OpenLLM-France/wikimedia huggingface dataset:
# Instruments of the Modern Symphony Orchestra/SLIDE TROMBONE

TROMBONE
Fred L. Blodgett N.Y. Philharmonic Orchestra
This instrument differs radically from the other brasses in its possession of a free-running telescopic slide instead of valves. This slide enables the performer to adjust the speaking length of his instrument and its consequent pitch to a nicety. In fact, the precise manipulation of the slide of the trombone is analogous to the correct location of the finger on the fingerboard of stringed instruments. There are also trombones with valves, but as they possess no advantage beyond mere facility of execution and are inferior in tone and precision, they are not used in first-class orchestras.
The tone of the trombone is akin to that of the trumpet—less brilliant, but somewhat richer and fuller. This difference in tonal quality is due in part to the inner formation of the mouthpiece which, though cup-shaped, is less shallow than that of the trumpet. Although the fortissimo of trombones surpasses that of any other instrument, an exquisite pianissimo is also obtainable. The former is gorgeously majestic; the latter, mysteriously solemn. Trombones may be muted like trumpets and horns.
Of the three trombones used in a symphony orchestra, all may be tenor instruments (in B flat) or the lowest part may be played by a bass trombone (in G). The range of the latter is from low C sharp up to G, a minor third below that of the tenor instrument. All trombones are treated as non-transposing instruments. Both the tenor, and bass clefs are used in the notation.
# Instruments of the Modern Symphony Orchestra/GONG

GONG
| Italian | German | French |
| Tam-tam | Tam-tam | Tam-tam |
This instrument has come to us from China and is a round plate of hammered bronze with the edges turned up like a large tambourine. It is struck with a soft bass drumstick. Its effect in fortissimo is that of a terrible clangorous uproar which is of the utmost service to the composer when depicting scenes of horror. Struck more gently, or pianissimo, its effect varies between the solemn and the lugubrious. It is used mostly in connection with deep chords sustained by the brass instruments or by the lowest tones of clarinets and bassoons. It is an instrument without definite pitch.
# Instruments of the Modern Symphony Orchestra/OBOE

OBOE
Frederick de Angelis N.Y. Philharmonic Orchestra
The oboe is a reed instrument of conical bore terminating in a small flaring bell. It is played with a double reed consisting of two blades of very thin cane bound together, in such a manner as to leave a small opening through which the air is blown into the instrument. The vibration of this reed sets the column of air in motion, thus producing the tone, the pitch of which is controlled by opening and closing the finger-holes and keys.
The characteristic tonal quality of the oboe is reedy and somewhat nasal. Its lowest tones are loud and strident, and must be used with the utmost discretion. The highest tones are difficult of production and are of doubtful utility, the flute taking these pitches more effectively. It is in the medium register, comprising about an octave and a half, that the oboe excels in charm and flexibility. Its voice is pastoral, tender, and not without a touch of sadness, but it may also express joyous and graceful phrases with excellent effect.
The oboe is the most assertive of the wood-wind instruments, owing to its incisive tonal quality. Two, and often three oboes are employed in symphony orchestras, the third performer being also provided with an english horn to be used when required by the score.
# Instruments of the Modern Symphony Orchestra/SAXOPHONE

SAXOPHONE
Ben Vereecken Sousa's Band
This instrument was invented in the year 1840 by the eminent Belgian instrument-maker and inventor, Adolph Sax, from whom it derives its name. Its novelty consists in the use of the clarinet single reed applied to a tube of extreme conical bore. The instrument thus combines important features of the clarinet and the oboe families—the single reed of the one with the taper bore of the other.
The saxophone is made of brass, frequently silver-plated, and comprises a family of seven different sizes, of which the most generally used are the soprano in B flat, alto in E flat, tenor in B flat, baritone in E flat, and bass in B flat. Of these five the soprano is the least pleasing and the alto and tenor the most.
In quality of tone the saxophone possesses the characteristic reediness of the clarinet, to which, however, is added a certain brazen tinge, combined with a string quality akin to that of the cello. The volume is greater, but the flexibility inferior to that of the clarinet or the bassoon.
Saxophones are of greater utility in military bands than in the orchestra, though modern composers, particularly the French, are introducing two, three, or four of them into their scores. They have an extreme range of two and one-half octaves, and are all written in the treble clef as transposing instruments in B flat or E flat.
The ranges and actual sound of the saxophones most used are:
# Instruments of the Modern Symphony Orchestra/TAMBOURINE

TAMBOURINE
| Italian | German | French |
| Tamburino | Baskische Trommel | Tambour de Basque |
| | Schellen Trommel | |
| | Tambourin | |
This little instrument is said to have been in use practically unchanged for the past two thousand years. It consists of a small wooden hoop, on one side of which is stretched a parchment head, the other side being open. The hoop is cut away at intervals to allow the insertion of small pairs of metal plates called jingles. The head, when struck by the hand, gives forth a treble drum-like sound without definite pitch. The jingles may be trilled by shaking the instrument without striking the head. The use of the tambourine in the orchestra is confined mainly to the production of oriental effects, though the jingles alone are sometimes employed in connection with other percussion instruments in music of a violent or barbaric nature.
# Hemans Miscellaneous Poetry 7/The Last Wasp of Scotland

From Poems of Felicia Hemans, 1872, pages 523-524
THE LAST WORDS OF THE LAST WASP OF SCOTLAND,
—A jeu-d'esprit produced at this time, which owed its origin to a simple remark on the unseasonableness of the weather, made by Mrs Hemans to Mr Charles Kirkpatrick Sharpe, whom she was in the habit of seeing at Sir David Wedderburn's. "It is so little like summer," she said, "that I have not even seen a butterfly." "A butterfly!" retorted Mr Sharpe, "I have not even seen a wasp!" The next morning, as if in confutation of this calumny, a wasp made its appearance at Lady Wedderburn's breakfast table. Mrs Hemans immediately proposed that it should be made a prisoner, inclosed in a bottle, and sent to Mr Sharpe: this was accordingly done, and the piquant missive was acknowledged by him as follows:—
"SONNET TO A WASP, IN THE MANNER OF MILTON, &c, BUT MUCH SUPERIOR.
Poor insect! rash as rare!—Thy sovereign,$^1$ sure, Hath driven thee to Siberia in disgrace— Else what delusion could thy sense allure To buzz and sting in this unwholesome place, Where e'en the hornet's hoarser, and the race Of filmy wing are feeble? Honey here (Scarce as its rhyme) thou find'st not. Ah, beware Thy golden mail, to starved Arachne dear!$^2$ Though fingers famed, that thrill the immortal lyre, Have pent thee up, a second Asmodeus, I wail thy doom—I warm thee by the fire, And blab our secrets—do not thou betray us! I give thee liberty, I give thee breath, To fly from Athens, Eurus, Doctors, Death!!"
To this Mrs Hemans returned the following rejoinder:—
Sooth'd by the strain, the Wasp thus made reply— (The first, last time he spoke not waspishly)— "Too late, kind Poet! comes thine aid, thy song, To aught first starved, then bottled up so long. Yet, for the warmth of this thy genial fire, Take a Wasp's blessing ere his race expire:— Never may provost's foot find entrance here! Never may bailie's voice invade thine ear! Never may housemaid wipe the verd antique From coin of thine—Assyrian, Celt, or Greek! Never may Eurus cross thy path!—to thee May winds and wynds$^3$ alike propitious be! And when thou diest—(live a thousand years!)— May friends fill classic bottles$^4$ with their tears!
I can no more—receive my parting gasp!— Did Scotland mourn the last, last lingering Wasp!"
* ↑ $^1$Beelzebub is the king of flies.
* ↑ $^2$A beautiful allusion to our starving weavers.
* ↑ $^3$Alluding to antiquarian visits to these renowned closes.
* ↑ $^4$Referring to certain precious lachrymatories in the possession of Mr Sharpe.
# Hemingway v. Stansell

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
106 U.S. 399
Hemingway v. Stansell
GRAY, 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
# Hemans Miscellaneous Poetry 7/The Hebe of Canova

The Athenæum, 1833, page 385
PINDEMONTE'S SONNET ON THE HEBE OF CANOVA.
TRANSLATED BY MRS. HEMANS.
Dove per te, celeste ancella, or vassi?
Whither, celestial maid, so fast away?
What lures thee from the banquet of the skies?
How canst thou leave thy native realms of day,
For this low sphere, this vale of clouds and sighs?
—O thou, Canova! soaring high above
Italian art,—with Grecian magic vying!
We knew thy marble glowed with life and love,
But who had seen the image footsteps flying?
—Here to each eye the wind seems gently playing
With the light vest, its wavy folds arraying
In many a line of undulating grace;
While Nature, ne'er her mighty laws suspending,
Stands, before marble thus with motion blending,
One moment lost in thought, its hidden cause to trace.
# Hemingway's articles for the Toronto Star

Hemingway was employed by the Toronto Star early in his career
   * Living on $1,000 a Year in Paris
   * Harington Won't Demand Evacuation
   * Paris is Full of Russians
   * Tchitcherin Wants Japan Excluded
   * Italian Premier
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 1961, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 62 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
# Hemans Miscellaneous Poetry 7/Prologue to 'Fiesco'

The Athenæum, 1833, page 104
PROLOGUE, BY MRS. HEMANS, TO THE TRAGEDY OF 'FIESCO,'
(Translated from the German of Schiller by Lieut.-Col. D'AGuilar, and performed at the Dublin Theatre, Dec. 1832.)
Too long apart, a bright but severed band,
The mighty minstrels of the Rhine's fair land
Majestic strains, but not for us, had sung,—
Moulding to melody a stranger tongue.
Brave hearts leaped proudly to their words of power,
As a true sword bounds forth in battle's hour;
Fair eyes rained homage o'er th' impassioned lays,
In loving tears, more eloquent than praise:
While we, far distant, knew not, deemed not aught
Of the high marvels by that magic wrought.
But let the barriers of sea give way,
When Mind sweeps onward with a conqueror's sway!
And let the Rhine divide high souls no more
From mingling on its old, heroic shore,
Which, e'en like ours, brave deeds through many an age,
Have made the Poet's own free heritage!
To us, though faintly, may a wandering tone
Of the far minstrelsy at last be known;
Sounds which the thrilling pulse, the burning tear,
Have sprung to greet, must not be strangers here.
And if by one, more used, on march and heath,
To the shrill bugle, than the Muse's breath,
With a warm heart the offering hath been brought,
And in a trusting loyalty of thought,—
So let it be received!—a soldier's hand
Bears to the breast of no ungenerous land
A seed of foreign shores. O'er this fair clime,
Since Tara heard the Harp of ancient time,
Hath song held empire;—then if not with Fame,
Let the green Isle with kindness bless his aim,
The joy, the power, of kindred song to spread,
Where once that Harp "the soul of music shed"!
# Hemans Miscellaneous Poetry 7/Song

The Athenæum, 1833, page 777
SONG.
BY FELICIA HEMANS.
Look on me with thy cloudless eyes,
Truth in their dark transparence lies;
Their sweetness gives me back the tears
And the free trust of early years.
My gentle child!
The spirit of my infant prayer,
Shines in the depths of quiet there;
And Home, and Love, once more are mine,
Found in that dewy calm divine.
My gentle child!
Oh! Heaven is with thee in thy dreams, Its light by day around thee gleams;
Thy smile hath gifts from vernal skies—
Look on me with thy cloudless eyes!
My gentle child!
# Hemans Miscellaneous Poetry 7

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
Miscellaneous Poetry 7 1833 By
Felicia Hemans
Compiled by Peter J. Bolton
Contents
* Prologue to the Tragedy of 'Fiesco'
* The Hebe of Canova (Pindemonte)
* Song—Look on me with thy cloudless eyes
* The Last Words of the Last Wasp of Scotland
# Hemingway's articles for the Kansas City Star

Hemingway was employed by the Kansas City Star from October 17/18 1917 through the end of April 1918.
   * Kerensky, The Fighting Flea
   * Battle of Raid Squads
   * At the End of the Ambulance Run
   * Throng at Smallpox Case
   * Laundry Car over Cliff
   * Six Men Become Tankers
   * Big Day for Navy Drive
   * Navy Desk Jobs to Go
   * Would 'Treat 'em Rough'
   * Recruits for the Tanks
   * Daredevil Joins Tanks
   * Mix War, Art and Dancing
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 1961, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 62 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
# Hitz

United States Supreme Court
111 U.S. 766
Hitz
B. F. Butler and O. D. Barrett, for petitioner.
R. Ross Perry and A. S. Worthington, for respondent.
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
# Hitz v. Jenks (123 U.S. 297)

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
123 U.S. 297
Hitz v. Jenks
Enoch Totten, for Hitz.
R. D. Mussey and W. D. Davidge, for appellee.
GRAY, 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
# Hitz v. National Metropolitan Bank

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
111 U.S. 722
Hitz v. National Metropolitan Bank
[Syllabus from pages 722-723 intentionally omitted]
[Statement of Case from page 273 intentionally omitted]
Enoch Totten and R. D. Mussey, for appellant.
R. K. Elliott and Leigh Robinson, for appellee.
MILLER, 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
# Hitz/Opinion of the Court

* Court Documents
* Case Syllabus
* Opinion of the Court
* Wikipedia article
United States Supreme Court
111 U.S. 766
Hitz
This is an application by Mr. John Hitz for a writ of certiorari, commanding the supreme court of the district of Columbia to certify to this court an indictment and the proceedings thereunder against him in that court, on the ground that when the indictment was filed, and when the offenses therein charged were committed, he was the diplomatic representative of the Swiss Confederation, duly accredited to and received and recognized by the United States, under the title of political agent. The indictment was filed on the seventeenth of June, 1881.
From the return which has been made to the rule to show cause it appears that the indictment is for an offense against the provisions of section 5209 of the Revised Statutes, alleged to have been committed by Mr. Hitz while and as president of the German-American National Bank of Washington. It also appears that he was for many years the consul general of the Swiss Confedation within the United States, and that on the twenty-eighth of February, 1868, he was accredited to the United States by the same government as political agent. On the thirtieth of May, 1881, he was requested by the Swiss Confederation to resign both these offices, and this he did on the fifteenth of June. On the twentieth of June his resignations were accepted. Precisely what the relations of Mr. Hitz to the United States were as political agent of the Swiss Confederation we have not been advised, and on application to the department of state, made on the suggestion of the court by the counsel in this proceeding, we are informed that the records of the department show nothing upon this subject except a letter from him under date of March 30, 1868, inclosing his letter of credence, and soliciting an interview with the secretary of state for its formal presentation; the answer of Secretary Seward according such an interview, and fixing the second of April as the time; and a letter from Secretary Fish to Mr. Hitz, under date of June 28, 1870, informing him that he (the secretary) did not find, in his relations to the United States, any ground for continuing the privilege to him of a free entry of goods imported for his use.
Under these circumstances, as the writ of certiorari, when applied for by a defendant, is not a writ of right, but discretionary with the court, (Bac. Abr. 'Certiorari,') A,) we deny this application, leaving the parties to such remedies as they may be entitled to elsewhere, or under any other form of proceeding.

## 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
# Hitz v. Jenks

* Search for titles containing or beginning with: "Hitz v. Jenks."
* 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.
* Hitz v. Jenks (123 U.S. 297)
* Hitz v. Jenks (185 U.S. 155)
# Hitz v. Jenks (185 U.S. 155)

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
185 U.S. 155
Hitz v. Jenks
Argued: January 14, 15, 1902. --- Decided: April 7, 1902
Messrs. A. S. Worthington, wayne MacVeagh, and J. S. Flannery for appellant.
Messrs. Walter D. Davidge, Jr., and J. j. Darlington for appellees.
Mr. Justice Harlan 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).
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# In Memory

* Search for titles containing or beginning with: "In Memory."
* 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.
* In Memory, a poem by Florence Earle Coates
* In Memory, a poem by Joyce Kilmer
* In Memory: James T. Fields, a poem by John Greenleaf Whittier
# In Memory of Henry La Barre Jayne

Below is as rendered in Henry La Barre Jayne, 1857-1920: In Memoriam (1920). Also published in The Volta Review (1920).
IN MEMORY OF HENRY LA BARRE JAYNE
By Florence Earle Coates
He was of those who knew that love is giving;  So, though he sleeps, his mortal service done, In countless human hearts he still is living,  Because of the great love he gave—and won!
Though day by day, with happy touch caressing,  Earth's simple joys returned to him again, And high poetic thoughts renewed their blessing,  His care was always for his fellow-men.
He held them dear, whate'er their place or station—  Dearer, perhaps, as greater was their need, And gave, with the idealist's elation,  His best to make their lives more worthy, indeed.
So, though he left us when his day was ended,  And, like all lovely things, lay down to rest, His dreams, forever with our visions blended,  Live in our lives—a memory dear and blest!
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 1927, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 96 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.
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# In Memory of John Greenleaf Whittier

December 17, 1877 — September 7, 1892
Thou, too, hast left us. While with heads bowed low,  And sorrowing hearts, we mourned our summer's dead, The flying season bent its Parthian bow,  And yet again our mingling tears were shed.
Was Heaven impatient that it could not wait  The blasts of winter for earth's fruits to fall? Were angels crowding round the open gate To greet the spirits coming at their call?
Nay, let not fancies, born of old beliefs,  Play with the heart-beats that are throbbing still, And waste their outworn phrases on the griefs, The silent griefs that words can only chill.
For thee, dear friends, there needs no high-wrought lay,  To shed its aureole round thy cherished name,— Thou whose plain, home-born speech of Yes and Nay  Thy truthful nature ever best became.
Death reaches not a spirit such as thine,—  It can but steal the robe that hid thy wings; Though thy warm breathing presence we resign,  Still in our hearts its loving semblance clings.
Peaceful thy message, yet for struggling right,—  When Slavery's gauntlet in our face was flung,— While timid weaklings watched the dubious flight  No herald's challenge more defiant rung.
Yet was thy spirit tuned to gentle themes  Sought in the haunts thy humble youth had known. Our stern New England's hills and vales and streams,—  Thy tuneful idyls made them all their own.
The wild flowers springing from thy native sod  Lent all their charms thy new-world song to fill,— Gave thee the mayflower and the golden-rod  To match the daisy and the daffodil.
In the brave records of our earlier time  A hero's deed thy generous soul inspired, And many a legend, told in ringing rhyme,  The youthful soul with high resolve has fired.
Not thine to lean on priesthood's broken reed;  No barriers caged thee in a bigot's fold; Did zealots ask to syllable thy creed,  Thou saidst "Our Father," and thy creed was told.
Best loved and saintliest of our singing train,  Earth's noblest tributes to thy name belong. A lifelong record closed without a stain,  A blameless memory shrined in deathless song.
Lift from its quarried ledge a flawless stone;  Smooth the green turf and bid the tablet rise, And on its snow-white surface carve alone  These words,—he needs no more,—Here Whittier Lies.
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