OpenLLM-France/wikimedia huggingface dataset:
# The Maze of Sleep

Published in 1912.
Sleep is a pathless labyrinth, Dark to the gaze of moons and suns, Through which the exile clue of dreams, A gossamer thread, obscurely runs.
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
# The Mayor v. Lindsey/Opinion of the Court

* Court Documents
* Case Syllabus
* Opinion of the Court
United States Supreme Court
86 U.S. 485
The Mayor v. Lindsey
VENIRE DE NOVO.

## 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
# The McClure Family

Petersburg, Virginia: Frank A. Owen.
MATTHEW THOMPSON McCLURE, Sr.
1834━━━━━
(Taken at Seventy-six.)
THE
McClure Family.
BY
JAMES ALEXANDER McCLURE.
LIMITED EDITION.
Presses of Frank A. Owen,
Petersburg, Virginia.
1914.
| Foreword | iv |
| Introduction | 1 |
| McClures in Virginia | 17 |
| McClures in North and South Carolina | 153 |
| McClures in Mississippi | 159 |
| McClures in Massachusetts | 160 |
| McClures in New Hampshire | 164 |
| McClures in New York | 166 |
| McClures in Pennsylvania | 168 |
| Miscellaneous | 181 |
| Appendix | 184 |
| Addenda | 221 |
| Errata | 224 |
| Index | 225 |
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 1965, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 58 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
# The Lady with the Dog and Other Stories

one or more chapters are available in a spoken word format.
* The Lady with the Dog
* A Doctor's Visit
* An Upheaval
* Ionitch
* The Head of the Family
* The Black Monk
* Volodya
* An Anonymous Story
* The Husband
This work is a translation and has a separate copyright status to the applicable copyright protections of the original content.
# The Modern Review/Volume 19

January to June, 1916
THE MODERN REVIEW
Monthly Review and Miscellany
Edited by
Ramananda Chatterjee, M.A.
Vol. XIX, Numbers 1 to 6 January to June, 1916
THE MODERN REVIEW OFFICE 210-3-1, Cornwallis Street, CALCUTTA.
Price of this Volume: Rs. 3 Inland; Foreign 7s. Annual Subscription: Inland Rs. 6; Foreign 12s.
* Number 1 (January)
* Number 2 (February)
* Number 3 (March)
* Number 4 (April)
* Number 5 (May)
* Number 6 (June)
# The Modern Review/Volume 20

July to December, 1916
* Number 1 (July)
* Number 2 (August)
* Number 3 (September)
* Number 4 (October)
* Number 5 (November)
* Number 6 (December)
# The Modern Review/Volume 21

January to June, 1917
* Number 1 (January)
* Number 2 (February)
* Number 3 (March)
* Number 4 (April)
* Number 5 (May)
* Number 6 (June)
# The Modern Review/Volume 16

July to December, 1914
* Number 1 (July)
* Number 2 (August)
* Number 3 (September)
* Number 4 (October)
* Number 5 (November)
* Number 6 (December)
# The Modern Review/Volume 21/Number 5

May, 1917
# The Modern Review/Volume 21/Number 6

June, 1917
* The Spirit of Japan
* The Lost Jewels
* The Sunset of the Century
# The Modern Review/Volume 17

January to June, 1915
* Number 1 (January)
* Number 2 (February)
* Number 3 (March)
* Number 4 (April)
* Number 5 (May)
* Number 6 (June)
# The Modern Review/Volume 18

July to December, 1915
* Number 1 (July)
* Number 2 (August)
* Number 3 (September)
* Number 4 (October)
* Number 5 (November)
* Number 6 (December)
# The Modern Review/Volume 2

July to December, 1907
* Number 1 (July)
* Number 2 (August)
* Number 3 (September)
* Number 4 (October)
* Number 5 (November)
* Number 6 (December)
# The Man in the Panther's Skin/Chapter 22

XXII
AVT'HANDIL'S PRAYER IN THE MOSQUE, AND HIS FLIGHT
790. He prayed and said: "Great God of earths and heavens, who sometimes punishest, sometimes art ready to reward, Unknowable and Unspeakable, Lord of lordships, give me to endure longings, O ruler of heart-utterances!
791. "God, God, I beseech Thee, who govern'st the deeps and heights; Thou didst create love, Thou hast decreed its law; Fate has sundered me from mine excellent sun; uproot not the love sowed by her for me!
792. "God, God, merciful, I have none beside Thee; from Thee I beg aid on the road, however long I travel; shelter me from the mastery of foes, the turmoil of the seas, the evil one by night! If I survive, I shall serve Thee, I shall offer sacrifice to Thee."
793. When he had prayed, he mounted his horse (and) privily passed through the gates; he sent back Shermadin, albeit he made great lamentations. The vassal weeps and ​beats his breast; the wretched man sheds floods of tears. What can rejoice the vassal deprived of the sight of his lord!
794. Now will I begin another tale; I will attend the parting knight. There was no audience that day for the wrathful Rosten. When day dawned he rose sullen; he was as if he poured flame from his face; he commanded the vizier to be called; thither they led him pale with fear.
* ↑ Migzit'ha, A., is not in Ch.'s dictionary. The form mizgit'hi occurs in the Odes (M., iv., r.g.; Odes, VIa., 12, 2). There is no reason to think that the chapter headings are contemporary with the poem. The use of the word here does not seem justified by the text of the succeeding quatrains. It is possible that Migzit'ha is a corruption of some word with the root gza, and that the heading should run "Prayer for the Road." Cf. 792.
* ↑ ? preparest bounties.
* ↑ Master my desires.
* ↑ Passions.
* ↑ "Arte regendus amor"; "lois d'amour."
* ↑ Sop'helman, the world.
* ↑ ? inconsistent with the immediate sequel.
# The Heroes

* Search for titles containing or beginning with: "The Heroes."
* 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.
* The Heroes, a poem by Mabel Forrest
* The Heroes, a work by Charles Kingsley
* The Heroes, a poem by Katharine Tynan
# The Heroic Slave

* Part 1
* Part 2
* Part 3
* Part 4
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
# The Hesperides & Noble Numbers

The Muses' Library.
WORKS
OF
ROBERT HERRICK
ABERDEEN UNIVERSITY PRESS.
ROBERT HERRICK
THE HESPERIDES & NOBLE NUMBERS: EDITED BY ALFRED POLLARD WITH A PREFACE BY A. C. SWINBURNE
REVISED EDITION
* Editor's Note
* Preface
* Life of Herrick
* Note to Second Edition
* Hesperides
* His Noble Numbers
* Poems Not Included in Hesperides
* Notes
* Appendix 1
* Appendix 2
* Appendix 3
* Index to Persons Mentioned
* Index of First Lines
* Appendix of Epigrams
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
# The Lass of Ballochmyle (1819)/The Willow Tree

THE WILLOW TREE.
FINIS.
# The Last Asset
## Contents

* Chapter 1
* Chapter 2
* Chapter 3
* Chapter 4
* Chapter 5
* Chapter 6
* Chapter 7
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 1937, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 86 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
# The Mutual Assurance Society v. Faxon

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
19 U.S. 606
The Mutual Assurance Society v. Faxon
Mr. Justice JOHNSON 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
# The Merry Muses of Caledonia/Anna

ANNA.
Tune—"The dearest o' the Quorum."
* The heroine of this song was Ann Park, a niece of Mrs. Hyslop, of the Globe Tavern, Dumfries, and mother of Burns's illegitimate daughter Elizabeth, who was brought up by Jean Armour as one of her own children. She was born March 31st, 1791; was married to John Thomson, Pollokshaws, to whom she bore a large family; and died at Crossmyloof, June, 1873, aged 82. The Globe Tavern was where Burns lodged when his Excise duties precluded his return to Ellisland, and it remained to the end of his days his favourite "howff "in Dumfries. What became of "Anna" is not certainly known. Burns had an extravagant notion of the merits of this song. He copied the first two double stanzas into the Glenriddell MS. collection, and the third stanza appears on another page of the same book. The "postscript" was added for the benefit of the "Crochallan Fencibles." He sent a colder-toned version to Thomson, who did not consider it suitable for his "Collection." In the accompanying letter Burns writes—"'The Banks of Banna" is to me a heavenly air—what would you think of a set of Scots verses to it? I made one a good while ago, which I think is the best love song I ever composed in my life; but in its original state it is not quite a lady's song." This song is printed in Scott Douglas's Edinburgh edition exactly as it appears here (Vol. II., p. 292). A MS. of this song, in Burns's hand, was sold at the Hoe sale, New York, in May, 1911.
Yestre'en I had a pint o' wine,
A place where body saw na,
Yestre'en lay on this breast o' mine,
The gowden locks o' Anna.
The hungry Jew in wilderness,
Rejoicing o'er his manna,
Was naething to my hiney bliss.
Upon the lips of Anna.
Ye Monarchs, take the East and West,
Frae Indus to Savannah;
Gi'e me within my straining grasp,
The melting form o' Anna.
Then I'll despise imperial charms,
An Empress or Sultana,
While dying raptures in her arms
I give and take wi' Anna.
Awa', thou flaunting God o' Day,
Awa', thou pale Diana,
Ilk star gae hide thy twinkling ray
When I'm to meet my Anna.
Come in thy raven plumage, Night,
Sun, moon, and stars withdrawn a'.
And bring an angel pen to write
My raptures wi' my Anna.
POSTSCRIPT BY ANOTHER HAND.
The Kirk and State may join and tell
To do sic things I maunna,
The Kirk and State may gae to h—l,
And I'll gae to my Anna.
She is the sunshine o' my e'e,
To love but her I canna;
Had I on earth but wishes three,
The first should be my Anna.
# The Merry Muses of Caledonia/As I Looked o'er yon Castle Wa'

AS I LOOKED O'ER YON CASTLE WA'.
Tune—"Cumnock Psalms."
"Cumnock Psalms.
"'As I looked o'er yon castle wa', I spied a grey goose and a gled,' &c.
As I looked o'er yon castle wa', I spied a grey goose and a gled; They had a feight between them twa, An' O, as their twa hurdies gaed.
Wi' a hey ding it in, an' a how ding it in, An' a hey ding it in, it's lang to-day. Fal lary tele, tale, lary tale, Fal lary tal, lal, lary tay.
She heav'd up and he strack down, Between them twa they made a m—w; And ilka fart that the carlin gae. It's four o' them wad filled a bowe.
With a hey, &c.
Temper your tail the carle cried, Temper your tale by Venus' law; Gird hame your gear, gudeman, she cried, Wha the deil can hinder the wind tae blaw.
With a hey, &c.
For were ye on my saddle set, An' were ye weel girt in my gear, Gin the wind o' my a—e blaw ye out o' my c—t, Ye'll never be reckoned a man o' weir.
With a hey, &c.
He placed his Jacob whare she did piss, An' his b—ks whare the wind did blaw. And he grippet her fast by the gushet o' her a—e, An' he gae her c—t the common law.
With a hey, &c.
# The Merry Muses of Caledonia/As I came o'er the Cairney Mount

AS I CAME O'ER THE CAIRNEY MOUNT.
* An old song. A purified version by Burns will be found in Scott Douglas's Kilmarnock edition (Vol. II., p. 29). Burns writes to Thomson (Sept., 1793), "There is a third tune, and what Oswald calls 'The Old Highland Laddie,' which pleases me more than either of them; it is sometimes called 'Jinglin' Johnie,' that being the air of an old humorous bawdy song of that name—you will find it in the Museum." In the Genriddel MS. he says: "The 'Highland Laddie' is an excellent but somewhat licentious song beginning, 'As I cam' o'er the Cairney Mount.'"
As I came o'er the Cairney mount,
And down amang the blooming heather,
The Highland laddie drew his dirk
And sheath'd it in my wanton leather.
O my bonnie, bonnie Highland lad,
My handsome, charming Highland laddie;
When I am sick and like to die,
He'll row me in his Highland plaidie.
With me he play'd his warlike pranks,
And on me boldly did adventure,
He did attack me on both flanks,
And pushed me fiercely in the centre.
O my bonnie, &c.
A furious battle then began,
Wi' equal courage and desire,
Altho' he struck me three to one,
I stood my ground and receiv'd his fire.
O my bonnie, &c.
But our ammunition being spent,
And we quite out o' breath an' sweating,
We did agree with ae consent,
To fight it out at the next meeting.
O my bonnie, &c.
# The Merry Muses of Caledonia/Brose and Butter

BROSE AND BUTTER.
An old song. Burns transferred the first two lines of the 4th stanza to another composition.
Jenny sits up in the laft,
Jockey would fain be at her,
But there cam' a wind out o' the west,
Made a' the winnocks to clatter.
O gi'e my love brose, brose,
O gi'e my love brose and butter, For nane in Carrick but him Can please a lassie better.
The lavrock lo'es the grass,
The paitrick lo'es the stibble;
And hey for the gardener lad, To gully away wi' his dibble.
O gi'e my love, &c.
My daddie sent me to the hill,
To pu' my minnie some heather,
And drive it in your fill, Ye're welcome to the leather.
O gi'e my love, &c.
The mouse is a merry wee beast, The moudiewart wants the een;
And O for a touch of the thing, I had in my nieve yestreen.
O gi'e my love, &c.
We a' were fou yestreen, The night shall be its brither, And hey for a merry pin, To nail twa wames thegither.
O gi'e my love, &c.
# The Merry Muses of Caledonia/Can ye Labour Lea, Young Man?

CAN YE LABOUR LEA, YOUNG MAN?
Tune—"Sir Arch. Grant's Strathspey."
* An old song, of which there are many versions. The title appears to have been a favourite with the old rhymers.
O can ye labour lea, young man?
O can ye labour lea?
Gae back the road ye came again,
Ye ne'er shall scorn me.
I fee'd a man at Martinmas,
Wi' arle pennies three,
But a' the faut I had to him,
He couldna labour lea.
O can ye, &c.
A stibble rig is easy ploughed,
And fallow land is free,
But what a silly coof is he,
That couldna labour lea.
O can ye, &c.
The bonny bush and benty knowe,
The ploughman points his sock in,
He sheds the roughness, lays it by.
And bauldly ploughs his yoking.
O can ye, &c.
# The Merry Muses of Caledonia/A Hole to Hide it in

A HOLE TO HIDE IT IN.
Tune—"Waukin' o' the Fauld."
An old song.
O will ye speak at our town,
As ye come frae the fair,
And ye'se got a hole to hide it in,
Will haud it a' and mair.
O haud awa' your hand, sir,
Ye gar me aye think shame,
And ye'se got a hole to hide it in,
And think yoursel' at hame.
O will ye let me be, sir,
Toots! now ye've reft my sark,
And ye'se got a hole to hide it in,
Whar ye may work your wark.
O haud awa' your hand, sir,
Ye're like to make me daft,
And ye'se got a hole to hide it in
To keep it warm and saft.
O haud it in your hand, sir,
Till I get up my claes,
Now f—k me as you'd f—k for life,
I hope your cock will please.
# The Merry Muses of Caledonia/Act Sederunt of the Court of Session

ACT SEDERUNT OF THE COURT OF SESSION.
Tune—"O'er the Muir amang the Heather."
* Burns wrote to Robert Cleghorn, under date October 25, 1793:—"I have just bought a quire of post, and I am determined, my dear Cleghorn, to give you the maidenhead of it. Indeed, that is all my reason for, and all that I can propose to give you by, the present scrawl. From my late hours last night, and the dripping fogs and damn'd east wind of this stupid day, I have left me as little soul as an oyster.—'Sir John, you are so fretful, you cannot live long.'—'Why, there is it! Come, sing me a b——dy song to make me merry!!'
* "Act Sederunt o' the Session.
* "Tune—'O'er the muir amang the heather.'
* "Well, the Law is good for something, since we can make a b——dy song out of it. (N.B.—I never made anything of it any other way.) There is, there must be some truth in original sin. My violent propensity to b—dry convinces me of it. Lack a day! if that species of composition be the special sin, never-to-be-forgiven in this world nor in that which is to come, I am the most offending soul alive."
In Embro' town they've made a law, In Embro' at the Court o' Session, That standin' p——s are fautor's a', And guilty o' a high transgression.
Decreet o' the Court o' Session, Act Sederunt o' the Session, That standin' p——s are fautor's a', And guilty o' a high transgression.
And they've provided dungeons deep, Ilk lass has ane in her possession, Until the fautors wail and weep, There they shall lie for their transgression.
Decreet o' the Court o' Session, Act Sederunt o' the Session. The rogues in pouring tears shall weep, By Act Sederunt o' the Session.
# The Merry Muses of Caledonia/Andrew and his Cutty Gun

ANDREW AND HIS CUTTY GUN.
* An old song which Burns describes as "the work of a master." Burns's purified version is well known. An amended version will be found in Herd's collection (1776).
Blythe, blythe, blythe was she,
Blythe was she but and ben,
And weel she loved it in her neeve,
But better when it slippit in.
Blythe. blythe, &c.
When a' the lave gaed to their bed,
And I sat up to clean the shoon,
O wha think ye came jumpin' ben,
But Andrew and his cutty gun.
Blythe. blythe, &c.
Or e'er I wist he laid me back,
And up my gamon to my chin,
And ne'er a word to me he spak,
But liltit out his cutty gun.
Blythe. blythe, &c.
The bawsent bitch she left her whelps,
And hunted round us at the fun,
As Andrew dougled wi' his doup,
And fired at me his cutty gun.
Blythe. blythe, &c.
O some delight in cutty-stoup,
And some delight in cutty-mum,
But my delight's an arselins coup,
Wi' Andrew and his cutty gun.
Blythe. blythe, &c.
# The Merry Muses of Caledonia/Blyth Will and Bessie's Wedding

BLYTH WILL AND BESSIE'S WEDDING.
Tune—"Roy's Wife."
* An old song. The stanzas in brackets seem to be an interpolation from another ditty much resembling "Comin' o'er the hills o' Couper."
There was a wedding o'er in Fife,
An' mony a ane frae Lothian at it;
Jean Vernon there maist lost her life,
For love o' Jamie Howden at it.   Blyth Will and Bessie's weddin',
Blyth Will and Bessie's weddin',
Had I been Will, Bess had been mine,
An' Bess an' I had made the weddin'.   Right sair she grat, and wet her cheeks,
An' naithing pleased that we could gie her;
She tint her heart in Jamie's breeks,
It cam nae back to Lothian wi' her.
Blyth, &c.
[Kate Mackie cam frae Parloncraigs,
The road was foul 'twixt that an' Couper;
She shaw'd a pair o' handsome legs.
When Highland Donald he o'ertook her.
Comin' o'er the moor o' Couper,
Coming o'er the moor o' Couper,
Donald fell in love wi' her.
An' row'd his Highland plaid about her.
They took them to the Logan steps,
An' set them down to rest thegither,
Donald laid her on her back.
An' fir'd a Highland pistol at her.
Comin'. &c.
Lochleven Castle heard the rair,
An' Faulkland house the echo sounded;
Highland Donald gae a stare.
The lassie sigh'd, but was nae wounded.]
Comin', &c.
Tamie Tamson too was there,
Maggie Birnie was his dearie.
He pat it in amang the hair,
An' puddled there till he was weary.
Blyth, &c.
When e'enin' cam the town was thrang,
An' beds were no to get for siller;
When e'er they fand a want o' room,
They lay in pairs like bread and butter.
Blyth, &c.
Twa and twa they made the bed,
An' twa an' twa they lay thegither;
When they had na room enough,
Ilk ane lap on aboon the tither.
Blyth, &c.
# The Merry Muses of Caledonia/Beware of the Ripples

BEWARE OF THE RIPPLES.
Tune—"The Tailer fell thro' the bed."
* This is an old song, on which Burns modelled "The Bonie Moor-Hen," which Clarinda advised him not to publish "for your sake, and for mine," in a letter dated January 30, 1788. Scott Douglas published it in his Kilmarnock edition, with a quotation from the old version in his introductory note (Vol. II., p. 275).
I rede you beware o' the ripples, young man,
I rede you beware o' the ripples, young man,
Tho' the saddle be saft, ye needna ride aft,
For fear that the girdin' beguile you, young man.
I rede you beware o' the ripples, young man,
I rede you beware o' the ripples, young man;
Tho' music be pleasure, tak' music in measure,
Or ye may want wind in your whistle, young man.
I rede you beware o' the ripples, young man,
I rede you beware o' the ripples, young man;
Whate'er you bestow, do less than ye dow,
The mair will be thought of your kindness, young man.
I rede you beware o' the ripples, young man,
I rede you beware o' the ripples, young man,
If you would be strang, and wish to live lang.
Dance less wi' your a—e to the kipples, young man.
# The Iliad of Homer (Cowper)/Advertisement

ADVERTISEMENT TO SOUTHEY'S EDITION
It is incumbent upon the present Editor to state the reasons which have induced him, between two editions of Cowper's Homer, differing so materially from each other that they might almost be deemed different versions, to prefer the first.
Whoever has perused the Translator's letters, must have perceived that he had considered with no ordinary care the scheme of his versification, and that when he resolved upon altering it in a second edition, it was in deference to the opinion of others.
It seems to the Editor that Cowper's own judgment is entitled to more respect, than that of any, or all his critics; and that the version which he composed when his faculties were most active and his spirits least subject to depression,—indeed in the happiest part of his life,—ought not to be superseded by a revisal, or rather reconstruction, which was undertaken three years before his death,—not like the first translation as "a pleasant work, an innocent luxury," the cheerful and delightful occupation of hope and ardor and ambition,—but as a "hopeless employment," a task to which he gave "all his miserable days, and often many hours of the night," seeking to beguile the sense of utter wretchedness, by altering as if for the sake of alteration.
The Editor has been confirmed in this opinion by the concurrence of every person with whom he has communicated on the subject. Among others he takes the liberty of mentioning Mr. Cary, whose authority upon such a question is of especial weight, the Translator of Dante being the only one of our countrymen who has ever executed a translation of equal magnitude and not less difficulty, with the same perfect fidelity and admirable skill.
In support of this determination, the case of Tasso may be cited as curiously in point. The great Italian poet altered his Jerusalem like Cowper, against his own judgment, in submission to his critics: he made the alteration in the latter years of his life, and in a diseased state of mind; and he proceeded upon the same prescribed rule of smoothing down his versification, and removing all the elisions. The consequence has been that the reconstructed poem is utterly neglected, and has rarely, if ever, been reprinted, except in the two great editions of his collected works; while the original poem has been and continues to be in such demand, that the most diligent bibliographer might vainly attempt to enumerate all the editions through which it has passed.