OpenLLM-France/wikimedia huggingface dataset:
# Pacific Exp. Company v. Malin (131 U.S. 394)

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
131 U.S. 394
Pacific Exp. Company v. Malin
William H. Phillips, for the motion.
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
# Pacific Company v. Peterson

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
278 U.S. 130
Pacific Company v. Peterson
Argued: Oct. 24, 1928. --- Decided: Nov 26, 1928
Messrs. W. C. Morrow, Benjamin S. Grosscup, and J. O. Davies, all of Seattle, Wash., for petitioner.
[Argument of Counsel from page 131 intentionally omitted]
Mr. Harry E. Foster, of Seattle, Wash., for respondent.
Mr. Justice SANFORD 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
# Pacific Employers Insurance Company v. Industrial Accident Commission of California

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
306 U.S. 493
Pacific Employers Insurance Company v. Industrial Accident Commission of California
Argued: Dec. 12, 1938. --- Decided: March 27, 1939
[Syllabus from pages 493-495 intentionally omitted]
Messrs. W. N. Mullen and George C. Faulkner, both of San Francisco, Cal., for petitioner.
[Argument of Counsel from Pages 495-496 intentionally omitted]
Messrs. Frank J. Creede, Percy J. Creede, and Gordon S. Keith, all of San Francisco, Cal., for respondent, Kenneth Tator.
Mr. Everett A. Cotton, of San Francisco, Cal., for respondent, Industrial Accident Commission of California.
Mr. Justice STONE 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
# Pekinese Rhymes/9

IX
我一個大兒子 一個兒子 寶貝疙疸兒 開胸順氣丸
NOTES
These words are often repeated by the pekinese mothers to their babies 疙疸兒 ko$^1$ ta$^1$ 'r means here a little thing of a round form just as it was a round metal button. 開胸順氣丸 k'ai$^1$ hsiung$^1$ shun$^4$ ch'i$^4$ uan$^2$, is a medical pill advised by Chinese doctors to people who feel the breast oppressed and the respiration uneasy. The literal translation of its ​name is "pill which opens (lightens) the breast and makes the respiration easy. The mothers liken their babies to that pill, and really every mother holding her child in her arms must feel happy and free from every sorrow.
TRANSLATION.
This one great son of mine! ― one son of mine! a precious little thing! ― a pill who lightens the heart and makes people happy!
# Pekinese Rhymes/4

IV
挑水的哥
聽着我說 南河沿兒
有你的窩 睛天晒蓋子 陰天把脖兒縮
NOTES
These words are adressed by the chinese boys to the water-carriers who are generally people of the Shantung province. As no water-ways of any kind exist in Peking, a great many of these fellows take the water from the wells into the houses. Their bad pronunciation, and their awkward manners delight extremely the Peking cockneys. The boys have therefore composed for their benefit this special song, which they hum at their back, and whose general aim is to define them as turtles. The word turtle in China is used for one of the most direst insults, as this animal is phantastically empeached of an unnatural crime. The insult is however so largely used that people are not shocked by it. 哥 ko$^1$ means elder brother, but here is used in the meaning of man, fellow in the same way as the Russians use the word brat (latin frater) . 窩 uo$^1$ means not only a nest but also a den, a hole. 晒蓋子 shai$^4$ kai$^4$-tzŭ, to dry the shell in the run, as turtles do. 縮 suo$^1$, to withdraw one's head, to retreat. This last phrase is allusive to the fact that the water-carriers do not go out when it rains, as the turles do too.
TRANSLATION
Water carrying fellow ― hear what I say ― on the bank of the south river ― is your hole ― when the weather is fine, you dry out your shell ― and when it is bad weather then you draw in your neck.
# Pekinese Rhymes/8

VIII
誰跟我頑兒 大火鐮兒 火鐮兒燒 賣甜瓜 甜瓜苦 買豆腐 豆腐爛 茶雞蛋 雞蛋雞蛋殼殼 裏頭坐着哥哥 哥哥出來買菜 裏頭坐着奶奶 奶奶出來燒香 燒了鼻子眼睛
NOTES
火鐮兒 huo$^3$ lien$^2$'r, a piece of steel used to strike sparks from a flint. 甜瓜 t'ien$^2$ kua$^1$, sweet melon. 豆腐 tou$^4$-fu$^3$, bean cheese, largely used in China
TRANSLATION
Who is going to play with me? ― strike the flint-steel ― the flint steel takes fire ― sell sweet melons ― the sweet melons are bitter ― sell bean cheese ― the bean cheese is spoiled ― boil eggs in tea ― in the shell of the egg, of the egg ― there is sitting the elder brother ― the elder brother goes out to buy provisions ― inside there sits the grand-mother ― the grand mother goes out to burn incense ― and burns her nose and her eyes.
# Peking Gazette

In Chinese, Jing Bao (京报), previously transliterated as Ching Pao, meaning "Capital Report". A government bulletin published by the Imperial government of China until 1912, when the Qing dynasty fell and was replaced by Republican China.

## 1820s

* "Extracts from the Peking Gazette for 1824, Being the Fourth Year of Taou-kwang" by John Francis Davis in Transactions of the Royal Asiatic Society, 1 (2) (1826), pp. 383–413 (extracts from around February to August 1824)
* "Extracts from the Peking Gazettes" by John Francis Davis in Transactions of the Royal Asiatic Society, 1 (2), pp. 254–259 (extracts from around April to July 1824) IA
* "Extracts from Peking Gazettes" by John Francis Davis in Transactions of the Royal Asiatic Society, 2 (1) (1829), pp. 86–89 (undated originals, but pre-1828) IA

## 1870s

* Translation of the Peking Gazette of 1872 (1874) (external scan)
* Translation of the Peking Gazette of 1873 (1874) IA
* Translation of the Peking Gazette of 1875 (1876) (external scan)
* Translation of the Peking Gazette of 1876 (1877) (external scan)
* Translation of the Peking Gazette of 1877 (1878)

## 1880s

* Translation of the Peking Gazette of 1879 (1880)
* Translation of the Peking Gazette of 1880 (1876)
* Translation of the Peking Gazette of 1881 (1877)
* Translation of the Peking Gazette of 1882 (1874)
* Translation of the Peking Gazette of 1833 (1874)
* Translation of the Peking Gazette of 1884 (1876)
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
# Pekinese Rhymes/7

VII
痲子痲 上樹爬 狗又咬 人又拿 嚇的痲子摔了個痲跟頭 痲大錢 買了個痲燒餅 痲子吃 痲子看 痲子打架痲子勸 痲衙役 拿板子 單打痲子的痲腿子
NOTES
This song is profusedly interspersed with the character 痲 ma$^2$ whose meaning is "smallpox." This disease is so common in China that very often children who have been sick with it and keep marks ​on their faces are familiarly called 麻子 ma$^2$-tzŭ. Furthermore the word is used in other relative meanings. Here throughout these words, it is impossible to translate it always, as the repetition is done for the sake of playing on the word. The character I have written here is the regular one, but popularly the other character 麻 ma$^2$, which means hemp, is substituted for it. In the first verse it is repeated to intensify the original meaning, thus saying "much marked with small pox." 痲跟頭 ma$^2$ ken$^1$ t'ou$^2$, ken$^1$-t'ou$^2$ is a tumble; the word 痲 ma$^2$ is referred to the subject. 痲大錢 ma$^2$ ta$^4$ ch'ien$^2$, so is called a cash when its surface is sugged, uneven, as if there were marks of small pox on it. 痲燒餅 痲$^2$ shao$^1$ ping$^3$, a wheaten cake with an uneven surface, as it is when sesamum seeds are placed on it. 燒餅 shao$^1$ ping$^3$, round wheaten cake.
TRANSLATION
The boy much marked with the small pox ― climbs up a tree ― the dog barks ― and people go to catch him. ― The small-pox marked is so scared that he tumbles. ― With an old rugged cash he buys a cake ― a small pox marked eats ― and a small pox marked looks on ― the small pox marked come to a fight ― and a small-pox marked advises peace ― small pox marked policemen 一 take the bamboo stick 一 and only thrash the legs of the small pox marked boy.
# Pekinese Rhymes/5

V
沙土地兒 跑白馬 一跑跑到丈人家 大舅兒望裏讓 小舅兒望裏拉 隔着竹簾兒看見他 銀盤大臉黑頭髮 月白緞子棉襖銀疙疸
NOTES
沙土地兒 sha$^1$ t'u$^3$ ti$^4$'r, a sandy plain ground as outside the wall between the Manchu and the Chinese town in Peking. 丈人 chang$^4$-jen, name given to one's wife or bride's father. 大舅兒 ta$^4$-chiou$^4$'r, one's wife's elder brother. 小舅兒 hsiao'$^3$ chiou$^4$'r, one's wife's younger brother. For 他 is here to be understood the bride whom the young man succeeds in spying through the curtain. 銀盤大 ​臉 yin$^2$ p'an$^2$ ta$^4$ lien$^3$, a big face as white as a silver tray. 月白 yüe$^4$ pai$^2$, "moon white" means a light blue. 疙疸 read ko$^1$-ta$^1$ or more vulgarly ka$^1$-ta$^1$, here means a metal button, it may also mean pimples and has other different shades of meanings.
TRANSLATION
On the sandy plain ― gallops a white horse ― galloping gets to the (horseman's) future father-in-law's house ― his elder brother-in-law invites him to come in ― his younger brother-in-law pulls him in ― through the bamboo-curtain he has seen her ― her large face as white as a silver-tray and her black hair ― and her cotton overcoat of light azure colour with silver buttons.
# Pekinese Rhymes/6

VI
小禿兒 咧咧咧 南邊兒打水是你爹 你爹戴着紅纓帽 你媽穿着乍板兒鞋 走一步 蹋拉拉 十個脚指頭露着三
NOTES
The Chinese boys generally as far as three years old have their hair shaven; therefore a common nickname for a boy is 禿兒 t'u$^1$'r, meaning a bald-headed. 咧咧咧 lie$^4$-lie$^4$-lie$^4$, is imitative of the sound of weeping. The boy weeps and to quiet him the song is sung to him. 打水 ta$^3$ shuei$^3$, to draw water from a well, by a rope and a bucket. 紅纓子 hung$^2$ ing$^1$ tzŭ, Red silk twists fixed round the top of a chinese official hat. 乍板兒鞋 cha$^4$ pan$^3$'r hsie$^2$, old shoes with no heels; they are so called because the noise the sole produces slapping on the ground is like the sound of a Chinese musical instrument called 乍板兒 cha$^4$ pan$^3$'r, consisting in two small bamboo tablets strung together, which are shaken by the fingers in a similar manner to the spanish and italian castanets 踢拉拉 t'a$^1$ la$^1$ la$^1$, imitates the slapping of the shoe sole on the ground. 三 san$^1$ is here (as very often in vulgar language) pronounced sa$^1$, in order to rhyme with the precedent verse who ends with 拉.
TRANSLATION
Small bald-headed ― here he is weeping! ― to the South side it's your father who draws water from the well ― your father wears an official hat with red silk twists on it ― and your mother wears on ​her feet old shoes with no heels ― as she advances a step ― it sounds t'alalà — and of her ten toes three peep out of her shoes.
# Pictures in Rhyme/'When Dead is Day'

'WHEN DEAD IS DAY'
I love the quiet night, when earth, Shackled in iron chains of sleep, Scarce draws her respirations deep; For then I weigh Just what this world is worth, When dead is day.
It is not in the night alone, And darkness, evil things have power: Their foreheads greet the noonday hour With brazen face, Vice flaunts it on a throne I’ the market-place.
Undeafened by humanity's low bass, I hear the music of the spheres Too high attuned for mortal ears To e'er perceive Without night's listening-space, And I believe. ​For revelations come when darkness falls: 'Tis then I feel an echo in my heart Throb with a voice—that voice which says, 'Thou art, Though something, nothing, And within my halls Subject, yet king.'
O Immortality! from mortals hid, Is what thou art, and what thou hast in store, When we set foot upon that further shore. Grasp we 'forever,' Or is, beneath the coffin-lid, 'Forever, never'?
# Pictures in Rhyme/'Young Love unfurled his Silken Sail'

'YOUNG LOVE UNFURLED HIS SILKEN SAIL
Young love unfurled his silken sail, And in his boat of ivory pale Went sliding down the weather, By sunny shores of golden isles, Their hills o'ertopped for miles on miles With ruddy helms of heather.
Over seas to a shady bay, Where, lotus-locked, enchanted lay He and his boat together, Unwotting of the days that flew In one long monotone of blue, From waning summer's tether.
Till heaven darkened, and the rain, Smoking athwart the watery plain, Fell down with wintry weather; ​Then, like a lark that upward flies,
Love swiftly lessened through the skies, On winnowing feather.
But the poor boat drifts on, resigned
To furies of the wave and wind,
# Pictures in Rhyme/A Desert Night

A DESERT NIGHT
Awake! Awake! Awake!
Stand to your arms like men;
For the muffled tread of ten thousand feet,
The roll of wheels, and redoubled beat
Of changing hoofs, are abroad on the night.
Awake!
Hark! how it comes again.
The keen night-air whispers light,
'Awake!'
••••••••• Asleep! Asleep! Asleep!
Deaf and dumb to the sounds of life,
Sand in his eyes and mouth and ears,
But awake to the secret of manifold years,
Under the broad desert-sheet he lies
Asleep! Lost are all sounds of strife,
Dead as the body that dies.
We weep!
# Pictures in Rhyme/'They tell me you have Married'

'THEY TELL ME YOU HAVE MARRIED'
They tell me you have married Since I have been away; But I, where have I tarried So long? you say.
A year ago I named you As mine; you vowed to stay Mine only till I claimed you—
A year to-day!
And do I find you altered? Your face is still the same; But those full lips, which faltered Once my name,
Are pledged unto another's (Red wine—a goblet old); And he has filled your mother's Hands with gold. ​But have you quite forgotten Those songs we used to sing In that dim room—begotten When love was king?
Why should those days return not? You ask me: ask that ring. Fires of pure poesy burn not Where Wealth is king.
# Pictures in Rhyme/A Queen

A QUEEN
A Queen—he loved her; His queen—he moved her— For she was human.
Ermine robes, jewelled crown, Thrust aside, thrown down, Left but a woman.
And did they blame her? Or could it shame her? No! love became her.
# Pictures in Rhyme/At Kassassin

AT KASSASSIN
Rained on all day by the sun,
Beating through helmet and head,
Through to the brain.
Inactive, no water, no bread,
We had stood on the desolate plain
Till evening shades drew on amain;
And we thought that our day's work was done,
When, lo!it had only begun.
'Charge!'And away through the night,
Toward the red flashes of light
Spurting in fire on our sight,
Swifter and swifter we sped.
'Charge!'At that word of command,
On through the loose-holding sand,
On through the hot, folding sand,
Through hailstorms of iron and lead,
Swifter and swifter we sped. ​Thud! fell a friend at my hand;
No halt, ne'er a stay, nor a stand.
What though a comrade fell dead?
Swifter and swifter we sped.
Only the red, flashing light
Guided our purpose aright;
For night was upon us, around,
Deceptive in sight as in sound.
We knew not the enemy's ground,
We knew not his force;
But on, gaining pace at each bound,
Flew man and horse.
Burst on the enemy's flank,
On through his gunners and guns,
Swifter and swifter we sped;
Over each bayonet-ranged rank,
Earthward their dusky waves sank,
Scattered and fled. ​They ran as a startled flock runs;
But still we pursued o'er the plain,
Till the rising moon counted the slain,
And some hundred Egyptians lay dead.
Oh!'twas a glorious ride,
And I rode on the crest of the tide.
We dashed them aside like the mud of the street,
We threshed them away like the chaff from the wheat,
We trod out their victory under our feet,
And charged them again and again;
For demons were loose on the hot-breathing wind,
And entered the souls of our men.
A feverish delight filled our bones,
Heightened by curses and groans—
The mind taking hold of the body, the body reacting on mind.
Ha!'twas a glorious ride,
Though I miss an old friend from my side, ​And sadness is mingled with pride.
Still, 'twas a glorious ride—
That race through the darkness, the straining, the shock,
# Pictures in Rhyme/At Malvern Wells

AT MALVERN WELLS
At Malvern Wells I ventured out: The wind was east, but veered about To Nor'-nor'-east. I felt it chilly; My doctor called me—more than silly, And said I well deserved the gout.
His sage advice I deigned to flout; This was the reason why, no doubt, I found the roads so very hilly At Malvern Wells.
Dull aches, rheumatic demons stout, I strove in vain to put to rout: The east wind whistled very shrilly, Till suddenly I came on Lily At Malvern Wells. ​I came on Lily, clad in fur; She brought a genial warmth with her, Diffused a glow through all my frame. Avaunt, ye fiends! at Lilian's name, Of health a very harbinger.
My doctor says I would aver That she was Mercy's minister. He says 'The Wells,' but I exclaim, ’I came on Lily.'
Despite M.D.'s, I do not err, Love is a potent sorcerer. My fiends all shrank, aghast and tame, As, no more crippled, halt, or maim, I came on Lily.
# Pictures in Rhyme/Death and Dives

Illustrated by Maurice Greiffenhagen
DEATH AND DIVES
DEATH
'Rise up, rise up, put off those robes, And follow me into the night; Leave thy gay feast, thy glittering globes;
Let fall the scales which mar thy sight;
Throw thy half-tasted winecup down— Thou hast a deeper draught to drink When wrapped within my sable gown, Forgetting self, forget to think. Obey, obey! I have no time to pause, to stay; We must be far away Ere day.'
DIVES
'What! go with thee, thou fearful guest;
Be wrapped upon thy fatal breast, To sleep forgetting and forgot? Leave this my home of life and light, To pass with thee across the night,
DEATH
'Obey, obey!
I have no time to pause, to stay;
We must be far away
Ere day.'
DIVES
'I scarcely yet begin to live After the years of gathering toil,
Needing no longer now to strive,
My cellars filled with wine and oil. My honey-bees do congregate Near barns which groan beneath the weight Of corn, and shrivelled fruit, in rows, Hangs rafter-strung; whilst daily grows
More loud the lowing in my stalls. Atlanta, too, this day has foaled. These jars of silver, bowls of gold, These purple robes of sea-born dye, Yon gaudy birds which swing and cry In unknown, brazen tongues.Yon slaves, Spice-scented, from whose viols falls Soft music on my painted walls,
Passion and sleep's melodious waves. ​Through heat, through cold, o'er distant seas, Now fanned, now baffled by the breeze, I gathered these. And then thou askest me, Leaving my glittering halls, to pass with thee From men, from light, Into the voiceless night.'
Death smiled upon him, and then said, As his lips gently touched his head: 'Behold! how much I give to thee
"Behold how much I give to thee In place of all thou leav'st for me."
# Pictures in Rhyme/An Assignation

AN ASSIGNATION
A ladder hung snake-like and limp to the breeze; A figure which steals through the shadow-clad trees, And sways up the knotted stair; An open casement which welcomes the air Of the heavy-browed night; and stranger where A crescent-cupped light but reveals the gloom Of four dark corners about the room.
Two steps lead to the lady's bed— Arras and cloth of red.
Bending to wake her with love's caresses, He slips one arm 'neath her rich brown tresses, And whispers words she can never hear,
# Pictures in Rhyme/Flower and Fruit

FLOWER AND FRUIT
Three blossoms hung on a tree,
Three berries ripe in the sun:
One falls to the earth; one is plucked away;
One withers upon its stone.
Three maidens fair to see,
Three womanhoods scarce begun:
One is claimed by Death; one marries away;
One eats out her heart alone.
# Orton v. Smith

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
59 U.S. 263
Orton v. Smith
THIS was an appeal from the district court of the United States, for the district of Wisconsin.
The facts are stated in the opinion of the court.
It was argued by Mr. Gillett and Mr. Lynde, for the appellant, and Mr. Brown, for the appellee. There was also a brief filed on the same side by Mr. Upham.
The points made by the counsel were so interwoven with the facts, that they cannot be presented abstractedly.
Mr. Justice GRIER 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
# Orthodoxy/Preface

This book is meant to be a companion to "Heretics," and to put the positive side in addition to the negative. Many critics complained of the book called "Heretics" because it merely criticised current philosophies without offering any alternative philosophy. This book is an attempt to answer the challenge. It is unavoidably affirmative and therefore unavoidably autobiographical. The writer has been driven back upon somewhat the same difficulty as that which beset Newman in writing his Apologia; he has been forced to be egotistical only in order to be sincere. While everything else may be different the motive in both cases is the same. It is the purpose of the writer to attempt an explanation, not of whether the Christian Faith can be believed, but of how he personally has come to believe it. The book is therefore arranged upon the positive principle of a riddle and its answer. It deals first with all the writer's own solitary and sincere speculations and then with all the startling style in which they were all suddenly satisfied by the Christian Theology. The writer regards it as amounting to a convincing creed. But if it is not that it is at least a repeated and surprising coincidence.
Gilbert K. Chesterton.
# Poems (1898)/Love Has No Foes

LOVE HAS NO FOES
Love has no foes; where'er he goes Conditions full of mildness meet, And amber honey-cells are filled, And little birds begin to build, And blossoms gather at his feet,— Love is so sweet!
Love has no foes; the folded rose That answering his smile's caress Blows into beauty, with its heart All bruised to fragrance by his art, To every breeze doth still confess His loveliness!
Love has no foes; who only knows What Love hath been when Love is fled, E'en he, bereft, would follow him, Though to the voiceless caverns dim Of the wan city of the Dead, And share his bed!
# Poems (1898)/Let Me Believe

LET ME BELIEVE
Let me believe you, love, or let me die! If on your faith I may not rest secure,— Beyond all chance of peradventure sure,— Trusting your half-avowals sweet and shy, As trusts the lark the pallid, dawn-lit sky,— Then would I rather in some grave obscure Repose forlorn, than, living on, endure A question each dear transport to belie! It is a pain to thirst and do without, A pain to suffer what we deem unjust, To win a joy—and lay it in the dust; But there's a fiercer pain,—the pain of doubt: From other griefs Death sets the spirit free; Doubt steals the light from immortality!
# Poems (1898)/Life (Coates 2)

LIFE
Thou art more ancient than the oldest skies, But youth forever glances from thine eyes; Time wars against thee, and consumes thy fires, Yet, wingèd, thou from ashes dost arise!
# Poems (1898)/Longing

LONGING
The lilacs blossom at the door, The early rose Whispers a promise to her buds, And they unclose.
There is a perfume everywhere, A breath of song, A sense of some divine return For waiting long.
Who knows but some imprisoned joy From bondage breaks,— Some exiled and enchanted hope From dreams awakes?
Who knows but you are coming back To comfort me For all the languor and the pain, Persephone?
O come! For one brief spring return, Love's tryst to keep; Then let me share the Stygian fruit, The wintry sleep!