss Landon submitted poems to The New Monthly prior to that first published under L. E. L. (namely, Antony and Cleopatra in 1825), so it is possible that ‘The Wind’ is one such. It does seem strange for such a poem to be the sole production of another poet.
The theme of a ship lost at sea is one that Miss Landon used a number of times and the style is at least compatible with her work, so, although the case remains unproven, I feel it right to record the poem here.
# Landon in The New Monthly 1824/Header

A Poem in The New Monthly Magazine in the year 1824 possibly by Letitia Elizabeth Landon? (O.)
compiled by Peter J. Bolton
* The Wind
# Landon in The New Monthly 1824/Notice

​The poem ‘The Wind’ is today popularly attributed to Letitia Landon, although it is not included authoritatively in her list of works. It was originally signed ‘O.’ but, by the late 1820s, it was being republished under the name ‘The Improvisatrice’, namely Letitia Landon. The pseudonym ‘L. E. L.’ was her own property.
F. J. Sypher reports that Miss Landon submitted poems to The New Monthly prior to that first published under L. E. L. (namely, Antony and Cleopatra in 1825), so it is possible that ‘The Wind’ is one such. It does seem strange for such a poem to be the sole production of another poet.
The theme of a ship lost at sea is one that Miss Landon used a number of times and the style is at least compatible with her work, so, although the case remains unproven, I feel it right to record the poem here.
# Landon in The New Monthly 1824/The Wind

New Monthly, Volume 11, 1824, Page 11
THE WIND.
The Wind has a language, I would I could learn: Sometimes 'tis soothing, and sometimes 'tis stern,
—Sometimes it comes like a low sweet song,
And all things grow calm, as the sound floats along,
And the forest is lull'd by the dreamy strain,
And slumber sinks down on the wandering main,
And its crystal arms are folded in rest,
And the tall ship sleeps on its heaving breast.
Sometimes when Autumn grows yellow and sear,
And the sad clouds weep for the dying year,
It comes like a wizard, and mutters its spell,
—I would that the magical tones I might tell—
And it beckons the leaves with its viewless hand, And they leap from the branches at its command,
And follow its footsteps with wheeling feet,
Like fairies that dance in the moonlight sweet.
Sometimes it comes in the wintry night,
And I hear the flap of its pinions of might,
And I see the flash of its withering eye,
As it looks from the thunder-cloud sailing on high,
And pauses to gather its fearful breath,
And lifts up its voice, like the angel of death,—
And the billows leap up when the summons they hear,
And the ship flies away as if winged with fear,
And the uncouth creatures that dwell in the deep,
Start up at the sound from their floating sleep,
And career through the waters, like clouds through the night,
To share in the tumult their joy and delight,— And when the moon rises, the ship is no more,
Its joys and its sorrows are vanish'd and o’er, And the fierce storm that slew it, has faded away,
Like the dark dream that flies from the light of the day!
O.
# Landon in The Literary Gazette 1836/Lines

​1
Literary Gazette, 11th November, 1836, Page 730
ORIGINAL POETRY.
LINES
Suggested by a Drawing of W. Daniel's, Esq. A. R. A., representing the Hindoo Girls floating their Tributary offerings down the Ganges.
They bend above the moonlit stream,
 With gathered fruit and flowers;
The last on which the sun has left
 The earlier rosy hours.
One sends a vow to him afar—
 Ah! never can the heart
Know half the love it cherishes
 Until it comes to part.
A thousand things are then recalled,
 Though scarcely marked at first;
But lingering thoughts in after hours
 Betray how they were nurst.
Another sends a little boat
 Upon its happier way;
She knows to-morrow will restore
 The eyes she loved to-day.
They bend with all the eager hope,
 The confidence of youth,
Which makes the future it believes,
 And trusts itself with truth.
And never Grecian chisel formed
 Shapes of more perfect grace,
Than by the moonlit Ganges bend,
 Each o'er her mirrored face.
Ah! love takes many shapes; at first
 It comes as flashes fly,
That bear the lightning on their wings,
 And then in darkness die.
But after comes a steadier light,
 A long and lasting dream;
Like the full heaven which the sun
 Flings down on life's dark stream.
One lingers—for she dares not trust
 Her lamp upon the wave;
She knows the omen ere it come—
 Her heart is its own grave.
There is a love that in the soul
 Burns silent and alone;
Tho' all of early happiness
 Has long, too long been flown.
But, like the lotus, whose soft depths
 Receive the morning sun;
The true fond flower still looks to heaven,
 Though light and day are done.
But she, amid her gladder friends,
 Leans pensive on the strand;
She keeps her fairy bark unlaunched,
 Beside her trembling hand.
Why should she send her fairy freight
 To question future pain;
She knows her utter misery—
 She loves, and loves in vain.
I pray his pardon, he who traced
 The graceful forms I see;
Oh, magic painter! to thy skill
 The spirit yields its key.
The treasures of these distant lands
 Are given to thy will;
But thou hast yet a dearer charm—
 The heart obeys thy skill.
L. E. L.
[Von Tietz, in his late amusing travels, mentions a custom somewhat similar in the north. After the feast of Whitsuntide, the young Russian maidens seek the banks of Neva, and fling on its waters wreaths of flowers. These are tokens of affection to absent friends, and to those "than any friend more dear."]
[It is curious to note how the oriental superstitions originated the classical ones. The lotus is like the simile so exquisitely used by Moore:—
"As the sunflower turns on her God, when he sets, The same look which she turned when he rose."
I have only ventured on its introduction as illustrative of my Hindoo scene.
# Landon in The New Monthly 1825

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
This work is available under the Creative Commons CC0 1.0 Universal Public Domain Dedication.
The person who associated a work with this deed has dedicated the work to the public domain by waiving all of their rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission.
Public domainPublic domainfalsefalse
Landon in The New Monthly 1825
Poems in The New Monthly Magazine during the year 1825 by Letitia Elizabeth Landon (L. E. L.)
compiled by Peter J. Bolton
Table of Contents
| Antony and Cleopatra. An Anecdote from Plutarch | Vol. 14, Pages 249 to 250 | 4 |
| Song - Oh breathe not of love | Vol. 14, Page 443 | 6 |
| Ideal Likenesses: | Vol. 14, Pages 485 to 486 | 7 |
| Ariadne | Vol. 14, Page 485 | 7 |
| Sappho | Vol. 14, Pages 485 to 486 | 8 |
| Erinna | Vol. 14, Page 486 | 10 |
| Corinna | Vol. 14, Page 486 | 11 |
| Song - Oh say not that my heart is dead | Vol. 14, Page 508 | 12 |
| The Charmed Fountain | Vol. 14, Page 528 | 13 |
| Song - I vow’d a vow of faith to thee | Vol. 14, Page 593 | 14 |
# Landon in The New Monthly 1825/Corinna

Corinna.
There is an antique gem on which her brow
Retains its graven beauty, even now:
Her hair is braided, but one curl behind
Floats as enamour'd of the summer wind;
The dress is simple, as she were too fair
To even think of beauty's own sweet care;
The lip and brow are contrasts, one so fraught
With pride, the melancholy pride of thought,
Conscious of its own power, yet forced to know
How very little way that power will go;
Regretting while too proud of the fine mind,
Which raises but to part it from its kind.—
But the sweet mouth had nothing of all this—
It was a mouth the bee had learnt to kiss,
For her young sister, telling though now mute,
How soft an echo it was to the lute.
The one spoke genius in its high revealing,
The other smiled a woman's gentler feeling.
It was a lovely face, the Greek outline
Flowing yet delicate and feminine.
The glorious lightning of the kindled eye,
Raised as it communed with its native sky;
A lovely face, the spirit's fitting shrine,
The one almost, the other quite divine. L. E. L.
# Landon in The New Monthly 1825/Ariadne

IDEAL LIKENESSES.
Ariadne.
A sweet but happy looking face, the mouth
Seem'd a rose opening to the pleasant south,
Giving sweets, stealing sunshine; it was gay
As it could smile e'en sorrow's self away;
The curls were all thrown back as not allow'd
To shed o'er that young brow, the slightest cloud;
From the fair forehead's height, they downward roll'd
A sunny stream, floating with waves of gold;
A wreath of vine-leaves bound it, but the wind
Kiss'd the stray ringlets it had not confined.
Too beautiful for earth, the sky had given
Her eye and cheek the colouring of heaven,
Blue, the clear blue upon an April sky,
Red, the first red the morning blushes dye:
Her downcast look at times wore pensiveness,
But tender more than sorrowful, as less
She had known than dreamed woe, as her chief grief
Had been a fading flower, a falling leaf.
Her song was as the red wine sparkling up,
Gaily o'erflowing from a festal cup.
Her step was light as wont to move along
To the gay cymbal and the choral song;
Her laugh was glad as one who rather chose
To dwell upon life's pleasures, than life's woes.
And this was she whom Theseus left to pine,
And mingle with her salt tears the salt brine;
Her face was all too bright for tears, she gave
Sighs to the wind, and weeping to the wave,
And left a lesson unto after-times,
Too little dwelt upon in minstrel rhymes,
A lesson how inconstancy should be
Repaid again by like inconstancy.
# Landon in The New Monthly 1825/Erinna

Erinna.
Fashion’d by Nature in her gentlest mood,
Almost for human brow too fair, too good;
'Twas a sweet face, a face of smiles, of tears.
Of all that soothes and softens, wins, endears;
Bearing the omen of its early fate:—
The rose upon her lip was delicate,
Her youthful cheek was pale, and all too plain
Was seen the azure wandering of the vein,
That shone in the clear temple, as if care,
Wasting to sickness, had been working there.
Erinna, she who died like her own song,
Passing away soon, yet remember'd long;
Her heart and lip were music, albeit one
Who marvell'd at what her sweet self had done;
Who breathed for Love, and pined to find that Fame
In answer to her lute's soft summons came;
See, the eye droops in sadness, as to shun
That which it dared not gaze on, Glory's sun.
# Johnson v. Riddle

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
240 U.S. 467
Johnson v. Riddle
Argued: January 12, 1916. --- Decided: March 20, 1916
Messrs. C. B. Ames and Alger Melton for plaintiffs in error.
[Argument of Counsel from page 468 intentionally omitted]
Messrs. Joseph W. Bailey, C. B. Stuart, A. C. Cruce, and W. A. Ledbetter for defendant in error.
Mr. Justice Pitney 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
# Johnson v. Rockwell Automation, Inc.

In Johnson v. Rockwell Automation, Inc., 2009 Ark. 141, the Arkansas Supreme Court held unconstitutional two provisions of of the Civil Justice Reform Act of 2003, namely, the nonparty-fault provision at § 16-55-202 and the medical-costs provision at § 16-55-212(b). The court held that each of these regulated court procedure. But the supreme court is the only branch of state government allowed to prescribe rules of court procedure. Ark. Const. amend. 80, § 3. So the legislature had violated the separation of powers clause, art. 4, § 2, which says that no branch of the state government shall exercise any power belonging to another branch. The supreme court therefore struck down those two provisions of the Act.
Supreme Court of Arkansas
2009 Ark. 141
JOHNSON ET AL. v. ROCKWELL AUTOMATION, INC. ET AL.
Certified Questions from U.S. District Court, Eastern District of Arkansas
No. 08-1009.---Delivered: April 30, 2009.
* Court Documents
* Opinion of the Court
Certified questions of law from the United States District Court for the Eastern District of Arkansas, Honorable J. Leon Holmes, Judge; certified questions answered.
[Opinion of the court by Justice PAUL E. DANIELSON.]
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
# Johnson v. Root Manufacturing Company

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
241 U.S. 160
Johnson v. Root Manufacturing Company
Argued: and submitted April 18, 1916. --- Decided: May 1, 1916
Messrs. W. H. Thompson, W. H. H. Miller, C. C. Shirley, S. D. Miller, Fred H. Atwood, Frank B. Pease, Charles O. Loucks, and Vernon R. Loucks for plaintiff in error.
Messrs. Frank S. Roby and Elias D. Salsbury for defendant in error.
[Argument of Counsel from page 161 intentionally omitted]
Mr. Justice Holmes 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
# Laughter; an Essay on the Meaning of the Comic

From the French, Le Rire. Essai sur la signification du comique (1899).
LAUGHTER
LAUGHTER
AN ESSAY ON THE MEANING OF THE COMIC
BY
HENRI BERGSON
MEMBER OF THE INSTITUTE PROFESSOR AT THE COLLÈGE DE FRANCE
AUTHORISED TRANSLATION BY CLOUDESLEY BRERETON L. ès L. (Paris), M.A. (Cantab) AND FRED ROTHWELL B.A. (London)
MACMILLAN AND CO., LIMITED ST. MARTIN'S STREET, LONDON 1911
Copyright
First Edition October 1911 Reprinted December 1911
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# Laughter; an Essay on the Meaning of the Comic/Chapter 1, 0

What does laughter mean? What is the basal element in the laughable? What common ground can we find between the grimace of a merry-andrew, a play upon words, an equivocal situation in a burlesque and a scene of high comedy? What method of distillation will yield us invariably the same essence from which so many different products borrow either their obtrusive odour or their delicate perfume? The greatest of thinkers, from Aristotle downwards, have tackled this little problem, which has a knack of baffling every effort, of slipping away and escaping only to bob up again, a pert challenge flung at philosophic speculation.
​Our excuse for attacking the problem in our turn must lie in the fact that we shall not aim at imprisoning the comic spirit within a definition. We regard it, above all, as a living thing. However trivial it may be, we shall treat it with the respect due to life. We shall confine ourselves to watching it grow and expand. Passing by imperceptible gradations from one form to another, it will be seen to achieve the strangest metamorphoses. We shall disdain nothing we have seen. Maybe we may gain from this prolonged contact, for the matter of that, something more flexible than an abstract definition,—a practical, intimate acquaintance, such as springs from a long companionship. And maybe we may also find that, unintentionally, we have made an acquaintance that is useful. For the comic spirit has a logic of its own, even in its wildest eccentricities. It has a method in its madness. It dreams, I admit, but it conjures up, in its dreams, visions that are at once accepted and understood by the whole of a social group. Can it then fail to throw light for us on the way that human imagination works, and more particularly social, collective, and popular imagination? Begotten of real life and akin ​to art, should it not also have something of its own to tell us about art and life?
At the outset we shall put forward three observations which we look upon as fundamental. They have less bearing on the actually comic than on the field within which it must be sought.
# Laughlin v. District of Columbia

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
116 U.S. 485
Laughlin v. District of Columbia
Argued: January 25, 1886. ---
Eppa Hunton, V. B. Edwards and Enoch Totten, for appellant, Matthew J. Laughlin.
Sol. Gen. Goode, for the District of Columbia.
WAITE, C. 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