OpenLLM-France/wikimedia huggingface dataset:
# Humphreys v. Perry

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
148 U.S. 627
Humphreys v. Perry
Wells H. Blodgett, for appellants.
Richard S. Tuthill, for appellees.
Mr. Justice BLATCHFORD 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
# Humphreys v. Smith

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
50 U.S. 297
Humphreys v. Smith

## 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
# Humphrey v. Tatman

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
198 U.S. 91
Humphrey v. Tatman
Argued: March 7, 1905. --- Decided: April 17, 1905
Messrs. William H. Brown and Henry W. Putnam for plaintiff in error.
Mr. Charles T. Tatman for defendant in error.
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
# Hopson v. Texaco, Inc.

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
383 U.S. 262
George HOPSON et al. v. TEXACO, INC.
Abraham E. Freedman, for petitioners.
Harry E. McCoy, for respondent.
PER CURIAM.

## 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
# Hopkins v. Walker

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
244 U.S. 486
Hopkins v. Walker
Argued: October 18, 1915. --- Decided: June 11, 1917
Messrs. L. O. Evans, W. B. Rodgers, D. M. Kelly, and D. Gay Stivers for the Anaconda Copper Mining Company.
Messrs. John A. Shelton and H. C. Hopkins for Olivia H. Hopkins.
Messrs. John A. Shelton and J. L. Templeman for the Washington-Butte Mining Company.
Mr. Thomas J. Walsh for appellees.
Mr. Justice Van Devanter 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
# Hopper v. Louisiana/Opinion of the Court

* Court Documents
* Case Syllabus
* Per Curiam Opinion of the Court
United States Supreme Court
392 U.S. 658
Hopper v. Louisiana
The petition for a writ of certiorari is granted and the judgment is vacated. The case is remanded to the Supreme Court of Louisiana for further consideration in light of Bruton v. United States, 391 U.S. 123, 88 S.Ct. 1620, 20 L.Ed.2d 476, and Roberts v. Russell, 392 U.S. 293, 88 S.Ct. 1921, 20 L.Ed.2d 1100.
Mr. Justice BLACK dissents.
Mr. Justice HARLAN and Mr. Justice WHITE dissent for the reasons stated in Mr. Justice White's dissenting opinion in Bruton v. United States, 391 U.S. 123, 138, 88 S.Ct. 1620, 1629, 20 L.Ed.2d 1100 (1968).

## 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
# Horsemanship for Women

HORSEMANSHIP FOR WOMEN
BY
THEODORE H. MEAD
WITH ILLUSTRATIONS BY GRAY PARKER
NEW YORK
HARPER & BROTHERS, FRANKLIN SQUARE 1887
Copyright, 1887, by Harper & Brothers.
All rights reserved.
CONTENTS.
PART I.PAGE
Lesson
PART II.
PART III.
PART IV.
# Horsemanship for Women/Part 1/Lesson 10

LESSON X.
THE WALK.
This gait is apt to be hardly appreciated by youthful equestrians, whose love of excitement leads them often to prefer rapidity to grace of motion; but it can, with a little painstaking, be made swift and agreeable; and certainly, when light and animated, it shows off both horse and rider to better advantage than any other. It is, besides, an indispensable stage in the bitting of the horse; for until he will continue "light" while starting, stopping, and turning at a walk, he should not be put to a faster pace.
Your chief difficulty will be his propensity to drop into a jog-trot as soon as you try to quicken his steps; but this must be overcome by stopping him immediately and then recommencing the walk, urging him forward with the heel and encouraging him to lift his feet quickly by a delicate play of the bit, but leaving his head as free as possible. This will give you occupation, probably, for several days. Do not forget to praise him when he does well.
# Horse shoes and horse shoeing: their origin, history, uses, and abuses/front matter

HORSE-SHOES
AND
HORSE-SHOEING:
THEIR ORIGIN,
HISTORY, USES, AND ABUSES.
BY
GEORGE FLEMING, F.R.G.S., F.A.S.L.,
MEMBER OF COUNCIL OF THE ROYAL COLLEGE OF VETERINARY SURGEONS; VETERINARY SURGEON, ROYAL ENGINEERS; AUTHOR OF 'TRAVELS ON HORSEBACK IN MANTCHU TARTARY', ETC
WITH 210 ILLUSTRATIONS.
LONDON:
CHAPMAN AND HALL,
193, PICCADILLY.
1869.
[All Rights Reserved.]
Por un clavo te pierde una herradura, por una herradura un Cavallo, por un Cavallo un Cavallero.— Old Spanish Proverb.
A little neglect may breed great mischief. For want of a nail the shoe was lost; for want of a shoe the horse was lost; and for want of a horse the rider was lost, being overtaken and slain by the enemy; all for want of a little care about a horse-shoe nail.— Benjamin Franklin.
A proper mode of shoeing is certainly of more importance than the treatment of any disease, or perhaps of all the diseases incident to horses. The foot is a part that we are particularly required to preserve in health; and if this art be judiciously employed, the foot will not be more liable to disease than any other.—Professor E. Coleman.
John Childs and son. printers
TO
His Royal Highness
PRINCE ARTHUR, K.G. K.T.
THIS INQUIRY INTO
THE ORIGIN, PROGRESS, AND PERFECTING OF AN ART
WHICH KINGS AND NOBLES HAVE NOT DISDAINED TO STUDY AND PRACTISE,
AND WHICH IS VERY INTIMATELY CONNECTED WITH
THE COMFORT AND UTILITY OF THE NOBLEST
AND MOST USEFUL ANIMAL EVER DOMESTICATED BY MAN,
IS MOST HUMBLY AND RESPECTFULLY DEDICATED BY
THE AUTHOR.
# Horsemanship for Women/Illustrations

ILLUSTRATIONS.
PAGE
# Horsemanship for Women/Part 1/Lesson 11

LESSON XI.
TO MOVE THE CROUP WITH HEEL AND WHIP (PIROUETTE RENVERSÉE).
Having your horse light in hand and light on foot (that is to say, as we have before explained, with his face perpendicular, the bit held lightly, and his weight well supported on his hind-legs), tap him on the right flank with your whip or "crop" till he moves the croup one step to the left. Your great difficulty will be to prevent him from moving his right fore-foot, which by careful play of the bit you must endeavor to keep fixed to the ground, while at each tap of the whip the other three feet move one step around it. "When this lesson has been satisfactorily learned, proceed to teach in like manner the movement of croup to the right, pivoting on the left fore-foot, substituting, however, for the tap of the whip a pressure with the left heel, applied as far behind the girth as possible.
MOVING THE CROUP WITH THE HEEL AND WHIP.
# I askd my Dear Friend Orator Prigg

* information about this edition.
* sister projects: Wikidata item.
From Notebook c.1808-1811 p.60. See also: Satiric verses and epigrams.

#### Edited text:

  I ASKÈD my dear friend Orator Prig:
‘What’s the first part of oratory?’ He said: ‘A great wig.
‘And what is the second?’ Then, dancing a jig
And bowing profoundly, he said: ‘A great wig.’
5 ‘And what is the third?’ Then he snored like a pig,
And, puffing his cheeks out, replied: ‘A great wig.’
So if a great painter with questions you push,
‘What’s the first part of painting?’ he’ll say: ‘A paint-brush.’
‘And what is the second?’ with most modest blush,
10 He’ll smile like a cherub, and say: ‘A paint-brush.’
‘And what is the third?’ he’ll bow like a rush,
With a leer in his eye, he’ll reply: ‘A paint-brush.’
Perhaps this is all a painter can want:
But, look yonder—that house is the house of Rembrandt!
________________________________________

#### The original text:

I askd my Dear Friend Orator Prigg
Whats the first part of Oratory he said a great wig
And what is the second then dancing a jig
And bowing profoundly he said a great wig
5And what is the third then he snord like a pig And puffing his cheeks he replied a Great wig
So if a Great Panter with Questions you push
Whats the first Part of Panting hell say a Pant Brush
And what is the second with most modest blush
10Hell smile like a Cherub & say a pant Brush
And what is the third hell bow like a rush
With a lear in his Eye hell reply a Pant Brush
Perhaps this is all a Painter can want
But look yonder that house is the house of Rembrant
________________________________________

## Notes

* ↑ The Poetical Works of William Blake, including the unpublished French Revolution together with the Minor Prophetic Books and Selections from The Four Zoas, Milton & Jerusalem; edited with an introduction and textual notes by John Sampson, Hon. D.Litt. Oxon., 1862–1931. London, New York: Oxford University Press, 1908.
* ↑ Blake has marked this piece ‘to come in Barry: a Poem’. 6 And, puffing his cheeks out,] And thrust out his cheeks and MS. 1st rdg. del.
* ↑ "The Complete Poetry & Prose of William Blake", ed. by David V. Erdman, Anchor Books, 1988, p. 515.
* ↑ Satiric verses and epigrams from Blake's Notebook#“I askd my Dear Friend Orator Prigg...”|"I askd my Dear Friend Orator Prigg..."]] N 60
* ↑ 6 puffing his cheeks he replied] smild like a Cherub & said 1st rdg
* ↑ 10 smile like a Cherub & say] nod wink & smile & reply 1st rdg
* ↑ At the end the ms reads “&c / to come in Barry a Poem”, an indication that these verses are but a patch made for a poem (now lost, or never finished) on the rebellious Academician James Barry.
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
# I am no Homers Hero you all know

* information about this edition.
* sister projects: Wikidata item.
From Notebook c.1808-1811 p.31. See also: Satiric verses and epigrams.

#### Edited text:

I AM no Homer’s hero you all know;
I profess not generosity to a foe. My generosity is to my friends, That for their friendship I may make amends. 5 The generous to enemies promotes their ends, And becomes the enemy and betrayer of his friends.
________________________________________

#### The original text:

I am no Homers Hero you all know
I profess not Generosity to a Foe
My Generosity is to my Friends
That for their Friendship I may make amends
5 The Generous to Enemies promotes their Ends
And becomes the Enemy & Betrayer of his Friends
________________________________________

## Notes

* ↑ The Poetical Works of William Blake, including the unpublished French Revolution together with the Minor Prophetic Books and Selections from The Four Zoas, Milton & Jerusalem; edited with an introduction and textual notes by John Sampson, Hon. D.Litt. Oxon., 1862–1931. London, New York: Oxford University Press, 1908.
* ↑ The Epigrams arranged in this section, all taken from the Rossetti MS. and written circa 1807–10, refer to the unhappy period in Blake’s history, when, embittered by the treatment of Cromek, and the ungenerous attitude of contemporaries towards his art, culminating in Hunt’s attack in the Examiner, he conceived himself to be the victim of a conspiracy, and became wholly alienated from most of his old friends. Cp. Gilchrist’s Life, 1 (chap. 26 and passim), Blake’s Letters, ed. Russell, and his own references in the ‘Advertisement’ and the Descriptive Catalogue.
* ↑ Cp. ‘Everlasting Gospel’, γ 25: He who loves his enemies betrays his friends.
* ↑ "The Complete Poetry & Prose of William Blake", ed. by David V. Erdman, Anchor Books, 1988, p. 502.
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
# I bet with every Wind that blew

I bet with every Wind that blew Till Nature in chagrin Employed a Fact to visit me And scuttle my Balloon —
# I asked a thief to steal me a peach

From Blake’s Notebook (c.1793), p. 114, reversed. See also: Songs and Ballads.
I asked a thief to steal me a peach; He turned up his eyes. I ask’d a lithe lady to lie her down; Holy & meek she cries.
As soon as I went An angel came; He wink’d at the thief And smil’d at the dame,
And without one word said
Had a peach from the tree, And still as a maid Enjoy’d the lady.
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
# I asked no other thing—

* "I asked no other thing" in Poems (1890)
* "I asked no other thing" in The Complete Poems of Emily Dickinson (1924)
# I bind unto myself to-day

Alexander wrote this hymn based on earlier translations of St. Patrick's Breastplate in 1889, at the request of Dean H. H. Dickinson of the Chapel Royal at Dublin Castle. Dickinson later wrote:
   I wrote to her suggesting that she should fill a gap in our Irish Church Hymnal by giving us a metrical version of St. Patrick's "Lorica," and I sent her a carefully collated copy of the best prose translations of it. Within a week she sent me that exquisitely beautiful as well as faithful version which appears in the Appendix to our Church Hymnal, which is now sung in many churches on St. Patrick's Day.
   —H. H. Dickinson, Letter dated February 1896, in the Preface to Alexander's Poems (1897).
* "The Hymn: version of Mrs. Alexander" in The Writings of Saint Patrick, the Apostle of Ireland, (ed.) by Charles Henry Hamilton Wright (1874).
* "I bind unto myself to-day" (unidentified edition).
# I bind unto myself to-day (no source)

* related portals: Christian poetry, Celtic languages, Medieval poetry.
* sister projects: Wikipedia article, Wikidata item.
This popular Victorian Hymn was written by Cecil Frances Alexander. It is based on a translation of the Old Irish prayer St. Patrick's Breastplate, which is traditionally attributed to St. Patrick. It is in the same style as pagan protection charms from Ireland, but with clearly Christian content.
This hymn is usually sung to the tune "St. Patrick" by Charles Villiers Stanford, with the litany sung to the Irish traditional tune "Deirdre".
I bind unto myself today
The strong name of the Trinity, By invocation of the same,
The Three in One and One in Three.
I bind this day to me for ever, By power of faith, Christ's Incarnation; His baptism in Jordan River; His death on cross for my salvation; His bursting from the spicèd tomb; His riding up the heavenly way; His coming at the day of doom; I bind unto myself today.
I bind unto myself the power Of the great love of the Cherubim; The sweet 'Well done' in judgment hour; The service of the Seraphim, Confessors' faith, Apostles' word, The Patriarchs' prayers, the Prophets' scrolls, All good deeds done unto the Lord, And purity of virgin souls.
I bind unto myself today The virtues of the starlit heaven, The glorious sun's life-giving ray, The whiteness of the moon at even, The flashing of the lightning free, The whirling wind's tempestuous shocks,
The stable earth, the deep salt sea, Around the old eternal rocks.
I bind unto myself today The power of God to hold and lead, His eye to watch, His might to stay, His ear to hearken to my need. The wisdom of my God to teach, His hand to guide, his shield to ward, The word of God to give me speech, His heavenly host to be my guard.
Against the demon snares of sin, The vice that gives temptation force, The natural lusts that war within, The hostile men that mar my course; Or few or many, far or nigh, In every place and in all hours Against their fierce hostility, I bind to me these holy powers.
Against all Satan's spells and wiles, Against false words of heresy, Against the knowledge that defiles, Against the heart's idolatry, Against the wizard's evil craft, Against the death-wound and the burning The choking wave, the poisoned shaft, Protect me, Christ, till thy returning.
Christ be with me, Christ within me, Christ behind me, Christ before me, Christ beside me, Christ to win me, Christ to comfort and restore me, Christ beneath me, Christ above me, Christ in quiet, Christ in danger, Christ in hearts of all that love me, Christ in mouth of friend and stranger.
I bind unto myself the name, The strong name of the Trinity; By invocation of the same. The Three in One, and One in Three, Of whom all nature hath creation, Eternal Father, Spirit, Word: Praise to the Lord of my salvation, salvation is of Christ the Lord.
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# How to Tell the Birds from the Flowers and other wood-cuts/The Parrot; The Carrot

The Parrot and the Carrot one may easily confound, They're very much alike in looks and similar in sound, We recognize the Parrot by his clear articulation, For Carrots are unable to engage in conversation.
# How to Tell the Birds from the Flowers and other wood-cuts/The Pen-guin; The Sword-fish

We have for many years been bored By that old saw about the sword And pen, and now we all rejoice, To see how Nature made her choice: She made, regardless of offendin', The Sword-fish mightier than the Penguin.
# How to Tell the Birds from the Flowers and other wood-cuts/The Pipe-fish; The Sea-gar

To smoke a herring is to make A most lam-en-table mistake, Particularly since there are The Pipe-fish and the long Sea-gar. Bear this in mind when next you wish To smoke your after-dinner fish.
# How to Tell the Birds from the Flowers and other wood-cuts/The Pea; The Pewee

To tell the Pewee from the Pea, Requires great per-spi-ca-city. Here in the pod we see the Pea. While perched close by is the Pewee; The Pea he hears the Pewee peep, While Pewee sees the wee Pea weep, There'll be but little time to see, How Pewee differs from the Pea.
# How to Tell the Birds from the Flowers and other wood-cuts/The Pecan; The Toucan

Very few can Tell the Toucan From the Pecan— Here's a new plan:
To take the Toucan from the tree, Requires im-mense a-gil-i-tee, While anyone can pick with ease The Pecans from the Pecan trees. It's such an easy thing to do, That even the Toucan he can too.
# How to Tell the Birds from the Flowers and other wood-cuts/The Quail; The Kale

The California Quail is said To have a tail upon his head, While contrary-wise we style the Kale, A cabbage-head upon a tail. It is not hard to tell the two, The Quail commences with a queue.
# How to Tell the Birds from the Flowers and other wood-cuts/The Pansy; The Chim-pansy

Observe how Nature's necromancies Have clearly painted on the Pansies, These almost human counten-ances, In yellow, blue and black nu-ances. The face however seems to me To be that of the Chim-pan-zee: A fact that makes the gentle Pansy, Appeal no longer to my fancy.
# How to Tell the Birds from the Flowers and other wood-cuts/The Pelican; The Panicle

The Panicle and Pelican have often been confused, The letters which spell Pelican, in Panicle are used. If you recognize this Anagram you'll never go astray, Or make the careless blunder that was made by Mr. Gray.
# How to Tell the Birds from the Flowers and other wood-cuts/The Pipe; The Snipe

Observe the hybrid Indian Pipe, Likewise the high-bred English Snipe, Who is distinguished, as we see, By his superior pedigree.
# How to Tell the Birds from the Flowers and other wood-cuts/The Puss; The Octopus

The Octopus or Cuttle-fish! I'm sure that none of us would wish To have him scuttle 'round the house, Like Puss, when she espies a mouse: When you secure your house-hold pet, Be very sure you do not get The Octopus, or there may be Domestic in-felis-ity.
# Inuktitut romanization table

Inuktitut
| ᐁai | ᐃi | ᐅu | ᐊa | |
| ᐯpai | ᐱpi | ᐳpu | ᐸpa | ᑉp |
| ᑌtai | ᑎti | ᑐtu | ᑕta | ᑦt |
| ᑫkai | ᑭki | ᑯku | ᑲka | ᒃk |
| ᒉgai | ᒋgi | ᒍgu | ᒐga | ᒡg |
| ᒣmai | ᒥmi | ᒧmu | ᒪma | ᒻm |
| ᓀnai | ᓂni | ᓄnu | ᓇna | ᓐn |
| ᓭsai | ᓯsi | ᓱsu | ᓴsa | ᔅs |
| ᓓlai | ᓕli | ᓗlu | ᓚla | ᓪl |
| ᔦjai | ᔨji | ᔪju | ᔭja | ᔾj |
| ᕓvai | ᕕvi | ᕗvu | ᕙva | ᕝv |
| ᕃrai | ᕆri | ᕈru | ᕋra | ᕐr |
| ᙯqai | ᕿqi | ᖁqu | ᖃqa | ᖅq |
| ᙰngai | ᖏngi | ᖑngu | ᖓnga | ᖕng |
| | ᙱnngi | ᙳnngu | ᙵnnga | ᖖnng |
| | ᖠ&i | ᖢ&u | ᖤ&a | ᖦ& |
| ᕴhai* | ᕵhi* | ᕷhu* | ᕹha* | ᕻh* |
| | | | | ᕼh† |
Notes
* A long vowel is represented in syllabics by a superscript dot, in romanization by doubling the letter (for example, ᓈᓃᑦ naaniit; ᑰᔾᔪᐊᖅ Kuujjuaq).
* A circle over a character in the second column converts the vowel from i to aai (for example, ᐂᓵᒃ Aaisaak).
*Character used in the Nunavik region of Québec. †Character used in the territory of Nunavut.
# Intuition

* Search for titles containing or beginning with: "Intuition."
* 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.
* "Intuition", a poem by Gladys Cromwell
* Marquis, Don (1916), "Intuition" in Hermione and her little group of serious thinkers
* "Intuition", a poem by Sophia Courtoulde Hazlett-Bevis
* "Intuition," in Catholic Encyclopedia, (ed.) by Charles G. Herbermann and others, New York: The Encyclopaedia Press (1913)
* "Intuition," in Encyclopædia Britannica (11th ed., 1911)
# Introductory Rhymes (Yeats)

* Introductory Rhymes, from Responsibilities (1916)
* Pardon, old fathers, unsourced
# In re Lamkin/Opinion of the Court

* Court Documents
* Case Syllabus
* Opinion of the Court
United States Supreme Court
355 U.S. 59
In re Lamkin
Argued: Nov. 18, 1957. --- Decided: Dec 16, 1957
The petition for writ of certiorari is denied. The judgment below rests on an adequate state ground since petitioner, in filing his application for habeas corpus in the state court, failed to comply with applicable state procedures. See Fox Film Corp. v. Muller, 1935, 296 U.S. 207, 56 S.Ct. 183, 80 L.Ed. 158. The stay heretofore entered is continued through December 18, 1957, to afford petitioner an opportunity to file with due diligence a proper application for relief in the appropriate state court, and in the event of a final denial of same in the highest court of the state, to renew in this Court an application for writ of certiorari. See Tenner v. Dullea, 1941, 314 U.S. 692, 62 S.Ct. 364, 86 L.Ed. 554.

## 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